This talk by Georgia Ward Dyer from Royal College of Art on "O Time thy pyramids" was presented at the Calligraphic Traces event on 31st July at Thoughtworks as part of the Creative AI meetup. The upload consists of slides followed by Georgia's notes from the talk.
It is a nptel course pdf made available here from its official nptel website . Its full credit goes to nptel itself . I am just sharing it here as i thought it would help someone in need of it . It is a course of INTRODUCTION TO ADVANCED COGNITIVE PROCESSES
It is a nptel course pdf made available here from its official nptel website . Its full credit goes to nptel itself . I am just sharing it here as i thought it would help someone in need of it . It is a course of INTRODUCTION TO ADVANCED COGNITIVE PROCESSES
The grammar of visual design seminar 6 adriena casini, diego guedes, ramon ...Adriena Casini
This is the Slides presentation of seminar 6 (INGLÊS 7 - UFRJ/ 2012-2). As the pptx is too heavy to upload on moodle, we had to do it on slideshare. We hope you do not have problems to access it. Att, Group 6:
Adriena Casini, Ramon dos Santos and Diego Guedes.
Marguerite HelmersThe Elements of Critical ViewingMargueri.docxinfantsuk
Marguerite Helmers
The Elements of Critical Viewing
Marguerite Helmers (1961- ) is Professor of English at the University of Wisconsin, Oshkosh, where she teaches courses in Visual Rhetoric, The Rhetoric of Literature, and Film & Literary Studies. She has edited the two scholarly texts: Intertexts: Reading Pedagogy in College Writing Classrooms (2003) and The Traveling and Writing Self (2007). The following essay is adapted from Chapter Two of her book The Elements of Visual Analysis (2006).
A New Language
When you look at a family photograph, an image in an advertisement, or a poster on a coffee shop wall, what do you see? How might you turn your initial positive or negative reaction into a critical process of analysis? Critical viewing entails looking closely at an image to comprehend its structure and to evaluate the information presented. “What you see is a major part of what you know,” writes Donis Dondis, author of a popular visual studies handbook. Our goal is to move from being passive consumers of images to active interrogators. This takes study. Initially, if possible, we should think consensually and sympathetically, reading the image in the way that it appears to be intended to be read, avoiding critique until after we examine the elements of the image. This process involves a degree of intellectual largesse on our part, meaning that we grant to the author of the image our attempt to understand his or her judgments, even if we disagree. Thinking consensually is not always possible, especially when we view images of war, strife, and privation, because the images cause us to react with horror and outrage. Yet, our repulsion can be an agent for meaningful change as we seek to investigate the conditions under which images were created and disseminated.
Even though we begin by examining what the creator may have intended, we need to keep in mind that there is never a single interpretation of an image, so our goal is not to discover the right interpretation, but to offer potential readings of an image.
The goal of this chapter is to help you establish a process and develop a language for examining visual images. You not only want to describe what is there before you, you also want to understand why the creator made certain choices. Sylvan Barnett, the author of several texts on analyzing fine art, writes that we “see” with more than our eyes: when we look at objects and images, we engage emotions, memory, and ideology (the system of values and beliefs into which we have been educated).
Before continuing with your work, remember two things. First, to see images in their original contexts. While digital technology has made it possible for many art galleries, museums, and image lovers to put high-quality color images of paintings, photographs, and sculpture online, they all appear on the same small, flat screen. Missing is the context of viewing: the hushed tones of the art museum or the buzz of the coffee house. The ambient no ...
Design Fiction: Something and the Something in the Age of the SomethingJulian Bleecker
Presentation at Design Engaged 2008 of some early thinking on props, prototypes and fiction as frameworks for engaging design activities. Ideas in process.
More at: http://tinyurl.com/45sv3z
Essay about Digital Art Technology
American Illustration
Surrealism Essay
What Is Self Worth Essay
Illustration Paragraph
Essay on Family Systems Theory
The Artist And The Art Essay
Gallery of Student WritingShernel WoodmanPrinciples of Design.docxshericehewat
Gallery of Student Writing
Shernel Woodman
Principles of Design
“Train of Thought” by Leo Bridle
Simple Outline
“A Journey for Love”
I. Leo Bridle and Ben Thomas were the film makers.
a. I believe they are in their late 20s and early 30s, and they graduated from the Arts Institute at Bournemouth.
b. From the United Kingdom.
II. The basic structure of the artwork is Film.
a. Material used was digital compositing software and all the animations were done by hand and not the compositing software.
b. The subject of the seemed to be the young artist and he seemed to have been in search of someone. Everything seemed to be between and a gray/sepia scale with a design using cut outs and wooden toys.
III. I think this whole film was based on love.
a. My 1st idea is that he is trying to find the woman he loved. He may have seen her before at the station and drawn her out of memory and may have come back to find her there. When he didn’t, he hopped on the train in search for her only to come up empty. I believe he used his drawing pad as some sort of map as to where she may have been. When he doesn’t find her, he returns to the station once again and this time, he finds her. He then realizes that she may be an artist as well and may have gone through the same processes to find each other.
b. My 2nd idea is that he may have drawn her as well as the other drawings in his book subconsciously and realized this was a woman he had to meet. He then returns to the train station, which is the setting of his drawing. When she doesn’t come, he hops on the train and then goes in search for the woman that he loves. When he doesn’t find her he returns back to the station and that is where he finally sees her. They go towards each other and hold hands, seeming like they both went through the same measures to find each other.
I think the way the film makers used photography and film made this a very interesting form of media. Everything looked cartooned and real at the same time. The train station and the train themselves looked like they were made out of wooden toys and the people all looked like cut outs that were animated to look like they were moving, inside of their cut out frames. This was a well done film and they filmmakers did a wonderful job. I must say it sure caught my attention.
Linda Hoffman-Ostroff
Techniques, Materials, and Form
Introduction to the Drinking Maiden Exhibition
Story Style
"A Maiden in Born"
My color is milky white and thus a maiden is born... I was created by the great sculptural artist Ernst Wenck in 1901. He created my soft white body by using his strong meticulous hands. He is indeed an artist. I was created in a time when conservatism was not very popular. Because of my intricate detail and the delicate image I carry I became a model for porcelain miniatures.
If you study my structure you see the qualities that may have lead to my continued popularity. I lean forward and you see the muscle tone of my leg by the light tha ...
Visual Perception Essay
A Visual Analysis Essay
Example Of Visual Art Critique
Example Of Visual Rhetoric
Art Analysis Essay
Reflection On Visual Arts
Visual Culture Essay
Analysis of Visual Text Essay
Power Of Visual Image
Visual Rhetorical Analysis Essay
Visual Argument Essay
Visual Observation Essay
Presentation Analysis Essay examples
Luba Elliott - AI art - ICCV ConferenceLuba Elliott
This talk was given as part of the ICCV Workshop on Computer Vision for Fashion, Art and Design on the 2nd November in Seoul. See the workshop computer vision art gallery at computervisionart.com.
The grammar of visual design seminar 6 adriena casini, diego guedes, ramon ...Adriena Casini
This is the Slides presentation of seminar 6 (INGLÊS 7 - UFRJ/ 2012-2). As the pptx is too heavy to upload on moodle, we had to do it on slideshare. We hope you do not have problems to access it. Att, Group 6:
Adriena Casini, Ramon dos Santos and Diego Guedes.
Marguerite HelmersThe Elements of Critical ViewingMargueri.docxinfantsuk
Marguerite Helmers
The Elements of Critical Viewing
Marguerite Helmers (1961- ) is Professor of English at the University of Wisconsin, Oshkosh, where she teaches courses in Visual Rhetoric, The Rhetoric of Literature, and Film & Literary Studies. She has edited the two scholarly texts: Intertexts: Reading Pedagogy in College Writing Classrooms (2003) and The Traveling and Writing Self (2007). The following essay is adapted from Chapter Two of her book The Elements of Visual Analysis (2006).
A New Language
When you look at a family photograph, an image in an advertisement, or a poster on a coffee shop wall, what do you see? How might you turn your initial positive or negative reaction into a critical process of analysis? Critical viewing entails looking closely at an image to comprehend its structure and to evaluate the information presented. “What you see is a major part of what you know,” writes Donis Dondis, author of a popular visual studies handbook. Our goal is to move from being passive consumers of images to active interrogators. This takes study. Initially, if possible, we should think consensually and sympathetically, reading the image in the way that it appears to be intended to be read, avoiding critique until after we examine the elements of the image. This process involves a degree of intellectual largesse on our part, meaning that we grant to the author of the image our attempt to understand his or her judgments, even if we disagree. Thinking consensually is not always possible, especially when we view images of war, strife, and privation, because the images cause us to react with horror and outrage. Yet, our repulsion can be an agent for meaningful change as we seek to investigate the conditions under which images were created and disseminated.
Even though we begin by examining what the creator may have intended, we need to keep in mind that there is never a single interpretation of an image, so our goal is not to discover the right interpretation, but to offer potential readings of an image.
The goal of this chapter is to help you establish a process and develop a language for examining visual images. You not only want to describe what is there before you, you also want to understand why the creator made certain choices. Sylvan Barnett, the author of several texts on analyzing fine art, writes that we “see” with more than our eyes: when we look at objects and images, we engage emotions, memory, and ideology (the system of values and beliefs into which we have been educated).
Before continuing with your work, remember two things. First, to see images in their original contexts. While digital technology has made it possible for many art galleries, museums, and image lovers to put high-quality color images of paintings, photographs, and sculpture online, they all appear on the same small, flat screen. Missing is the context of viewing: the hushed tones of the art museum or the buzz of the coffee house. The ambient no ...
Design Fiction: Something and the Something in the Age of the SomethingJulian Bleecker
Presentation at Design Engaged 2008 of some early thinking on props, prototypes and fiction as frameworks for engaging design activities. Ideas in process.
More at: http://tinyurl.com/45sv3z
Essay about Digital Art Technology
American Illustration
Surrealism Essay
What Is Self Worth Essay
Illustration Paragraph
Essay on Family Systems Theory
The Artist And The Art Essay
Gallery of Student WritingShernel WoodmanPrinciples of Design.docxshericehewat
Gallery of Student Writing
Shernel Woodman
Principles of Design
“Train of Thought” by Leo Bridle
Simple Outline
“A Journey for Love”
I. Leo Bridle and Ben Thomas were the film makers.
a. I believe they are in their late 20s and early 30s, and they graduated from the Arts Institute at Bournemouth.
b. From the United Kingdom.
II. The basic structure of the artwork is Film.
a. Material used was digital compositing software and all the animations were done by hand and not the compositing software.
b. The subject of the seemed to be the young artist and he seemed to have been in search of someone. Everything seemed to be between and a gray/sepia scale with a design using cut outs and wooden toys.
III. I think this whole film was based on love.
a. My 1st idea is that he is trying to find the woman he loved. He may have seen her before at the station and drawn her out of memory and may have come back to find her there. When he didn’t, he hopped on the train in search for her only to come up empty. I believe he used his drawing pad as some sort of map as to where she may have been. When he doesn’t find her, he returns to the station once again and this time, he finds her. He then realizes that she may be an artist as well and may have gone through the same processes to find each other.
b. My 2nd idea is that he may have drawn her as well as the other drawings in his book subconsciously and realized this was a woman he had to meet. He then returns to the train station, which is the setting of his drawing. When she doesn’t come, he hops on the train and then goes in search for the woman that he loves. When he doesn’t find her he returns back to the station and that is where he finally sees her. They go towards each other and hold hands, seeming like they both went through the same measures to find each other.
I think the way the film makers used photography and film made this a very interesting form of media. Everything looked cartooned and real at the same time. The train station and the train themselves looked like they were made out of wooden toys and the people all looked like cut outs that were animated to look like they were moving, inside of their cut out frames. This was a well done film and they filmmakers did a wonderful job. I must say it sure caught my attention.
Linda Hoffman-Ostroff
Techniques, Materials, and Form
Introduction to the Drinking Maiden Exhibition
Story Style
"A Maiden in Born"
My color is milky white and thus a maiden is born... I was created by the great sculptural artist Ernst Wenck in 1901. He created my soft white body by using his strong meticulous hands. He is indeed an artist. I was created in a time when conservatism was not very popular. Because of my intricate detail and the delicate image I carry I became a model for porcelain miniatures.
If you study my structure you see the qualities that may have lead to my continued popularity. I lean forward and you see the muscle tone of my leg by the light tha ...
Visual Perception Essay
A Visual Analysis Essay
Example Of Visual Art Critique
Example Of Visual Rhetoric
Art Analysis Essay
Reflection On Visual Arts
Visual Culture Essay
Analysis of Visual Text Essay
Power Of Visual Image
Visual Rhetorical Analysis Essay
Visual Argument Essay
Visual Observation Essay
Presentation Analysis Essay examples
Luba Elliott - AI art - ICCV ConferenceLuba Elliott
This talk was given as part of the ICCV Workshop on Computer Vision for Fashion, Art and Design on the 2nd November in Seoul. See the workshop computer vision art gallery at computervisionart.com.
AI Art Gallery Overview - Luba Elliott - NeurIPS Creativity WorkshopLuba Elliott
This talk on 'AI Art Gallery Overview' was given by Luba Elliott at the NeurIPS Creativity Workshop on the 8th December in Montreal, Canada. The AI art gallery can be found at www.aiartonline.com.
Creativity is Intelligence - Kenneth Stanley - NeurIPS Creativity WorkshopLuba Elliott
This invited talk on 'Creativity is Intelligence' was given by Kenneth Stanley at the 2018 NeurIPS Workshop on Machine Learning for Creativity and Design in Montreal, Canada on the 8th December.
Seen by machine: Computational Spectatorship in the BBC ArchiveLuba Elliott
This talk on 'Seen by machine: Computational Spectatorship in the BBC Archive' was given by Daniel Chávez Heras as part of the Creative AI meetup on the 15th November at the Goethe Institute in London.
Natasha Jaques - Learning via Social Awareness - Creative AI meetupLuba Elliott
This talk by Natasha Jaques from MIT Media Lab on "Learning via Social Awareness: Improving a deep generative sketching model with facial feedback" was presented on 10th September 2018 at IDEA London as part of the Creative AI meetup.
Sander Dieleman - Generating music in the raw audio domain - Creative AI meetupLuba Elliott
This talk by Sander Dieleman from DeepMind on "Generating music in the raw audio domain" was presented on 10th September 2018 at IDEA London as part of the Creative AI meetup.
Marco Marchesi - Practical uses of style transfer in the creative industryLuba Elliott
This talk by Marco Marchesi from Happy Finish on "Can you make this image more neoclassical? Practical uses of Style Transfer in the creative industry" was presented at the Style Transfer event on 18th April at TechHub as part of the Creative AI meetup.
Hooman Shayani - CAD/CAM in the Age of AI: Designers’ Journey from Earth to SkyLuba Elliott
This talk by Hooman Shayani from Autodesk on "CAD/CAM in the Age of AI: Designers’ Journey from Earth to Sky" was presented at the Design and Manufacturing in the Age of AI event on 24th October at UCL as part of the Creative AI meetup.
Lucas Theis - Compressing Images with Neural Networks - Creative AI meetupLuba Elliott
This talk by Lucas Theis from Twitter/Magic Pony on "Compressing Images with Neural Networks" was presented at the Learning Image Representations event on 30th August at Twitter as part of the Creative AI meetup.
Emily Denton - Unsupervised Learning of Disentangled Representations from Vid...Luba Elliott
This talk by Emily Denton from New York University on "Unsupervised Learning of Disentangled Representations from Video" was presented at the Learning Image Representations event on 30th August at Twitter as part of the Creative AI meetup.
Daniel Berio - Graffiti synthesis, a motion centric approach - Creative AI me...Luba Elliott
This talk by Daniel Berio from Goldsmiths University on "Graffiti synthesis, a motion centric approach" was presented at the Calligraphic Traces event on 31st July at Thoughtworks as part of the Creative AI meetup.
Ali Eslami - Artificial Intelligence and Computer Aided Design - Creative AI ...Luba Elliott
This talk by Ali Eslami on "Artificial Intelligence and Computer Aided Design" was presented at the AI & Architecture event on the 21st June held at the Digital Catapult. It was part of the Creative AI meetup series and the London Festival of Architecture.
Daghan Cam - Adaptive Autonomous Manufacturing with AI - Creative AI meetupLuba Elliott
This talk by Daghan Cam from AI Build on "Adaptive Autonomous Manufacturing with AI" was presented at the AI & Architecture event on the 21st June held at the Digital Catapult. It was part of the Creative AI meetup series and the London Festival of Architecture.
Martin Arjovsky - Wasserstein GAN - Creative AI meetupLuba Elliott
This talk "On Different Distances Between Distributions and Generative Adversarial Networks" about the Wasserstein GAN was presented at the Creative AI meetup on 26th May held at Imperial College in partnership with the Deep Learning Network.
Dev Dives: Train smarter, not harder – active learning and UiPath LLMs for do...UiPathCommunity
💥 Speed, accuracy, and scaling – discover the superpowers of GenAI in action with UiPath Document Understanding and Communications Mining™:
See how to accelerate model training and optimize model performance with active learning
Learn about the latest enhancements to out-of-the-box document processing – with little to no training required
Get an exclusive demo of the new family of UiPath LLMs – GenAI models specialized for processing different types of documents and messages
This is a hands-on session specifically designed for automation developers and AI enthusiasts seeking to enhance their knowledge in leveraging the latest intelligent document processing capabilities offered by UiPath.
Speakers:
👨🏫 Andras Palfi, Senior Product Manager, UiPath
👩🏫 Lenka Dulovicova, Product Program Manager, UiPath
Encryption in Microsoft 365 - ExpertsLive Netherlands 2024Albert Hoitingh
In this session I delve into the encryption technology used in Microsoft 365 and Microsoft Purview. Including the concepts of Customer Key and Double Key Encryption.
Connector Corner: Automate dynamic content and events by pushing a buttonDianaGray10
Here is something new! In our next Connector Corner webinar, we will demonstrate how you can use a single workflow to:
Create a campaign using Mailchimp with merge tags/fields
Send an interactive Slack channel message (using buttons)
Have the message received by managers and peers along with a test email for review
But there’s more:
In a second workflow supporting the same use case, you’ll see:
Your campaign sent to target colleagues for approval
If the “Approve” button is clicked, a Jira/Zendesk ticket is created for the marketing design team
But—if the “Reject” button is pushed, colleagues will be alerted via Slack message
Join us to learn more about this new, human-in-the-loop capability, brought to you by Integration Service connectors.
And...
Speakers:
Akshay Agnihotri, Product Manager
Charlie Greenberg, Host
Epistemic Interaction - tuning interfaces to provide information for AI supportAlan Dix
Paper presented at SYNERGY workshop at AVI 2024, Genoa, Italy. 3rd June 2024
https://alandix.com/academic/papers/synergy2024-epistemic/
As machine learning integrates deeper into human-computer interactions, the concept of epistemic interaction emerges, aiming to refine these interactions to enhance system adaptability. This approach encourages minor, intentional adjustments in user behaviour to enrich the data available for system learning. This paper introduces epistemic interaction within the context of human-system communication, illustrating how deliberate interaction design can improve system understanding and adaptation. Through concrete examples, we demonstrate the potential of epistemic interaction to significantly advance human-computer interaction by leveraging intuitive human communication strategies to inform system design and functionality, offering a novel pathway for enriching user-system engagements.
Securing your Kubernetes cluster_ a step-by-step guide to success !KatiaHIMEUR1
Today, after several years of existence, an extremely active community and an ultra-dynamic ecosystem, Kubernetes has established itself as the de facto standard in container orchestration. Thanks to a wide range of managed services, it has never been so easy to set up a ready-to-use Kubernetes cluster.
However, this ease of use means that the subject of security in Kubernetes is often left for later, or even neglected. This exposes companies to significant risks.
In this talk, I'll show you step-by-step how to secure your Kubernetes cluster for greater peace of mind and reliability.
GraphRAG is All You need? LLM & Knowledge GraphGuy Korland
Guy Korland, CEO and Co-founder of FalkorDB, will review two articles on the integration of language models with knowledge graphs.
1. Unifying Large Language Models and Knowledge Graphs: A Roadmap.
https://arxiv.org/abs/2306.08302
2. Microsoft Research's GraphRAG paper and a review paper on various uses of knowledge graphs:
https://www.microsoft.com/en-us/research/blog/graphrag-unlocking-llm-discovery-on-narrative-private-data/
State of ICS and IoT Cyber Threat Landscape Report 2024 previewPrayukth K V
The IoT and OT threat landscape report has been prepared by the Threat Research Team at Sectrio using data from Sectrio, cyber threat intelligence farming facilities spread across over 85 cities around the world. In addition, Sectrio also runs AI-based advanced threat and payload engagement facilities that serve as sinks to attract and engage sophisticated threat actors, and newer malware including new variants and latent threats that are at an earlier stage of development.
The latest edition of the OT/ICS and IoT security Threat Landscape Report 2024 also covers:
State of global ICS asset and network exposure
Sectoral targets and attacks as well as the cost of ransom
Global APT activity, AI usage, actor and tactic profiles, and implications
Rise in volumes of AI-powered cyberattacks
Major cyber events in 2024
Malware and malicious payload trends
Cyberattack types and targets
Vulnerability exploit attempts on CVEs
Attacks on counties – USA
Expansion of bot farms – how, where, and why
In-depth analysis of the cyber threat landscape across North America, South America, Europe, APAC, and the Middle East
Why are attacks on smart factories rising?
Cyber risk predictions
Axis of attacks – Europe
Systemic attacks in the Middle East
Download the full report from here:
https://sectrio.com/resources/ot-threat-landscape-reports/sectrio-releases-ot-ics-and-iot-security-threat-landscape-report-2024/
Key Trends Shaping the Future of Infrastructure.pdfCheryl Hung
Keynote at DIGIT West Expo, Glasgow on 29 May 2024.
Cheryl Hung, ochery.com
Sr Director, Infrastructure Ecosystem, Arm.
The key trends across hardware, cloud and open-source; exploring how these areas are likely to mature and develop over the short and long-term, and then considering how organisations can position themselves to adapt and thrive.
Slack (or Teams) Automation for Bonterra Impact Management (fka Social Soluti...Jeffrey Haguewood
Sidekick Solutions uses Bonterra Impact Management (fka Social Solutions Apricot) and automation solutions to integrate data for business workflows.
We believe integration and automation are essential to user experience and the promise of efficient work through technology. Automation is the critical ingredient to realizing that full vision. We develop integration products and services for Bonterra Case Management software to support the deployment of automations for a variety of use cases.
This video focuses on the notifications, alerts, and approval requests using Slack for Bonterra Impact Management. The solutions covered in this webinar can also be deployed for Microsoft Teams.
Interested in deploying notification automations for Bonterra Impact Management? Contact us at sales@sidekicksolutionsllc.com to discuss next steps.
Smart TV Buyer Insights Survey 2024 by 91mobiles.pdf91mobiles
91mobiles recently conducted a Smart TV Buyer Insights Survey in which we asked over 3,000 respondents about the TV they own, aspects they look at on a new TV, and their TV buying preferences.
Transcript: Selling digital books in 2024: Insights from industry leaders - T...BookNet Canada
The publishing industry has been selling digital audiobooks and ebooks for over a decade and has found its groove. What’s changed? What has stayed the same? Where do we go from here? Join a group of leading sales peers from across the industry for a conversation about the lessons learned since the popularization of digital books, best practices, digital book supply chain management, and more.
Link to video recording: https://bnctechforum.ca/sessions/selling-digital-books-in-2024-insights-from-industry-leaders/
Presented by BookNet Canada on May 28, 2024, with support from the Department of Canadian Heritage.
23. Notes from the talk
• Recent work in the field of machine vision can have applications
(and implications) for philosophical questions of meaning, and
ontology. For example fooling images (see Anh Nguyen, Jason
Yosinski, and Jeff Clune. "Deep neural networks are easily fooled:
High confidence predictions for unrecognizable images." 2015
IEEE Conference on Computer Vision and Pattern Recognition
(CVPR), 2015. doi:10.1109/cvpr. 2015.7298640.), Quick, Draw!
dataset.
• In this talk I present my own work O Time thy pyramids (title is a
quote from Borges’ The Library of Babel). A series of ink
drawings, with accompanying prints. The ink drawings are
abstract (more on process later) in the tradition of Surrealists’
‘automatic drawing’, i.e. mark-making with no preconceived
intention about the subject of the drawing. Drawings are submitted
to an image recognition model (convnet) which identifies what it
thinks the image is of, giving higher or lower scores to the labels
24. • Taking one of these labels, for example ‘scorpion’, the
accompanying print shows the particular parts of the original
drawing which prompted that label (‘scorpion-y’ parts). [NB I did
not always choose the highest class probability/‘top’ label.]
• Brief introduction to Deep Visualization Toolbox: Credit to
Yosinski et al (‘Understanding Neural Networks Through Deep
Visualization’ 2015). Tool which gives you visualisation of what is
happening throughout the layers. I used it to obtain the
deconvolutional visualisation - which visualises which pixels in
the input image caused a specific neuron to activate. This
visualisation is what I used for the prints.
25. • Why is this interesting? Philosophical ideas about visual representation
and perception.
• How is an image of something like the thing itself? What does a tree
have in common with a drawing of a tree? They ‘look similar’. But (how)
can we deconstruct exactly what ‘looking similar’ means..? ‘Tertium
comparationis’ = ‘third part’, i.e. the quality that two things being
compared have in common. Is it possible to isolate the ‘tertium
comparationis’ between a thing and its image? Whatever that looks
like, could we think of it as the ‘essence’ of that thing - what makes it
that and not something else, that which gives it its identity? [NB this is
of course an essentialist view, not and not necessarily one which I think
is correct].
• This is what the prints show. A visualisation of what made the model
say ‘scorpion’. A practical answer to the theoretical question, ‘what is
the third part between this image and a scorpion’? In fact it is only that
third part - there is a connection to information theory (images are
information - pixel data): insofar as this image carries meaning, then for
the message ‘scorpion’, here is a visualisation of the minimum
information - an efficient scorpion?!
• [NB not scientifically rigorous - artistic licence but also process. E.g.
scanning instead of photographing to turn the drawings into digital files
affected output results]
26. • Of course this is visual representation as per machine intelligence,
not human. The model’s notion of what is ‘scorpion-y’ is a machinic
not a human one, computed by assimilating across a collection of
different images in the training set which were all labelled as
‘scorpion’. However what is interesting is human viewers look at the
two images side by side and immediately try to ‘see’ the label in the
right-hand image (especially in exhibition where careful placement of
the caption has significant impact). There is reflexivity: human-made
image, then interpreted by machine, then understood/meaning read in
by human viewers. Reflexivity is fitting - cf. Kate Storrs’ Creative AI
talk about DNNs as models of the brain.
• Why is it interesting to consider minimum scorpion/‘essence of
scorpion’? Identity and meaning. The real ‘zero-redundancy’ scorpion
would be a pixel away from being something else completely - if every
bit of information in the image is necessary for it to be classified as a
scorpion, then you couldn’t change any part of it without suddenly
shifting it’s identity. Paring back an image so that every part of it is
crucial to its ‘meaning’ is interesting. Borderlines - how far can you
take x until it’s something else, or until it breaks - this is how you
discover the shape of something; its definition and its identity.
27. • Drawings process & calligraphic connection: Borderline between
representational and abstract.
• Abstract drawings (no subject that I had in mind to represent) yet
I’m asking them (absurdly) to carry meaning in a representational
sense. Aesthetic - intentionally want them read as ‘calligraphic’,
sharing visual identity with the written letter (glyph). They are not
letters or characters! But they look like they could be. Drawing
process: I didn’t consciously try to make drawings that looked
letter-like, but focused more on performance of the brushstroke,
on gesture of mark-making. Cf Daniel Berio’s talk re: modelling
that gesture as a critical part of making convincing, natural-
looking glyphs. Cf William C Watt, linguist and cognitive
semiotician who developed gesture theory of the origins of letter
shapes.
• I made these ‘calligraphic’ in aesthetic in order to invoke the
relationship between meaning and glyph - not a straightforward
relationship. Some letter systems have roots in representation (as
in visual similarity) which are still visible today, e.g. chinese
radical for mouth - the root for sing, call, eat, but it’s not a
straightforward representational story.
28. • Chinese characters - meeting visitor at exhibition who drew the
Chinese characters which she thought my drawings strikingly
close to. Drawing which became ‘cowboy hat’ looks like shū
(book) but also letter ‘B’. Viewers’ personal experience (visual
references) affects what they perceive in the abstract drawing.
Many alphabet systems are not based on visual similarity, but
function as symbols (‘represent’ their meaning but not in a
visually similar sense). How do we read drawings as meaningful,
in particular in this instance whether we’re reading them as
representationally/ symbolically meaningful? Borderline between
representational and ‘fictionally symbolic’ (?). When is the letter a
not the letter a? Perhaps when it’s not recognisable. But humans
are so excellent at pattern recognition.
• Why was I successful in invoking glyph reference through
drawings? There must be certain visual rules that everyone
subconsciously knows about what a glyph - in any alphabet -
looks like, a certain system of angles and spacing, complexity of
composition. Cf Daniel’s work again. Exciting to explore these
sorts of conceptual questions practically through AI.