Thesis
text : Gijeong Goo
Exposing Humanity in the Machine
/Abstract
This thesis examines the automation of image production and perception in digital technological environments. Mechanical systems establish the technical conditions through which subjects are recorded and classified, thereby influencing how images are produced and perceived. Rather than treating these conditions as external objects of critique, this study approaches them as problems inherent in the process of image production and explores artistic methods that intervene directly in their operation.
The first part examines distinct strategies for intervening in mechanical recording and recognition through Jon Rafman’s 9 Eyes and Adam Harvey’s CV Dazzle. While the former reveals the conditions of mechanical recording through the selection and reconfiguration of images collected by automated photographic systems, the latter makes the conditions of machine perception visible by disrupting the detection mechanisms of facial recognition systems. Through these case studies, this research investigates how images are constructed by technological systems and identifies points at which their processes can be intervened in.
The practical research experiments with Doubling using cameras, monitors, and other media involved in image production and reproduction. Through the repeated mediation of images, it establishes threshold conditions at which images lose their visibility or become invisible, while measuring and calculating the residual proportion of originality. By revealing the operating conditions and limitations of media in both quantitative and visual terms, this process makes explicit the conditions under which images become visible within technological systems, as well as the limits of that visibility. Integrating case studies with the analysis of artistic practice, this research establishes an artistic methodology for intervening directly in the operation of mechanical systems.
text : Gijeong Goo
Exposing Humanity in the Machine
/Abstract
This thesis examines the automation of image production and perception in digital technological environments. Mechanical systems establish the technical conditions through which subjects are recorded and classified, thereby influencing how images are produced and perceived. Rather than treating these conditions as external objects of critique, this study approaches them as problems inherent in the process of image production and explores artistic methods that intervene directly in their operation.
The first part examines distinct strategies for intervening in mechanical recording and recognition through Jon Rafman’s 9 Eyes and Adam Harvey’s CV Dazzle. While the former reveals the conditions of mechanical recording through the selection and reconfiguration of images collected by automated photographic systems, the latter makes the conditions of machine perception visible by disrupting the detection mechanisms of facial recognition systems. Through these case studies, this research investigates how images are constructed by technological systems and identifies points at which their processes can be intervened in.
The practical research experiments with Doubling using cameras, monitors, and other media involved in image production and reproduction. Through the repeated mediation of images, it establishes threshold conditions at which images lose their visibility or become invisible, while measuring and calculating the residual proportion of originality. By revealing the operating conditions and limitations of media in both quantitative and visual terms, this process makes explicit the conditions under which images become visible within technological systems, as well as the limits of that visibility. Integrating case studies with the analysis of artistic practice, this research establishes an artistic methodology for intervening directly in the operation of mechanical systems.