As technologies advance, there is an underlying gravitation towards convergence of cultures and the dilution of the diverse richness and diversity of the world, to fit into and be viewed and worked with in manners of technological protocols and standardizations. As we engineer the nuts and bolts of and approach the dawn of a new ‘species’ standing around by the corner of its own ‘intelligence’, one question that seldom gets any attention is, what is such a machine’s cultural underpinning, what is its cultural situatedness, especially if it’s meant to act as our primary medium of societal and individual reflection. In this series, I ground this new Artificial Intelligence artist collaborator in a broader, much more diverse view of visual culture and art drawing inspiration from Indian art forms and figures, which rarely find representation in art datasets digitally available. I work with a variety of Buddhist paintings as my source, alluding to the cycles of transcendence which we undergo as a species, continuous cycles of trying to become something more than ourselves, which we are now channeling through the evolving role of AI in our lives. I use an AI algorithm called Generative Adversarial Network (GAN) as my primary tool, however, I stack several of these GANs in a sequential custom manner, piping the output of one to the input of the next to produce my final output.
Machinic Situatedness 1. 30×30 inch. Archival Print on Paper. 2018.
Machinic Situatedness 2. 30×30 inch. Archival Print on Paper. 2018.
Machinic Situatedness 3. 30×30 inch. Archival Print on Paper. 2018.
Machinic Situatedness 4. 30×30 inch. Archival Print on Paper. 2018.
Machinic Situatedness 5. 30×30 inch. Archival Print on Paper. 2018.
Machinic Situatedness Video Work. Dimensions Variable. This GIF is created through arbitrary zooming on the dataset and training the GAN on that. 2018.