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Wht? Playing around with the medium size 345M model of GPT-2Training it on the custom corpus developed for ReRitesthen output at diverse temperatures for long periods of time.
In short, balanced and benign, this tidy set convinces without comprisingits confirmation that machines in the next few years will emulate modulationsin idioms, inflections, cadences and symbolic reservoirs.The art and nature of writing will shift as its conceptionget recast in a delirious outpouring of empowered augmentation.Enter the mall of pre-made style morphs.
Me, Myself and I in Dystopia is part of the large project called, “Humanity: From Dystopia to Survival” which is an interactive survival game and audio-visual music performance. Although the original concept of this project was to involve audience members to play the real-time interactive survival game, this version explores how the pandemic has shifted the sense of collectivity to individuality and depicts what it means to remain in a dystopian society alone by re-creating my own versions of self. In this video, I take multiple shots of my own photos (represented as an outline of faces) and speak to the microphone to interact with the video in real-time. The voices and air that I blow to the microphone affect my own photographic representations in the video by blurring the image. I will be saying random words to the microphone and also exhale air as a gesture of meditation during the crisis. The interactive video will demonstrate how an individual yearns to survive dystopia as he/she struggles to fight the solitude, controls, and chaos of society. As each photo of myself is taken, it will also trigger a new sound file as a way to intensify the mood of being alone. This work was created by an interactive design prototype for Max-MSP software (programmer: Martin Ritter), whereby I design how people can talk to the microphone and affect the visuals to symbolize saving one another and humanity as a whole. While demonstrated this work alone, it also powerfully suggests what it means to adapt in the constantly evolving covid era.
Source: exhibition documentation
The process also allowed the idealization of Oneirographia, which is a 3D interactive online environment that is under construction and will be finished by the end of February of 2021. In this work, the interactor can build or simulate his digital dreams with data input that´ll randomly create a sensory ambiance. First, the user fills a form and, then it will be possible to choose between a dream or a nightmare to define the atmosphere of the digital experience. After that, the user will navigate between images, words, and sounds, and, at any moment, he can choose to capture photographs of the digital dream to download or share them on the social media networks. Dreams hold relevant messages and memories that we cannot access otherwise. However, its encrypted language makes it difficult to understand, and usually, during the wake, we quickly forget what we have dreamed of. Oneirographia aims to facilitate the remembering, reimagining, and sharing of our dreams. The work will be available in three different languages: Portuguese, English and Spanish.
Oneirographia is a project that started in March 2020, when the quarantine due to the Coronavirus pandemic began in the city of São Paulo, Brazil. The conceptual project started from a dream and proceeded, at first, with the help of Internet search engines and it was an encouragement at the critical moment of confinement and pessimism. Somehow that fact so unique and different from other experienced dream phenomena aroused a series of sensations and reflections on the possibility of incorporating the unforeseen and irrational element as a means of promoting academic inquiry and artistic research. The dream experience allowed a deviation in the search algorithms using private intuition. This methodology contradicts the rational tendency behind the “improvement” of the artificial intelligence of these mechanisms. This effort included bibliographic research and the creation of a web page called “Prague Dremiary” that contains more information about the work.
Source: exhibition documentation
This poem is an interactive landscape. Bicycles, letters and a traveler's musings pass bij.
K. Michel en Dirk Vis maakten een gedicht in de vorm van een interactief landschap. Fietsen, letters en de mijmeringen van een treinreizigster schieten voorbij.
Between the border of Cerbere and Port Bou there is a cliff, a road that goes up and on the other side eventually winds down the road, past a customhouse, above a rock that slips into the sea. What does it mean to know that border, to recognise it, and to know what you forget?
De grens tussen Cerbère en Port Bou bestaat uit een klif, een weg die omhoogslingert en aan de andere kant langs haarspeldbochten neerdaalt, langs het huis van een verlaten douanepost, boven een rots die haast wegglijdt in de zee.
Wat betekent het om de grens te weten, die te kennen, te weten wat je vergeet?
Karaoke is a short 8-minute film that shows walks through the city of Taipei. The details Ruth Verraes noted are different from the images Erik Lindner noted. Karaoke is an important form of relaxation in Taipei. The film contains sounds from the city: singing, musical fragments, recognisable sounds that are associated with a dustcart. Halfway the video a poem is shown on screen.
'Karaoke is een korte film van acht minuten. De basis van de film vormen wandelingen door Taipei. De details die ik registreer zijn niet dezelfde beelden die Lindner noteert. Karaoke is de voornaamste ontspanning in Taipei. De film bevat geluid uit de stad: zang, flarden muziek, de herkenningsmelodie van de vuilniswagen. Halverwege valt een gedicht de film binnen.'
During the winter of 2017, a tree died in my front yard. Afterwards, a gale uprooted it and smashed it into lumber. But before the fire, new trees emerged. Árboles de mi Desierto: Wind Songs is a recombinatory video poem shaped by my dead tree as it was documented misusing a panoramic camera in order to generate impossible landscapes of bark, wood, assorted detritus and desert sand. The words, sometimes fleeting and otherwise stark, work together with the images to create something akin to a palimpsest of reflections on the human penchant for unnatural progress, growth, vertical lifestyles and upward mobility. It uses espanglish as the lingua franca of the MX-US border where I reside in San Agustin, a small, very much under developed rural town outside of Ciudad Juárez.
This is a Covid, no touching, rethinking of the digital version of the Trajectory Cabinet, which, in physical form, transforms the 32 drawers/key presses of a library card catalogue into an interactive artwork. Pulling the drawers open and pushing them closed is how the work is read. And each drawer connects to a place on a map of Brisbane, triggering poetic elements. Overall, the Trajectory Cabinet tells the story of environmental destruction and consequences in Brisbane Australia. There are 32 drawers/key presses total, each with their own poetic/artwork element. And there are 10 hidden artworks, generated by secret combinations of drawers.
Not For You is an “automated confusion system” designed to mislead TikTok’s video recommendation algorithm, making it possible to see how TikTok feels when it’s no longer made “For You.” The system navigates the site without intervention, clicking on videos and hashtags and users to find the nooks and crannies TikTok’s algorithm doesn’t show us, to reveal those videos its content moderators suppress, and to surface speech the company hopes to hide. Through its alternative personality-agnostic choices of what to like, who to follow, and which posts to share, Not For You should make the For You page less addictive, and hopefully steer users away from feeling like the best path to platform success is through mimicry and conformity. Perhaps most importantly, Not For You aims to defuse the filter bubbles produced by algorithmic feeds and the risks such feeds pose for targeted disinformation and citizen manipulation. Finally, the work stands in opposition to letting corporations opaquely decide what we see and when we see it, to their intentional crafting of addictive user interfaces, and to the extraction of profit from the residual data left behind by users. Ultimately, Not For You asks us to think about who most benefits from social media’s algorithmic feeds, and who is made most vulnerable.
