re synthesis of convnet visual extraction
re synthesis of convnet visual extraction
This article was first published on Furtherfield.org on 15/11/16.
The productive alliance between instruments of computing techne and artistic endeavour is certainly not new. This turbulent relationship is generally charted across an accelerating process outwards, gathering traction from a sparse emergence in the 1960s. Along the way, the union of art and technology has absorbed a variety of nomenclatures and classifiers: the observer encounters a peppering of computer art, new media, Net.art, uttered by voices careening between disparagement, foretelling bleak dystopian dreams, or overflowing with whimsical idealism. Once reserved for specialist applications in engineering and scientific fields, computing hardware has infiltrated the personal domain.Today’s technology can no longer be fully addressed through purely permutational or systematic artworks, exemplified in 60’s era Conceptualism. The ubiquity of devices in daily life is now both representative and instrumental to our changing cultural interface. Technologies of computing, networks and virtuality provide extension to our faculties of sense, allowing us phenomenal agency in communication and representation. As such, their widespread use demands new artistic perspectives more relentlessly than ever.
I, and no doubt many other academic observers, watched the Pokemon Go augmented reality (AR) game erupt into a veritable social phenomenon this year. The rapid global uptake and infiltration of AR in gaming stands in contrast to new media arts, still subject to a dragging refractory period of acceptance and canonization. Perhaps this is emblematic of a conservative art world that persistently recalls an ebullient history of computer art practices. In this lineage, many a nascent techno-artistic breach has been accused of deliberate obfuscation, of cloaked agendas under foreign (‘non-art’) orchestrations. The seductive perceptual forms elicited through augmented reality (AR), virtual reality (VR) and immersive reality (IR) devices can be construed as mere spectacle, vulnerable to this type of critique. “Google Daydream” and “HoloLens” chime with a poetic futurism; cynics might instead see ready-to-wear seraphs veiling the juggernauts of Silicon Valley. However, the current groundswell in altered reality discourse may signal a divergence from such skepticism. One recent exemplar is Weird Reality, an altered reality conference that aimed “…to showcase independent and emerging voices, creative approaches, diverse and oftentimes marginalized perspectives, and imaginative and critical positions…. that depart from typical tech fantasies and other normative, corporate media.” This is representative of the expanding, international trend towards artistic absorption of new media and technologies. It is a turn that emphasizes the potential for cultural impact, experimental daring, and even conjures the spectre of the avant-garde: radical transformation.
One of my PhD supervisors wisely admitted “…to stand out, the human artist must be more creative, diversified and willing to take aesthetic and intellectual risks. They can and must know the field they are creating in practically and philosophically, and confidence in their position and contribution to it is essential.” Through this earnest lens, artistic production can serve as a conduit for ideas ranging from the speculative to the revelatory. In these divinations, we might trace a path through the sprawl of new media discourses, and find ourselves somewhere unexpectedly revitalizing. I hope to mark out some of this territory from a position of mediation. I want to invite art and art theory into an arena of uninhibited collusion, using critical writing to facilitate the exchange between digital media theorists and artistic practitioners in the most open sense. Furtherfield.org offers an allied platform for the aims of the Theory, Meet Artist  project, articulated here in an interview dialogue.
Originally published in The Fibreculture Journal, Edwina Bartlem’s 2005 article Reshaping Spectatorship: Immersive and Distributed Aesthetics proposes that immersive artwork practices have transformative potential. Across a range of modalities, these works can influence perceptions of ourselves and our extended digital presence in a variety of scenarios and configurations. Whilst participating in such practices, we are prompted to consider IR encounters as form of mediation around our human embodiment, subjective identities and cultural interactions. Bartlem touches on ideas of prosthesis and sensorial augmentation within these immersive experiences. Creation of a synthetic environment is posited as an opportunity for deepened self-reflexivity and awareness. In parallel, a spectrum of narratives around the technologically adapted ‘post-human’ emerge. Their tone and reception hinges upon the artist’s individual performance in roles such as programmer, director, composer or overseer to such works.
Rachel Feery is an Australian artist interested in the intersection of visual art, soundscapes, video projection, experiential installations and technology. Her artistic practice explores alternate realms, the meditative headspace, ethereal imagery and immersive environments. For this interview, Bartlem’s paper is positioned alongside and in dialogue with Feery’s work, Clearing the Cloud.
Clearing the Cloud is described by the artist as “… a multi-sensory work inviting pairs to cloak-up, complete a circuit, and experience simultaneous mapped projections visible through a hooded veil. The artwork aesthetic draws from esoteric sciences and holistic health practices. The environment is intimate, quiet much like a room where one would go to receive therapeutic treatment.
Two participants at a time are invited to cloak up, remove their shoes, and step onto sensors on the ground to generate a circuit of light and sound. Starting with a ‘personalised scan’ followed by a projection of light and sound, all visible and audible within the suit itself, the individuals can either interact with each other or be still and silent. The robe, constructed of a semi-translucent, lightweight fabric with a soft skin-like texture acts as a supplementary skin. One’s field of vision is slightly inhibited by a lightweight mesh that both creates a screen-vision as well as the ability to see through it.”
Jess Williams: I first came into contact with your practice during your talk for Media Lab Melbourne in September this year. You chronicled your process, influences, past works and brought us to Clearing the Cloud. I was struck by the experiential intimacy of the project, and the immersive qualities that you deployed though staging it. In her paper, Bartlem suggests that participants in immersive practices cannot be immersed without being affected by the environment on perceptual, sensory, psychological and emotional levels. What kind of sensorium did you want to create for Clearing the Cloud, and did you contemplate the possibility of this type of affective influence on your participants?
Rachel Feery: In one sense, the project came about while I was thinking about art as therapy, and thinking about technology that has the potential to create a meditative space. The site of the exhibition, Neon Parlour, was previously a centre for healing and meditation. I wanted to create an intimate room that would reflect the building’s history. Speaking of the sensorium, I was drawing from esoteric sciences, looking at auras, and Reiki practices whereby chakras are ‘cleared’. This is all reflected in the visual and environmental elements of the work, but ritual aspect is key. It’s important for participants to enter the artwork through the process of putting the garment on. The ritual is something you have to experience with someone else, and there’s a synchronicity between the people who participate. If either person takes their feet off the sensors, the ‘therapy’ is reset. It becomes apparent that there’s a level of commitment to it, that there’s a trust involved. If one person backs out, the interaction stops and resets.Clearing the Cloud ultimately asks participants to commit and experience the work together. Some participants responded that they felt lighter, and that time had passed out of sync with the seven minutes that had passed in reality. I thought this was an interesting reaction when nowadays, our attention spans are said to be dwindling. I feel there’s something significant in a lot of those esoteric sciences.
JW: Bartlem maintains that immersive art offers more than pure escapism into a constructed simulacra. These types of artworks can also elicit a type of self-awareness or meditation on perception and one’s own agency in the prescribed environment. I’ve noticed a strong tendency to consider transcendence, or the superhuman, in many futurist discourses around technologies that interface with the human body. This spans augmented reality, virtual environments and may well capture less conspicuous (yet ubiquitous) examples, such as fitness metrics or geolocation of the self through GPS. How do you position narratives of extending or ‘hacking’ embodiment within your own work?
RF: There’s an aspect of being both physically present and also outside of yourself whilst engaged in Clearing the Cloud. As a participant, you find yourself looking through a meshed veil that’s being projected on, and if you adjust your focus, you can see coloured projections on the other participant. This dual, simultaneous vision got me thinking about the ways that newer technologies such as AR and VR can affect what we see and the way that we see. Essentially, those applications allow you to see an environment with a filter over it. You have the sense during the ‘clearing therapy’ of an outer body experience, which is something that certain types of meditation aspire to. Escapism can imply you’re ignoring what’s happening in the outside world and going inside yourself, or elsewhere. But technology is blurring these boundaries, becoming increasingly intertwined in everyday activities, both personal and shared. You’re not really escaping if there’s an application present to assist with something, provide new information, or an augmented experience. In that sense, I would agree that it’s not pure escapism. You’re in two places at once. I would say that the word escapism has darker implications, such as detachment and avoidance of reality over a virtual space. Meditation, however, is affiliated with deeper understanding of oneself, and acceptance and appreciation of both worlds. As technology gets more advanced, I think it will have the ability to do both.
I like the idea that two people willingly participate in this scan and projection without question. I feel it relates to this influx of new technology applications that are free and that everyone’s willing to try. On the darker side, I wonder about the consequences of giving away information- effectively, parts of yourself- to participate in the unknown. I also like the idea that Clearing the Cloud is presented as a holistic therapy, a gesture of removing the build-up of accumulated information, or as protection from the data mining we’re exposed to through technological interfacing. We’re made vulnerable to hacking, but in a sense it’s not really hacking anymore, it’s just collecting what we’ve been giving. There’s such a rush to use new applications and technologies but everything is untested. Essentially people become trial subjects through their willing self-disclosure.
JW: You mentioned David Cronenberg’s 1999 film eXistenZ as a formative influence in your creative development. Underpinning the science fiction and horror themes, a specific abject revulsion is reserved in this film for prosthetic extension and modification to the human body. Could the veils (with their accompanying perceptual experiences) used in Clearing the Cloud be viewed as a form of sensory prosthesis?
RF: I would say I was more interested in the idea of accessorising tech, rather than prosthetics. I am drawn to the way that Cronenberg’s characters leave their physical body and enter another state, but again, this is quite geared towards escapism. Using the veils arose through researching a mix of religious and medical robes, futuristic fashion and science-fiction inspired fashion. They all seemed to be white. There’s also a relationship with the cloak to other forms of wearable technology. I’m interested in this – in Google Glass, VR headsets, and related items – as both a current fashion trend and also as a subtle way that technology encroaches on our day to day lives, present as we move through and see our worlds. While I perceive the cloak itself is not so much of a prosthesis, there are certain physical qualities of the material that feel both organic and synthetic. They’re made of a foggy, PVC translucent plastic: when worn, this fabric feels like a skin. The backwards-oriented hood also functions as a way to obscure the face, and presents a form of anonymity that is ultimately within the concept of ‘being cleared’ and ‘regaining yourself.’ There are other associations too: of a uniform, of being part of a community that has been cleared, or erased.
JW: Typically, when audiences are presented with new media or computer mediated artworks, they have limited access to the operational interior of the encounter. Whilst it can be argued that more traditional media or installation works also don’t completely disclose their construction or authorship, new media practices seem subject to increased scrutiny and distrust around how- and to what end- they operate. In her paper, Bartlem proposes that instead of masking the presence of technology and interface, immersive artworks tend to overtly emphasize the synthetic artifice of the experience. In regards to revealing the hierarchies of control implicit in executing works like Clearing the Cloud, how much do you wish the audience to have a certain ‘privilege of access’? For example, do you consider it necessary to directly reference programming script, hardware circuitry, or technologies of surveillance?
RF: The actual technology used in the exhibition was not necessarily about aesthetics. Hardware and devices, such as projectors and Raspberry Pis, were not elements that I wanted audience attention drawn to. Moreover, I think if you give spectators interior access, it can take away the simplicity of the art experience. The most that I would give away would be the materials visible or listed in the artwork. I actually tried my best to mask the technology, hiding cords and mounting the projectors up high to make it feel innocuous and to minimise its physical presence. Once people can identify familiar tech, there is an immediate undermining of mystical impact. For this artwork, I worked with artist and technologist Pierre Proske to write a code that triggers the projection once the sensor pads are activated. The hardware elements are present, but they’re definitely not the focus. Rather, it’s the experience itself, the meditative space created that participants are made most aware of. I think that’s why auras, and energy healing, are so fascinating: they rely on people’s ability to embrace and believe in the healing process, which in turn requires any distractions or doubts to be removed- or at least obscured. Obsfucation was deliberately built into the back-to-front hoods used in Clearing the Cloud. Restriction of the visual frame of reference was intended to encourage immersion in the experience.
JW: As we’ve discussed, the eponymous gesture of “clearing the cloud” reads as recuperative, meditative, and somewhat subversive towards strategic or commercial use of new technologies. This is a position that Bartlem suspects is endemic within artistic instrumentalisation of these types of media. Do you feel a sense of alignment with a more radical manifesto in new media practice?
RF: A lot of my ideas draw from or relate to concepts that have been proposed in science-fiction films… science-fiction is radical. Sci-fi extrapolates the current social, political or technological trends, or explores alternate models. Clearing the Cloud also proposes a need for something that hasn’t quite been quantified, a therapy to restore and protect from encounters with technology. Clouds traditionally connote lightness, and formlessness, but today they weigh heavily on us in a digital data context. We carry more and more information, and give more and more of ourselves. We’re now clouded by our metadata trails, and it’s radical to think that a therapy can address this, and return us to a state of clarity, in a literal and metaphysical sense.
JW: After your talk, I asked you a question around whether Clearing the Cloud‘s artistic narrative could function beyond a ‘closed-circuit’ proposition. Whilst Bartlem scopes immersive and telepresent practices in her paper, she doesn’t directly address works that hybridise the two concepts. She frames telepresent artworks as those that link participants from distant locations, precipitating notions of networks and a multi-user participation within art. How would a multiplicity of network relations impact on a scenario like that you have staged in Clearing the Cloud?
RF: An excellent question, and very relevant to the nature of the work. The participant’s experience centres on a propositional ‘defrag’ of their personal hard-drives, regaining clarity, allowing independent thought free from the prison of past browsing histories and metadata maps. Those in a networked community also benefit from this speculative process: the more persons ‘cleared’, the stronger the authentic connections would be. If you were to be ‘cleared’, and your online history erased, the persons closest to you would also need to be erased in order to completely eliminate any trace of you. It’s like a chain reaction. Although only two people might be scanned at a time, for a complete ‘clearing’ you would need the eventual interfacing of everyone you’ve ever come into contact with. Ideas around utopias were intrinsic to the development of Clearing the Cloud. In one view of the work, those people who have been ‘cleared’ became part of a separate, even sanctified community. This meditation was idealistic, borne of the desire to find a way to protect our identities and those of our networks when they are potentially threatened or compromised by interactions with technology.
Clearing the Cloud was originally exhibited in 2016 as part of This Place, That Place, No Place curated by Irina Asriian (Chukcha in Exile) at Neon Parlour, Melbourne, Australia.
Taylor,Grant D. When the Machine Made Art: The Troubled History of Computer Art. Bloomsbury Publishing USA, 2014.
 Ibid, pg. 9
 Visit https://jlogos.net/category/theory-meet-artist/ for parallel projects in the nascent Theory, Meet Artist series
 Bartlem,Edwina. “FCJ-045 Reshaping Spectatorship: Immersive and Distributed Aesthetics.” The Fibreculture Journal, no. 7 (2005). http://seven.fibreculturejournal.org/fcj-045-reshaping-spectatorship-immersive-and-distributed-aesthetics/
Taking a dalliance through Nick Land’s mythos should come with a wristband. Cherished for months after the festival, it performs an inevitable disintegration… ephemera reinscribed to fragmentary notions once again. As rumor (and Wikipedia) would perpetuate, Land’s anthology Fanged Noumena(1) is a rare fae of published work, a brief singularity of agitation and irreverence within a limited canon. Amongst this erratic output, Land apparently went rogue: proper rogue. After ejecting himself from the impingements of palatable academia, evidence suggests that he has since reinstated himself anew.
Land’s tenure at The University of Warwick during the ’90s is generally regarded exorbitantly, and via iridescent lists. Sprawling, clunky webpages that heave with tags of ‘occulture’…’cybergothic’…’rave nihilism’… ‘de-territorialisation’. A kind of epistemic party mix for the post-human sweet tooth. As if in homage to the spirit of the Cybernetic Cultures Research Unit, the one-time axis of Land’s nebulous activites, most of these aforementioned sites are presented obliquely, aloof even. Their abandonment sees them crusted over with Times New Roman in columnar blocks, fervently indented, staunchly at the cusp of Web 2.0 glossiness. The epitome of these is CCRU.NET itself, the virtual portal that has survived the CCRU’s clandestine sign on the office door.
The new visitor to CCRU.NET is hardly encouraged to wade across the dappled Parchment tile bitmap, an unrenovated sickly green. Furtive hyperlinks with with cryptic nomenclature cling to borders and headers. I scroll hurriedly to try one, which deepens my sensation of trepass.
Trespassing, prohibition and refusal are all evocative of this so-called ‘short prehistory’ of the CCRU. My quarrel is not with the length, rather with the general non-disclosure of the CCRU manifesto. I get the sense that nothing so hermetically packed as a linear chronology might be levered out from this text, and most deliberately so.
The swill of ‘-ologies’ deflects all grasping attempts to chart an entity across time or space. The CCRU was a Happening, a collective disturbance in Warwick’s institutional memory. I eventually get a foothold on assemblages, a familiar motif of Deleuze and Guattaris’ A Thousand Plateaus. It’s characteristic of Land’s writing, where Freud, Kant, Hegel and Heidegger bravely leap out from behind mirrors, a delirious ride that collapses and mutates. Fanged Noumena sees the semiotic core of these encounters petrify into actual glyphs:
I feel distinctly trendy reading these, like I’m soaking up some deconstructionist hexes for future nemeses, but it does make for tough going. After all, I had always thought of D&G’s(2) cybernetic intimations as suspiciously optimistic. I felt warmly encircled by the automatic, the operational, and the mechanistic aspects of their ideas. The shattered substrate of technology and identity was permitted- encouraged, even- to fuse. In Land’s collected texts, cybercultures are more ominously cast:
“It is ceasing to be a matter of how we think about technics, if only because technics is increasingly thinking about itself… a becoming inhuman of cognition, a migration of cognition out into the emerging planetary technosentience reservoir… where human culture will be dissolved.”(3)
We telematic dreamers are left bereft, naïve. Land is able to transfix his attention momentarily on recuperation, perhaps haunted himself by recollections of academic stewardship.
“Cybernetics is inextricable from exploration…”(but it’s only a brief glimmer of frontier sentimentality) “…having no integrity transcending that of an uncomprehended circuit within which it is embedded, an outside in which it must swim.” (4)
Last year, I dipped a toe into this swirling milieu with my cybertext titled The Hypersition. In an almost alarmingly serendipitous turn, the name I chose fell in closely to Land’s own vernacular, an onomatopoeic and epistemic acorn to his hyperstition tree. A unanimously frustrating experience of hoarded inputs and neutered agency, my work and Land’s word jostle together.
A coincidence intensfier, indeed.
The CCRU.net glossary is another conflation, and from it we can only know less assuredly that hyperstition might be a labyrinthine detour, an opacity of performance, lifestyle, vapours:
Hyperstition-or brands of the outside-real components of numerical fictions that make themselves real, providing the practical matter of sorcery, spirogenesis, or productive involvement that function consistently with the flatline.
This idea, and indeed the majority of CCRU emanations, appear to be the undead avatars of Land’s cyberhype. We thus tread warily, stepping around Land’s foaming up of signs and cultural material into nonsensicality… a ponderous flattening of excess and emptiness.
Originally published September 2016
(1) Land, Nick. Fanged Noumena : Collected Writings 1987-2007. Falmouth : Urbanomic ; New York, NY : Sequence Press, 2011.
(2) Not Dolce & Gabbana, unfortunately, but Deleuze and Guattari.
(3) Land, Nick. Fanged Noumena : Collected Writings 1987-2007. pg 293
(4) Ibid. pg 295
(5) From http://www.ccru.net/syzygy.htm
Off the GPS grid, locked in a perpetual targeting of the incorporeal.
A glitch reminiscent of Nintendo’s canonical MISSINGNO, circa early 2000’s: