Music Video
Micro and macro views of bodies
close up bodies in choreographed motion - knots
macro - bodies as mass, drone flight

Visual archive
'ways of seeing'
'in the eyes of an animal' > connection between different camera/viewing modes in connection to animals visions > using animal vision traits as information cues to shape 'ways of seeing' for human /ontological view

a visual research into ways of seeing the world
a visual archive for a visual artist (catalogue to make reference to)

Underwater or what is water-vision?

Nightvision

Flight / Drone

Insektvision


Computervision

Machinevision

Machine learning

GAN 

3D Renders / Rendervision

3D Scans / Photogrammetry

(Deepfakes)



*performative narrative protagonist ?

MIXING REAL LIFE FOOTAGE WITH 3D RENDERS

INTO DIFFERENT FORMS OF COMPUTER VISION

R
The work of Rachel Rose explores how our changing relationship TO LANDSCAPE has shaped story-telling and belief systems. Rose draws from and contributes to a long history of cinematic innovation, and through her subjects —whether investigating cryogenics, the American Revolutionary War, modernist architecture, or the sensory experience of walking in outer space — she questions what it is that makes us human and the ways we seek to alter and escape that designation."

I'm really drawn to these video works that juxtapose landscape and 3D rendering

I want to include machine learning in my work > create own processing network


I want to add a sculptural, haptic element

Avenues for work to connect to

> digitalisation
> cinematic narrative ; can have a character and narration that gives the red-thread
> biological view

It's nice right now I read things that interest me and they keep opening up new angles and avenues for my master thesis, also I keep having ideas in the morning , my creativity feels awakened again.
And also I should give myself props for rounding off my projects rather professionally and to fruition and sticking by them. I think few people at Bauhaus have started and finished as many diverse projects and ideas all all flow into one aesthetic of expression.

Higher level of digitalisation:

Digital imitation of life? SIMULATION
simulation of life in technology - the next level (of ABSTRACTION)

Notably everything that is inspiring and influencing me is what I see online. Ultimately the digital is the main communication channel, spreading of ideas , promotion of artistic skills / portfolio.

To mix
3D renders
with photogrammetried spaces ( good source also for still images)
with 'real' footage


Video + Sculpture in a space ( + performance )

video as research into ways of seeing
sculpture as research into perception
performance as experience of perception

> e.g. Video ( screening of the work) as part of performance
filming as part fo performance
sculpture as part of performance > sculptural objects in use as part of performance

maybe the video/film part isn't conceived as 'so big' rather the conceptual research which can be explored through mixed media, through reading of text, through objects that all come together in the hands of human use in the performance

but also function as a still/stand-alone exhibition without performance

maybe it's possible to use phones to photogrammetry things and people during the performance

GAN's?
Machine Learning ?


multi media
multi disciplinary approach that brings together videography, digital moving image , installation art , sculpture (plasticity in the space) essayistic research and performance (Raumgestaltung, Lesung)

A progression, an orchestra of multiple-media-modes of narrative
A narrative across an array of media expressions.

Anne Imhof : Wall Art , Sculpture/Set , Performance - Video of performative content separately


Klara Hosnedlova: Sculpture + Performance

DorotaGawęda&EglėKulbokaitė : Sculpture/ Exhibition incl. Videoworks feat. Performance , separate Performance


Pan Daijing: Performance Body - Voice - Movement

Looped Video on holographic LED fan

To view video work through distorting glass object

Relation: Object to Video

Relation: Objects for Performance

Narrative-arche: Nature - Human - Machine

Artistic position: bringing fashion into art and lending art to fashion

Video

V
The video essay as a style genre would allow me to bring together multiple different types of videos under one larger concept

Bildgestalterische Ansätze/ Methodiken

P
Performance as fashion presentation. I can really imagine pitching this to a brand like Ninamounah. To have very fashionable objects as part of a performance that really tells a story and opens up a world.

C
Clothing as a way to establish a 'world' , a cult, a species - as a way to elevate the performers, 'other' them to lend them the function of opening up another world, with their own backstory and rules.

P
Perceptual objects

S
Sculpture made as part of performance
Functional alien objects help set a scene for a foreign world

O
Objects placed for a performative context

*
Could be e.g. a slew of crystal rocks - which might also be featured as landscapes in the video work ( again creating a blurring of physical and digital)

*
Sculpted candles could also be a sculptural object

T
To take fragments/videostills of the main video and translate them to other objects
like still imagery or other video presentation formats (suiting their respective content)

Performance : About perception (perception altering objects?) and ABSORPTION (into the digital)

Objects of perceptual phenomena used in performance

'the digitalisation approach' - 'Biomedia'?
Objects continuously exchanged and becoming increasingly digital
> maybe the sculptural objects are in-part put together during the performance? Creating the story arch from natural/pure resources to utilised technology

W
Ways of seeing - ways of viewing

B
Bringing nature into hybrid-objects

N
Nature objects removed from their nature context receive somehow a mystical quality

Capturing multitudes of perceptual realities to bridge sensorial worlds

Narrative / Meaning /
Content

Style

Modes of presentation :

Circular LED display

multiscreen - multichannel set up to show multiple parallel positions

archive catalogue

digital exhibition: use of screens to show ways of seeing in ways of viewing

Mixed media approach:
Video
Sculpture
Performance (People)

Exploring sight/perception in an increasing digitalised world through video and object and actions/moving narrative




Multi-media Arbeit

What if we follow a protagonist into a world that becomes ever more digitalised
and there is some kind of alien alter ego
maybe the lines between reality and digitally become so blurred we don't know who is who anymore

maybe it's the hidden narrative of a machine learning vision - trying out multiple earthly visions to understand the earth..
a look fictive into machine vision
how to see the world

= An Ai Humanoid learning to see the world
= video is operating system of Humanoid
( in this case maybe even mixing own nature footage as data base set with youtube archive video material?)

= Performance is Humanoid learning to be in the world

>> concrete story narrative vs. general concept umbrella
> Implied narrative vs. concrete storytelling

Name fashion as a clear aspect of the concept

In her films, Emilija Škarnulytė investigates the shifting boundaries between documentary and fiction. She works primarily with deep time, from the cosmic and geologic to the ecological and political: feeling out all kinds of nonhuman and posthuman scales, in the depths of space and time.

“t1⁄2” continues the topic of post-human mythology and fictional visual meditation about contemporary science from the future archeology perspective. “t1⁄2” is also called ‘half-life“, a term commonly used in nuclear physics to describe radioactive decay. “t1⁄2”, shown as a large-scale video installation that consists of architecture envisioned by the artist through remote sensing 3D scans and the mirrored ceiling, traverse an epic landscape of geography.

Škarnulytė, performing as a siren herself, links the past and future by exploring the memory of the Etruscan Cemeteries, Nuclear Power Plant in Lithuania — a Twin sister of Chernobyl AES, Super-Kamiokande neutrino observatory in Japan, the Antimatter Factory, The Large Hadron Collider at CERN, Duga radar and Cold-War submarine base above the arctic circle. “t1⁄2” encounters all that is larger than us and larger than life — a looming climate catastrophe, natural phenomena, ideological constructions, massive scientific structures, recent geopolitical processes and what we know as human knowledge. All have left scars on planet Earth.

The work is presented at the exhibition of the 21 shortlisted artists for the 5th edition of the Future Generation Art Prize. The exhibition reveals a breadth of contemporary art practices from a judicious selection of artists and artist collectives spanning five continents. Established by the Victor Pinchuk Foundation in 2009, 2019 marks the 10th anniversary of the prize's founding.

Featuring new and recent works, the exhibition explores two recurring themes through a variety of media. The first considers an 'archeology of the future', exploring the past and present through the eyes of tomorrow. Using cutting-edge technologies, the works question the possibilities of interpreting knowledge in today's world.

Investigating ideas of the self, the second theme of the exhibition draws from individual socio-cultural values and traditions, whilst also exploring more poetic considerations of the psychological journey. Here, artists similarly reflect on a discrepancy between those traditions and shifting realities in a globalised world.

Working title: In the eyes of.. ( video focused)

from organic to artificial agents
between living and non-living ( humanoid narrative)

navigating the future
Shared habitat of/for ..the spotless mind
Eternity of the SPOTLESS MIND

A non-binary performer would further support and show a blurring of boundaries
- also very much pick up on our Zeitgeist

?
3D - digital vision of JUST NATURE and Humans or broader?

Also very tempting to build up an entire scene as one narrative

photogrammetry people as part of performance immediately
and put them in a 3D printer (object in the space ) > blurring the lines between physical - digital - haptic and pixel

Narrative idea:
Objects of nature could be used as mystical objects as they are 'ancient' in an industrialised world

or 'just' objects that say ' here is nature - the source of our lives here'

Narrative idea:
Nature seen exhibited through technological devices because it no longer exists and can only be viewed as perserved, archived pieces (mediated by technologies)

?
Filming robots?

*
Also uses a protagonist to guide the viewer through
even though this hardly comes through in the finished work, it is part of the intentin

V
Viewer is immersive into different landscapes - from physical to digital

The video can really show this beautiful multitude of our world
By showing the diversity of seeing / ways to be and see in the world the film implicitly questions the human position, authority over space over resources, points a figure on our lack of capacity to see beyond our own human or even personal perspective

I
Idea of a double narrative:
showing beauty, relevance, essence of nature through nature-inspired animalistic perspectives
At the same time data set for humanoid AI

A
Overall Theme: Appreciation of nature; to see through animal/other eyes
To value resources and natural material

+ Over into the digitalisation aspect
> taking very earthy, natural materials and adding the technological alienation to them
sculptural objects as type of caricature because we DO use the resources but they become so absorbed that we don't recognise them anymore
> will the same happen to 'us' our identities , our minds, our presence becomes absorbed/consumed/einverleibt by the technologies we invented for our minds and bodies to be consumed ( we are used as resource) just as we use the resources at our disposal.
While the video follows the one line > from nature > human > consumed/absorbed by technology > abgelöst through machine
The objects work in the other direction > instead of highly processed materials we see natural materials as mystical , natural elements..
Both visualisations of the same topic approached from different directions
They both carry the same questions?


O
Or build up a fictive narrative

L
Landscapes like this / 'non-nature'? can introduce the kind of idea of a 'Matrix'

W
What is real and what is simulation?

?
Performance as a kind of future scenario

Looking into a hyper technological future

Words
Sentences

machines that simulate life

imitation of life: people, animals, and objects can be captured or animated by camera technology with »high fidelity« to their locomotive action, their moves, conversations, and expressions.

"the simulation of life and life systems through artificial intelligence and generative technologies have led 21st century humanity to reckon with machines on an existential level." ** sounds fancy, but is it even true?

"virtual electronic systems to produce, process, and store digital images. The virtuality of media storage in electronic systems enables the variability and versatility of images’ content, which in turn introduces viability of behavior of the images."

image processing
image storage
data archives

"Media systems transgress the simulation of motion and simulate many aspects of living organisms, of life, from intelligence to empathy. It is this behavior, namely media, that exhibit life-like actions, that we call BioMedia or biomimetic media."

explores increasingly artificial landscapes - mediated / following an artificial agent / protagonist

"The exhibition investigates different forms of artificial agents and environments, as well as their behavior and interactions with other entities within hybrid contemporary ecosystems. Some of these agents are digital computer-generated and computer-simulated systems that evolve on a screen, while others include complex adaptive robots that have a physical presence in space and can manifest biomimesis as search mechanisms, swarm intelligence, self-preservation, and so on. Nevertheless, they imitate, demonstrate, and simulate life-like behavior by responding to stimuli in unpredictable ways. "

"»BioMedia« provides insights into possible modes of cohabitation with artificial life forms. "

'Narrative Idea: 
organic life' like clearly earthly resources e.g. even mushrooms in the hands of artificial agents / humanoid performers

Future scenario / fictive narrative:
AI humanoids get acquainted with the (possibly already extinct) natural world
> suggesting the even next step of technologies that begin to replace the human

"The sympoetic community of the future will welcome artificial beings as part of a system of networks, relationships, and links between different disciplines, in order to tackle urgent issues and foster new solutions. Artificial agents might also take on the role of guides, regulators, cocreators, companions, and care-givers in these communities. At a time when there is an existential threat to our living planet, seeking new concepts and definitions of life has become more than just a philosophical undertaking, it has become a responsibility to life itself."

Arche:
Starting with trying to simulate as closely as possible 'nature' by taking on the perspective of multiple animals. Hereby, detaching from the human perspective and opening the transition into AI, machine learning networks that are trained on iamgery from the real world.
*
humanoid AI as protagonist?

The AI protagonist that begins to form through the video
and finally emerges for the performance?

IMAGERY AS DATA SET /TRAINING SET FOR MASCHINE LEARNING
COMPUTER VISION to see through eyes of natural entities
> criticising/ implicitly questioning what are we teaching machines about the world , what view, which bias does that create and how does this shape pur future world?

Inspiring artists

Klara Hosnedlova

Anne Imhof

Pan Daijing

DorotaGawęda&
EglėKulbokaitė

Elaine Cameron Weir

Isabelle Andriessen

Verena Friedrich

(Bunny Rogers )

Jakob Kubica

G
Greenscreen?

Mineral/crystal sculpture?
Mushroom sculpture?
woodlog-carryables?

Objects that pose a sort-of transition > from natural to mechanised and technological

Landscape-trays with different textures?
> These would function really as stand-alone sculpture and lack a bit the function as part of performative action

C
Collaborate with Designer?
Like Ninamounah?

Also looking at most recent Balenciaga collection with VR glasses ?

Finanzekosten Aufstellung

Camera
Ton
(360 Camera)
Video Drone
Photogrammetry Scanner
Sound designer

Travel for landscapes?
Iceland? SIM residency?
Film > Drone?
Nature source materials? Create objects?

Machine Learning Coder
Drone operator
VFX designer
Colourgrader

Stylist
Costume Budget
Movement Choreographer
Performers

Rehearsal space


Sculpture material costs
Mushrooms?

LED holographic fans
(3D Printer
3D Print Filament
-iPhone with photogrammetry compatible operating system x 2


Ausstellungsmaterial
Video screens - Multichannel set up



Druck Masterarbeit?

Ideas: Performative action

Blur the lines between physical/tangible and digital . Performers photogrammetry things and each other as part of performance > then put 3D scans into 3D printer

Exhibition set-up

__________

________________________

Performance

Reading of literature / related texts as integral part of performance?

Starting the 1st phase/ 1 act of the performance with reading of texts?
> Biological texts about sight
> later moving into text about digital media > AI > data storage

opened books as part of performative landscape / exhibition

Long durational ?

?
Maybe the 3D primter could become an interactive object during the exhibition - that people could send in models and some would get selected to be printed

Getting acquainted with the natural world through seeing through the eyes of multiple entities

Nature becoming increasingly digital

The Bioart approach
A more accurate extension of the idea of researching into perception through different
natural entities would be to make the objects an extension of the too singular portrayal/focus on the sense of sight and explore other sensory systems
>however, this would cause for very complex objects..

Am I first applying for just the film?
Or am I making an Antrag for the entire project?

> Can apply for 'frühe Projektentwicklungsphasen'??

The performance space also sets a narrative

Bodies in movement that thereby create narrative

Deepfakes - digital counterparts and digital undertaker services
- digital funerals
digital deaths

Performance Art:

In fact the artists that have inspired and influenced me most in the recent time are performance artists: Anne Imhof and Pan Daijin - before that Marina Abramovic was a revelation -. To my surprise I am naturally drawn to performance art and their work has had such an impact on how I think about compositions and creating atmosphere in a space with bodies.

S
Self developed GAN? 
> maybe the resulting GAN can really be the result of images fed to it by me? 
What understanding of our world - illustrated or to be read in resulting images can be created?

The video protagonist is one of the live-performers?

A kind of prior to materialising blob?

Performance should strengthen the CORE STATEMENT OF THW WORK 

how might such humanoid treat our resources differently?

are we replacing ourselves with machines?

?
Maybe the objects are not about perception but do use methods or plays on perception as design principle > e.g. when it comes to exhibition design and how the works are experienced?

T
The practice of reading / of speaking > of creating and giving a context .
This creates a 'educated' literary foundation to what might otherwise be a more loose concept.
Simultaneously, adding a serious air and SOUND ELEMENT to the work.

?
Maybe the objects don't have to work in a lineage but look at the same general topic in a different way? through object?
To say; the video is about Artificial Intelligence networks - what are we teaching them, what are they training on, what kind of perception / + bias / knowledge / intelligence does this create?

Machine learning
Computer vision
Artificial Intelligence is trained/ taught by us -in this way the machines are given 'humans' as resources/ as input / we are being consumed by the machines ( not just in the expression as it refers to our daily lives - but also actively we give them the input an mechanic action to create and service them.)

The objects could with their mixture of raw resource to over engineered resource - highlight this aspect of using resources

THE PROCESS OF PROCESSING

The performer would then be the human agent that mediates between the artistic expressions?

One Category:
Objects as viewing devices?

An object that could be used by the audience during the exhibition could allow them to feel more included in the narrative - not only as spectator but as partaking

Consumed attention / consumed by machines and technology

The objects could function
1) as part of a narrative
2) to deal with the same subject matter of 'resources consumption , data/input/resources and processing - consumption through technology, absorption through digitalisation, nature as original source of knowledge' as objects / in a haptic way

The futuristic narrative can take shape in the viewer mind without me having to verbalise it directly - I can imply it through the style and the narrative of the video ! Especially because I myself always enjoy art most when I can find something in it, imagine a narrative to it - like in Klara Hosnedlova's work or Gucci runway
> At the same time; what does the performance consist of then? Why is it needed? > For reading of texts ? For construction of objects? For the further (cyclical) blurring between digital and physical?

Futurism - dystopian of the now
'Memories of the future'

Traces of the performance that linger in the space for the audience to imagine what transpired here

Keep a more open narrative with readings, the video and objects that give 'Anhaltspunkte' and context.
They function as narrative elements for an untold story.

I like the idea of giving each part
the video
the sculptural objects
the performance
and the culmination
different names of a whole - or parts of a poem

world building through narrative elements of an untold story

*
artistic note:
now it's interesting because my artistic practice has shifted from starting with a concept toward style and execution to looking at the stylistic elements I want to use/include and building the concept backwards from there.

This approach is somehow more controlled and helps me get to what I want to grow and also values /understands the value of the execution much more.
because the topics keep feeling roughly the same - or at least in the same direction while the stylistic elements give it to me this relevance and urgency and immediacy that I want to do it now and express it through the (visual) modes and technologies and possibilities of the NOW

Klara uses performance to create images - even more so than Anne Imhof does..

STORYTELLING THROUGH OBJECTS !

from artistic approach stand-point it's about using multi-media forms of 'Gestaltung' as fragments for an unwritten story

The process of optimisation from nature
- absorption into the digital
(and everything it implies)

_________________

Macro view of vast landscapes taken from rocks, minerals > turning material surfaces into landscape

*
formation of an artificial agent?
Bringing in the human element, which later gets picked up/ extended by the performance

*
Here I do immediately feel a difference because it lacks this narrative element..

Just like my idea it is working with 3 instances that come together
> Video as prior > before
> Objects/Sculpture/Installation as materialisation in the space > now
> Performers to interact with the objects/animate them > enliven and animate objects/scene > after

Objects as traces of action or waiting for action

Objects as functional architecture

the process of 3D scanning something to then go into 3D printer could look similar
>
again narrative
: optimisation from nature
absorption into the digital !
> of natural resources
> of us as machine learning teachers, data base providers for next generation of artificial intelligence life on earth

Exhibition/Instillation/Sculpture and Video all to inform performance and set the scene/stage and give the backstory to a performance that once enlivens the space and animate the sculptures to then leaves traces behind.

The merger of industrialised to 'raw, pure, ancestral'

Meaning/Narrative/Story

U
Underwater in varying degreas of depth

F
Forest animal on different heights, at different speeds, with respective movements and proximity to objects

N
Night vision (multiple)
Night vision flying (*use drone video)

T
The hidden suggestion being: what if technology like computer vision can re-teach us to see the 'original beauty' in nature? like how GAN's allows me to re-see the beauty in skies, sunsets and colour transitions

Produktion und Postproduktion von kreativen audiovisuellen Medienprojekten

Projekt wird in Thüringen konzipiert, produziert und präsentiert.


Filmproduktion in Thüringerwald/ -natur.
Ggf. Travel necessary?
Bezug lokaler Resources /Materialien. Einbindung lokaler Unternehmen, Werkstätten zur Objekte Gestaltung und Manufaktur.

Performer aus ?
Ausstellung inkl. Performance in Thüringen und Berlin. ( Oder Ausstellung nur Berlin?)

The futuristic narrative can take shape in the viewer mind without me having to verbalise it directly - I can imply it through the style and the narrative of the video ! Especially because I myself always enjoy art most when I can find something in it, imagine a narrative to it - like in Klara Hosnedlova's work or Gucci runway
> At the same time; what does the performance consist of then? Why is it needed? > For reading of texts ? For construction of objects? For the further (cyclical) blurring between digital and physical?

Exploring the materials - the objects also as sound for instance using large conch shells as sound bodies
* Thinking also of Verena Friedrich - exploring frequencies and creating a soundscape through contact mics

Using natural materials as explorative objects to rediscover nature - includes possibility to play on perception research and e.g. use a glass object to view through or make with

Material: Sedimentary LAVA rock

* Rock robots?

material gestures which seek to expand our understanding of the legible,

intersectional posthumanism

After an initial introduction to The Computer's Generative Cut class I should/want to think about how EXACTLY I want to proceed and what to learn, how to use it and what to ask Max for.

> Using Subtitles > Not applicable if I want to use my self - shot footage
> Using Sound > Also not applicable with self-shot footage for which sound will be composed in post-production

> Using Image analysis > ??? > (camera) movement > If /When making the effort it should have a MEANING , Ideally the computer's cut reveals something about the work that might of stayed hidden otherwise

Perhaps it makes more 'sense' to include a second part of the video of found footage which is then a supercut and to blend the two ( found footage edit + self shot) ? BUT A SUPERCUT OF WHAT ? > Something topic related

Could use Camera Mapping to freeze such a GAN image and move into a different georgraphic plane - like Kevin Bray does

Models of nature/plants

IMAGERY AS DATA SET /TRAINING SET FOR MASCHINE LEARNING
COMPUTER VISION
> moving from natural/real life footage and ending in computer's vision (GAN) 

Betreuung:
Klasse Dahlem
+ Philipp Schueller ??

What does GAN machine vision tell us about our world?
Can I source scientific texts and have them be part of the reading?
Can I represent nature through poetry? > put two different reading styles together; the poetic vs. the scientific

I find it rather likely that I will opt for adding a 'supercut' edit based on metadata -
> maybe I can edit specific video, like of a certain genre of footage and edit it based on an animalistic perception parameter
> or it will be on onslaught of found footage ( like video essay style) to illuminate also the 'man made world ' into the data set
> maybe I can have a multichannel set up in which the one screen represents one data set (e.g. nature) - the other another (e.g. youtube found footage, human archive) and a third the machine learned/computer vision synthesis and they are played in part parallel but primarily succession of one another?

There was a book layout I saw or read in recently and I thought 'this is perfect for my thesis' what was it ?! 
it was in a magazine I was looking at
it was a two column type thing.. I looked at it and I thought - this is great - this is so easy to read and informative layout
maybe some pamphlet?

The use of bulky, industrial objects as exhibition pieces, that have a sort of toughness and sturdiness about them really resonates with me.

objects that are very much about materiality and texture

*here again the LED light can be understood as the highly refined material, the harnessing of energy, the end point of optimisation. And as such may stand in contrast to a less refined, 'raw' material.

The idea of creating a progression
like a trace on the floor from one stay of the object to a more refined stage also came up..

I'm mixing themes that have a core relevance to me:
Nature
Technology
the Digital
(Human) Perception
(Being human)
Body
Biology


with modern themes, that are very 'of the now'
AI
Computer vision
Datasets
(possibly robotics)

*The importance of a poetic title

The desk as a symbol of contemporary work culture and organised and regimented human work-process. The desk is very 'human' and not the right symbol for my thesis.

Förderung

Own artistic themes

Fashion for Performance: NINAMOUNAH with it's connection to nature and animals
would be uniquely fitting. ( UY is also a brand to consider but more because of the formalities. Stylistically it should be rather different. And I also don't want it framed as an UY event.)

Sketches

What type of rock?

A rock that is interesting from all sides? A fully rounded rock?

Large sale?

Small with intricate patterning?

More rock vs. more crystal?

Something to be un-earther? Contrast within the rock that suggests a process of resource retrieval?

Weitere Förderung suchen und beantragen!

What if the recorded footage is what the machine 'GENERATOR' produces based on the Found-footage data base (computer edited) it is provided with?!??!
BECAUSE IT IS NOT REEEAL ANIMAL VISION ( WHICH CANNOT BE KNOWN FROM HUMAN PERSPECTIVE) BUT IT IS HUMAN INFORMED TECHNICALLY GENERATED ' VIEW OF NATURE THROUGH EYES OF THE ANIMAL'
> Here the GAN's imagery would not be the final instance but an in-between, a 'before step' to the more real looking footage generated ( by me / implicitly by the machine)

Would it then be a type of 'VIDEO ESSAY' of found footage on animal sight?

What kind of material could I source?

Could also open up option to 'cut to' visually analogous 'other' material

Do I exclusively apply the Image making process to natural 'Umwelten' environments or do I let it seep into for instance for 'fashionable' motifs- or does that just confuse everything?

About playing with perception - the placement of the objects being a theatrical, animated scene but also a play on composition and alignment

Possible THEME

p.253 - Wahrnehmungspsychologie

'Resolume' appears to be a software that allows for video editing in a more generative way ( I believe this might be more of the software Petra Hermanova works with to create her visuals that go more into a VJ-ing sensibility) Definitely something to look into for the editing. https://resolume.com/

Get into contact with Phillip Schüller again?! Maybe he can be Prüfer on my MA thesis ???? or at least he could assist / give advice? Create contacts etc. - personal feedback?

Application possible in January 1 - 31
For 1 - 3 Months
Self-funded
Need a bachelor of arts?

> Might be nice to do AFTER the MA with a smaller work that is more directly based to there?
At the same time would be amazing to get Footage from Iceland for the Film?

> Just apply and mark that might get visit from Leon?
> Bring Camera
> Option to bring things back from there?
> Collect Materials for objects ( at the same time I need to contemplate wether I am interested in creating smaller objects of also found natural objects or am I aiming for more MASSIV SCULPTURES and 'Furniture-esque size' Elements

Prepare some sketches for plenum on Tuesday

Weitere Förderung suchen und beantragen!

W
What is really interesting about Sally von Rosens approach is to use materials that can have a natural quality - like cement, might look like rock - but are actually already highly processed and can be brought into more massiv, brutalist shapes and have a natural quality impression but already be within the process of 'optimisation'

> Object mimicry ?

Also collaborating with Ninamounah would be really good for my networking.

Reach out to them when the process of video and objects is more fully formed with a semi-open proposal for the performance. Would be really nice to stage the performance in Amsterdam? or Berlin ?
Question of Rehearsals does always arise but a focused week could be good enough.

For last Plenum of 2021
> I can share my Projektmappe for the Film
> Explain the overall structure of the work in 3 acts as planned.
> Give a 'moodboard' direction for the sculptures?

W
Wärmebild turned to Black and White?

M
Miniature worlds

> Base structure of video material > use 'styletransfer' to apply a style to the material
> Colab > run code in the cloud

GAN to do morphing > post produce the sequence images

Alternate A(animal) I(intelligence) : es ist immer nur eine an Annäherung sowohl der Versuch animal intelligence /perception nachzuempfinden, als auch eine AI die dem menschen ähnelt zu kreieren. & das ist auch ein zentraler Teil der Aussage; es geht um keinen richtigkeits Anspruch in der Darstellung von animal intelligence sondern eher zu zeigen wie Lückenhaft unsere Vorstellung sind und wie divers die Welt ist und die Kritik sowohl daran wie Neutrale Netzwerke entworfen werden als auch dem was wir ihnen als Datensätze (Hauptsache Masse - teilweise auch low-quality/crappy input Bilder) random aus dem Internet gescräpte Bilder.

The fact that most Primates only see with two color receptors and can therefore not recognise saturation and other qualities of a color material really centrally bring up again the question if it is even possible to represent how animals see. And the answer can be no - the question is to what degree do I show this in the work?

Could it also be a type of set up where we would have a speculative/future scenario where the images - as video inputs- are there and the datasets compares it to all these facts about animal perception? and this is what we see in the dataset visualisation? Or we turn it around and say; it's a text based data-set and the machine creates this video outputs that we see, that only ever contain a part of the information?

I stand by the fact that there is so much to be LEARNED from other organisms and that just scrapping the Internet to train AI is too reductionist an approach to intelligence. This project stand rather for considering to study the networks of nature to build them from the ground up in artificial intelligence systems.

Also I find it important to state that just because we cannot actually see as animals do we can abstract and associate and imagine and this is also a special human quality to uphold, because through the attempt to see and perceive like other animals the wealth of intelligence and the natural world becomes more understandable. The value comes not from being able to perceive just as other animals but understanding that wealth of variation.