<Object, Objetc, Objecc>





(03/05/19 - 16/06/19 @ Spazju Kreattiv) is a group show by Letta Shtohryn (UA/MT) Liza Eurich (CA) and  Katri Kempas (FIN). Operating from a platform of call and response, the production of work for this exhibition explores methods of translation: from simulated to real, from personal to referential, from present to absent and vice versa. Further, it provides a methodology for working collaboratively across the geographical expanse, opening up a space of intimate dialogue. Starting from a shared interest in objectness, the thematic for these exchanges will engage with processes that endeavour to dematerialize the material, or conversely materialize the immaterial.

Object.Objetc.Objecc-final.final.pdf


Object, Objetc, Objecc was supported by Arts Council Malta Project support grant, Liza Eurich’s work was supported by Canada Council for the Arts | Conseil des Arts du Canada and Ontario Arts Council - Conseil des arts de l'Ontario


Photo : Elisa von Brockdorff
 

         Photos : Elisa von Brockdorff




Cognitive Services (2019)


     This work looks into aspects of facial recognition, of machine vision vs lens vision as different ways of seeing. Digital images reproduced by machines are translated into visuals only for our human benefit: in a world run by machines, this visual imagery would be inscribed in binary code or text. So what does a computer see?

In this work, some images of the artist had been recognised by an online Microsoft demo and output by another demo into the text to be translated again via another algorithm into an image.  Other two images were subjected to a Microsoft azure image description and emotion detection demo. The uncontrollably and partially trained aspect of the algorithmic online demo is of interest to this work, as it has revealed its inbuilt bias.

Although a successful recognition rate can be quite high when a reference image is provided to the machine, when the same system is tasked with face detection of an image and to describe that image without human intervention, the software performs the task in a variety of flawed ways. When Amazon’s Rekognition software was
tasked to identify women, it misidentified the gender of white women 29% of the time and darker skinned women 31% of the time. If machines learn from databases that have inbuilt racial and gender stereotypical characteristics then these biases will be inherited by the machines. The stakes become higher with the gradual implementation of these biased image recognition technologies on a governmental level.

Aluminium print 40 x 50 cm (unique)
Aluminium print 30 x 20 cm (unique)
Aluminium print 20 x 15 cm (unique)
                                                           


 
                                                                                                        


Flawed Object (2019)



A broken screen makes visible this mediative device that lies between the machine’s output and our eyes; its failure to act as a transparent window renders this role visible, making us aware of our cognitive immersion into a digital realm. Similarly, damaged glasses remind us that there is a (now flawed) intermediary between us and the visual world. Eye floaters are reminders that our eyes themselves are a sometimes flawed medium through which we experience the world. No visual perception is received in a pure form, we must utilise a number of filters to have a visual experience. This work looks at imperfections in visual transmissions and the subsequently increased visibility of the mediating technology in these cases


4.5 " mobile with a cracked screen,
7" tablet with a cracked screen,
USB cables, 3m x 2 m projector,
UV printed chiffon fabrics 2.40 m x 1.60 m,
metal polls 1.6 m
HD video 2:15 min


3.20 x 2.60 m x 10 cm
(unique)



Installation elements - 4.5 " mobile with a cracked screen, 7" tablet with a cracked screen, USB cables,
3m x 2 m projection, UV printed chiffon fabrics 2.40 m x 1.60 m, metal polls 1.6 m


                                                                                                                                                 

      


Installation view
HD video 2:15 min on two screens and as a projection.

                                   






Google Receipts (2019)



This work materialises online browser data via a receipt printer, finding an analogy in consumer transactions. Our browsing data is increasingly being transformed into a commodity that is bought and sold by big businesses,
instead of its original use as a record of private online activity for our own use. Our browser history is where the mind is manifested. These same inscribed manifestations are also valuable consumer data, traded for marketing and surveillance purposes. Google receipts materialises digital non privacy by printing out each line of the artist’s browser history every day for the duration of the exhibition to be
viewed by anonymous strangers – free of charge.



Receipts printer
Raspberry PI 3
Thermal paper

30 cm x 15 cm x 150 cm
(unique)






Installation elements :
Receipt printer , 3 meters of thermal paper, 11 days of printed      out personal browsing 


Crypto H(e)aven (2019)


On 9th December 2018 the CEO of cryptocurrency exchange Quadriga CX dies. Gerald Cotten personally held the passwords to customers’ digital wallets, thereby rendering $190 million lost or missing. Speculation continues about the truth behind his sudden death in India.

Death has seemingly been unaccounted for in the cryptocurrency world. Here, the corporeal event of bodily death suddenly clashed with – and superseded – the immateriality and mathematical logic of the crypto world. The crypto-realm functions on a quasi-religious premise of belief in digital money – money that only exists when enough people assert and legitimat
its realness via the blockchain.

This work looks at crypto heaven and crypto haven as places where deceased crypto CEOs go. Leaving a space for speculation on whether Cotten can be found in the cloud of afterlife or in a safe haven with a new identity, the work looks into the similarities between our vision of heaven and places that call themselves crypto havens.


Scaffolding 180 cm x 5 pieces,
four UV printed synthetic curtains 180 x 180 cm, plinth 1m x 25cm x 25cm,
chocolate (consumable) bitcoin,
4k video 12 min

180 x 180 x 180 cm
(unique)




 


                                        


Installation elements : Video, single channel, 4K, 12:18 min ( Machinima using SIM 4); Silver fabric ; Edible chocolate Bitcoin;
Scaffolding polls 180 cm, gold, silver and plastic rings; UV printed shower curtains 180x180 cm      



Human Object (2019)



Human Object explores what differentiates humans from Artificial Intelligence at this point in AI development. Recently, some Alexa owners have become concerned with her ability to mimic active listening. What other things can AI do that we thought to be ultimately human? Must we continually reconfigure our concept of what is "human" as technology mimics human behaviour increasingly (and unnervingly) accurately? Can an AI hesitate? Can an AI change its mind? In this work I am looking at (postsoviet gym culture, Instagram fitness tutorials and YouTube trainers with perfect bodies, perfect postures and perfect performances. The humans so perfect they are almost non-human, embodying authoritarian militaristic training and discipline in the pursuit of robotic perfection to become an übermensch – a hyperhuman.


Vinyl shets 3.60 m x 2.20 m
Matress foam 1.40 x 1.60 x 30 cm
HD video 02:51

 

                             



 
 

                             
Mark Photo by : Elisa von Brockdorff Photo by : Elisa von Brockdorff Photo by : Elisa von Brockdorff