Vertiginous data, Anton Vidokle: Immortality for All

June 16, 2019

Vertiginous data, Anton Vidokle: Immortality for All_MMCA Seoul

Chris Shen
Phase space
numerous cleaning balls glide freely over the floor and their movements are sent to a screen in real time.
Their locations, momentum, rotation, and points created by their vibrations result in intricate spiral lines, constantly appearing and disappearing on the screen.
Shen saw robot cleaners as particles and the exhibition space in which they move as a phase space.
Abstract lines on the screen record the motion state and the degrees of freedom of individual balls, just as one point in the phase space perfectly describes the state of a particle in therms of motion.
According to him, these particles form a myriad of combinations, just like the elements of the universe, and can even explain the long history of galaxies.

Zach Blas
Facial weaponization suite

Facial weaponization suite protests against biometric facial recognition- and the inequality these technologies propagate- by making "collective masks" in community-based workshops that are modeled from the aggregated facial data of participants. This results in amorphous masks that cannot be detected by biometric facial recognition technologies.
Theses masks respond to scientific studies that link determining sexual orientation through facial recognition techniques or highlight the racism of biometric technologies that are not able to detect dark skin.
these masks intersect with social movements' use of masking as an opaque tool of collective transformation to reject dominant forms of political representation.

Rachel Ara
This much I'm worth
(The self-evaluating artwork)

A digital art piece that continually displays its sale value through a series of complex algorithms called 'the endoresers'.
Ara designed the program to include identity information such as sex, race, and age by using 'the endorsers'.
The artist explores the conditions under which the value of her or her work is determined and questions the association of values represented by her installation with the intrinsic worth of the work.