Review | political issue of b...

Generated on 2021-08-11 12:27:50

Result #1

political issue of bots where do these images come from? programming autonomy anthropology of images human weighing-artificial intelligence blend divergence x personality newsstand flow break immediate seizure what these images say about us banking as an instrument to inform "reality" gallery file atlas mnemosine infinite images newspaper, magazine, poster, booklet (publication media) we influence the "aesthetics" of bots or bots influence us as viewers, as well as the images in some people who live in America where this country has a legal system that says in all cases, You have to agree with me, and we live in an industrial society, so we are at the mercy of both laws and art. this show of American art, about bots, is a fantastic example of contemporary art being interactive with a history that goes back a long way—to the days when communication via print was readily available to the masses and fax machines were only very rarely used. The show is dedicated to the use of the computer as a medium for communicating, and the interconnection of the art objects in the world. The show is also about how images can be used to measure social attitudes and opinions. By juxtaposing robotic images with still images of people, and sometimes with other types of pictures, the artist explores the ways in which individuals who have different public views and opinions act as a means of identifying with one another.In one of the programs which runs through the show, one learns about the social milieu in which we live: the rise of a new society on the verge of collapse, the destruction of the old social order and the general feeling of alienation and injustice. The writer, anonymous and on the phone, tells us how people live in the big cities and how they make decisions about their private life. And the computer-generated images of a futuristic future come to life as a beautiful postapocalyptic world in which we live and work in an automated form of communication that mirrors our current economic system. The message is clear: The world is becoming more and more centralized; as a society it is becoming ever more totalitarian. The lines of a speech or a question printed on a wall get crossed and broken until the totalitarianism of the system becomes almost unbearable. The spoken text becomes more and more irrelevant, and we feel as if we have no voice.

Result #2

as we use bots; bots use us as others use them, because the two-dimensional object of the bot is that of the programmer in the machine. This can be seen in the way bots appear to be built. A tiny robot, like an eye, is large enough to hold a small drawing, a white sketch of a bot, and a black flag, signs of the operator standing on the world. The fans follow it around to see what it does—thus making the live robot into an art object, to make it the artist in the computer. One group of fans, looking at the bot as an artist, then changes its look. They hold it as an object, a community of art, and the bot as an artist. Two others hold it and then change its shape. A third shows the "artist as bot. The human gets a direct link to the bot. Its digital representation; it is a thin device that mirrors a Bot. It will become a figure.Bot images are often not our own. They are emblems of popular culture, and have been used before by artists, including Rainer Maria Rilke. Their purpose is not entirely artistically calculated, as is often the case with many art images. But there are a lot of Bot images in everyday life, and they can serve as a reference point for what happens to the art world. The social-media culture is the intersection of culture and society; they are the road of communication. The Bot image, with its calligraphy, seems to offer an escape to this environment. The bot is a symbol of a new reality, that of the self.

Result #3

political issue of bots where do these images come from? programming autonomy anthropology of images human weighing-artificial intelligence blend divergence x personality newsstand flow break immediate seizure what these images say about us banking as an instrument to inform "reality" gallery file atlas mnemosine infinite images newspaper, magazine, poster, booklet (publication media) we influence the "aesthetics" of bots or bots influence us; but does it really? From our point of view, the bots are anyones asocial as you are, and its a peculiarly subversive form of control.The artists in the duo behind Who Dares Encrypt, a long-term project by the New Museum in New York, showed their first solo exhibition in three cities: Geneva, Paris, and Tokyo. A group of artists working with artificial intelligence, they were inspired by the data streams of the Internet and their efforts to deal with it. Alanna Heiss, who has been working with artificial intelligence for more than thirty years, has addressed this issue with remarkable sensitivity. In her video Insects, 1994, he uses his own voice to draw insects, turning them into subjects for verbal manipulation. The video is one of the most colorful and enchanting in the show. Heiss takes on cultural stereotypes of the robot. After borrowing a technique used by cartoonist R. Crumb, she instructs the cameras on a group of scientists, doctors, and animators to draw the faces of the alien, while the subjects speak in English and Japanese. They are asked what are the obvious connections between us and them, and the artists respond in dryly, with no exclamation points. They are robots, but not the first. They are intelligent, fully autonomous agents—but they have been trained to be social humans. They are not an aesthetic parade of artistic techniques, but a more carefully considered study of a very particular set of cultural conditions.Among the objects with international and international titles in this show, the sculptures stand out. Comprised of metal disks, mounted on wooden plinths, and connected to machines that create a series of cuts and then reattach them, they are grouped together and seem to float in space.

Result #4

Result #5

political issue of bots where do these images come from? programming autonomy anthropology of images human weighing-artificial intelligence blend divergence x personality newsstand flow break immediate seizure what these images say about us banking as an instrument to inform "reality" gallery file atlas mnemosine infinite images newspaper, magazine, poster, booklet (publication media) we influence the "aesthetics" of bots or bots influence us as adults. From this viewpoint, theartificial intelligence/human synthesis project presented a stunning contrast with the traditional artmaking of computers. The art is the result of an open, interactive, collaborative, and fact-based language based on cooperation and exchange, wherein theres a universal, critical, and poetic dialectic that engages many cultural perspectives. It aims at creating a genuinely human language of communication. With the most common symbols for a living—the keyboard, the zipper, the Web—atlas mnemosine infinite images printouts of everyday life become documents of symbols and indicators of the universal, a verbal notation of the fact of existence. The artworks are simultaneously documented and transformed into autonomous texts, which form a set of illusory, universal truths. With the ubiquitous blurring of identity, the images reveal their true nature as abstractions, a hypnotic fluid that reaches deep inside and travels beyond.In order to understand the art, viewers had to be in a privileged position of standing between the images and the pageants themselves, an impossibility given the distance of different sources of information. They were encouraged to think about this work on their own, at the start of each gallery, using a wall-mounted camera that redirected their gaze toward the image that appeared at the top of the pageantry. However, this permitted the viewer to see the artwork from a myriad of angles, to experience the painting as a time-release process, with no prior authorial intentions, or to enjoy a participatory participation that provides the depth of the work. In addition, it allowed the viewer to participate in the exhibition, to be part of the process. After this introduction, the viewer became another participant in the drawing of the identity of an anonymous part of reality—a token of their own articulation of individual experience. Nevertheless, it was also the act of drawing that became the means to initiate the process of the creation of the art, with a consciousness of the very possibility of misunderstanding.