The conference (ridiculously interesting and accompanied by an exhibition i wish i could see all over again but more about all that next week) looked at how practitioners redefine the documentary genre in the digital age. In his talk, artist James George presented artistic projects that demonstrate how fast computational photography is evolving. Most of the project he commented on were new to me but more importantly, once they were stitched together, they formed a picture of how innovations are changing our relation to the essence, authorship and even definition of the image. Here are the notes i took during his fast and efficient slideshow of artistic works:
Erik Kessels printed out every photo uploaded on Flickr over a 24-hour period. Visitors of the show could literally drown into a sea of images.
The work, commented George, functions more as data visualization than as a photo installation.
In 2006, Penelope Umbrico searched for 'sunset' on Flickr back. She then printed the 541,795 matches and assembled them into one wall-size collage of photographs. She said. "I take the sheer quantity of images online as a collective archive that represents us - a constantly changing auto-portrait."
With 9 Eyes ongoing work, Jon Rafman shows that you don't need to be a photographer to create photos. The artist spent hours pouring over google street view to spot the inadvertently eerie or poetic sights captured by the nine lenses of the Google Street View camera cars.
Clement Valle fortuitously discovered broken images on Google Earth. The glitches are the result of the constant and automated data collection handled by computer algorithms. In these "competing visual inputs", the 3D modellings of Earth's surfaces fail to align with the corresponding aerial photography.
Google Earth is a database disguised as a photographic representation. These uncanny images focus our attention on that process itself, and the network of algorithms, computers, storage systems, automated cameras, maps, pilots, engineers, photographers, surveyors and map-makers that generate them.
Teehan+Lax Labs, Google Street View Hyperlapse
Teehan and Lax created a tool that taps into Street View imagery and pulls it together to create an animated tour. Pick the start and end points on Google Maps and Hyperlapse stitches together a rolling scene of Street View imagery as if you were driving the GSV car.
Living Death Camp, by Forensic Architecture and ScanLAB, combines terrestrial laser scanning with ground penetrating radar to dissect the layers of life and evidence at two concentration camp sites in former Yugoslavia.
But how about the camera? When is the camera of the future going to emerge? What is it going to be like? It will probably be more similar to a database than to an image. In his keynote speech concluding the Vimeo Festival + Awards in 2010, Bruce Sterling described his prediction of the future of imaging technology. For him a camera of the future may function as follows: "It simply absorbs every photon that touches it from any angle. And then in order to take a picture I simply tell the system to calculate what that picture would have looked like from that angle at that moment. I just send it as a computational problem out in to the cloud wirelessly."
In mid-2005, New York City MTA commissioned a weapon manufacturer to make a futuristic anti-terror surveillance system. The images were to be fed directly into computers, watched by algorithm and alerts would be sent automatically when danger was detected. However, the system was plagued by "an array of technical setbacks", the system failed all the tests and the whole project ended in lawsuits. Thousands of security cameras in the New York subway stations now sit unused.
One month later after Sterling's talk, Microsoft released Kinect. The video game controller uses a depth sensing camera and computer vision software to sense the movements and position of the player. Visualizations of space as seen through Kinect's sensors can be computed from any angle using 3D software. James George and Collaboration with Alexander Porter decided to explore the artistic use of the surveillance and kinect technologies. "We soldered together an inverter and motorcycle batteries to run the laptop and Kinect sensor on the go. We attached a Canon 5D DSLR to the sensor and plugged it in to a laptop. The entire kit went into a backpack.
We spent an evening in the New York Union Square subway capturing high resolution stills and and archiving depth data of pedestrians. We wrote an openFrameworks application to combine the data, allowing us to place fragments of the two dimensional images into three dimensional space, navigate through the resulting environment and render the output."
The OS image capture system, which uses the Microsoft Kinect camera paired with a DSLR video camera, creates 3D models of the subjects in video that can be re-photographed from any angle virtually.
George and Porter later worked with Jonathan Minard and used the technology again for CLOUDS, an interview series with artists and programmers discussing the way digital culture is changing creative practices.
New and old media collide in Sophie Kahn's work. The artist uses a precise 3D laser scanner designed for static object to create sculptures of human heads and bodies. Because a body is always in flux, the technology receives conflicting spatial co-ordinates and generates irregular results.
Marshmallow Laser Feast, MEMEX | Duologue
MLF worked with a 94-camera high resolution scanning rig, to create the full body scan of an old lady and explore what filmmaking for the virtual-reality environment could be like.
Source Filmmakers, produced by Valve, is a tool to create movies inside the Source game engine. George finds their work relevant to his own practice because although Valve comes from a video game culture, they investigate the same ideas.
Beyond: Two Souls, by Quantic Dream, is an interactive drama action-adventure video game for PlayStation 3. At some point in the game, character Jodie Holmes (played by Ellen Page) is taking a shower. All in a perfectly politically correct fashion.
After the release of the game, nude images of Jodie Holmes leaked online, and were published by several gaming blogs. The "nude photos" were a result of hacking into the files of a debug version of the game and manipulating the camera. The game's publisher, Sony Entertainment, got these posts taken down. "The images are from an illegally hacked console and are very damaging for Ellen Page," the rep reportedly told one site. "It's not actually her body. I would really appreciate if you can take the story down to end the cycle of discussion around this."
But if the nude images were "not actually her body," how could they be "very damaging" to the actress? Whether or not the answer to this question is a convincing one, the little scandal shows the kind of challenge that filmmaker will have to face when dealing with this kind of hyper realistic technology.
Selfiecity by Lev Manovich and Moritz Stefaner analyzes 3,200 selfies taken in several metropoles around the world and looks at them under theoretic, artistic and quantitative lenses.
Having previously given life to a robot that enables plants to move around as they please, Ivan Henriques has collaborated with scientists from the Vrije Universiteit Amsterdam to develop the prototype of an autonomous bio-machine which harvests energy from photosynthetic organisms commonly found in ponds, canals, rivers and the sea.
The Symbiotic Machine uses the energy collected from micro organisms to move around in search for more photosynthetic organisms which it then collects and processes again.
The Symbiotic Machine is currently spending two months in an aquarium in the Glass House in Amstelpark, Amsterdam.
Short conversation with the artist:
Hi Ivan! How does Symbiotic Machine relate to Jurema Action Plant. Is this a continuation of that previous work? Did you learn something from JAP that you are applying to the Symbiotic Machine? Or is this a completely different exploration?
The research that started with Jurema Action Plant led to the development of the Symbiotic Machine (SM). I have created a range of works that explores such concepts as: the future (reinvention) of the environment; the acceleration of techno-scientific mutations; when nature becomes culture; the use of natural resources; where these hybrids of nature and technology will take place in the near future and reshape and redesign our tools to amalgamate and be more coherent with the natural environment (these concepts were discussed in the e-book Oritur). When JAP was being exhibited I noticed that as the interaction between the person and the plant enables the machine to move, people were envision a living entity, which was responding to them - i.e. it likes me!, when JAP was moving towards the person and It doesn't like me!, when it was moving away from the person touching it. That is the reason why I gave the Action Plant a first name: Jurema.
In the past years I have been creating machines that operates within the biological time combining different energy sources. In JAP, the variation of electrical signals inside the plant changes when someone touches it and in Symbiotic Machine it is a machine that makes photosynthesis to generate energy for itself, like a plant. In JAP the machine reads electrical signals and in SM the machine makes photosynthesis in order to have these electrical signals. It is a further research into plants electricity and development of a hybrid entity.
Could you talk to us about the collaboration with scientists from the Vrije Universiteit Amsterdam? How did you start working with each other? And what was the working process like? Was it just you setting up instructions and telling scientists what to do? Or was it a more hands-on experience?
When I first met Raoul Frese, scientist from the Biophysics Lab from VU Amsterdam, (The Netherlands) I wanted to develop further JAP. I got very inspired after his speech in a symposium at the former NIMK in Amsterdam about photosynthesis. Later we did an appointment to discuss further our possible collaboration. To develop the Symbiotic Machine we had several meetings in my studio and in his lab. Soon, Vincent Friebe, PhD student from Biophysics lab also joined the team.
In this project I wanted to create an autonomous system, which is able to live by itself, as most of the living entities do. For me it is very poetic to create a hybrid living system that can move to search for its own energy source, process it and have energy to do its own life cycle.
We had lots of hands on experiences and exchanging ideas and techniques. The project started with the concept and the technology we could use, but this Beta version was designed according to the necessities and mechanisms the bio-machine required. The project also had collaborations with Michiel van Overbeek who developed the hard/software and the Mechanical Engineer lab from CEFET/RJ (Technological University of Rio de Janeiro, Brazil).
What are the photosynthetic organisms that the machine harvests? Could you give a few examples? What makes them interesting for the scientists you were working with?
For this prototype we focused in a specific algae: Spirogyra. It is a genus of filamentous green algae, which can be found in freshwater such as canals and ponds. Spirogyra grows under water, but when there is enough sunlight and warmth they produce large amounts of oxygen, adhering bubbles between the tangled filaments. The filamentous masses come to the surface and become visible as slimy green mats.
I asked Raoul Frese why he is interested in photosynthetic organisms: " Scientists are researching photosynthesis and photosynthetic organisms to learn how processes occur from the nanoscale and femtoseconds to the scale of the organism or ecosystem on days and years. It is an excellent example how a life process is interconnected from the molecules to organism to interrelated species. For biophysicists, the process exemplifies molecular interactions upon light absorption, energy transfer and electron and proton transfers. Such processes are researched with the entire experimental physics toolbox and described by theories such as thermodynamics and quantum mechanics. From a technological point of view, we can learn from the process how efficient solar energy conversion can take place, especially from the primary, light dependent reactions and how light absorption can result in the creation of a fuel (and not only electricity)."
Why were you interested in photosynthetic organisms, and in creating a machine that would feed on them and function a bit like them?
My interest in photosynthetic organisms started when I wanted to develop further JAP in a way that a hybrid organism could harvest its own energy to live like a plant. In April 2013, during the residency in NY I had the opportunity to research these microorganisms when I created the installation Microscopic Chamber #1, using a laser pointer to magnify these microorganisms, where people could see in naked eyes projected on a wall different kinds of microorganisms swimming. These living organisms were collected at Belmar beach, in New Jersey and were displayed in the installation in an aquarium where I cultivated them.
The algae Spirogyra is very common in The Netherlands. The choices of the organisms presented in my works are based on the concept, their own technology and location of the specimen. One of the ideas is to adapt the mechanics and electrical system in the machine to be capable to function with the mili-voltages that plants, animals and us have. Create an autonomous system that could use such small scale of electricity to operate. After the residency I had several meetings with scientists from VU Amsterdam where I had the opportunity to research further the Spirogyra and other photosynthetic creatures.
In this research about plant and machines I want to find a way of coexistence between living organisms and machines more integrated, and inspire people for a possible different future.
Could you explain us the shape of the floating mobile robotic structure? Because it looks much more 'organic' than typically robotic. Could you describe the various elements that constitute the robotic structure and what their role is?
The machine is designed to communicate with the environment. For this first model the machine is planned to process the algae from specimen Spirogyra to generate electricity. As this specimen is a filamentous floating organism, the robot has to be in water, floating together with the algae.
The structure is composed by an ellipsoid of revolution with 3 conical shaped arms. Attached to the arms tentacles equipped with sensors. The structure is transparent to catch sunlight at any angle. The choice for an ellipsoid of revolution is to create more surface area for the electrodes (photocells) and to use more of the sun rays onto the photocells when the light reflects in the golden electrodes - using more sunlight by consequence. The tentacles make the robot extend its senses to search for algae. The arms create closed chambers to place electronics.
The machine has a complete digestive system: mouth, stomach and anus. See the video:
Sealed with a transparent cylinder a motor, an endless worm and a pepper grinder aligned and connected by one single axis compose the mouth/anus, like a jellyfish. This cylinder has a liquid inlet/outlet (for water and algae spirogyra) placed at the end part of the endless worm. The endless worm has an important function to pump liquid in and out and to give small propulsion for the machine.
In order to "hack" the algae spirogyra photosynthesis' and apply it as an energy source, the algae cell's membrane has to be broken. The pepper grinder that is connected at the end of the endless worm can grind the algae breaking the membrane cell, releasing micro particles.
These micro particles in naked eyes looks like a "green juice" which is flushed inside the machine: the stomach.
A tube that comes from the end of the mouth with grinded algae goes though the stomach, inside the ellipsoid of revolution. This tube is fastened on a 2-way valve placed in the center of the spherical shape. Inside the ellipsoid of revolution there is another bowl, just one centimeter smaller aligned in the center. Placing this bowl inside, it creates two chambers: 1] the space between the outer skin and the bowl and 2] inside the smaller bowl. In chamber 1 the photocells are placed in parallel and in series. The photocell is composed by a plate covered with gold, a spacer in the middle covered with a copper mesh. This set up allows the "green juice" rest between the gold and copper.
After the light is shed on the electrons of the grinded algae they flow to one of these metals, like a lemon battery. As all the photocells are connected, with the help from the electronic chip LTC 3108 Energy Harvester is possible to store these mili-voltages in two AA rechargeable batteries. A life cycle with functions was idealized in order to program the machine and activate independent mechanical parts of the stomach: it has to eat, move, sunbath, rest, search for food, wash itself, in loop.
The 2-way valve mentioned above is connected as: valve 1 hooked up with chamber 1 and valve 2 with chamber 2. When the stomach works is sent information to the machine that the valve 1 has to be opened. The algae flow to this chamber and the machine uses a light sensor to go towards where there is more luminescence to make photosynthesis. After the 10 min sunbathing (photosynthesis) the machine has to clean its stomach - and the photocells - to be able to eat again. Water is sucked in again with the mouth, and via the same valve from the algae, it pumps more water inside chamber 1 in order to have an overflow of this liquid in chamber 2. The liquid, which is now in chamber 2 is flushed out by the motor turning the endless worm and having the valve 2 opened. Fixed on the edge of the structure opposite the mouth, an underwater pump connected by a vertical axis with a servo powers the movement of the structure giving possibilities to steer 0, 45 and minus 45 degrees. The movement programmed for this machine was written concerned about the duration/time, space and energy.
What is next for the Symbiotic Machine and for you?
This version of the Symbiotic Machine still has to be improved and I would like to continue the research and develop this bio-machine further. I want to keep working to improve what was done. The exhibition is from March 9th until 27th April at the Glazen Huis in Amstelpark, Amsterdam.
Previously by the same artist: Jurema Action Plant.
Whenever i'm in Amsterdam i head to Foam, the city's museum of photography. Out of habit mostly. I actually think that Huis Marseille's programme is often bolder and more relevant to my own interests but this month Foam has a show titled Primrose - Russian Colour Photography and the word "Russia" always does it for me. The exhibition charts Russia's attempts to produce coloured photographic images from the 1860s to 1970s. Room after rooms, the visitor realizes that photography is a cogent filter to reveal the history of a country in the course of a century.
You can read a text written by curator Olga Sviblova over here. It presents with great clarity the changes in technology and the socio-political vicissitudes Russia went through during the early days of colour photography. Not only am i no expert in Russian history nor photography techniques but i'm also an ultra lazy blogger. I hope you will excuse me if i just sum up (but mostly cut/copy/paste) Sviblova's words below:
Colour became widespread in Russian photography in the 1860s. At the time, colour was added to photographic prints manually using watercolour and oil paints. In the late 19th and early 20th centuries Russia was undergoing two opposing trends: active europeanisation and search for a national identity that translated into tinted photographs that portrayed people wearing national costumes -- Russian, Tatar, Caucasian, Ukrainian, etc.
The photographic documentation of life in the Russian Empire in the early 20th century acquired the status of a State objective. In May 1909 Tsar Nicholas II gave an audience to the photographer Sergei Prokudin-Gorsky who, in 1902, had announced a technique for creating colour photographs by combining shots taken successively through light filters coloured blue, green and red. Delighted with this invention, Emperor Nicholas II commissioned the photographer to take colour photographs of life in the various regions of the Empire.
Meanwhile autochrome pictures by the Lumière brothers, with whom Prokudin-Gorsky worked after emigrating to France, became very popular in early 20th-century Russia. Autochromes, colour transparencies on a glass backing, could be viewed against the light, or projected with the aid of special apparatus. They were used by Pyotr Vedenisov, a nobleman whose hobby was to photograph his own family life. The private image later provided an excellent description of the typical lifestyle enjoyed at the time by educated Russian noblemen.
The onset of the First World War in 1914 and October Revolution in 1917 reduced to ruins the Russia whose memory is preserved in the tinted photographs and autochromes of the late 19th to early 20th centuries. Vladimir Lenin and the new Soviet government saw photography as an important propaganda weapon for a country where 70% of the population were unable to read or write. From the mid-1920s photomontage, used as an ideological 'visual weapon', was widespread in the Soviet Union, enthusiastically encouraged by the Bolsheviks.
From the mid-1920s Alexander Rodchenko regenerated the forgotten technique of hand colouring his own photographs. In 1937, at the height of Stalin's repression, Rodchenko began photographing classical ballet and opera, using the arsenal of his aesthetic opponents, the Russian pictorialists, who by that time were subject to harsh repression. For Alexander Rodchenko soft focus, classical subject matter and toning typical of pictorial photography were a mediated way of expressing his internal escapism and tragic disillusionment with the Soviet utopia.
In 1932 general rules for socialist realism were published in the USSR, as the only creative method for all forms of art, including photographic. Soviet art had to reflect Soviet myths about the happiest people in the happiest country, not real life and real people.
In 1936 both Agfa and Kodak introduced colour film but Second World War delayed their broad distribution to the amateur photography market. In the USSR colour photography only appeared at the end of the war.
Until the mid-1970s, in the USSR negative film for printing colour photographs was a luxury only available to a few official photographers who worked for major Soviet publications. All of them were obliged to follow the canons of socialist realism and practise staged reportage.
From the late 1950s, in the Khrushchev Thaw after the debunking of Stalin's cult of personality, the canons of socialist realism softened and permitted a certain freedom in aesthetics, allowing photography to move closer to reality.
In the postwar period, during the 1950s to 1960s life gradually improved and coloured souvenir photo portraits again appeared on the mass market. They were usually produced by unknown and 'unofficial' photographers, since private photo studios that used to carry out such commissions were now forbidden, and the State exercised a total monopoly on photography by the 1930s.
Boris Mikhailov copied, enlarged and tinted these kitsch photo souvenirs to supplement his income at his photo lab in the early 1970s. Revealing and deconstructing the nature of Soviet myths in the process.
Colour transparency film, which could be developed even in domestic surroundings, appeared on the Soviet mass market in the 1960s and 1970s. It was widely used by amateurs, who created transparencies that could be viewed at home with a slide projector. An unofficial art form emerging in the USSR at this time developed the aesthetics and means for a new artistic conceptualisation of reality, quite different from the socialist realism that still prevailed, although somewhat modified.
More than half a century of Soviet power after the 1917 Revolution radically altered Russia. The photographer was certainly not required or even allowed to take nude studies as corporeality and sexuality were seen as inherent signs of an independent individual. In photographing Suzi Et Cetera Boris Mikhailov disrupts the norms and reveals characters, his own and that of his subjects. It was impossible to show these shots in public, but slides could be projected at home, in the workshops of his artist friends or the often semi-underground clubs of the scientific and technical intelligentsia, who began to revive during Khrushchev's Thaw after the Stalinist repression. Boris Mikhailov's slide projections are now analogous to the apartment exhibitions of unofficial art. By means of colour he displayed the dismal standardisation and squalor of surrounding life, and his slide performances helped to unite people whose consciousness and life in those years began to escape from the dogmatic network of Soviet ideology, which permitted only one colour -- red.
The press release for the exhibition states that Mike Kelley is widely acknowledged as an artist who defined his era. Meanwhile, an article in the LA Times says that he is an artist few Dutch knew. Well, thank you LA Times, i feel less lonely with my crass ignorance.
Mike Kelley used found objects, textile banners, drawings, assemblage, collage, performance and video to comment on high and pop culture, youthful rebellion and American society in general.
There are stuffed toys quietly seating around a rug as if they were having a picnic. Handmade dolls have been dismembered and used to create a wall composition. There's also a banana man, colour exercises based on asinine adult humour magazines, bird houses of various architecture styles, etc. Which sounds cheerful, except it's not. It's nostalgia, but a nostalgia that's a bit dirty and bedraggled.
The exhibition was programmed in collaboration with the artist as a thematic, mid-career survey, but everything changed when Kelley committed suicide in January 2012 . The show is now a retrospective, with a more chronological shade.
I told you it wasn't too cheerful. But it is a bold, brilliant and flamboyant show. The retrospective was for me an introduction to Kelley's work and I definitely recommend that you brave the queue to enter the Stedelijk (well, it wasn't very smart of me to go there on a Sunday afternoon after all) and spit the 17.50 euros to get an entrance ticket.
The Mike Kelley retrospective remains open until 1st April at the Stedelijk Museum in Amsterdam. The show will then travel to the Centre Pompidou, Paris, MoMA PS1, New York, and the Museum of Contemporary Art, Los Angeles.
The new episode of #A.I.L - artists in laboratories, the weekly radio programme about art and science i present on ResonanceFM is aired tonight.
My guest in the studio is artist and film maker Charlotte Jarvis.
Over the past few years, Charlotte has worked with scientists to bio-engineer a bacteria with the Universal Declaration of Human Rights encoded into its DNA sequence, she developed performances that showed the public what could happen if one day, synthetic biology was used to eradicate greed, lust and anger from a group of children.
But today, Charlotte is going to dispel a few myths about stem cells and discuss her award-winning project: Ergo Sum.
A couple of weeks ago, Charlotte donated parts of her body to stem cell research. Her tissue and blood samples are now in a lab where they will be transformed - medically metamorphosed - into induced pluripotent stem cells and from there into a range of completely different substances. A second self will be created, a self-portrait, a dopplegänger, made from a collage of in vitro body parts. Brain, heart and blood vessel all biologically 'Charlotte', yet distinctly alien to her.
The show will be aired today Thursday 7st February at 19:30. The repeat is next Tuesday at 6.30 am (yes, a.m!) If you don't live in London, you can catch the online stream or wait till we upload the episodes on soundcloud.
Photos by James Read and Arne Kuilman.
During my short stay in Amsterdam, i enthusiastically entered the exhibition
A day after the tsunami damaged a nuclear reactor at Fukushima on 11 March 2011, inhabitants living within 20km of the power plant were forcibly evacuated. They were not allowed to take their personal belongings, pets and farm animals with them. On 14 March, the hydrogen explosion at the power plant made it unlikely that the evacuees might be allowed to return home on time to find their animals alive.
A few weeks after the disaster, Japanese photographer Yasusuke Ota accompanied a group of volunteers who entered the 'No go' area at risk to their own life to bring food and water to the animals. They 'found themselves in a hell on earth.' I'm not brave enough to copy paste the details of the tragedies they witnessed but you can find more information on the exhibition page.
The surviving animals are still - 18 months later - patiently waiting for owners to come back.
'This tragedy was for some reason not reported by the Japanese media at first, and the truth is that there has been no proper help given to these animals even after one and a half years. I felt I needed to inform the world and leave evidence of what really happened. So I started to take photos of this while going inside the zone on rescue,' writes Ota. 'Please don't turn your eyes away from the reality.'