import Kiki.Wu as objectives
import programming as transform
import participants as render
Homology(2020) is an exhibition demonstrating the fluidity and aesthetics of the computational process. I’ve effortlessly created works effortlessly from a critical observation of machines since my 2019 work, Absdiff (2019), a series of naturally pixelated, glitchy images and screenshots collected from my phone and laptop. By embedding my face into the code, I expand the idea of creating art using supermatic technology like artificial intelligence, and further release my agency of completing this exhibition to software and participants, who are authorized to iterate work on their movements and sounds in the gallery. Homology shifts the distribution of laboring between artist, computer, and viewer; it extends the digital embodiment to physical space.
To fit into social media, people need to sacrifice their real personalities. So we apply extra filters on our
order to become better humans. ID photo is an example of over-filtering portraits in the real world. The
not from ourselves, but from the photographers themselves. We authorized the photographer to change our
order to gain a certified identity, a driver license, a passport, or any kind of ID.
Similarly, to be in part of the glitch world, I have to sacrifice my face. I fed my ID photo into TensorFlow library to be part of the digital world. Just like I authorized ID photographers, I authorized an AI to create my avatar. Since then, my consciousness has shifted. For my AI, I am his subconscious, and the code is his consciousness. For my avatar, I am her consciousness, yet the code for this is her unconsciousness.
A series of images collected from real-time video capture by my AI-generated avatars. I was exploring the idea of using the human body as a medium. After using TensorFlow to generate my spooky avatar, I imported those avatar photos into a sofeware called TouchDesigner to generate natural landscapes.
In mathematics, homology theory discusses the boundary and the relationship between topological space and the physical world. Briefly, on the surface of a sphere, all manifolds need to be closed and connected, and thus there are no boundaries. Homology is an interactive installation that demonstrates the potential for blurring the boundaries between physical space and the virtual world.
During installation, I create a flying sphere that reflects real-time video of the gallery space, which also controls the dynamics of the sphere and environmental sounds. With looping heartbeat sounds and balloons scattered on the floor, viewers are invited to synchronize their moods and body movements with a joyful interactive installation. However, most of them have never noticed their bodies are embedded in the flying sphere, and some have found that they seldom question the feelings of being watched by the camera; in other words, they are surprisingly comfortable with the look of their bodies. The boundaries of physical space and virtual space are filled by the viewers' volunteer participants, who often blur their identities as an audience or as a medium in their artwork. The meaning of Homology is iterated by participants’ activities.