“None of it is real, though, because reality lies in a different, more evanescent realm. These are only the names of some of the places in the archipelago of dreams. The true reality is the one you perceive around you, or that which you are fortunate enough to imagine for yourself.”Christopher Priest, The Affirmation
“Dr. Hank Hine, the executive director of the Dalí Museum, says the project was inspired by the artist’s unique sensibility. “I think that the seeds of this project were sown by the artist himself,” he tells artnet News. “Dalí was famous for his sense of his own eternal significance. It’s almost like, if had left instructions for us, this project would have been among them.”
“The museum tapped Goodby Silverstein & Partners, a creative ad agency based in San Francisco, for the project. Over the past six months, the two organizations assembled footage, photographs, interviews, and hundreds of other archival materials featuring the late Surrealist. They used the materials to train an AI algorithm to “learn” elements of Dalí’s facial movements and filmed new footage from a lookalike actor. The AI can now generate a version of Dalí’s likeness that matches the actor’s expressions.
“Most of the language used by the AI is sourced from quotes by the man himself. But the character will also comment on things that the real Dalí could never have said—musings on current events, for example, or references to local sports teams—drawn from the actor.
“This isn’t the first time the museum has collaborated with Goodby Silverstein & Partners. In a 2014 exhibition called “Gala Contemplating You,” the agency created a kiosk that turned visitors’ selfies into replicas of a 1976 painting of the artist’s wife. In 2016, the two organizations developed “Dreams of Dalí,” a virtual reality experience that allowed viewers to walk inside Dalí’s painting, Archaeological Reminiscence of Millet’s “Angelus” (1934).
“These experiments were big hits with the community, Hine explains. In a recent poll conducted by the museum, 97 percent of guests expressed a desire for “more digital interactive experiences.”
Text: Taylor Dafoe, This Unsettling AI Version of Salvator Dalí That Greets You at His Florida Museum May Be the Most Surreal Thing Ever art.net.
“Life would be impossible on such a planet. It wouldn’t get enough heat and light, and if it rotated there would be total darkness half of every day. There wouldn’t be any native inhabitants. You couldn’t expect life—which is fundamentally dependent on light—to develop under such extreme conditions of light deprivation. Half of every axial rotation spent in Darkness! No, nothing could exist under conditions like that.”
“With the slow fascination of fear, he lifted himself on one arm and turned his eyes toward the blood-curdling blackness of the window. Through it shone the stars! Not Earth’s feeble thirty-six hundred Stars visible to the eye; Lagash was in the center of a giant cluster. Thirty thousand mighty suns shone down in a soul-searing splendour that was more frighteningly cold in its awful indifference than the bitter wind that shivered across the cold, horribly bleak world.”
Text: Issac Asimov, Nightfall
Pics: Reuben Wu.
“In 1896, newspapers throughout the United States began reporting accounts of mysterious airships flying overhead. Descriptions varied, but witnesses frequently invoked the century’s great technological achievements. Some sources reported dirigibles powered by steam engines. Others saw motorized, winged crafts with screw propellers. Many recalled a flying machine equipped with a powerful searchlight.
“As technologies of flight evolve, so do the descriptions of unidentified flying objects. The pattern has held in the 21st century as sightings of drone-like objects are reported, drawing concern from military and intelligence officials about possible security threats.
By the 19th century […] the age of industrialization transferred its awe onto products of human ingenuity. The steamboat, the locomotive, photography, telegraphy, and the ocean liner were all hailed as “modern wonders” by news outlets and advertisers. All instilled a widespread sense of progress—and opened the door to speculation about whether objects in the sky signaled more changes.
“Yet nothing fueled the imagination more than the possibility of human flight. In the giddy atmosphere of the 19th century, the prospect of someone soon achieving it inspired newspapers to report on tinkerers and entrepreneurs boasting of their supposed successes.
“The wave of mysterious airship sightings that began in 1896 did not trigger widespread fear. The accepted explanation for these aircraft was terrestrial and quaint: Some ingenious eccentric had built a device and was testing its capabilities.
“But during the first two decades of the 20th century, things changed. As European powers expanded their militaries and nationalist movements sparked unrest, the likelihood of war prompted anxiety about invasion. The world saw Germany—home of the newly developed Zeppelin—as the likeliest aggressor. Military strategists, politicians, and newspapers in Great Britain warned of imminent attack by Zeppelins.
“The result was a series of phantom Zeppelin sightings by panicked citizens throughout the United Kingdom, Australia, and New Zealand in 1909, then again in 1912 and 1913. When war broke out in August 1914, it sparked a new, more intense wave of sightings. Wartime reports also came in from Canada, South Africa, and the United States. In England, rumors that German spies had established secret Zeppelin hangars on British soil led vigilantes to scour the countryside…”
Pic: Andy Warhol – Silver Clouds, M Woods Museum.
“Where the City Can’t See is the first fiction film shot entirely through laser scanning technology, directed by artist Liam Young and written by author Tim Maughan. Set in the Chinese owned and controlled Detroit Economic Zone (DEZ), in a not-too-distant future where Google maps, urban management systems and CCTV surveillance are not only mapping our cities, but ruling them.
“Exploring the subcultures that could emerge from these new technologies, the film follows a collection of young factory workers across a single night, as they drift through the smart city in a driverless taxi, searching for a place they know exists, but that the map doesn’t show. They are part of an underground community that work on the production lines by day, by night adorn themselves in machine vision camouflage and the tribal masks of anti-facial recognition, enacting their escapist fantasies in the hidden spaces of the city. They hack the city and journey through a network of stealth buildings, ruinous landscapes, ghost architectures, anomalies, glitches and sprites, searching for the wilds beyond the machines…”
“What resembles the wall of an exotic underground grotto is actually a work of art representing the circuitry of the brain in action. Engram / Remember is an incredible moving spectacle, forged from algorithms that convert data about brainwave activity into captivating imagery – this image shows just a single frame. The high-resolution screen starts off showing what seems to be a piece of paper ripping and folding into itself, then morphs into swirling shapes that wriggle and squirm around in an imaginary box.
“Artist Refik Anadol creates his “data paintings” and other works at the Neuroscape Laboratory at the University of California in San Francisco. He measures and records volunteers’ brainwave activity with electrodes placed on their scalp (pictured below), then uses fractal algorithms and neural nets to turn the data into these shape-shifting displays. Engram / Remember uses data taken from his own brain activity while he was recalling positive long-term memories, he says.”
Text: Swirling wall of moving patterns represents our thoughts, New Scientist.
There is nothing wrong with your television set. Do not attempt to adjust the picture. We are controlling transmission. If we wish to make it louder, we will bring up the volume. If we wish to make it softer, we will tune it to a whisper. We will control the horizontal. We will control the vertical. We can roll the image, make it flutter. We can change the focus to a soft blur or sharpen it to crystal clarity. For the next hour sit quietly and we will control all that you see and hear. We repeat: there is nothing wrong with your television set. You are about to participate in a great adventure. You are about to experience the awe and mystery which reaches from the inner mind to… The Outer Limits.
Text: Outer Limits, opening narration.
Pics: “Luminant Point Arrays is a photographic series of old tube televisions taken at the very moment they are switched off. The TV picture breaks down and is abstracted to its essential element: light. This abstraction also results in the collapse of the external reference. Each of these photographs is from a different TV, but it’s also the length of exposure, timing, and time the TV has been running before the photo is taken that affects the results.” – Stephen Tillmans, Leuchtpunktordnungen.