“People take photos of each other to prove that they really exist” sang the Goldene Zitronen (German Punk band) in 1994. Today we know that photos prove nothing because they can be manipulated very easily.
And yet – our relationship to our own image is ambivalent: Selfies bear witness to the fact that we were at grandma’s birthday or on the Eiffel Tower, and at the same time we can manipulate our portrait photo beyond recognition with just one click. The technical possibilities are endless and are becoming more and more perfect thanks to Deep Learning and thus AI-supported applications.
In this work, we are confronted with an old photograph that has been manipulated with the help of artificial intelligence. The girl in the photograph seems very much alive and authentic. Do we feel closer to her? Is the illusion convincing?
What becomes of our faulty memories when it gives way to an artificial liveliness? Doesn’t this illusion rather contribute to forgetting the last bit of the real human being? And would “Paula” have liked what we do with her memory?
A survey is part of this work:
Would you consider bringing a photo of a deceased loved one to “life” using an AI application? Yes? / No?
“Paula’s” real portrait photo can be found in the work Below the Surface (Book Object).
TIFF-Experimental & Animation, Without Dialogue
Tatsuno International Film Festival
13 – 20 November 2022 Tatsuno / JPN
1439 Galleria, Tominaga, Tatsuno-cho, Tatsuno-shi, Hyogo, Japan.
Tatsuno, Hyogo 679-4167
Conditio Humana II
Following on from the work Conditio Humana I, the question of what the conditio humana is is continued here. Another aspect, in my opinion, is the ability of absolute body control. As distinct from artificial intelligence, it is physicality in combination with emotion and elegance.
In this work, complex human movements in the form of a dance are contrasted with the humanoid robot HRP-4C, as it was presented to the world public in 2010.
Dancer: Dominik Feistmantl
74th Great Swabian Art Exhibition
26 November 2022 – 8 January 2023
Vernissage on 26.11.2022 at 11 a.m.
H2 – Museum of Contemporary Art,
Beim Glaspalast 1,
Lioba Abrell, Marie-Luise Anten-Dittmar, Verena Blunck-Mader, Anita Braxmeier, Florina Coulin, Lycien-David Cséry, Brigitte Dorn, Ekaterina Dronova, Dorothea Dudek, Maxwell Dunlop, Jochen Eger, Isolde Egger, Eva Engelien, Thomas Fackler, Gisela Frank, Wolf Gruber, Gabriele Gruss-Sangl, Ebby Hauser, Christian Hof, Bernd Hohlen, Jürgen Hörauf, Gabriele Hornauer, Ulrike Hüppeler, Heike Hüttenkofer, Peter Junghanss, Rainer Kaiser, Daniela Kammerer, Erika Kassnel-Henneberg, Mariella Kerscher, Wolfgang Keßler, Georg Kleber, Friederike Klotz, Thomas Kroeger, Inge Lemmerz, Hélène Lindqvist, Gabriele Lockstaedt, Henriette Macalik, Christa Maria Marschall, Karl Maure, Liliana Mesmer, Christine Metz, Sigrid Münch-Metzner, Tanja Popp, Maria Prinz, Werner Prinz, Andrea Reiners, Christine Reiter, Gerhard Ribka, Marc Rogat, Erwin Roth, Jochen Rüth, Sandra Samal-Anzer, Andrea Sandner, Jeannette Scheidle, Ilan Scheindling, Katharina Schellenberger, Otto Scherer, Alice Schöndorfer, Stephanie Sixt, Gabriele Stolz, Ting Tan-Mayershofer, Andreas Vogler, Stefan Wehmeier, Josef Wehrle, Elke Wieland, Gertrud von Winckler, Hildergard Winkler, Nina Zeilhofer, Rudolf Zimmermann.
Migrations and the Shifting Borders – international group exhibition, 26.January to 6.February 2023
Galerie Millepiani Rom, Via N. Odero, 13 Rom / IT
Rabbit Hole 4.0
This short film was made as part of my bachelor thesis on “Attention Engineering in Social Media”. It metaphorically describes the internet as a large experimental laboratory in which users are manipulated like “guinea pigs” with the help of psychological “weapons”.
Suzanne is lured into a virtual dream world by flashing buttons and the voice assistant on her computer, which promise her a solution to her sleeping problem. In fact, however, she is only part of a large scientific experiment in which the aim is to specifically manipulate her behaviour.
Similar to the “real” conversations in social networks, the main character “Suzanne” is represented by statements written in “real time” and fades into the background as a physical person. The camera thereby takes her point of view. This constellation results in three scenic levels in the film: 1.) the “virtual space”, which is at the same time the stage; 2.) the screen surface, on which Suzanne’s text messages appear; 3.) the invisible space in front of the screen, in which we sit together with Suzanne and follow the story.
In the first two parts, Suzanne is confronted with an anthropomorphic voice computer as an antagonist that can only be heard. The reversal of states, namely the dematerialisation of the human “Suzanne” and the humanisation of the robot “David” – only he has a voice – creates a discrepancy in the viewer’s expectations that is very suspenseful.
The action is accompanied by a fly. Through its presence, it repeatedly draws attention to itself and thus demonstrates “attention engineering” in a penetrating way. The fly as the physical “protagonist” in the film illustrates the absurdity of the situation, because it belongs to both the real and the virtual world, and it is both perpetrator (draws attention to itself) and victim (dies) at the same time.
Dança em Foco
dança em foco – International Video & Dance Festival
Rio de Janeiro / BRA, Choreographic Center
7. – 13.11.2022, online http://dancaemfoco.com.br/edicoes/
“dança em foco – International Video & Dance Festival was founded in 2003 in Rio de Janeiro as the first Brazilian event to develop the interface between video and dance. Through its actions, it has established itself as a reference point and the main context for the dissemination and development of video dance production in the country. In the 20 years since its creation, dança em foco has gone from Rio to the world, with 38 editions in 13 state capitals, reaching an audience of over 20,000 people in its on-site activities, in addition to the hundreds of thousands who follow the festival annually via the Internet.
Celebrating its 20th edition, the festival will dedicate special attention to productions dealing with gender and sexual diversity, afro-diasporic, indigenous and plural cultures.” http://dancaemfoco.com.br/projeto/
Cleaning Up GEDOK
Annual exhibition of GEDOK Munich.
15.10. until 13.11.2022
Vernissage: 15.10.2022 at 11 a.m.
Municipal Gallery Traunstein
Women artists’ tour on 13.11.2022 at 1 pm
Conditio Humana I
The conditio humana refers to the conditions or circumstances of being human in general. What makes a human being a human being? This question is explored here by an AI in a monologue. One often cited aspect is language, which distinguishes us from animals. But what is the conditio humana that distinguishes us from an artificial intelligence?
The starting point for this work was a report on the radio about a new milestone in the development of artificial intelligence. In 2019, researchers had succeeded for the first time in developing an AI that won in poker against five real professional players.
The special thing about poker is the complexity of strategy calculation, because – unlike in chess, for example – the information is incomplete (hidden hand) and the opponents act unpredictably (concealing one’s own hand and constantly changing strategy in response to opponents). At the same time, the AI must also deceive the opponent in order to win.
All in all, this demands special skills from the AI that catapult it to the next evolutionary level.
If an AI had its own consciousness, what would it do with this ability?
Dancer: Dominic Feistmantl
Premiere: Façade projection in Buenos Aires / Argentina on December 17 2022