Archivi tag: trevor paglen

“Fanon” (Even the Dead Are Not Safe) by Trevor Paglen

Descrizione dell’opera FANON Dalla Pagina facebook ufficiale di TREVOR PAGLEN,

Here’s another piece from the new body of “machine vision” works – it’s a print of the facial “signature” of Franz Fanon.To grossly oversimplify, one of the ways you do face recognition is like this:

1) get a bunch of pictures of different people with multiple pictures of every person’s face; 2) align all the faces; 3) make a composite image of each person’s face; 4) make a composite image of all the other faces to get an “average human” face; 5) subtract the “average human face” from the “specific human face” you want to recognize; 6) now you’re left with an image of a particular person’s unique ‘facial fingerprint’ which you look for in subsequent images to try and tell who you’re looking at. So what we have here is an image of what the “specific face” of Franz Fanon looks like, according to this particular facial recognition algorithm. The piece is called:
“Fanon” (Even the Dead Are Not Safe)
Eigenface (colorized)
dye sublimation print
48 x 48 inches

Link al volume di PAGLEN

Trevor Paglen’s Sight machine with Kronos Quartet and Obscura Digital

Trevor Paglen is an artist whose work spans image-making, sculpture, investigative journalism, writing, engineering, and numerous other disciplines. Among his chief concerns are learning how to see the historical moment we live in and developing the means to imagine alternative futures. Paglen’s work has had one-person exhibitions at Vienna Secession, Eli & Edythe Broad Art Museum, Van Abbe Museum, Frankfurter Kunstverein, and Protocinema Istanbul, and participated in group exhibitions the Metropolitan Museum of Art, the San Francisco Museum of Modern Art, the Tate Modern, and numerous other venues. He has launched an artwork into distant orbit around Earth in collaboration with Creative Time and MIT, contributed research and cinematography to the Academy Award-winning film Citizenfour, and created a radioactive public sculpture for the exclusion zone in Fukushima, Japan.

The Cantor Center for Visual Arts at Stanford University came to OBSCURA DIGITAL and proposed a collaboration with artist Trevor Paglen, whose work addresses topics like government secrecy and surveillance, exposing the vast apparatus of machines, systems and algorithms that monitor virtually every aspect of our lives. Paglen’s “Sight Machine”project would demonstrate to a live audience how machines “see” the world — in this case, a performance by the renowned Kronos Quartet.

Obscura digital worked with Paglen’s team to develop the computer and video systems to take a live video feed of the string quartet’s performance, run it through actual off-the-shelf artificial intelligence surveillance algorithms (over a dozen of them in total), and project what the AIs see and how they interpret it onto a screen above the musicians.

These AIs — whether for facial recognition, object identification or threat detection — are designed to communicate with their machine counterparts, not to provide human-readable output. Making that possible in realtime required Obscura’s systems engineers to maximize throughput in a Herculean research and development effort.