Thank you so so much! This was so lovely to read. I was the most high-key anxious about that story, my brain is a mash of 2020 feelings, and the writers in the Terror fandom are too smart and too talented and I’m not that. But I wanted to write about red petals on ice, and it feels good to finish something, and GOD, I can’t thank you enough for reading.
a hugely inspiring and knowledge-full exhibition exploring invisible acts of surveillance, bringing them to visibility. what was instantly evident is the octopus surveillance cameras that livestream the exhibition online, allowing the online user to show their webcam on one of four screens positioned throughout the exhibition. many different aspects dealt with different technological advances that remain hidden from the public sphere and understanding. from facial recognition systems, to computer algorithms and the training of these technologies. what struck me is the face sculpture in the middle of the exhibition, a face that doesn’t exist but enabled the development of FRS. I read up on the exhibition before I attended so I understood the pieces within it, which was helpful as there was no text, so it allowed the me to feel the full impact of the exhibition
the exhibition is a series of photographs of flowers and plants in bloom. they’re then imported into a suite of artificial intelligence algorithms developed in the studio that try to dissect those images into their component parts, textures, objects, regions and represents those difference in the images by assigning different colours to them
we are living in a moment where we are seeing things like artificial intelligence which to a large extent is about automating the interpretation of images, AI is about building applications online that are evaluating you, trying to recognise you, looking at things like facial recognition… it looks at things like your behaviours, and what that says about you, whilst working out how that information be monetised
the sculpture at the centre of the exhibition is something called the standard head, and that is a model of the head that has never existed but that was a mathematical abstraction that was meant to represent a standard head to create a ground truth upon which facial recognition was built
when we’re looking at things like facial recognition, computer vision, artificial intelligence, we’re seeing the establishment of norms, classifications, categories and those always have a politics to them. those classifications are being made by people who have economic or political interests. “the question that becomes is what kind of judgements are built into technical systems, why are they made that way, who are they benefitting and at who’s expense do they come… i am somebody who does not believe that technologies are ever neutral, i don’t think that can exist”
there’s a piece in the exhibition called “we…” this is looking at the specific data set that is used to teach AI how to read handwriting. the piece is based on a data set from the late 1980’s where what the researchers did was have high school kids write out the preamble to the constitution of the united states, and it felt highly ironic to me that this text, this declaration of public sovereignty, would then be used to create a means by which to ultimately surveil people
the geography of seeing this changing, the fact that we’re not really travelling, we’re engaging with other people, looking at things primarily through online media, how does that change what an art exhibition is
“the octopus piece is a response to trying to think about this dislocatedness. throughout the gallery there’s dozens of video cameras, all of those cameras are then streaming onto a web platform so that you as a viewer remotely can go and look at it and you can pick what camera you want to see the exhibition through. there’s another thing that happens, when you go and you’re looking at the exhibition online you can give the octopus apparatus consent to use your webcam. when you do that your webcam will take your image and will stream it onto one of four monitors located in the exhibition, if you’re somebody in the exhibition and you look up, you will see the faces looking down on you of people who are looking at the exhibition online. these multiple dialectics of seeing, of remoteness and of presence, and the different kinds of mediation and abstractions that happen in those relationships for me was the point of this exhibition”
“i’m pointing out the degree to which our interactions with each other have become part of a vast planetary machine that is designed to extract as much value as possible from us and from the most intimate parts of our lives”
i absolutely loved this exhibition, it was so beautiful to see the work of an inspiration in the flesh
an interesting ideal watching the technology within my phone, identify the face of the sculpture within the exhibition, the face structure that actually enabled the development of facial recognition systems; the very systems being used within my device to identify the face. i screenshot this dialect occurring
The one that’s probably closest to that is Twister/Misty. I haven’t gotten the chance to expand on their relationship yet but she’s basically like a big immature kid, and Twister knows if he lets her go off on her own she’ll do something crazy.
Slick and Bloom sort of fit that I guess, but Bloom would be a pretty poor jailer in that case because when it comes down to it Slick will go off and do something reckless if he’s angry or motivated enough, even if he knows Bloom will be mad at him later for it.
“what doesn’t kill you makes you stronger”? … (or weaker, or just the same?)
you are strong because you see yourself as strong. you do not need to go thru the hard stuff to validate that you are strong. & if you do have trauma &feel weaker as result… your feelings are valid too. trauma does not have to be transformative. it is okay if your trauma is just a bunch of unfair shit.
I don’t know about everyone else but it’s definitely already warm enough for a dip in the sea.
I remember when we had this cap at reception, it must have been in the spare caps box for almost a year!
Today’s ink was La Kaligrafica Azzurro, it’s beautiful. I bought it Melodies Graphiques in Paris. If you get the chance to get to Melodies Graphiques at some point I highly recommend. Otherwise you can read @lucyknisley-blog’s book French Milk where I first found out about it and the reason I got lost in Paris trying to find it. At least that’s why I got lost that time. Paris is a very confusing city to get around. A lot of it looks the same.