Wasteland by Mowgly Lee

"Wasteland" stands as a testament to the allure that emerges from chaos and devastation. Its imagery portrays a post-apocalyptic world, where humanity grapples with survival amidst the remnants of a once-thriving civilization. The dominant presence of stark, brutalist concrete structures symbolizes the arrogance of mankind, while towering heaps of waste and debris serve as poignant reminders of the repercussions of our actions.
Within this desolation, an uncanny tranquility permeates the captured images. Inhabitants move with deliberate, almost meditative grace, as if they have come to terms with their fate and found solace amidst the ruins. Employing lighting and set design rooted in the theatrical tradition, the series evokes a sense of grandeur and spectacle, simultaneously beautiful and disquieting.

"Wasteland" manifests as a vision that oscillates between bleakness and hopefulness. It serves as a reminder of the delicate nature of our civilization and the ramifications of our choices, while also suggesting that even amidst the darkest periods, beauty can still be discovered. These evocative images challenge us to reflect upon our role in shaping the world and the responsibilities we bear towards future generations.

Sand Crawl 2

Glimpses of the Ethereal by Andrs Hernndez

Loss, memory, and dreams are the central themes of my work. My constant goal is to capture the ephemeral, disconcerting, melancholic, and surreal nature of dreams and memories through the distortion and destruction of analog and digital images. I have always been fascinated by the power that dream images and memories have on me. This fascination has led me to experiment with photography, trying to represent the atmospheres of these intangible worlds. The use of digital intervention and artificial intelligence has allowed me to create these dreamscapes, where vision is rarely clear, and identities are blurred by the noise of the mind. The physical destruction of the image serves as an analogy to the ephemeral and finite condition of memory. I work with the tools of the present while staying firmly anchored to the past.



 Year: 2023

Edition: NFT 1 of 1

Copyright:  2023 Andres Hernandez. All Rights Reserved.

License: CC BY-NC-ND 4.0

Beings #20

Post Photographic Perspectives is Fellowship's inaugural group show celebrating a new wave of innovation in photography.

In 2017, I began to explore the frontiers of AI as a creative collaborator and playmate. To explore these questions, I created a Recurrent Neural Network (RNN), which can generate their own outputs from datasets. The BBC offers one such dataset; 16,000+ sound effects and their arbitrary, descriptive titles, such as large bird taking off, and electric monotony. I feed my RNN the BBC's text and it engages in a game of probability to create its own outputs with surprising results. 

River pig loading and Applause from piece of space are two such examples. I then playfully create images that visually articulate an interpretation of each outputs linguistic meaning. In other words, I move from sound, to text, to AI, to text, to image. As the technology improves, I am engaging in an ever-challenging battle of creative authorship with the machine.

Computers Can't Jump by Ben Millar Cole

In 2017, I began to explore the frontiers of AI as a creative collaborator and playmate. To explore these questions, I created a Recurrent Neural Network (RNN), which can generate their own outputs from datasets. The BBC offers one such dataset; 16,000+ sound effects and their arbitrary, descriptive titles, such as large bird taking off, and electric monotony. I feed my RNN the BBC's text and it engages in a game of probability to create its own outputs with surprising results. River pig loading and Applause from piece of space are two such examples. I then playfully create images that visually articulate an interpretation of each outputs linguistic meaning. In other words, I move from sound, to text, to AI, to text, to image. As the technology improves, I am engaging in an ever-challenging battle of creative authorship with the machine



 Year: 2023

Edition: NFT 1 of 1

Copyright:  2023 Ben Millar Cole. All Rights Reserved.

License: CC BY-NC-ND 4.0

Computers Can't Jump #002

 t !!!!!!! [uglybitches.exposed](https://www.uglybitches.exposed/)


Ugly Bitches

#496

Post Photographic Perspectives II: Acceptable Realities is Fellowship's second group show celebrating a new wave of innovation in AI video and photography.

Almost Human by Irina Angles and Dr Formalyst 

Idle Hands series encapsulates the deep-rooted interconnection between human creativity and the dexterity of hands, and its relevance in the age of AI. The dancing Hands are the visualization of the actual real human dancers performance, transformed through CGI and AI. With a significant portion of the human brain dedicated to controlling hands, their inherent complexity can gracefully mirror the ebb and flow of an entire body dancing."

"Fragile Memories" is a video art series that explores the ephemeral nature of dance as a powerful metaphor for a way that our memories are formed, distorted and erased. These art pieces embrace the fragility, uncertainty, and flexibility inherent in our perception of the past.

Almost Human by Irina Angles and Dr Formalyst

Chapter 1: Idle Hands
Idle Hands series encapsulates the deep-rooted interconnection between human creativity and the dexterity of hands, and its relevance in the age of AI. The dancing Hands are the visualization of the actual real human dancers performance, transformed through CGI and AI. With a significant portion of the human brain dedicated to controlling hands, their inherent complexity can gracefully mirror the ebb and flow of an entire body dancing.

As Hands follow their carefully choreographed path, there comes a moment when they break free and improvise, before returning to form. This departure represents artists" metaphorical journey into uncharted realms, leveraging AI to explore new creative territories while still retaining full creative control.

We should not fear these AI-aided creative escapades. Rather than eroding our identity, they may enable us to delve into the depths of creativity previously unexplored, akin to how the personality of each of Hands is reflected not in the charted choreography, but in these fleeting moments of improvisation.


Idle Hands #1: Explorer

Line Scanner (Herbert W. Franke Tribute Edition) 

Line Scanner (Herbert W. Franke Tribute Edition) is an excerpt from Line Scanner (2016), the first artwork by Ania Catherine and Dejha Ti, known as Operator. Line Scanner merges computer graphics and performance; it was created through Dejha Ti live triggering animations, video mapped onto Ania Catherines improvised movement from a projector suspended 11 meters above. The full length version of Line Scanner has been exhibited at CICA Museum in Korea, CADAF NYC, and film festivals internationally. 

This edition is released on the occasion of the Tribute to Herbert W. Franke, as it realizes Franke"s observation made decades earlier that "...the emergence of computer graphics could lead into other, quite different directions, for instance to unconventional, nondeterministic forms of theater" (Computer Graphics  Computer Art, 1971).

25% of primary sales will be donated to the Foundation Herbert W. Franke. 

Edition No. 6/10  
Duration: 13 seconds (seamless loop)
Aspect Ratio: 1:1
*A 16:9 version is available to collectors upon request. 

operator.la/line-scanner-hwf

Copyright & Terms of Use
All copyrights, rights and intellectual property are reserved by Operator, LLC. Use of the NFT is subject to the Terms of Use available at https://www.operator.la/nft-tou-line-scanner-hwf-tribute

Line Scanner (Herbert W. Franke Tribute Edition) - No. 6/10  

Line Scanner (Herbert W. Franke Tribute Edition) is an excerpt from Line Scanner (2016), the first artwork by Ania Catherine and Dejha Ti, known as Operator. Line Scanner merges computer graphics and performance; it was created through Dejha Ti live triggering animations, video mapped onto Ania Catherines improvised movement from a projector suspended 11 meters above. The full length version of Line Scanner has been exhibited at CICA Museum in Korea, CADAF NYC, and film festivals internationally. 

This edition is released on the occasion of the Tribute to Herbert W. Franke, as it realizes Franke"s observation made decades earlier that "...the emergence of computer graphics could lead into other, quite different directions, for instance to unconventional, nondeterministic forms of theater" (Computer Graphics  Computer Art, 1971).

25% of primary sales will be donated to the Foundation Herbert W. Franke. 

Edition No. 5/10  
Duration: 13 seconds (seamless loop)
Aspect Ratio: 1:1
*A 16:9 version is available to collectors upon request. 

operator.la/line-scanner-hwf

Copyright & Terms of Use
All copyrights, rights and intellectual property are reserved by Operator, LLC. Use of the NFT is subject to the Terms of Use available at https://www.operator.la/nft-tou-line-scanner-hwf-tribute

Line Scanner (Herbert W. Franke Tribute Edition) - No. 5/10  

In 2017, I began to explore the frontiers of AI as a creative collaborator and playmate. To explore these questions, I created a Recurrent Neural Network (RNN), which can generate their own outputs from datasets. The BBC offers one such dataset; 16,000+ sound effects and their arbitrary, descriptive titles, such as large bird taking off, and electric monotony. I feed my RNN the BBC"s text and it engages in a game of probability to create its own outputs with surprising results. River pig loading and Applause from piece of space are two such examples. I then playfully create images that visually articulate an interpretation of each outputs linguistic meaning. In other words, I move from sound, to text, to AI, to text, to image. As the technology improves, I am engaging in an ever-challenging battle of creative authorship with the machine



 Year: 2023

Edition: NFT 1 of 1

Copyright:  2023 Ben Millar Cole. All Rights Reserved.

License: CC BY-NC-ND 4.0

Computers Can"t Jump #076

Post Photographic Perspectives III: Taming The Machine

*Post Photographic Perspectives III: Taming The Machine*

The initial Fellowship program was all about photography. We worked with artists like Gregory Crewdson, Guy Bourdin, Cristina de Middel, Laurie Simmons, August Sander, and many more. We see photography as one of the mediums that created one of the most important cultural shifts of the last 200 years. Photography is everywhere, and its effects can be felt in all aspects of life and art. So when AI images started to speak a sort of ""photographic"" language, we believed it was imperative to address the connection between these mediums. At their core, both mediums describe the world we live in. One directly captures it, the other one is an imagined picture of the world. For our last installment of the Post Photographic Perspectives group exhibitions, we wanted to offer a clear view of how AI tools and artistic explorations we saw artists using in PPP I have changed and evolved into different visual manifestations in a period of one year.

This curatorial project looks to present a group of artists who, via their individual techniques and themes, are fighting the machine hallucinations created via AI tools to create a unique voice within the myriad of AI images being produced today. In this push and pull, new propositions of form are being developed that emanate an apparent tension between the generic production of images these algorithmic tools are intended to create and the creators" desires to impose their artistic visions.

As artists venture into this new frontier, they confront a delicate balance: how much of their creative process should be entrusted to the machine, and at what point does this partnership become a relinquishment of control? Each piece in the exhibition serves as a marker in this ongoing negotiation, a reflection of the artist"s struggle to maintain authority over a tool that possesses the capacity to both amplify and overshadow.

The very act of integrating AI into the artistic process raises questions about authorship and authenticity. As the machine learns and adapts, generating outputs that can surprise and even transcend initial expectations, artists must decide where to draw the line. The fear of becoming mere operators, guiding a process rather than birthing a vision, looms large. It prompts a reevaluation of what it means to create, pushing artists to establish boundaries that ensure their hand remains firmly at the helm, guiding the AI without being subsumed by its capabilities.

Yet, ""Taming the Machine"" is not just a showcase of these struggles; it is also a testament to the human spirit in the face of technological upheaval. It celebrates the artists who navigate this complex terrain and those who learn to speak the language of algorithms without losing their own. These creators do not shy away from the machine"s potential but engage with it critically, setting limits where necessary to safeguard the personal touch that defines their work.

In this context, the machine is neither adversary nor sovereign but a catalyst that, when carefully managed, can expand the horizons of what is possible in art. The exhibition underscores the importance of intentionality in using AI tools, advocating for a partnership where the artist"s vision remains paramount, and the technology serves to realize that vision in previously unimaginable ways.

""Taming the Machine emerges as a narrative of adaptation, highlighting the ongoing dialogue between human creativity and digital innovation; a current journey marked by moments of tension and harmony.

The artists included are:
- Diego Trujillo
- Hrant Khachatryan
- Iigo Bilbao
- Ivonna Tau
- Jess Mac
- Lily Illo
- Olga Fedorova
- Ossagrosse
- Pete Burkeet
- Sheldrick

Diego Trujillo - Blind Camera #51

A platform for AI-generated art. 

https://braindrops.cloud/

BrainDrops

Anthrocinematica is an AI video collection composed of 500 perfect loop sequences. Each sequence zooms in on a single photo from a wall of photos in one of thirteen rooms, where each room is located in different countries (Ethiopia, Finland, India, US, Japan). In addition, each room has two dimensions, one where the wall of photos are of people and places in Japan and the other is of people and places in the US. This all forms an imperfect yet idealistic microcosm of human life both on a global scale, but also a personal one as the duality of each room reflects the multi-cultural heritage of the artist. Leaning into the nature of AI, these concepts are also blended together in unusual and subtle ways, which helps to show how the world is not black and white, but it is a blend of many different elements to form what makes us all human.