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Amanda Tinker - Untitled, from the series To A Stranger
In den selteneren Fällen, in denen sich Gegenwartsdichter auf Porträtgemälde beziehen, wählen sie meist eines aus den früheren Jahrhunderten der Porträtmalerei, in denen die Kategorien Ähnlichkeit, Identität und Referenzialität noch nicht in Auflösung begriffen sind, um sich darauf mit dem Gestus eines nostalgischen Restitutionsbegehrens zu beziehen. Viel häufiger findet man jetzt aber dekomponierte Gesichter, deren Ästhetik die neuesten Medien des digitalen Zeitalters simuliert. Seltenheitswert hat heute ein Porträtgedicht wie Durs Grünbeins „Selbstporträt vor violettem Hintergrund“ (2012), das im Rahmen einer melancholischen Selbstinventur die eigene Auflösung zwar wortwörtlich thematisiert, aber noch dagegen anschreibt: denn längst ist die dekompositorische Ästhetik – mit und ohne kulturkritische Implikation – Standard geworden.
Evi Zemanek: Faziale De-Kompositionen in Dichtung und Malerei der Avantgarden. In: Gesichtsauflösungen / Mona Körte ; Judith Elisabeth Weiss (Hg.), Berlin : Zentrum für Literatur- und Kulturforschung (ZfL), 2013, Interjekte ; 4.2013 ; S. 55-66, S. 66
Goldie Williams - Rebellious Woman Who Got Arrested For Vagrancy & Refused to Unfold Her Arms and Stop Making This Face For Her 1898 Mugshot. (Omaha, Nebraska) (via)
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URSPRUNG DER MASKE
Irgendwann einmal muss es Verdrängung, Verstellung, Verleugnung, Verwerfung und Verrat gegeben haben, was einen Umstand darstellt, der zunächst einmal oder schon ziemlich weit entfernt auf Spuren einer unselbständigen Existenz des Geistes hinweist. Und man kann nicht mehr ganz sicher sagen, ob man der Geburt der List aus der Maske oder der Geburt der Maske aus der List beiwohnen würde,1 könnte…
anti facial recognition mask by Jip van Leeuwenstein
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Csilla Kelecsényi - Autoportrait, ca. 1980
"… A FACE. GRIMACING HORRIBLY. LOOKING LIKE IT’S STRAINED WITH EXCESSIVE suffering. Pain twists the muscles, deforms the expression. The mouth is writhing, the eyes look mad. Is it some torture victim dying at the hands of a sadistic executioner? Is it a martyr? Some unfortunate suffering the torments of an attack of madness? Is it …?
The monstrous photograph that inspired these questions was found in a prominent place on page one of one of the most popular sporting reviews, La Vie au Grand Air (December 19, 1908). It showed a runner making the supreme effort to reach the finish line.
Photos like this one are not at all rare. Who among you hasn’t more than once seen in a newspaper the dizzying swerving of autos competing for a trophy? Or a dangerous motorcycle race? Or simply some imbecile.... fainting after having run forty kilometers? Or a boxing match? [....]
The more we observe it the clearer it is that the love for violent sports seems to be a veritable contemporary malady. The entire younger generation of today is attacked by it, as well as a large part of the others....
For it has all the characteristics of a mental illness. It’s an obsession that succeeds in abolishing all reasoning power in its victim. The runner can’t control himself. He has lost the little free will that the normal man enjoys. Just as the hysteric doesn’t know how to vanquish his pathological desires; just as the alcoholic no longer has the strength to refuse a drink that he knows is fatal; just as the opium smoker or the morphine addict must absorb his poison, the runner doesn’t have the force of will to refuse himself a pleasure that everything shows him to be absurd, dangerous, and painful."
- Victor Serge, writing in Le Révolté, January 9, 1909
Allgemeine photographische Zeitung, 1939, Heft 8 S. 6
"Das Verantwortungsbewusstsein des Photographen"
And yes, I was lucky to enter a very long residency of six years at the Google Arts & Culture Lab, which I just stopped in December. And I was able to focus entirely on that, so that was really really really nice. And of course some crazy, unexpected things happened. For instance showing my hacky openFrameworks visualization of artworks to Steven Spielberg and James Cameron at TED. It was a bit random but it happened. So that was really an unexpected journey through the corporate world of big FAANG companies. I was able at the Google Arts & Culture Lab to really apply machine learning to interaction design. This is a project called Portrait Matcher which is very similar to Sharing Faces from Kyle McDonald but here applied to artworks. And it was fun, it was nice. But it felt a little bit gimmicky, a little bit— The connection with the artworks was a bit shallow and I wanted to see if there was a way to create a deeper connection with artworks and using the face. And so that was in 2015. The FaceNet paper was out but there was no public implementation of it. But being at Google, I was able to use their internal implementation because it’s Googlers who made this paper. And so it was crazy, I was able to just put all the artworks of Google Arts & Culture through the model, get the embeddings, and then do nearest-neighbor search from any image.
From a talk by Cyril Diagne recounting his jobs from artist, to design professor, to a Google residency and being the main developer behind that famous Google Arts & Culture TED talk, then creating his own AI company and selling it to Stability.ai
Cyril Diagne in STUDIO for Creative Inquiry » Art && Code: Homemade on 01/16/2021
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Weiræn spring/summer 2023
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RE:BORN 2022
face machine
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Ferdinando Scianna - Paris, 1987
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Facial studies for Mae West and Greta Garbo
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Miloš Koreček