Hannah Wyatt section A

When an AI face-recognition program fails only to detect colored women, there is clearly a systemic issue. ARS Electronica Blog dissects this bias in the article “Women in Media Arts”, attributing fault with the creators themselves: White Men. In Joy Buolamwini (US) and Timnit Gebru (ETH)’s project “Gender Shades”, they researched discrimination regarding gender and skin colour of people, finding the cause to be incomplete data sets.

The article encourages readers to reflect on the societal consequences-if these people are misrepresented, they may earn less opportunities in select technological fields. Thus, Caroline Sinders (US) devised ‘feminist data sets’ in order to counteract bias in machine-learning, surrounding art, interviews, and data collection by women. Mary Flanagan’s study “Help Me Know The Truth”  measures the larger impact/structural flaws in society through assessing participant’s views of random subjects as either ‘victims’ or ‘criminals’.

Hannah Wyatt

Vera-Maria Glahn’s work “OPPO Unseen X” is compelling to me in that it evokes emotion through a non-traditional medium of digital texturing art. Each aspect of the campaign addresses a question:

UNSEEN SKY:What if the rays of light followed curves?

UNSEEN EARTH:What if we could zoom into Earth’s abundance of minerals?

UNSEEN SEA: What if we could capture the infinite power of flowing water?

Through analyzing varying layers of texture, and creating 3D interactive environments, Glahn hopes to achieve goals of mindfulness and self-reflection. I enjoy Glahn’s combination of organic patterns in nature with computer-generated designs, and personally, I believe pieces were very calming/introspective. Vera-Maria Glahn currently resides in Germany, employed as managing director/founding partner of FIELD.SYSTEMS, a studio for digital arts and future aesthetics. She primarily focuses on immersive motion graphic art with a cross-media approach, in the metaverse, interactive displays, and collaborating with brands such as Adidas and Ikea.

Hannah Wyatt

Nicole Aptekar is a digital artist based in Brooklyn, New York, who creates paper-sculptures, provoking deep questions about the world around us. Aptekar studied at NYU ITP, and has always strived to build a artistic-technical relationship with audiences, through mediums: musical synthesizers, painting, animation, digital art.

Aptekar’s work mainly depicts her dark anxiety/fear in a fictional landscape, complete with strong shadows, curves, and a black and white color palatte. After each piece is finished, she writes the moment the art represents- and an excerpt becomes the title. (Seen below)

I also appreciate Aptekar’s acknowledgement of the creative process, and her expression of the hardships she faced along the way. From creating a fire- touch sensitive version of popular arcade game “Dance Dance Revolution” (see below), to a “LED lit, fire breathing, collaborative music sequencing, cube tornado!”, she has experimented with a lot to get where she is today.

Hannah Wyatt

In Stefanie Posavec’s piece “art.park.data” she combines the unpredictability of childhood experience and nature with statistical/graphical representation. Each child was given a “Raspberry Pi” device, which aided in recording various data sets in the park: temperature, humidity, types of plants spotted, sounds heard, emotions, and others. The children were then tasked to supply this data per each latitude/longitude coordinate in order to create the mural.

The artwork, a 32.5m long data visualization displayed for the East London Canvas, is impressive to me because it effectively incorporates an aspect of the human experience with statistics. It also presents the data in an aesthetically pleasing way, with complimenting colors and shapes. While data is often confined to graphs or charts, this artwork offers a new perspective into data presentations, encouraging the observer to connect with outside ideas more effectively.

Art.Park.Data in the East London Canvas

Kenneth Martin’s Chance and Order incorporates aspects of randomness through a combination of chance events and artistic decisions. In order to create each pair of lines, Martin draws numbers (two at a time), randomly from a bag starting counter-clockwise. I admire the pure simplicity of the piece, along with the concrete repetition of lines across the canvas. Chance and Order offers a new perspective of the scientific and artistic world through incorporating creative elements and those of mathematical probability.

The points of intersection on the art are also written and randomly chosen from small cards, and a line is made between each successful pair of numbers picked out. The title, “Chance and Order” also symbolizes the greater process behind the work, a product of random events and ordering procedures. I admire Martin’s ability to hand-draw so precisely, and create these nearly computer-generated forms of media in the collections.

Hannah Wyatt

In the “House of Gods” by Adam Martinakis, he explores the supernatural balance between heaven and earth through 3D art. I admire the solid shapes and colors, light in juxtaposition with darkness, and Greek mythology influences. Each statue, depicting ancient gods, is crafted very delicately with the emotional intensity of a real marble figure. Adam Martinakis’ work revolves around the intersection of humanity and the unknown- through 3D image rendering, digital sculpture/video, and computer-generated visual media. I appreciate the ambiguity of his art, which produces a wide variety of interpretations. As a member of the Greek Chamber of Fine Arts, and trained in ceramics/architecture in Athens, Martinakis utilizes this expertise in order to craft a new technological perspective on history. In the “House of Gods”, the art combines themes of realism and industrialism (through ladders, stairs), and mythical (unique textures, glowing artifacts, gods.) 

Hannah Wyatt

Hannah Wyatt Section A

Amay Kataria’s “Supersynthesis” artwork strives for a new form of connection through the unity of light and sound. I admire the interactive element, which allows visitors to first-hand control the wave, sound, and light patterns. Participants make edits in real-time, encouraging constant evolution of the piece, juxtaposing this innate action with advanced, intricate programming. The project assigns 24 pitches to 24 light sources arranged in leds across a physical wave, and Kararia intends to connect the audience with nature/eachother in this format. Through combining the interactions of all people with the website open, Kataria labels this event “communal computing” and as a new revolutionary method of social communication. 

CMU Architecture student Madeline Gannon’s project Reverberating Across the Divide unites techniques in computer vision, digital fabrication, and digital design in order to create exotic custom apparel. I admire the intricate geometric symmetry of the necklace, translated from real-time hand gestures through kinetic-based body scanning technology.

High fashion often encourages breaking stylistic barriers set by previous generations in order to create experimentalist clothing lines- which shares similarities in Gannon’s approach to the industry.

. I most admire the individuality of the piece, and the unique way the geometry conforms to the model’s body. The algorithm behind the work includes a chronomorphologic modeling technique, allowing for rapid prototypes and composite movement recording.

This is my project

sketch

Hannah Wyatt

I admire Luluixixix’s art pieces because they exude a sense of humanity and beauty, yet are entirely Ai-generated. The color palettes are vibrant, and contrast well with the subject matter, creating an abstract human-like form/gesture. LuluxxX is a generative artist and software developer specializing in vibrant, feminine works and controversial statement pieces. 

Luluixixix works as a CGI/3d artist in the Paris Visual Effects industry, and started experimenting with Artificial intelligence technology in 2015. Her art combines the “glitch and pixel sorting” aesthetics using optical flow analysis tools to capture motion and convert to moving footage.

The creator’s artistic sensibilities manifest through the use of several different algorithms with “infinite combinations” as she states on her website. She also notes her attention to color manipulation in this piece, applying the technique to her other projects. Luluixixix uses a cli workflow, final compositing with Gimp Linux, and lastly, she builds all her own tools using open-sourced and custom code

Link to her work and website

https://www.luluixixix.com/pixsort#!