00:00I am an artist from Lyphanie, I am an artist from Lyphanie, and I would like to invite myself to Christian for the invitation.
00:21I am an artist of Lyphania, and I am an artist of Lyphania, and I am an artist of Lyphania.
00:28I have prepared the text, I am going to read the text, for the invitation and for the audience.
00:38So, I started to do it.
00:41I am an artist from Lyphanie and I talk about technology and sculpture.
01:00This sculpture allows me to explore how these disciplines blend together.
01:10With a decade of experience, I have worked in digital sculpting, in modeling,
01:18and in 3D printing with the promise of adventure,
01:22with the adventure of the adventure and the adventure of the adventure and the adventure of the adventure.
01:36My artistic vision explores the boundaries
01:41between digital simulation and human perception.
01:45I added artistic elements, artistic elements, artistic elements, and adventure elements.
01:55I am in the midst of an adventure.
01:57I added an evolved version of the adventure.
01:59Dreams are central to my work.
02:02Dreams call us into adventure or into transition.
02:06often suggesting something conscious or interrupting.
02:12It is adventure that makes adventure possible.
02:17There comes a point where the adventure evolves.
02:22The process is everything.
02:24Each artistic endeavor is part of the adventure of adventure.
02:28The adventure that is the adventure of adventure,
02:32I treat the dedication in the environment of luxury and adventure.
02:37I am happy about the adventure of the adventure of the adventure.
02:42I am happy about this adventure of showcasing my assets
02:44at Parse-Electronica, Intersculpt,
02:48Verona, Villare,
02:49L'Ovo, Virtual & Tampoures,
02:52International Digital Art Festivals,
02:54Each of which explores boundaries between technological experiments
02:59and aesthetic life actions.
03:03My creativity is connected to the national digital accessibility,
03:09which allows me to share my knowledge with how artists working with VR,
03:16CDD printing, digital sculpture and our video group.
03:25If ten years ago I would use various software for 3D modeling and sculpting,
03:32more as structured recreation techniques,
03:36to apply to the surface of video models,
03:39also various rendering engines,
03:42to get a fast or higher quality renders,
03:46to have a final result.
03:48So many nowadays new tools have shared,
03:52that quickly accelerates to entire workflow,
03:56thus taking down the enjoyment of a creative process.
04:02It's difficult for modern digital artists to learn and master everything,
04:11because there is not only a wide variety of tools for creativity,
04:17but also the growth rate of new tools is faster than learning and mastering new things.
04:27Today technology not only captures our identity,
04:36it becomes the architect of our identity.
04:40Digital representation is now also a laboratory in which we shape new human system relationships.
04:50I am interested in looking at AI and autarchs not as tools,
04:56but as cultural and philosophical phenomena,
05:00that transforms our aesthetics, politics and self-concept.
05:09I found an interesting phenomenon in the modern digital world,
05:14that technology returns to us, our I, me, myself,
05:20which is already preceded by the system,
05:24and does not have any authentic reflection.
05:27Then the question arises,
05:30Who is the subject today?
05:32Does our I belong to us?
05:35or to the algorithms that shape how we see ourselves?
05:40Science not only reflects reality,
05:44but also changes it.
05:46AI and autarchs are already in everyday life.
05:50They are our new mirrors,
05:53which are not neutral
05:55but programmed according to data, data sets,
05:59platform politics and algorithmic logic.
06:03can we say that the modern technological self,
06:07is anonymous, collective,
06:09but partly empty?
06:11The modern world is not just a physical space,
06:19but also a huge network
06:22in which every object has its own address,
06:26tag, metadata.
06:28We have to find,
06:30we have to manage.
06:32A QR code,
06:33or a small sticky level,
06:35becomes an invisible treat
06:38connecting an object to databases,
06:41graphics, warehouses, logistic systems.
06:45At first glance, it seems neutral,
06:48just convenience, organized, ordered,
06:51but in fact, it is a language of management,
06:54that is quietly rewriting our relationship with the world.
07:01The internet, which we often perceive as an open democratic space,
07:06is actually a powerful infrastructure.
07:10Farms of millions of servers, oceans of cables, ecosystems of algorithms.
07:17It is not energy, but a holographic network,
07:22in which every road passes,
07:25through gatekeepers, corporations, platforms, protocols.
07:30This system creates the illusion of transparency,
07:34but at the same time hides its mechanisms.
07:38We see the surface, the screen, and the interface,
07:43but not the mechanics,
07:45that power energy, servers, and data streams.
07:50In today's digital space,
07:56algorithms are not just technical tools.
07:59They become natural choreographers who shape our case trajectories,
08:06and centers of intention.
08:09They are not just code.
08:12They are part of un-entailed infrastructure,
08:16where algorithmic logic maintains power,
08:19control of laws, and credit our behavior.
08:23But if we understand algorithmic choreography,
08:28we can turn it into an art scene.
08:32The deliberate manipulation of algorithms becomes a creative strategy.
08:38Art intervenes in the choreography of algorithms
08:43by temporization in a strict score.
08:46And here, I would like to introduce some artists
08:50using the algorithm concepts.
08:53Face Cages is a performance video and sculpture project,
08:59in which artist Zach Blask explores how facial recognition technologies
09:07transform the human face into a technical protocol
09:12and a tool of control.
09:14The world combines 3D scanning, performance, sculpture, and sound design,
09:20to reveal how digital infrastructure reduces the face to death data,
09:27a mass manipulated by all the tools, not humans.
09:31This process causes this conformity.
09:34Faces are the form, skin is compressed, their body resistance.
09:39Their face, which should be a symbol of human identity,
09:43here becomes a form of imprisonment.
09:46Now I put a video.
09:52Maybe I will introduce very quickly.
10:08At first glance, this is a poetic technological narrative,
10:13but in reality it criticizes the infrastructure of surveillance and control.
10:19The drone's search becomes a metaphor for constantly random algorithm
10:25that collects, filters, and classifies data even when the target seems innocent.
10:38What do you think will happen?
10:39I don't know whereажs are in here.
10:53You see a terms of absurd type of fiction,
10:57it looks like I have done how you can manage the терриpaced site,
11:01which we have that должно be enough at you,
11:04Here we go.
11:34Here we go.
12:04Here we go.
12:33Here we go.
13:03Here we go.
13:33Here we go.
14:03Here we go.
14:05Here we go.
14:07Here we go.
18:09Here we go.
18:39Here we go.
19:41Here we go.
20:41Here we go.
20:43Here we go.
20:45Here we go.
21:17Here we go.
21:47Here we go.
23:49Here we go.
24:21Here we go.
24:23Here we go.
24:25Here we go.
24:27Here we go.
28:59Here we go.
32:01Here we go.
32:03Here we go.
33:05Here we go.
33:07Here we go.
33:09...
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