Genetic mutation, cancerous lesions, and other bio abnormalities taking shape in gif illustrations by Spanish group Videogramo. Kind of has, like, a whole Discovery Museum kind of feeling. Some of the gifs take a bit to load, but they’re definitely worth the wait.
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Common movie scenes are showing us police mug shots, incognito faces in crowds and wanted killer posters. None of these seem unnatural or chocking anymore, we are tamed by cyberculture and technology. We could not imagine having to go through an identity check other than with our passport, signature or a police officer physically present in front of us. Yet, we’ve already left those ancient methods and engaged with facial, retina and odour recognition; fingerprints and hand geometry. We’ve entered the biometric data era. Not always conscious of how fast the world evolves around us, Tony Oursler has set a mission to “invite the viewer to glimpse themselves from another perspective that of the machines we have recently created”. He has been exploring the link between the growth of our technological dependance and its effect on our psychology.
The artist has created magnified face images, some of them coated with a stainless steel panel embeded with video screens and others marked with geometric patterns of algorythmic facial recognition mapping. He is embarking us with a dash of humor into the disturbing technology’s effect on the human mind. Tony Oursler plays with the face. Starting with the eyes and going down into the neck, he is suggesting that technology will use every bit of skin and organ to study the daily behavior, emotions and rituals of humans in order to categorize them. The viewer when facing those giant profiles is left with the strange feeling of being watched. The artist wants to highlight how uncanny is the process of teaching machines how to observe only the external appareance and to pretend, from there, to understand human’s true nature.
Via Twisted Sifter: Isaac Cordal is a Spanish artist that has been working on his own projects since 1999. His ongoing series entitled Cement Eclipses began in art school in 2002 but he didn’t start placing them on the streets until 2006, with his first piece laid in the city of Vigo, Spain.
Cordal makes the tiny sculptures in his apartment/home studio. He has placed them in major cities all around Europe including: London, Amsterdam, Barcelona, Milan, Berlin and Brussels. “Small interventions in big cities,” is how Cordal characterized Cement Eclipses.
‘Our gaze is so strongly focused on beautiful, large things, whereas the city also contains zones that have the potential to be beautiful, or that were really beautiful in the past, which we overlook. I find it really interesting to go looking for those very places and via small-scale interventions to develop a different way of looking at our behaviour as a social mass.'”
Check out a previous post about Cordal’s strainer street art here.
Strata #4 is a two channel video by the artist known simply as Quayola. For the video, Quayola used images of two grand altarpieces by Rubens and Van Dyck. He worked with an HDR photographer to obtain huge 20,000 by 20,000 pixel images of the work. Then using unbelievable computing power and algorithms Quayloa investigates each masterpiece’s underlying structure, composition, and color. Strata #4 at turn resembles 20th century abstract renditions of the baroque work. Yet his video squarely part of a New Aesthetic, part of a 21st century sensibility.
My friend over at Champagne Valentine recently designed this out-there website for Lost Planet studio. Not your typical web 2.0 approach, the result is instead a more abstract, intuitive and interactive experience. Is this the future of the net? Will the days of Twitter icons and blogs be gone, replaced by ethereally floating moon-orbs surrounded by hands? In their own words, the site “is an experimental online video channel and porfolio showcase for the Lost Planet editing studio. The site is an otherworldly portal into the psyche of Lost Planet where visitors can explore a porfolio of work via a bizarre planetary interface. “