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Invisible Images: Your Pictures Are Looking at You
Abstract
What are the implications of computer vision in relation to machine learning and ‘artificial intelligence’? New York‐based artist and writer Trevor Paglen argues that autonomous image‐interpretation systems, from algorithms that analyse photos on Facebook to licence‐plate readers used by police, constitute a new kind of visuality which is paradoxically largely invisible to human eyes. What is more, this new ‘invisible visuality’ should be understood as a means of centralising power in the hands of the state and corporate actors who are able to deploy machine‐vision systems at scale.
... I am intruded not only because the algorithm is prompting me to see specific parts of my past, but because the algorithm itself is seeing specific parts of my past: in telling me what to remember, the algorithm also sees me. Paglen (2016) delves into 'the invisible visual culture' of machine-images illegible to the human eye. There is a fundamental difference between analogously sharing a photo with your friends and sharing a photo on social media. ...
... And as I am watching the picture, the duration of my gaze, whether I share it, or if I delete it, are data to be extracted. The algorithmic systems generating my memory are perceptive, or as formulated by Paglen (2016): your pictures are looking at you. ...
... Coeckelbergh (2021) points out that the very data points that are stored do not change in real-time as soon as they enter the data set: we can change the algorithm, but the data on the past is stored in data points, spatialised in an eternal present. But these data points are illegible to us, or to use Paglen's (2016) formulationthey are invisible to usand the only way in which we can see them is through algorithms that evolve through time, showing us bits of our past when it is considered the 'right-time' (Bucher 2020;Jacobsen 2022b) to do so. ...
This article is on algorithmically generated memories: data on past events that are stored and automatically ranked and classified by digital platforms, before they are presented to the user as memories. By mobilising Henri Bergson's philosophy, I centre my analysis on three of their aspects: the spatialisation and calculation of time in algorithmic systems, algorithmic remembrance, and algorithmic perception. I argue that algorithmically generated memories are a form of automated remembrance best understood as perception, and not recollection. Perception never captures the totality of our surroundings but is partial and the parts of the world we perceive are the parts that are of interest to us. When conscious beings perceive, our perception is always coupled with memory, which allows us to transcend the immediate needs of our body. I argue that algorithmic systems based on machine learning can perceive, but that they cannot remember. As such, their perception operates only in the present. The present they perceive in is characterised by immense amounts of data that are beyond human perceptive capabilities. I argue that perception relates to a capacity to act as an extended field of perception involves a greater power to act within what one perceives. As such, our memories are increasingly governed by a perception that operates in a present beyond human perceptual capacities, motivated by interests and needs that lie somewhat beyond interests of needs formulated by humans. Algorithmically generated memories are not only trying to remember for us, but they are also perceiving for us.
... Atisbamos un momento donde no existe ninguna estrategia visual proveniente de la cultura visual humana que permita intervenir de manera evidente en el contexto de la visión maquínica (Paglen, 2019). El carácter reproducible de la fotografía llevó a la imagen a abandonar el marco para interpelar al receptor, satisfaciendo así el deseo de las masas por aproximarse a las cosas, quitar la envoltura a cada objeto y triturar su aura (Benjamin, 2003). ...
... Hay un peculiar retorno de la experiencia de devolución de la mirada por parte de las imágenes, que Walter Benjamin consideraba que enfrentaba su decadencia con la reproducción técnica. Tus imágenes, advierte Trevor Paglen (2019), están mirándote, pero no para desplegar el juego entre cercanía y distancia propio del aura, sino para localizar, clasificar y decidir las formas de subjetividad y de socialización. Aquella afirmación de Paul Klee, cuando anunciaba que los objetos lo percibían, se vuelve, observó Paul Virilio (1998), objetiva y verídica. ...
El artículo analiza algunas de las principales líneas de investigación de la ciencia de la imagen alemana (Bildwissenschaft) en el contexto de las transformaciones de la cultura digital y su impacto en la condición actual de la imagen. Después de hacer una comparación entre las aproximaciones de los estudios visuales anglosajones y de la Bildwissenschaft a la cultura visual y a la imagen, se resumen los enfoques de tres de los teóricos más destacados de este campo de estudio: Gottfried Boehm, Horst Bredekamp y Hans Belting. Finalmente se estudia el alcance de los desarrollos teóricos de estos pensadores para abordar la cultura visual digital, atendiendo a las cuestiones del concepto de imagen, de la agencia icónica y de los medios.
... Atisbamos un momento donde no existe ninguna estrategia visual proveniente de la cultura visual humana que permita intervenir de manera evidente en el contexto de la visión maquínica (Paglen, 2019). El carácter reproducible de la fotografía llevó a la imagen a abandonar el marco para interpelar al receptor, satisfaciendo así el deseo de las masas por aproximarse a las cosas, quitar la envoltura a cada objeto y triturar su aura (Benjamin, 2003). ...
... Hay un peculiar retorno de la experiencia de devolución de la mirada por parte de las imágenes, que Walter Benjamin consideraba que enfrentaba su decadencia con la reproducción técnica. Tus imágenes, advierte Trevor Paglen (2019), están mirándote, pero no para desplegar el juego entre cercanía y distancia propio del aura, sino para localizar, clasificar y decidir las formas de subjetividad y de socialización. Aquella afirmación de Paul Klee, cuando anunciaba que los objetos lo percibían, se vuelve, observó Paul Virilio (1998), objetiva y verídica. ...
This article analyses some of the main lines of research in German image science (Bildwissenschaft) in the context of the transformations of digital culture and their impact on the contemporary status of the image. After a comparison between the approaches of Anglo-Saxon visual studies and Bildwissenschaft to visual culture and image, the approaches of three of the most prominent theorists in this field of study - Gottfried Boehm, Horst Bredekamp and Hans Belting - are summarized. Finally, the scope of the theoretical developments of these thinkers for dealing with digital visual culture is assessed, by addressing the questions of the concept of image, iconic agency, and media.
... To this end, Parisi points to an argument Trevor Paglen makes in 2016 about the growing culture of "invisible images," meaning invisible to humans. 60 Paglen notes that digital images in general are only actually readable to computers and cannot be seen by humans without computer aid, and, even with this aid, only under certain conditions. This change to visual culture is alarming, as Paglen and other scholars of visual culture have pointed out, for many reasons, including the fact that the invisibility of images "allows for the automation of vision on an enormous scale and, along with it, the exercise of power on dramatically larger and smaller scales than have ever been possible." ...
Are render engines fascist? This article proposes a debate on the relationship between conservative and far-right politics and environmental visualization technologies. The argument works through a close reading of a patented texture mapping process owned by Google Earth and a related artistic project titled Postcards from Google Earth (2010-ongoing) by Clement Valla. These case studies surface the engineering choices that selectively edit and optimize what is seen by users, thus creating a very particular, and manipulable, framing of “environment.” On this basis the article makes two claims: one, that computer graphics play a part in the conservative, right, and far-right mobilizations of nature-as-metaphor that nourish fascist and populist imaginaries, and two, that computer graphics more broadly reshapes human visual culture in ways that amplify the central contradictions of liberalism that have historically been exploited by fascism, such as an anti-allegiance to fact and rationality. The article concludes that combining digital technologies with representations of environments can resurrect latent conservative politics of the environment, and furthermore, that these politics can be directly and critically assessed through canonical interrogations of landscape art.
... 54 The copy machine image, a self-generating mechanism, aspires to leave no trace, not unlike the "invisible plane" hidden from human vision in contemporary digital media. 55 As Thomas Keenan writes, the "ideal mode of reading [instrumental images] would be not to have to read them at all." 56 In the machine-produced image, we should not see the machine at all-a transparent process between the viewer and the viewed. These are topics that remain current in our contemporary algorithmic capitalism in which service labor is replaced by automated systems. ...
Projects: Sonia Landy Sheridan and Keith Smith, an exhibition held at the Museum of Modern Art, NY, in 1974, represented the most ambitious work to emerge from Sheridan’s Generative Systems program. As Sheridan stated, the goal of Generative Systems, an academic program at the School of the Art Institute of Chicago was “the generation of ideas with the aid of current technology.” The work Sheridan and Smith displayed at the Museum of Modern Art, the product of a collaboration with the 3M corporation’s Color-in-Color photocopy machine, not only displayed the creative potential of machine-assisted image production but also revealed a fundamental truth about the postindustrial economy: the increasing precarity of human subjectivity.
... На тај начин настају машинско превођење (Делић и сар. 2019), синтеза говора, при чему је могуће реализовати дијалог човека и рачунара (Chiba et al. 2019), препознавање слика и текста (Paglen 2019), интелигентно адаптивно учење (Almohammadi et al. 2017), а могуће је реализовати и бројне акције (помоћу робота) (Khandelwal et al. 2017). Због наведених могућности дошло је до промене традиционалног образовања и поучавања (Yufei et al. 2020) чиме су школе и универзитети, а са њима и наставници, добили нове идеје и могућности за реформу наставе и образовања. ...
Едукативни потенцијал рачунара и интернета, односно вештачке интелигенције у служби лингвистичких и методичких парадигми у циљу повећања ефикасности учења (српског као) страног језика главни је задатак овог рада. На основу искуства и практичне примене савремених технологија на пољу образовне лингвистике, дескриптивном мето- дом у раду ће бити представљене позитивне стране примене великих језичких модела и дигиталних алата који се ослањају на те језичке моделе. Са друге стране, циљ је предочити и изазове који се налазе пред наставницима и студентима који се одлуче да (не) буду део реформе образовања. Једна од највећих предности коришћења вештачке интелигенције била би индивидуализација, а поред тога бенефити су велика уштеда времена, боља ефи- касност и квалитет наставе, виши ниво креативности и мотивације наставника и ученика. Изазови са којима се актери у образовном процесу могу суочити у будућности су неједнак положај развијених земаља и земаља у развоју, етичка и безбедносна питања, недовољно едукованог кадра, мањак систематичности и поузданости.
... To sum up, what has changed in the photographic perception of the world with machine vision is not just that the viewer of the images is no longer human (Paglen, 2016), but rather that the photographic image itself can be described as nonhuman (Zylinska, 2017), being subject to a plethora of data operations involving fragmentation, extraction, reduction and elision that go beyond human intentionality and agency. Humans are still partly involved in these operations, not least in the foundational decisions about reducing objects to images and rich imagistic data to extractable and exchangeable sequences of features. ...
This article examines the transformation of the relationship between seeing and understanding in humans and machines by the technologies of machine learning known as ‘generative AI’. Taking Stable Diffusion as the main case study, while also looking at its competitors (DALL·E 2 and Midjourney), it starts by analysing the photographic infrastructure underpinning these generative models. The subsequent examination of ‘diffusion’ as a key concept that underpins the text-to-image generation process leads to some broader questions about the ongoing instability and dissolution of our current epistemological and political frameworks. Taking seriously the charge issued by some critics equating developments in generative AI with nihilism or even fascism, the article considers whether the current socio-technical moment can also offer some emancipatory possibilities. Images are used as part of the article not just by way of illustration but also to enact some of its argument.
... Humanmachine dialogue allows AI to interact with students in a conversational manner, answering their questions and providing them with information. • Observation: computer vision, image recognition, and text recognition (Paglen, 2019). Image recognition allows AI to analyze images and videos to extract information, such as the number of people in a classroom or the type of activities taking place. ...
Artificial Intelligence has the necessary potential to transform education, but careful planning of its implementation is essential, knowing what we are doing and why we are doing it. The opportunities for AI to personalize learning, foster connections between subjects, deepen concepts and put learning into practice are enormous. However, as these technologies advance, it is important to rethink our relationship with them, i.e., to assess digital well-being. It is essential to develop a formative, healthy and safe relationship with technol- ogy, with the main objective of finding a balance in digital life by developing skills and competences that allow minimizing the risks without losing the ben- efits. This chapter addresses some of the challenges that need to be considered when implementing AI in education, while respecting the digital well-being of teachers and students, and offers recommendations that may inspire those who wish to start working with this technology in the classroom.
... Second, the gaze withdraws itself. Because it is decentralised and inhuman, the gaze is almost impossible to locate and identify (Paglen 2016). Third, the gaze is able to gaze "deeply". ...
Through the enrolment of big data, deep learning, sensor fusion, and computer vision technologies, Amazon Go and similar shops pursue the automated management of retail subjects, goods, and transactions. Tracing the logics of automated shop technology, the paper makes two contributions. First, it proposes a theory of "retail transparency" to attend to how automated shops reimagine space as a series of pockets of excess (actions that escape circuits of capitalist valuation) to be countered through acts of making-transparent (datafication for integration into digital systems of control). Retail transparency is underpinned by interventions aimed at perceiving, incorporating, and productivising excess. Second, we argue that logics of deep learning raise important challenges to traditional conceptions of resistance in digital geographies, as these tend to rely on a celebration or cultivation of excess. Instead, we offer a speculative reflection outlining a politics of "circuit-breaking" which refuses to engage algorithmic logics on their own terms.
... Trevor Paglen would go even further and state that images are mainly made for computers through the using of their meta-data or the feeding of artificial intelligence. These images are not for humans anymore because they are a constitutive part of the entanglement for controlling people by algorithmic means, as well as the modulation of their desire (Paglen 2016). Matteo Pasquinelli has been insisting on similar ideas, relating them as well with the history of algorithm-making, which he proposes that they are an ancient technology related to ritual practices (Pasquinelli 2019) and that "Machine intelligence is not anthropomorphic, but sociomorphic: it imitates and feeds on the condividual structures of society rather than the individual ones" (Pasquinelli 2016). ...
Weaving Waves is a speculative platform to study shared genealogies between text, textiles and technology. Due to the nature of the research, this proposal is necessarily conceived as partial. The departing point is situated in the wave-shape that threads take in textile making, and how textiles have the capacity in many cultures of composing a non-phonetic system of inscription, and a de-centred place of enunciation. The non-linear entanglement of the warp and weft serves both as a metaphor for the composition of history, and also as a generative device about how narratives can be introduced. Authors such as Silvia Rivera Cusicanqui or Walter D. Mignolo have proved that textiles are a way of non-phonetic writing, and as such, they contain historical narrations and epistemologies divergent from the Western ones. Authors such as Gary Urton have shown how quipus (a textile device for writing from the Incas) are encoded with a binary code system. Also the Jacquard loom and its systems of punched cards to produce fabrics inspired early computational devices developed by Ada Lovelace and Charles Babbage. The thinking of Bonaventure Soh Bejeng Ndikung introduces elements for disothering within this enterprise. The tentative aim is to present a possible multidisciplinary research, which could be a project part of Siegfried Zielinski’s speculative Institute of Southern Modernities.
... • Pages 227-238 help of image characteristics (Yılmaz et al., 2019). According to Paglen (2019), all cultures of the world must have a visual aspect; thus, this topic is increasingly getting the attention of significant researchers and scholars; therefore an increasing number of research studies are being conducting in this regard. In the context of visual culture practices incorporated into museums, the visual images are the component of the practices it focuses on how to see a particular object by making all the required arrangements (Serafini, 2022). ...
The current study aims to analyze the digital pathways that could be incorporated in the museum Tourist, which could be useful as economic tool and cultural study tools and practices for achieving sustainable development of the museum Tourist as visual cultural practices in promoting cultural learning and economic in China. The researcher has chosen a research framework in which digital technologies, visual cultural practices, and cultural heritage could significantly enhance the sustainable development of museum Tourist in China with pedagogical adaptation and cultural sustainability as primary objectives of museums in China. In addition, the investigation was qualitative in nature, where a small research sample of eight informants from among the management staff of the Chinese museums faced a semi-structured interview. According to research findings, digital technologies, visual cultural practices, cultural heritage, museum pedagogical adaptation, and cultural sustainability significantly promoted the sustainable development of the museum Tourist in China. This study provides various theoretical and practical implications, which have been elaborated along with the research findings. However, it also has research limitations that will be advantageous for future researchers to modify their studies in the future.
... These images are in stark contrast with the "desert of the real" [20] and are widely available for comprehension. Paglen observes that the result of this automation of images on a grand scale is the generation of more power [21]. This reversal of visibility is reminiscent of Martin's paradoxical model, where the visible world (the matrix) is not related to representation but rather represents an absence [22]. ...
Currently, philosophical interpretations of The Matrix trilogy have seen a decline. This study examines the human pods and growing fields in The Matrix trilogy. Their functionality is juxtaposed to Michel Foucault's concept of docile bodies, linking fictional and contemporary worlds. The comparison illustrates the effects of body manipulation. This paradigm is scrutinized through the power of invisibility. The invisibility of the human pods and fields parallels the hidden algorithms employed by contemporary tech giants. The utilization and secondary manipulation of user's data are further veiled in secrecy.
... The literature gives a brief overview of how to identify image features. Images contain rich data information (Paglen 2019). To recognize the characteristics of images is like knowing people, we need to understand the true meaning of pictures through multi-dimensional aspects. ...
In today's era, image data have become an important part of network data. Simple and intuitive images can reflect rich data information, and images are used as a new carrier of information exchange by more and more people. Image feature recognition can start from the image itself, based on the data contained in the image, first extract the salient features of the image, and then identify the image content according to the difference comparison. This kind of image feature recognition has a good recognition effect. The field of artificial intelligence has become a hot field nowadays. It is an important link to realize artificial intelligence for machines to carry out deep learning through data algorithms. It is an important goal for machines to realize self-prediction and self-judgment through deep learning. Sculpture has three-dimensional art form. When we need to obtain the corresponding information by appreciating the sculpture, we need to observe the three-dimensional art form of sculpture and perceive the information that sculpture wants to convey through the space occupying dimension of sculpture. This paper gives a brief overview of the contemporary significance of sculpture, puts forward innovative research ideas and methods, and expounds the relationship between sculpture and environmental art.
... In an era of ubiquitous photography (Hand 2012), the problem of interpreting, filtering and categorising has been outsourced to machines (Malevé 2021;, where the semiosis of pattern and randomness destabilises subject-object relations (Lister 2007), generating cultural techniques of 'platform seeing' (Mackenzie & Munster 2019) and algorithmic curation (Dekker & Tedone 2019;Malevé, Sluis & Tedone forthcoming). In response to these sociotechnical shifts, photography is today variously theorised as networked, algorithmic and undecidable , 2013a, 2013b; as well as operational (Farocki 2004), poor (Steyerl 2009), invisible (Paglen 2016), programmatic (Beller 2016), nonhuman (Zylinska 2017), unfettered (Henning 2018), social (Jurgenson 2019) and even soft (Hoelzl & Marie 2015). ...
This PhD by Published Work responds to the institutional, conceptual and practical problems that arise when digital programming is introduced as a discrete curatorial strand within a photographic in stitution. It presents a programme of practice - centred curatorial research undertaken at The Photographers’ Gallery London over a period of nine years from 2011-2019. The outcomes of this research take the form of exhibitions, commissioned artworks, public events, workshops and scholarly texts published between 2012 and 2020. Through an analysis of five key exhibition projects, the thesis offers insights concerning how the expansion and circulation of the networked image comes into a relationship with traditional modes of photography curating. When brought together, the works delineate a field of enquiry which is termed ‘post-photographic curating’ which responds to the problem that ‘the digital’ is not in itself a new artistic or photographic medium, but a hybrid set of socio-technical practices generating new sites of expertise and forms of value. It calls for an expansion of the institutional concerns of photography in order to address the paradoxical condition of the networked image, which remediates the received cultural form of the photograph, whilst concealing the operations that produce them and their status as networked data. The central contribution of the research is therefore in defining new practices and cultural forms that respond to the socio-technical conditions of visual culture, in order to widen the horizon of how the photographic image is modelled and understood by the photographic institution.
This commentary situates the idea of ‘counter-practice’ within a history of art and documentary cinema to ask what it means to witness in an age of big data and ubiquitous sensing? And how might art practices and data studies inform each other? To do so, this essay focuses on the work of Harun Farocki and the concept of the operational image to question whether politics can be separated from aesthetics and to re-introduce problems of human subjectivity and history into the discourse of subversion and praxeology.
No regime iconográfico contemporâneo em que habitamos, as categorias de imagens artísticas e imagens científicas ainda são atuais? Talvez devêssemos pensá-las como categorias operacionais, mais do que ontológicas, destinadas a diferenciar formas de pensamento, métodos de interpretação ou procedimentos de abstração. Seguindo esta diferenciação, poderemos descobrir até que ponto estas formas se atravessam historicamente e como hoje o diálogo interdisciplinar se torna uma necessidade metodológica. O artigo questiona as crescentes porosidades entre imagens científicas e imagens artísticas e discute a relevância de manter esta distinção metodológica. A partir de exemplos de cientistas que questionam, por sua vez, as imagens científicas e as imagens artísticas, discutem-se determinadas funções das imagens que o discurso científico propõe.
Dockless micromobility sharing systems have wrought significant visual changes to urban streetscapes worldwide. These changes are often described in terms of the ‘mess’ of micromobility, characterised by dockless vehicles abandoned in roadways, sidewalks, and recreational paths, tossed into waterways, and graffitied, burned, and otherwise vandalised. In this paper, we argue that efforts to govern this dockless micromobility mess – which most frequently comes in the form of parking regulations – effectively impose and enforce normative visual order on the cityscape. Based on an analysis of primary image data and publicly available documents, we identify that efforts at governing docklessness also have the effect of governing the aesthetics of urban space in three ways: through (1) visual-material interventions (e.g. parking corrals and mats, app interfaces); (2) linked strategies of visual verification (digital image capture and assessment) and computer vision (the use of AI and machine learning); and (3) visual erasure (e.g. impounds and bikeshare graveyards). We discuss the implications of the aesthetic effects of micromobility governance for docklessness itself and the utilisation of dockless micromobilities and potential impacts on transportation equity and sustainability, and most significantly, for the right to the city.
Este artículo explora la intersección entre la inteligencia artificial (IA) y el arte contemporáneo, analizando cómo la IA redefine la creatividad, la autoría y las dinámicas sociales en la producción artística, así como sus implicaciones éticas y estéticas. Se realiza una revisión crítica de la literatura sobre la incorporación de la IA en el arte, abordando tres niveles de análisis: la comunidad técnica, el mundo del arte y las ciencias cognitivas, para entender sus interacciones y sus efectos en la creatividad. Se identifican tensiones entre la creatividad humana y la actividad de las máquinas. De allí se destaca cómo la IA puede democratizar el acceso a herramientas artísticas, pero también se plantean desafíos sobre la autenticidad y el valor del arte producido por humanos frente al de las máquinas. El estudio concluye que es esencial incluir diversas voces en el desarrollo de IA para mitigar sesgos y redefinir conceptos de creatividad y autoría en un contexto posthumanista.
This paper develops contemporary theorizing of vernacular screenshots by positioning them as artifacts reflecting the technological design and individual choices that allow their content to be viewed. By situating them within metapicture theory, screenshots induce a multistable perception of static image content as visibly nested within an imaging process. Screenshots, then, infer causal reasoning over how and why they exist. Several examples of screenshots are given to exercise this contextually reflective reading. Analysis of each exemplifies the theoretical stance described and aids in two contributions for this paper to existing discourse on image ontology in New Media. First, the paper applies metapicture theory to increasingly contemporary cases of image remediation. Second, the paper provides a theoretical approach to assess screenshots as multistable metapictures where simultaneous content readings are possible. As a result, screenshots emerge to increasingly implicate a world of interaction behind the camera lens.
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This article considers Beckett’s faces in the light of Giorgio Agamben’s account of the face as a disputed biopolitical marker. Agamben refers to the face both in terms of social and juridical identity in ancient Rome and as an icon of contemporary biopolitics, as social identity gives way to biometric recognition. Beckett’s own face figures prominently in the series of machine-generated Eigenface portraits created by artist Trevor Paglen in 2017, and whose use of the Eigenface method invokes modern facial recognition technologies. The Eigenface is examined here in relation to a gallery of ghostly progenitors: the faces of Beckett’s late plays.
This conversation between Jane Birkin and Jussi Parikka picks up on two recently published books, Birkin’s Archive, Photography and the Language of Administration (Amsterdam University Press 2021) and Parikka’s co-edited Photography off the Scale (Edinburgh University Press, 2021, with Tomáš Dvo?ák). The conversation focuses on some of the media theoretical undercurrents of their two books that feature the photographic image as a central part of both their interests, while also shifting to different aspects of institutional practices of images, including questions of logistics of order and enumeration.
examines the many facets of artificial intelligence, outlining its reach, development, and effects, with an emphasis on how it can be used in education. The study explores the evolutionary history of artificial intelligence, which has been fueled by exponential gains in computer power, data availability. The research looks at how AI is changing teaching, learning, and administrative procedures in educational institutions. The abstract explores the ways in which artificial intelligence is transforming education, outlining the nature, uses, implications, difficulties, and importance of AI. It explores how artificial intelligence technologies which include learning, reasoning and self-correction are revolutionizing traditional teaching methods and administrative procedures. It also facilitates automatic grading, data-driven decision-making, and lifelong learning. AI has significant ramifications that highlight its critical role in transforming educational paradigms internationally, helping both students and educators, despite its limitations.
ENContemporary research in cognitive neuroscience is studying the relations between the self and embodiment through artificially inducing out-of-body illusions. By designing speculative body images and transferring the subjects’ perceived embodiment into them, they are exploring the cognitive mechanisms underlying self-perception. In addition to the modifications in the perception of the subjects’ own bodies, we can identify an impact of the out-of-body illusions on space perception. The observation links the research with aesthetic theories originating in the 19th century entanglements with scientific study of human perception, in psychophysics or experimental psychology. The theories formulated by the scientific disciplines were adopted by aesthetics where they persisted until they have proven their full potential in digital media. The claims of Fechner, Wundt and their followers preceded the experimental possibilities of the period, but remained in the intellectual discourse thanks to philosophers like Henri Bergson or Gilles Deleuze. Virtual space, as suggested by the media theoretician Peter Weibel, is a sensory realm. It is a sphere conditioned by human perception. Therefore, it can be approached as a laboratory for the study of human senses and their agency. The impact of out-of-body illusions on the perception of virtual spaces can, thus, be studied as a creative act. The body, thus, opposes the conventional narratives of its exclusion from the virtual and of its dangers to the embodiment. The perceived virtual embodiment organizes and defines virtual spaces independently from the digital code. The spaces emerging from the perception in the virtual resist previous experience with physical spaces. They diverge from Euclidean space, their functioning and form are fully dependent on the human embodied perceiver. The body resists the power of the digital. FR La recherche contemporaine en neurosciences cognitives étudie les relations entre le soi et l’incarnation en induisant artificiellement des illusions de hors-corps. En concevant des images corporelles spéculatives et en y transférant l’incarnation perçue des sujets, ils explorent les mécanismes cognitifs qui sous-tendent la perception du soi. Outre les modifications dans la perception du corps propre des sujets, on peut y identifier l’impact des illusions de hors-corps sur la perception de l’espace. L'observation relie la recherche aux théories esthétiques nées au XIXe siècle issues des études scientifiques de la perception humaine, en psychophysique ou en psychologie expérimentale. Les théories formulées par les disciplines scientifiques ont été adoptées par l'esthétique où elles ont persisté jusqu'à ce qu'elles aient prouvé leur potentiel dans les médias numériques. Les affirmations de Fechner, Wundt et de leurs disciples ont précédé les possibilités expérimentales de l'époque, mais sont restées dans le discours intellectuel grâce à des philosophes comme Henri Bergson ou Gilles Deleuze. L’espace virtuel, comme le suggère le théoricien des médias Peter Weibel, est un domaine sensoriel. C'est une sphère conditionnée par la perception humaine. Par conséquent, il peut être considéré comme un laboratoire pour l’étude des sens humains et de leur action. L’impact des illusions hors du corps sur la perception des espaces virtuels peut ainsi être étudié comme un acte créatif. Le corps s’oppose ainsi aux récits conventionnels de son exclusion du virtuel et de ses dangers pour l’incarnation. L’incarnation virtuelle perçue organise et définit des espaces virtuels indépendamment du code numérique. Les espaces émergeant de la perception dans le virtuel résistent à l’expérience antérieure avec les espaces physiques. Ils s'écartent de l'espace euclidien, leur fonctionnement et leur forme dépendent entièrement du percepteur humain incarné. Le corps résiste au pouvoir du numérique.
With the understanding that art and technology continue to experience a (rapidly escalating) historical rapprochement, but also with the understanding that our comprehension of art and technology has tended to be constrained by scientific rigour and calculative thinking by one side, or has tended to change to the extreme from the lyrical: the objective of this article is to provide a reflective look for artists, humanists, scientists, and engineers to consider these developments from the broader perspective they deserve, while maintaining a focus on what should be the emerging core of this topic; the relationship between art, technology, and science. The state of the art in mechatronics and computing today is such that we can now begin to speak comfortably of the machine as artists, and we can begin to hope, too, that an aesthetic sensibility on the part of the machine might help generate an intelligent, more friendly, and responsive machine agency overall. The principle of the inhuman emphasises that the questions of ontology are not questions of being as subject, of being as consciousness, of being as Dasein, of being as body, of being as language, of being as human, or of being as power, but of being as being. Finally, the ontological principle hypothesizes that all beings are ontologically on an equal footing or that all are to the extent that they make a difference. However, until now not much has been said about "algorithmic entities". From the above, it is clear that there are still many unanswered questions, for example: How to raise the question of techno-diversity when intellectuals yearn for a general artificial intelligence? We must go back to history to orient ourselves in our current situation with a sense of distance. Will it be possible to find strategies to free ourselves from this apocalyptic end of technological singularity and reopen the question of the creative future in machines in relation to humans?
Resumen El presente trabajo es la producción final de una experiencia realizada en la materia Pedagogía del profesorado de educación física del ISFD Nº84 (Argentina) durante el 2023. Lxs autorxs del texto se propusieron realizar un registro fotográfico de las clases compartidas durante todo el año, para que a partir de dicho registro pudieran componer reflexiones en un diario de campo. El objetivo de este trabajo es visibilizar que los relatos construidos no son producto de una clase de pedagogía, sino que son pedagogía en sí misma y que lo inmanente (St. Pierre, 2018), en tanto, aquello que es y sucede pero que no se ha podido poner en palabras, puede aparecer en la visualidad y ayudar a componer nuevos sentidos en la formación docente. Abstract This work is the final production of an experience carried out in the subject Pedagogy of teachers in physical education of ISFD Nº84 (Argentina) during 2023. The authors of the text proposed to make a photographic record of the classes shared throughout the year, so that from this record they could compose reflections in a field diary. The objective of this work is to make visible that the constructed stories are not the product of a kind of pedagogy, but rather they are pedagogy in themselves and that the immanent (St. Pierre, 2018), meanwhile, that which is and happens but that does not It has been able to be put into words, it can appear visually and help compose new meanings in teacher training. Resumo Este trabalho é a produção final de uma experiência realizada na disciplina Pedagogia de professores de educação física do ISFD Nº84 (Argentina) durante 2023. Os autores do texto se propuseram a fazer um registro fotográfico das aulas compartilhadas ao longo do ano, para que a partir desse registro puderam compor reflexões em um diário de campo. O objetivo deste trabalho é tornar visível que as histórias construídas não são produto de uma espécie de pedagogia, mas são pedagogia em si e que o imanente (St. Pierre, 2018), entretanto, aquilo que é e acontece, mas aquilo que não pode ser expresso em palavras, pode aparecer visualmente e ajudar a compor novos significados na formação docente. Palavras-chave: fotobiografia; narrativa; pedagogia; treinamento de professor; educação física
Beginning in the 1990s, the National Institute of Standards and Technology (NIST) leveraged the 1980s’ American War on Drugs to improve and expand facial recognition technology (FRT) infrastructure, including the domestic building of FRTs reliant on mugshots. When examining mugshot databases gathered by the NIST, such as the Multiple Encounters Dataset (MEDS) I and II (2010) and Special Database 18 Mugshot Identification Database (SD-18) (2016), it is clear that the same gendered and racialized dynamics present in policing practices related to the War on Drugs is reflected in the mugshot databases that continue to use for FRT research and evaluation into the contemporary moment. This paper details the SD-18 and MEDS databases, as well as the MORPH database, showcasing how their representational, technical and political protocols operate. The desires for frictionless interoperability built into the images’ technical protocols supersede concerns for eugenic political and representational protocols, resulting in a current moment where the deployment of mugshot datasets cannot be contained to their original intended use with FRTs, but leak into other forms of algorithmic governance as well as into algorithmic image-making and visual culture, including generative artificial intelligence systems such as DALL-E.
Artificial intelligence (AI) has become a disruptive force that has greatly benefited education, which is a vital aspect for both society evolution and personal growth. The purpose of this study is to analyze the multifaceted impact of AI in education and on the application and impact of AI learning, instruction, and administration. AI is the study and creation of computers, machines, and other artifacts with human like cognitive capacities, learning, and adaptability and decision-making capabilities. The objectives of this chapter are to present a comprehensive outline in addition to a more in-depth analysis of three main elements: roles, consequences, and future implications. The study also states the emergence of AI-enabled individualized learning, offers universal access to high-quality education at all levels by offering exciting new opportunities and applications. AI systems can successfully identify and rectify skill gaps, allowing individuals to adapt to shifting jobs and advancements in technology.
The article presents a historical overview of the classification of contemporary artworks that either have utilized artificial intelligence as a tool in their creation or focus on AI as their central theme or subject matter. The authors analyze artworks and descriptions, focusing on artists’ motivations and AI’s role in their practice, identifying five distinct tropes in AI art. The authors compare artworks with respect to key questions, creating a useful tool for art historians, curators, researchers, and artists. This historical classification provides a structured approach to understanding AI art’s creative significance and attributes as it has developed over time.
This first chapter of this second section starts with an overview of some of the issues that I developed in the first volume. It then proceeds with a discussion of neurology—neurobiology, neuronormality, and neurodiversity, as these will be related to what is happening in the post-Anthropocene in education and the affects of media on education. This chapter spends its energy discussing brain plasticity as developed by Catherine Malabou, presenting a critique of her position. I shift then to a discussion concerning AI, especially speculative posthumanism. This includes discussions of Laruelle’s ‘transcendental computer’ and the shift that will continue to develop in that direction.
In this chapter I discuss the nano-imaginary and the notion of sensibility by returning to Whitehead and Deleuze. Digital media is again discussed by way of Simondon and cosmotechnics is introduced via Yuk Hui’s tertiary protention. The importance of the recursivity of artificial neural networks (ANNs) is also examined. Algorithmic incomputability is revisited via the oeuvre of Luciana Parisi in relation to her development of transcendental computation and ‘soft thought.’
Este artículo propone una revisión de las teorías de la imagen desde el giro visual, tanto en el contexto anglosajón (el giro pictorial de W.J.T. Mitchell) como en el alemán (el giro icónico de Gottfried Boehm). No obstante, también se atienden a otras perspectivas, como las que provienen de la fenomenología (Emmanuel Alloa). Se abordan las coincidencias y diferencias entre ambas aproximaciones, sobre todo en lo que toca a cómo las imágenes producen sentido y a sus formas de acción y agencia. También se repasan las objeciones que desde disciplinas como la de la Historia del Arte se hicieron a los Estudios visuales. Una de las cuestiones clave es la del objeto de estos estudios, relacionada con la de la interdisciplinariedad, así como con la definición del concepto de visualidad, que incluye a las imágenes y los modos de ver en su especificad social e histórica. Los debates entre posiciones perceptualistas y semióticas están ligados a la concepción de la imagen como aparición y mediación, presencia y representación. El artículo defiende mantener las aporías y ambigüedades de la imagen, pues son ellas las que retienen su potencial crítico, especialmente urgente en la época de las imágenes maquínicas interconectadas y la visión artificial.
In the 21st century, the performance culture of critique has transformed with the increasing implementation of AI technologies upon which the operative functions of data capitalism are built. Operating within the performance-based culture industry, the works of Trevor Paglen, Gerald Nestler/Sylvia Eckermann, and Vladan Joler respond critically to data capitalism’s modes of data extraction and how the societal performances of capitalism condition people’s physical and digital performances.
Media Artivism refers to the use of digital and technological media to raise awareness and facilitate social and political transformation. Paglen’s artistic endeavors represent a powerful activist dimension epitomized in particular in his work Invisible Images (Your Pictures Are Looking at You). In this work, Paglen demonstrates how technology corporations exploit the images of viewers. Consequently, his work urges people to better understand how privacy works in the contemporary digital landscape, thus demanding more transparency and accountability from these corporations. The work of Trevor Paglen serves as an excellent example of the interplay between art, science and technology, underscoring the significance of Media Artivism as a means of raising awareness and promoting social transformation. Paglen’s work offers a model for artists to employ digital and technological tools to engage with pressing political and social concerns and also to interrogate the role of technology in contemporary society. His artistic practise underscores the potential of media artivism as a conduit for critically examining the relationship between art, science and technology, and its potential to effect change in society.
In 2009 German video artist, documentary filmmaker and essayist Hito Steyerl releases her essay In Defense of the Poor Image . Her definition of the ‘poor’ image as “a copy in motion” can be transferred to contemporary mostly digital images in general. But with the new image technologies the artist diagnoses a replacement of poor images by power images, in the multiple meanings of the word ‘power’. In contrast to the proclaimed shift from poor images to power images the author rather speaks about poor power images. Instead of a replacement of poor images by power images one can observe poor images unfolding their powers while power images show various shades of poorness.
Images play a central role in contemporary culture, and it is crucial that architects understand, control, and engineer their political forces.¹ From hyper-real simulations to machine vision, the structure and way that images are mobilized is changing. Photorealistic techniques and data-driven ones are entrusted as “objective” image types, often deployed to represent reality, truth, or facts, when in actuality, they can be used to call those into question through critical narratives. This paper investigates the potential of images to cultivate conversations about emerging technology’s implications in architecture. A pedagogical case study is put forward that frames critical, image-based narratives used in the examination of social, political, economic, or ecological issues within an urban territory. Each project addresses how the territory might interface with a selected emerging technology, including artificial intelligence (AI), autonomous vehicles (AVs), drones, automation, and augmented reality (AR). “Objective” image types are examined—both historical ones like construction documents, patent drawings, and diagrams, and contemporary ones like satellite imaging, video games, LiDAR, and photogrammetry—to foreground the following questions. How does architecture, a field tasked with confronting the “real,” contend with the complex overlap of virtual and physical realms? How might our projections of future “realities” take on political positions rather than respond to the desires of capital?
This paper looks at the problematic history of cars, infra¬structure, and the vehicular landscape and asks how the nature of transportation is changing in light of autonomous mobility. Self-driving vehicles have advanced from research to reality and offer tremendous promise, from reducing emis¬sions and congestion through ridesharing to decreasing the number of driving accidents and deaths. However, autono¬mous driving is still in its early stages, with safety unproven and spatial potential or perils still unclear. To examine the possibilities that autonomous vehicles may offer in the built environment, architects and urban designers will need to respond to new technological imperatives and ongoing sys-temic problems tied to the car’s legacy. The author’s research acts as a case study that explores how design fields can tackle these issues via mobilizing architectural representation and visualization. This research entails the production of an operable physical model and contingent media to create an experimental testing plat¬form for autonomous driving that examines the following questions. How can architectural representation tactics be employed to innovate in the built environment relative to the broad implementation of autonomous vehicles (AVs), artificial intelligence (AI), and machine sensing? And how might those innovations improve upon the problems that cars have created by decreasing environmental degradation, better serving the disenfranchised, and considering the spatial redefinition of cities?
O presente artigo pretende analisar os regimes de visibilidade em Michel Foucault, tendo como centro da investigação sua obra Vigiar e Punir: Nascimento da prisão, de 1975. Nesta obra, Foucault se debruça sobre os processos sócio-históricos que levaram a uma mudança no regime punitivo do Ocidente entre o século XVII e início do século XIX, em que um regime de soberania deu lugar a um regime disciplinar. Pretendemos mostrar que, para além de uma mudança no regime punitivo, tal movimento produziu também uma mudança na economia de visibilidade, marcando uma ruptura entre uma visibilidade espetacular centrada na integralidade e ostensividade do visível e uma nova visibilidade panóptica, cujo centro é o princípio de “ver sem ser visto”. Por fim, faremos uma análise de algumas obras fotográficas do artista norteamericano Trevor Paglen de modo a evidenciar uma contraposição artística ao panóptico contemporâneo a partir de sua inversão funcional dentro do espaço de visibilidade, onde é o próprio dispositivo panóptico que passa a ser visto sem nada ver.
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