AI in context: an/aesth/ethics of language and infrastructure Roman Mitch, Fraser Austin, Kate Crawford and Vladan Joler
17 May – 1 June 2024 Opening Friday 17 May 7pm
null gallery, 30 Arthur Street, Te Aro
17 May – 1 June 2024 Opening Friday 17 May 7pm
null gallery, 30 Arthur Street, Te Aro
The exhibition at null gallery presents new work by artists and researchers working across conversational interfaces and computational design. The exhibition contextualises the instrumentalisation of our languages in digitally networked infrastructure, and critically reflects on the planetary impacts of ‘AI’ including modes of labour, platforming, and exploitation.
With projects by Roman Mitch, Fraser Austin, Kate Crawford and Vladan Joler. Supported by Wellington City Council
RESOURCES AVAILABLE AND SPACE
2 x 256X256 WALL MOUNT LED DISPLAYS
WHAT COMPUTE DO I HAVE ON SITE?
IDEA:
NFO GENERATOR BASED ON SNIPPITS OF WHISPER SPEECH TO TEXT DETECTED IN THE SPACE. OTHERWISE JUST HAVE IT GENERATE FROM A DB I MAKE THE IDEA BEING, EVERYTHING IS ABOUT TO BE PIRATED ETC ETC RAZOR 1911 WAREZ RELEASE OF YOUR TEXTS WITH YR EX
IDEA:
INFINITE WEBSITE GENERATOR BASED ON SPEECH TO TEXT OR JUST GENERATING FROM PREVIOUS INPUT FOR EVER, RESET IT WITH A SEED PROMPT
IDEA:
SOMETHING TO REENFORCE MY EMMERGING IDEAS AROUND EPHEMERAL EXPERIENCES AS BEING SOMETHING WE NEED TO TRAIN OURSELVES ON, LOST MOMENTS AND FOMO ARE A SCARICITY MINDSET.
TALK INFORMATION:
Sunday 26 May 10:00 – 11:10
Te Kura Hoahoa – School of Design Innovation, Te Herenga Waka – Victoria University of Wellington, 139 Vivian Street, Te Aro
In a series of quick fire presentations, artists present the ways they have worked with algorithmically generated material. Musician, artist, and record label runner Fraser Austin discusses the rise of generative AI in the context of plunderphonic and remix culture. His talk explores how AI is forcing our hand in re-evaluating the limitations of creative ownership, and considers how artists might survive this new landscape without succumbing to an existential crisis. Toby Eglesfield shares his journey of training a model to draw a forest based on drawings that he provides it with. Chris Berthelsen, Rumen Rachev, and Adam Ben-Dror discuss their one day generative-AI sprint exploring weather commons, as part of the art activities of the Weather Commons Research Group (Faculty of Collaborative Regional Innovation, Ehime University) within the Japanese Science and Technology Agency Moonshot Goal 8 Project “Realization of a society safe from the threat of extreme winds and rains by controlling and modifying the weather by 2050”. Finally, Stu Sontier brings his visual gleanings from a two year long survey of the glitches that occur in Google Earth due to algorithmic interventions in the raw data.
Paper: Remix(((Remix)Remix)Remix): AI’s Role in the Recursive Redefinition of Artistic Ownership in the Post-Copyright Era
Fraser Austin
Fraser ‘Frase’ Austin is a multimedia artist with an extensive background in DIY music, digital art, and record label management. Austin’s work explores the intersection of physical and digital identities, often focusing on the relationship between our bodies and digital avatars.
Paper: AI, Draw Me A Forest Based on My Drawings
Toby Eglesfield
Toby Eglesfield is a lecturer in design communication at Otago Polytechnic where he teaches design fundamentals software, animation, and UI design for video games. His interests also include blockchain art on the Tezos blockchain, creative coding with Javascript, the Cavalry application and the Godot game engine.
Paper: AI-addled D.E.S.P.A.I.R. Cobbling together a conceptual framework for “Weather Commons” as part of a critical artistic research project within Japan’s Moonshot 8 Project for Weather Control.
Chris Berthelsen, Rumen Rachev and Adam Ben-Dror
Chris Berthelsen is an independent artist who likes to explore environments for creative activity, resident-led modification of the everyday environment, and alternative education(s). He is currently a researcher at Ehime University and a doctoral candidate at the Elam School of Fine Arts.
Rumen Rachev, an RMA graduate from Utrecht University, is a practice-led researcher in art and design, co-founding the NEWS Programme and serving as Creative Guest and Director at Activities and Research in Environments for Creativity Charitable Trust (AREC). Currently a research assistant at the University of Auckland, his work spans media, performance, and environmental studies.
Adam Ben-Dror is a multidisciplinary artist, designer and inventor based in Tāmaki Makaurau, Auckland. With Xin Cheng he co-runs Local Making, a neighbourhood-scaled laboratory for living and making together amongst the more-than-human Anthropocene.
Paper: Questioning ‘springtime everywhere’ – a visual analysis of Google Earth
Stu Sontier
Stu Sontier is an experimental photographer who works with digital devices to question the role of images in a digital society. He predominantly presents work in online spaces, digital screens and Tezos-based NFTs to reduce his ecological footprint.ip between our bodies and digital avatars.
SUBMITTED TITLE
Paper: Remix(((Remix)Remix)Remix): AI’s Role in the Recursive Redefinition of Artistic Ownership in the Post-Copyright Era
Fraser Austin
Fraser ‘Frase’ Austin is a multimedia artist with an extensive background in DIY music, digital art, and record label management. Austin’s work explores the intersection of physical and digital identities, often focusing on the relationship between our bodies and digital avatars.
IRL EMBODIED STRUCTURE AND DELIVERY
Detailed outline for your presentation, incorporating the influence of compression and lossy formats on aesthetics and identity throughout each section. I've also included suggestions for slides and resources to display at key moments.
Introduction (2-3 minutes)
- Begin with your personal story about running a vaporwave label and the role of lossy music platforms
- Introduce the core analogy: the progression of compression from live music to recorded media, MP3s, and the internet's impact on all media
- Highlight how compression has influenced the aesthetics of vaporwave and other music genres (Slide: examples of vaporwave art and music)
The Compression Journey of Music (4-5 minutes)
- Trace the history of music compression, from live performances to recorded media (e.g., vinyl, cassettes, CDs)
- Discuss the shift to digital formats like MP3s and how this compression changed the way music was produced, distributed, and consumed
- Explain how the aesthetics of compressed music informed the identity of artists and fans (Slide: timeline of music compression milestones)
- Highlight the role of software in making studio infrastructure more accessible and compressible
The Internet's Compression of All Media (4-5 minutes)
- Explain how the internet further compressed all media, not just music
- Provide examples of how this compression has affected various media formats (e.g., images, videos, text) and their respective aesthetics (Slide: examples of compressed media aesthetics)
- Discuss the implications of this compression on the way we interact with and share media content
- Explore how these compressed aesthetics have shaped online communities and identities
The Artist's Identity in the Age of Compression (6-7 minutes)
- Discuss how the compression of art, artist, and creative systems affects the artist's identity
- Explore the implications of an artist's labor being compressed into mere seconds of GPU time (Slide: examples of AI-generated art)
- Consider the potential impact on the perceived value and uniqueness of artistic works and the artist's role in the creative process
- Raise questions about the future of artistic identity when iterative or similar works can be produced rapidly
- Examine how the aesthetics of compression and machine learning might influence the way artists define themselves and their work
Navigating the Future: Organic vs. Hyper-Nostalgia (6-7 minutes)
- Discuss the potential paths artists may take in response to this new reality
- Explore the idea of going "organic" – emphasizing the human touch and the uncompressed, authentic experience (Slide: examples of "organic" art and music)
- Introduce the concept of "hyper-nostalgia" – embracing compression as a new aesthetic and emotional tool (Slide: examples of "hyper-nostalgic" art and music)
- Explain how compression can be mistaken for warmth due to the increased computational effort required for decompression
- Consider how artists might leverage this psychological effect in their work and how it could shape the aesthetics and identities of future art movements
Conclusion (2-3 minutes)
- Summarize the key points of your presentation
- Reflect on the future of artistic identity and creative processes in the age of compression and machine learning
- Leave the audience with thought-provoking questions about the role of artists, the nature of art, and the influence of aesthetics on identity in this new landscape
Throughout the presentation, use your personal experiences and insights to illustrate the challenges and opportunities artists face in this compressed world. Engage the audience by asking rhetorical questions and encouraging them to consider the implications of these technological developments on the creative process, the art world, and the formation of artistic identities.
graph TD
Introduction --> PersonalStory
Introduction --> CoreAnalogy
Introduction --> VaporwaveAesthetics
PersonalStory["Personal Story: Running a Vaporwave Label"] --> CompressionJourneyOfMusic
CoreAnalogy["Core Analogy: Compression Journey"] --> CompressionJourneyOfMusic
VaporwaveAesthetics["Vaporwave and Music Genre Aesthetics"] --> CompressionJourneyOfMusic
CompressionJourneyOfMusic["The Compression Journey of Music"] --> LiveToRecorded
CompressionJourneyOfMusic --> DigitalFormats
CompressionJourneyOfMusic --> AestheticsAndIdentity
CompressionJourneyOfMusic --> StudioInfrastructure
LiveToRecorded["Live Performances to Recorded Media"] --> AestheticsOfCompressedMusic
DigitalFormats["Shift to Digital Formats like MP3s"] --> AestheticsOfCompressedMusic
AestheticsAndIdentity["Aesthetics of Compressed Music and Identity"] --> AestheticsOfCompressedMusic
StudioInfrastructure["Software and Studio Infrastructure Accessibility"] --> AestheticsOfCompressedMusic
AestheticsOfCompressedMusic["The Aesthetics of Compressed Music"] --> InternetCompression
InternetCompression["The Internet's Compression of All Media"] --> AllMediaCompression
InternetCompression --> CompressedMediaAesthetics
InternetCompression --> MediaInteraction
InternetCompression --> OnlineIdentities
AllMediaCompression["Compression Impact on Various Media Formats"] --> PlunderphonicsAndVaporwave
CompressedMediaAesthetics["Compressed Media Aesthetics Examples"] --> PlunderphonicsAndVaporwave
MediaInteraction["Implications on Media Interaction and Sharing"] --> PlunderphonicsAndVaporwave
OnlineIdentities["Shaping Online Communities and Identities"] --> PlunderphonicsAndVaporwave
PlunderphonicsAndVaporwave["Plunderphonics and Vaporwave"] --> LiminalSpaces
PlunderphonicsAndVaporwave --> PoliticalAndPersonal
LiminalSpaces["Reframing Personal Nostalgia for Liminal Spaces"] --> SampleAttribution
PoliticalAndPersonal["Political and Personal Dimensions"] --> SampleAttribution
SampleAttribution["The Impossibility of Sample Attribution"] --> HyperNodes
SampleAttribution --> HyperNostalgia
SampleAttribution --> Authorship
HyperNodes["Concept of 'Hyper-Nodes'"] --> ArtistIdentity
HyperNostalgia["Rise of 'Hyper-Nostalgia'"] --> ArtistIdentity
Authorship["Authorship and Ownership in the Digital Age"] --> ArtistIdentity
ArtistIdentity["The Artist's Identity in the Age of Compression"] --> ArtistCreativeSystems
ArtistIdentity --> GPUTime
ArtistIdentity --> ArtisticValueAndRole
ArtistIdentity --> RapidIteration
ArtistIdentity --> AestheticsAndIdentity
ArtistCreativeSystems["Compression of Art, Artist, and Creative Systems"] --> OrganicVsHyperNostalgia
GPUTime["Artist's Labor Compressed into GPU Time"] --> OrganicVsHyperNostalgia
ArtisticValueAndRole["Artistic Value and Role in Creative Process"] --> OrganicVsHyperNostalgia
RapidIteration["Rapid Production of Similar Works"] --> OrganicVsHyperNostalgia
AestheticsAndIdentity["Aesthetics and Machine Learning Influence on Identity"] --> OrganicVsHyperNostalgia
OrganicVsHyperNostalgia["Navigating the Future: Organic vs. Hyper-Nostalgia"] --> OrganicArt
OrganicVsHyperNostalgia --> HyperNostalgiaAesthetic
OrganicVsHyperNostalgia --> CompressionAsWarmth
OrganicVsHyperNostalgia --> ArtMovementsAndIdentities
OrganicArt["Organic Art: Human Touch and Authentic Experience"] --> AcceleratedArt
HyperNostalgiaAesthetic["Hyper-Nostalgia: Compression as Aesthetic and Emotional Tool"] --> AcceleratedArt
CompressionAsWarmth["Compression Mistaken for Warmth"] --> AcceleratedArt
ArtMovementsAndIdentities["Shaping Future Art Movements and Identities"] --> AcceleratedArt
AcceleratedArt["Accelerated Art and the Organic Alternative"] --> HumanMachineCreativity
AcceleratedArt --> OrganicCreativity
HumanMachineCreativity["Blurring Lines Between Human and Machine Creativity"] --> EarlyPiracyAndDemoscene
OrganicCreativity["Organic Human Creativity"] --> EarlyPiracyAndDemoscene
EarlyPiracyAndDemoscene["Early Internet Piracy and Demoscene Compression"] --> DigitalSubversion
EarlyPiracyAndDemoscene --> DemosceneArtifacts
DigitalSubversion["The Craft of Digital Subversion"] --> ValueOfArt
DemosceneArtifacts["Demoscene Productions and Piracy Artifacts"] --> ValueOfArt
ValueOfArt["The Value of Art in a Compressed World"] --> BeyondArtifacts
ValueOfArt --> NewMeaningAndExperience
BeyondArtifacts["Beyond Traditional Artifacts and Narratives"] --> Conclusion
NewMeaningAndExperience["New Forms of Meaning and Experience"] --> Conclusion
Conclusion --> KeyPoints
Conclusion --> FutureReflection
Conclusion --> ProvokeThoughts
KeyPoints["Summary of Key Points"] --> QuestionsAndDiscussion
FutureReflection["Reflection on Artistic Identity and Creative Processes"] --> QuestionsAndDiscussion
ProvokeThoughts["Thought-Provoking Questions about Art, Identity, and Aesthetics"] --> QuestionsAndDiscussion
QuestionsAndDiscussion["14. Questions & Discussion"]
META CONTENT:
graph LR
A1[Plunderphonics and Vaporwave] -->|Reframing Nostalgia for Liminal Spaces| B[Personal Nostalgia]
A1 -->|Blurring Lines Between Original and Derivative| C[Emotional and Psychological Impact]
A1 -->|Examining Slowed and Reverberated Works| D[Political and Personal Dimensions]
A2[Sample Attribution] -->|Exponential Growth of Referential Nodes| E[Hyper-Nodes]
A2 -->|Computational Intractability| F[Traditional Copyright Notions Strained]
A2 -->|Emotional Resonance Over Legal Status| G[Hyper-Nostalgia]
A2 -->|Blurring Creator and Consumer Lines| H[Reconsidering Authorship and Ownership]
A3[Accelerated Art] -->|Blurring Human and Machine Creativity| I[Pushing Creative Boundaries]
A3 -->|Celebrating Human Qualities| J[Organic Human Art Movement]
A3 -->|Embracing Technological Potential| K[Redefining Human Creativity]
A4[Early Internet Piracy] -->|Examining Compression Techniques| L[Challenging Ownership and Value Notions]
A4 -->|Exploring Ethics and Aesthetics| M[Shaping Digital Culture]
A4 -->|Imagining Alternative Futures| N[Reconsidering Creativity, Ownership, and Value]
A5[Art in Compressed World] -->|Traditional Value Markers Irrelevant| O[Redefining Artistic Value]
A5 -->|Creating New Meaning and Experience| P[Engaging with the World in New Ways]
A5 -->|Challenging Assumptions About Art| Q[Redefining Art, Value, and Meaning]
B -->|Navigate Blurred Boundaries| C
D -->|Challenge Copyright Law| C
E -->|Computational Intractability| F
F -->|Emotional Resonance Over Legal Status| G
G -->|Blurring Creator and Consumer Lines| H
I -->|Embracing Technological Potential| J
I -->|Celebrating Human Qualities| K
J -->|Redefining Human Creativity| K
L -->|Imagining Alternative Futures| M
L -->|Exploring Ethics and Aesthetics| N
M -->|Reconsidering Creativity, Ownership, and Value| N
O -->|Creating New Meaning and Experience| P
O -->|Challenging Assumptions About Art| Q
P -->|Redefining Art, Value, and Meaning| Q
style A1 fill:#f9f,stroke:#333,stroke-width:4px
style A2 fill:#f9f,stroke:#333,stroke-width:4px
style A3 fill:#f9f,stroke:#333,stroke-width:4px
style A4 fill:#f9f,stroke:#333,stroke-width:4px
style A5 fill:#f9f,stroke:#333,stroke-width:4px
Abstract 1: Plunderphonics and Vaporwave: Reframing Personal Nostalgia for Liminal Lost Spaces
This abstract explores the intersection of plunderphonics and early 2000s internet culture, focusing on the vaporwave genre as a case study. By examining the practice of slowing down copyrighted works and adding reverb, we uncover the political and personal dimensions of this artistic approach. Rather than a direct challenge to copyright law, these transformative works serve as a reframing of personal nostalgia for liminal lost spaces. Through the manipulation of existing audio, vaporwave artists create a sense of longing for a past that never quite existed, inviting listeners to navigate the blurred boundaries between memory, imagination, and reality. This abstract highlights the emotional and psychological impact of plunderphonics in the digital age, where the lines between original and derivative works become increasingly blurred.
Abstract 2: The Impossibility of Sample Attribution in the Era of Hyper-Nodes
As the complexity of digital sampling grows, the process of attributing samples to their original sources becomes an increasingly daunting task. This abstract delves into the concept of "hyper-nodes" - the exponential growth of referential nodes associated with a single sample. With the advent of advanced AI, the challenge of untangling these complex webs of attribution becomes computationally insurmountable, even if P = NP. As a result, traditional notions of copyright become strained, if not altogether inapplicable. In this context, we introduce the concept of "hyper-nostalgia" as a post-modern liminal space, where the boundaries between original and derivative works dissolve, and the emotional resonance of a sample supersedes its legal status. This abstract invites us to reconsider the nature of authorship and ownership in an era where the lines between creator and consumer are increasingly blurred.
Abstract 3: Accelerated Art and the Organic Alternative: Navigating the Boundaries of Human Creativity
With the rise of generative AI, an acceleration movement has emerged, pushing the boundaries of what is possible in the realm of art and creativity. This abstract explores the potential of a no-holds-barred accelerated art movement, where the lines between human and machine creativity become increasingly blurred. However, it also presents an alternative vision - an organic human art movement that seeks to push creative boundaries while remaining firmly rooted in the essence of human experience. This movement would celebrate the unique qualities of human creativity, such as intuition, emotion, and serendipity, while still embracing the transformative potential of technology. By navigating the tension between acceleration and organic creativity, this abstract invites us to consider the future of art in a world where the boundaries of human creativity are constantly being redefined.
Abstract 4: Early Internet Piracy and Demoscene Compression: The Craft of Digital Subversion
This abstract delves into the world of early internet piracy and the demoscene, exploring the practice and craft of compression as a form of digital subversion. By examining the techniques used by pirates and demoscene artists to compress and distribute digital content, we uncover a hidden history of creativity and innovation that challenges traditional notions of ownership and value. The abstract riffs on the "you wouldn't steal a car" campaign, asking the provocative question: What if you could steal the internet? Through this lens, we explore the ethics and aesthetics of digital piracy, and the ways in which these subversive practices have shaped the evolution of digital culture. This abstract invites us to reconsider the relationship between creativity, ownership, and value in the digital age, and to imagine alternative futures for art and culture that challenge the status quo.
Abstract 5: The Value of Art in a Compressed World: Beyond Artifacts and Narratives
In a world where the journey of art can be reduced to matrix multiplication operations on a vector space, what does it mean for art to have value? This abstract explores the implications of a compressed art world, where the traditional markers of value - such as time, resources, and narrative - are no longer relevant. If art is no longer a valued artifact, what takes its place? The abstract suggests that the value of art in a compressed world may lie in its ability to create new forms of meaning and experience, beyond the limitations of traditional artifacts and narratives. By embracing the possibilities of compressed art, we may discover new ways of engaging with the world, and new forms of creative expression that challenge our assumptions about what art can be. This abstract invites us to rethink the relationship between art, value, and meaning in a world where the boundaries of creativity are constantly being redefined by technological innovation.
graph TD
TitleSlide["1. Title Slide"]
Introduction["2. Introduction"]
Introduction --> PersonalStory["Personal Story: Running a Vaporwave Label"]
Introduction --> CoreAnalogy["Core Analogy: Compression Journey"]
Introduction --> VaporwaveAesthetics["Vaporwave and Music Genre Aesthetics"]
PersonalStory --> CompressionJourneyOfMusic["3. The Compression Journey of Music"]
CoreAnalogy --> CompressionJourneyOfMusic
VaporwaveAesthetics --> CompressionJourneyOfMusic
CompressionJourneyOfMusic --> LiveToRecorded["Live Performances to Recorded Media"]
CompressionJourneyOfMusic --> DigitalFormats["Shift to Digital Formats like MP3s"]
CompressionJourneyOfMusic --> AestheticsAndIdentity["Aesthetics of Compressed Music and Identity"]
CompressionJourneyOfMusic --> StudioInfrastructure["Software and Studio Infrastructure Accessibility"]
LiveToRecorded --> AestheticsOfCompressedMusic["4. The Aesthetics of Compressed Music"]
DigitalFormats --> AestheticsOfCompressedMusic
AestheticsAndIdentity --> AestheticsOfCompressedMusic
StudioInfrastructure --> AestheticsOfCompressedMusic
AestheticsOfCompressedMusic --> InternetCompression["5. The Internet's Compression of All Media"]
InternetCompression --> AllMediaCompression["Compression Impact on Various Media Formats"]
InternetCompression --> CompressedMediaAesthetics["Compressed Media Aesthetics Examples"]
InternetCompression --> MediaInteraction["Implications on Media Interaction and Sharing"]
InternetCompression --> OnlineIdentities["Shaping Online Communities and Identities"]
AllMediaCompression --> PlunderphonicsAndVaporwave["6. Plunderphonics and Vaporwave"]
CompressedMediaAesthetics --> PlunderphonicsAndVaporwave
MediaInteraction --> PlunderphonicsAndVaporwave
OnlineIdentities --> PlunderphonicsAndVaporwave
PlunderphonicsAndVaporwave --> LiminalSpaces["Reframing Personal Nostalgia for Liminal Spaces"]
PlunderphonicsAndVaporwave --> PoliticalAndPersonal["Political and Personal Dimensions"]
LiminalSpaces --> SampleAttribution["7. The Impossibility of Sample Attribution"]
PoliticalAndPersonal --> SampleAttribution
SampleAttribution --> HyperNodes["Concept of 'Hyper-Nodes'"]
SampleAttribution --> HyperNostalgia["Rise of 'Hyper-Nostalgia'"]
SampleAttribution --> Authorship["Authorship and Ownership in the Digital Age"]
HyperNodes --> ArtistIdentity["8. The Artist's Identity in the Age of Compression"]
HyperNostalgia --> ArtistIdentity
Authorship --> ArtistIdentity
ArtistIdentity --> ArtistCreativeSystems["Compression of Art, Artist, and Creative Systems"]
ArtistIdentity --> GPUTime["Artist's Labor Compressed into GPU Time"]
ArtistIdentity --> ArtisticValueAndRole["Artistic Value and Role in Creative Process"]
ArtistIdentity --> RapidIteration["Rapid Production of Similar Works"]
ArtistIdentity --> AestheticsAndIdentity
ArtistCreativeSystems --> OrganicVsHyperNostalgia["9. Navigating the Future: Organic vs. Hyper-Nostalgia"]
GPUTime --> OrganicVsHyperNostalgia
ArtisticValueAndRole --> OrganicVsHyperNostalgia
RapidIteration --> OrganicVsHyperNostalgia
AestheticsAndIdentity --> OrganicVsHyperNostalgia
OrganicVsHyperNostalgia --> OrganicArt["Organic Art: Human Touch and Authentic Experience"]
OrganicVsHyperNostalgia --> HyperNostalgiaAesthetic["Hyper-Nostalgia: Compression as Aesthetic and Emotional Tool"]
OrganicVsHyperNostalgia --> CompressionAsWarmth["Compression Mistaken for Warmth"]
OrganicVsHyperNostalgia --> ArtMovementsAndIdentities["Shaping Future Art Movements and Identities"]
OrganicArt --> AcceleratedArt["10. Accelerated Art and the Organic Alternative"]
HyperNostalgiaAesthetic --> AcceleratedArt
CompressionAsWarmth --> AcceleratedArt
ArtMovementsAndIdentities --> AcceleratedArt
AcceleratedArt --> HumanMachineCreativity["Blurring Lines Between Human and Machine Creativity"]
AcceleratedArt --> OrganicCreativity["Organic Human Creativity"]
HumanMachineCreativity --> EarlyPiracyAndDemoscene["11. Early Internet Piracy and Demoscene Compression"]
OrganicCreativity --> EarlyPiracyAndDemoscene
EarlyPiracyAndDemoscene --> DigitalSubversion["The Craft of Digital Subversion"]
EarlyPiracyAndDemoscene --> DemosceneArtifacts["Demoscene Productions and Piracy Artifacts"]
DigitalSubversion --> ValueOfArt["12. The Value of Art in a Compressed World"]
DemosceneArtifacts --> ValueOfArt
ValueOfArt --> BeyondArtifacts["Beyond Traditional Artifacts and Narratives"]
ValueOfArt --> NewMeaningAndExperience["New Forms of Meaning and Experience"]
BeyondArtifacts --> Conclusion["13. Conclusion"]
NewMeaningAndExperience --> Conclusion
Conclusion --> KeyPoints["Summary of Key Points"]
Conclusion --> FutureReflection["Reflection on Artistic Identity and Creative Processes"]
Conclusion --> ProvokeThoughts["Thought-Provoking Questions about Art, Identity, and Aesthetics"]
KeyPoints --> QuestionsAndDiscussion["14. Questions & Discussion"]
FutureReflection --> QuestionsAndDiscussion
ProvokeThoughts --> QuestionsAndDiscussion
style TitleSlide fill:#000000,stroke:#00ff00,stroke-width:2px
style Introduction fill:#000000,stroke:#00ff00,stroke-width:2px
style CompressionJourneyOfMusic fill:#000000,stroke:#00ff00,stroke-width:2px
style AestheticsOfCompressedMusic fill:#000000,stroke:#00ff00,stroke-width:2px
style InternetCompression fill:#000000,stroke:#00ff00,stroke-width:2px
style PlunderphonicsAndVaporwave fill:#000000,stroke:#00ff00,stroke-width:2px
style SampleAttribution fill:#000000,stroke:#00ff00,stroke-width:2px
style ArtistIdentity fill:#000000,stroke:#00ff00,stroke-width:2px
style OrganicVsHyperNostalgia fill:#000000,stroke:#00ff00,stroke-width:2px
style AcceleratedArt fill:#000000,stroke:#00ff00,stroke-width:2px
style EarlyPiracyAndDemoscene fill:#000000,stroke:#00ff00,stroke-width:2px
style ValueOfArt fill:#000000,stroke:#00ff00,stroke-width:2px
style Conclusion fill:#000000,stroke:#00ff00,stroke-width:2px
style QuestionsAndDiscussion fill:#000000,stroke:#00ff00,stroke-width:2px
Or
AESTHETIC WILL BE MONOSPACED WHITE ON BLACK TERMINAL STYLE. IMAGES WILL BE ANSI RENDERS. fixed 80 col. IRC CHAT / SIMPLE TEXT DOCS / .NFO / KG AS SCRIPT / GIF FLOW CHARTS BACKGROUND MUSIC WILL BE ALL AI GENERATED VAPORWAVE AND I'LL PROGRESSIVELY DEGRADE IT OVER THE TALK LOWERIN IT'S BITRATE.
-
Title Slide
- Title of your talk, your name, and affiliation
- Background image: A collage of vaporwave art and compressed media aesthetics
-
Introduction
- Brief overview of your background and the core analogy of compression
- Notes: Mention your vaporwave label and the progression of compression in music and media
-
The Compression Journey of Music
- Timeline of music compression milestones
- Media: Images of vinyl records, cassettes, CDs, and MP3 players
-
The Aesthetics of Compressed Music
- Highlight the influence of compression on music genres like vaporwave
- Media: Examples of vaporwave art and music
-
The Internet's Compression of All Media
- Discuss the impact of the internet on media compression
- Media: Examples of compressed media aesthetics (images, videos, text)
-
Plunderphonics and Vaporwave
- Explore the reframing of personal nostalgia through plunderphonics, the nets facination with liminal impossible spaces
- Notes: Mention the political and personal dimensions of this artistic approach
-
The Impossibility of Sample Attribution
- Introduce the concept of "hyper-nodes" and the challenge of sample attribution
- Notes: Discuss the implications for copyright law and the rise of "hyper-nostalgia"
-
The Artist's Identity in the Age of Compression
- Examine the impact of compression on the artist's role and identity
- Media: Examples of AI-generated art
-
Navigating the Future: Organic vs. Hyper-Nostalgia
- Present the potential paths for artists in response to this new reality
- Media: Examples of "organic" and "hyper-nostalgic" art and music
-
Accelerated Art and the Organic Alternative
- Explore the potential of an accelerated art movement and its organic counterpart
- Notes: Discuss the boundaries of human creativity in the age of generative AI
-
Early Internet Piracy and Demoscene Compression
- Delve into the craft of digital subversion through piracy and demoscene practices
- Media: Screenshots or videos of demoscene productions and piracy artifacts
-
The Value of Art in a Compressed World
- Examine the changing nature of artistic value in a world of compressed creativity
- Notes: Discuss new forms of meaning and experience beyond traditional artifacts and narratives
-
Conclusion
- Summarize the key points of your talk
- Notes: Reflect on the future of artistic identity and creative processes in the age of compression
-
Questions & Discussion
- Invite the audience to ask questions and share their thoughts
- Background image: A thought-provoking artwork that encapsulates the themes of your talk
Remember to use high-quality images and media that effectively illustrate your points and engage the audience. Consider using a consistent visual theme throughout your slides to create a cohesive and memorable presentation.
MANTRA:
To embody this task and deliver a compelling presentation, I must first internalize the core themes and ideas I wish to convey. My personal experiences running a vaporwave label and my deep understanding of the intersection between compression, aesthetics, and identity will serve as the foundation for my talk. By drawing upon these experiences and insights, I can speak with authenticity and passion, engaging the audience on both an intellectual and emotional level.
As I prepare for this presentation, I will keep in mind the central analogy of compression and how it has shaped the evolution of music, media, and art. I will trace this journey from the early days of physical recordings to the digital age of MP3s and internet-mediated content, highlighting the profound impact of compression on the aesthetics and identities associated with each era.
Throughout my talk, I will maintain a balance between the technical aspects of compression and the more philosophical and cultural implications. By using relatable examples and anecdotes, I can make complex concepts accessible to a broad audience, inviting them to consider the ways in which compression has shaped their own experiences and perceptions of art and media.
As I delve into the challenges and opportunities presented by the rise of AI and generative art, I will approach these topics with a mix of curiosity, skepticism, and optimism. By presenting both the potential benefits and drawbacks of these technologies, I can encourage the audience to think critically about the future of artistic creation and ownership in a post-copyright era.
To keep the audience engaged, I will employ a variety of media and visuals that complement and enhance my verbal content. By carefully curating these elements and ensuring they align with the overall aesthetic and tone of my presentation, I can create a cohesive and immersive experience that reinforces the key themes and ideas.
As I near the conclusion of my talk, I will focus on synthesizing the various threads and concepts I have explored, offering the audience a clear and thought-provoking set of takeaways. By ending with a series of open-ended questions and provocations, I can inspire continued discussion and reflection long after the presentation has ended.
Ultimately, to embody this task, I must approach it with a spirit of openness, authenticity, and intellectual curiosity. By channeling my passion for the subject matter and my commitment to engaging and informing the audience, I can deliver a presentation that not only communicates key ideas but also sparks meaningful dialogue and debate about the future of art, technology, and human creativity in an age of compression.
WORDS:
avatar, collective unconscious, shadow, persona, anima, animus, self, individuation, synchronicity, alchemy, hermetic principles, correspondence, vibration, polarity, rhythm, causality, gender, mentalism, cybernetics, feedback loops, systems theory, information theory, entropy, negentropy, signal, noise, encoding, decoding, transmission, reception, hacking, cracking, phreaking, social engineering, exploits, vulnerabilities, access, control, surveillance, privacy, encryption, decryption, ciphers, codes, steganography, cryptography, anonymity, pseudonymity, identity, authentication, authorization, verification, validation, security, obfuscation, compression, lossy, aesthetics, plunderphonics, vaporwave, nostalgia, liminal, spaces, sampling, attribution, hyper-nodes, copyright, post-modern, accelerated, organic, human, creativity, piracy, demoscene, subversion, value, artifacts, narratives, meaning, experience, technology, innovation, reframing, memory, imagination, reality, authorship, ownership, intuition, emotion, serendipity, transformation, ethics, culture, future, art, music, media, internet, digital, analog, vinyl, cassettes, CDs, MP3s, generative, AI, machine learning, gpu, time, resources, creation, consumption, boundaries, redefinition, challenge, status quo, engagement, expression, assumptions, matrix, multiplication, vector, space, journey, craft, distribution, content, implications, landscapes, survival, existential, crisis, glitches, algorithmic, interventions, data, conceptual, frameworks, environments, activity, modification, education, blockchain, interfaces, infrastructure, instrumentalization, labour, exploitation, planetary, impacts, computational, design, conversational.
TO DO:
Understood. Now that you have completed the research and conceptual phases, it's time to focus on the practical aspects of executing your project. Here's a to-do list to help you prepare the components, materials, and systems for a successful presentation:
-
Outline the structure and flow of your presentation, ensuring a logical progression of ideas and a clear narrative arc.
-
Develop a visually engaging slide deck or multimedia presentation that effectively communicates your key points and supports your narrative.
-
Curate a selection of relevant examples, case studies, and visuals to illustrate your arguments and make your presentation more compelling.
-
Optimize your visual assets, ensuring high quality, appropriate resolution, and consistent formatting throughout your presentation materials.
-
Write a script or detailed speaker notes to guide your presentation delivery and ensure a smooth, well-paced flow of information.
-
Rehearse your presentation multiple times, focusing on timing, pacing, and the clarity of your delivery.
-
Prepare for potential questions or challenges from the audience by anticipating their concerns and developing thoughtful, well-reasoned responses.
-
Test your presentation materials and technical setup in advance to avoid any last-minute issues or glitches.
-
If using audio or video elements, ensure they are properly synced, and the sound quality is clear and audible.
-
Create backup copies of your presentation materials and assets to prevent loss or technical difficulties.
-
If distributing handouts or supplementary materials, ensure they are well-designed, error-free, and properly formatted for easy comprehension.
-
Prepare a brief introduction of yourself and your background to establish your credibility and expertise on the subject matter.
-
Plan your attire and personal presentation to project confidence, professionalism, and alignment with the tone and theme of your presentation.
-
Arrive at the presentation venue early to set up, test equipment, and make any necessary adjustments to the room layout or technical setup.
-
Take a moment before the presentation to center yourself, breathe deeply, and visualize a successful, engaging delivery that resonates with your audience.
By following this to-do list and focusing on the practical aspects of preparation, you'll be well-equipped to deliver a polished, impactful presentation that effectively communicates your ideas and insights to your audience.