Upcoming events: Computational Culture Lab
The Computational Culture Lab at the ANU School of Art & Design (a bunch of friends of the c/c/c studio) is excited to announce a series of upcoming workshops/presentations which might be interesting to c/c/c studio folks.
Machine Vision’s Visions
- 14:00 Wednesday 17 February (NYC)
- 19:00 Wednesday 17 February (London)
- 20:00 Wednesday 17 February (Berlin)
- 06:00 Thursday 18 February (Canberra)
Please register via this link.
The project Curating Photography in the Networked Image Economy studies the networked image and its various intersections with curating, and has been engaging developers, engineers, museum professionals and social media influencers involved in the organisation and valorisation of images in contemporary culture. In many discussions, questions about machine agency and algorithmic decision-making have been raised: as curatorial decisions are increasingly prepared, framed or directly taken by algorithms, machine ways of seeing have permeated how images are seen, consumed, shared, selected, filtered and circulated. As the project is reaching its conclusion, we have organised a series of online roundtables to reflect upon the questions that have emerged through the research.
In this last instalment of our series, we will discuss the potential of machine vision to problematise its own curatorial practices. For this, we invited guests whose hybrid practices challenge assumptions of machine learning and open it up to scrutiny. We will first talk with them about their trajectories, how they came to their field of practice and what kind of knowledges, know-how, activism they bring to their work. Next we will turn to the questions that are core of their research. What can we learn when curatorial methods from the arts are operationalised in computer vision? How and what does an algorithm learn from its training data? And what kind of encounter can machine vision amplify? Answering these questions will be the occasion to evaluate the importance of notions such as scale, distant reading, machine topology and the urgency of learning the arts of noticing the technological entanglements of our curatorial practices.
‘Curating Photography in the Networked Image Economy’, is a collaborative research project between The Photographers’ Gallery London, Lucerne University of Applied Arts and Design, Computational Culture Lab, Australian National University & Centre for the Study of the Networked Image, London South Bank University funded by the Swiss National Science Foundation.
Prof. Dr. Peter Bell studied Art History at Marburg University and was research associate in the Research Center SFB 600 (Strangers & Poor People) at Trier University, where he wrote his PhD thesis on visual representation of Greeks in Italian Renaissance. As a postdoc he worked on several digital art history projects at Heidelberg University and Cologne University and was group leader at the Heidelberg Academy of Sciences and Humanities. At the moment he is assistant professor in Digital Humanities at the University of Erlangen-Nürnberg (FAU). Areas of specialization are Digital Art History and Computer Vision, Critical Machine Vision as well as representations of strangers in art.
Tega Brain is an Australian-born artist and environmental engineer whose work examines issues of ecology, data systems and infrastructure. She has created wireless networks that respond to natural phenomena, systems for obfuscating fitness data, and an online smell-based dating service. Her work has been shown in the Vienna Biennale for Change, the Guangzhou Triennial, and in institutions like the Haus der Kulturen der Welt and the New Museum, among others. Tega is an Assistant Professor of Integrated Digital Media, New York University.
Leonardo Impett is assistant professor of Computer Science at Durham University. In 2020 he finished his PhD with Sabine Susstrunk and Franco Moretti on Distant Reading and computer vision for the history of art. He has been DH Scientist at the Bibliotheca Hertziana (Max Planck), DH Fellow at Villa I Tatti (Harvard), Fellow and Visiting Scholar at CDH (Cambridge). He is currently an Associate of Cambridge Digital Humanities; an Associate Fellow of the Zurich Centre for Digital Visual Studies; and an Associate Researcher at the Orpheus Institute for Artistic Research.
Fabian Offert is Assistant Professor in History and Theory of the Digital Humanities at the University of California, Santa Barbara. His research and teaching focuses on the digital/computational humanities, with a special interest in the epistemology and aesthetics of artificial intelligence. Before joining the faculty at UCSB, Fabian was Postdoctoral Researcher in the research project “Synthetic Images as a Means of Knowledge Production” (DFG SPP 2172) at Friedrich Alexander University Erlangen, and Associated Researcher in the Artificial Intelligence and Media Philosophy Research Group at Karlsruhe University of Arts and Design. He received his PhD in 2020 from UCSB with a dissertation on “Critical Machine Vision”. Previously, he worked for a number of German cultural institutions as an Assistant Curator, among others ZKM | Center for Art and Media Karlsruhe, Goethe-Institut New York, and Ruhrtriennale Festival of the Arts.
Between Camera & Network: Art and Documentation in Post-Photographic Culture
Hosted on Zoom at The Photographers’ Gallery, London
This is a series of events; to register for each one visit: https://thephotographersgallery.org.uk/whats-on/between-camera-and-network
From the Google Art Project to the screenshot, from the JPG to the Gigapixel image, photographic technologies continue to mediate our experience of art and culture. Between Camera & Network: Art and Documentation in Post-Photographic Culture is a series of talks at The Photographers’ Gallery over three weeks in March involving artists, curators, photographers, conservators, educators, technologists and museum professionals. Each talk explores a different aspect of the changing role of photography in art and digital culture, focusing on a range of approaches to documentation both inside and outside the museum.
The programme presents a series of case studies which reflect on the work of art in an age of photographic hyper-circulation. At a time where art selfies mix with installation shots on Instagram, how are practices of audience documentation changing the status and meaning of art? How can institutions engage with this expanded field of documentation, and what are the implications for art history and cultural memory? How is the pandemic changing the cultural value of documentation? How do contemporary practices of photographic reproduction intersect with critical discourses of authorship, ethics and control in new media platforms?
Event 1: With and Without Walls: Photographic Reproduction and the Art Museum
- Thursday 4 March 18:00 (London)
- Friday 5 March 05:00 (Canberra)
Michelle Henning is Professor in Photography and Media in the School of the Arts at the University of Liverpool. She writes on photography, museums, digital media, cultural history and is the author of Photography: The Unfettered Image (2018), Museums, Media and Cultural Theory (2006) and the edited collection Museum Media (2015) Ben St. John is a Canadian software engineer from who’s lived the last twenty years in Munich. He currently leads the small digitization group at Google Arts & Culture, responsible for the Art Camera and Tabletop scanner. These programs have helped bring thousands of artworks and photographs (and documents, kimonos, stained glass, tapestries and more) to the internet, in very high resolution.
Event 2: Collecting Social Media
- Thursday 11 March 18:00 (London)
- Friday 12 March 05:00 (Canberra)
Natalie Kane is a curator, writer and researcher specialising in digital design, art and technology. She is presently Curator of Digital Design at the Victoria and Albert Museum (UK) within the Design, Architecture and Digital Department. Anni Wallenius works as Chief Collections Curator at The Finnish Museum of Photography in Helsinki, Finland. Her background lies in art history and museology. From 2017-2020 she was part of #collectingsocialphoto, a research project hosted by Nordiska museet exploring the challenges for museums and archives in collecting social digital photography.
Event 3: Documenting the Ruins of the Web
- Thursday 18 March 18:00 (London)
- Friday 19 March 05:00 (Canberra)
Olia Lialina is a pioneering net artist and theorist. She is cofounder and keeper of One Terabyte of Kilobyte Age archive and a professor at Merz Akademie in Stuttgart, Germany. Ofri Cnaani is an artist who works in performance and digital media. Cnaani is currently a PhD researcher at and Associate Lecturer at the Visual Cultures Department, Goldsmiths, UoL.