Likeness

Adam Ferriss’s art installation from June 2018, Likeness, takes one person’s face and transforms it into another. It “reimagines face-filtering and remolds people’s appearances in real time.” Likeness, curated by Alex Czetwertynski, another digital artist and curator, was produced for Google IO 2018 in the Museum of Developer Art and commissioned by UCLA Conditional Studio. Ferriss began his installation by presenting the computer two sets of images: generic photographs of people, and what Ferriss calls “label maps” that “identify and highlight the different facial features, like eyes, eyebrows, jawline, mouth, and nose, present in the photographs." 

Digital Instru-Mentation: Red Forest and Emblems of Ascension

Campbell%20Red%20Forest%202015%20detail.Digital art, as in the work of Robert Campbell (Red Forest, detail) and NoiseFold is achieving the plasticity of clay, paint on canvas, or even analog electronics. Several Currents 2015 participants have developed, or cobbled together, computer based tools which provide the robustness needed to dig in, explore, and experiment with contemporary new media materials and techniques. It's much like the shift from the brush of a Mannerist painter to the sponge of a Max Ernst frottage.Progress in the flexibility and robustness of digital instruments allow them to be treated as plastic media which may lead to fully collaborative human/machine systems. We can start to imagine an actual collaboration between humans and machines where, rather than participating in a one-way struggle, each contribute what they do best in a two-way dialog. And once these collaborative systems are established, their collective behavior will become more interesting than any particular 'finished work'.

Inorganic Flora

 

Combining the delicate, intricate folds of nature with the hard, clinical use of computer algorithms, artist Macoto Murayama digitally sculpts flowers that he painstakingly dismantles in order to further understand their structures. Working mostly in Japan, Murayama is a botanist, as well as an artist, who attended Miyagi University in 2007, and went on to study at the Institute of Advanced Media Arts and Sciences in 2009 [1].

The Tunnel under the Atlantic

The Tunnel under the Atlantic, by Maurice Benayoun is an interesting stimulatory system that connects visitors of the Pompidou Centre in Paris to the visitors of the Museum of Contemporary Art in Montreal through a simulated “digging” through skewed virtual medium.  By using televirtuality, people in each museum can dig to meet each other, and then interact with each other in this virtual channel.  They are brought together through communication as they survey their virtual surroundings that reveal geological strata as iconographic strata, bringing both shape and recognizable textures.

The Yes Men

There are innumerable strategies and motivations behind impersonation on the Internet. Some are legitimate hoaxes, others malicious, others satire. Take this typo for example: Gogle.com. Hypothetically, for every person with a sticky "o" key, or too fast of a double-keystroke, there is someone out there who is able to maliciously attack the unfortunately imperfect typist, logging history, Internet etiquette, and personal data. Inversely, one could hypothetically use similar guerilla tactics to attack companies of questionable moral standing, which is exactly what an internet-hoax group, referred to as “The Yes Men,” have done.

Natural History of the Enigma

kac.nat.hist.enigma.01.jpg"Natural History of the Enigma" is a series of works that presents the transgenic petunia flower "Edunia", which has part of the artist Eduardo Kac's genetic sequence inserted into it. Aside from the plant itself, the series comprises of limited edition seed packs of the plant, a set of lithographs called "Edunia Seed Pack Studies", the public sculpture "Singularis", watercolor paintings "Mysterium Magnum I-VIII", and photographs of the plant "Plantimal I-VI". The project was developed by Eduardo Kac in collaboration with scientists from University of Minnesota between 2003 and 2008, and was initially exhibited at the Weisman Art Museum in Minneapolis [1].

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