#contentawarestudies

@irini_mirena @arselectronica & bmkös

CAS_15.1 Deep Frieze. 2021 Breccia marble, concrete, machine learning algorithms, unique synthetic dataset; dimensions: ~108x90cm. Produced with support from: Onassis Foundation & Garage Museum. @onassis.stegi @garagemca The Content Aware Studies (started in 2017) is a series of artistic investigations that spans computational, sculptural, screen-based and textual works that together critically examine what artistic, technical and philosophical capacities Ai technologies hold, both as means for automatic historical investigation & synthetic knowledge production. Artificial neural network is directed to replenish lost fragments of classical sculptures. Analysing thousands of 3d scans, it generates models, which are then 3D printed, marble fabricated and used to fill the voids of the original sculptures. #contentawarestudies #cas #kraftblog #kraftworks (at Zebrastraat) https://www.instagram.com/p/CpngcmRPZ2A/?igshid=NGJjMDIxMWI=

Some views of the show "Navigating the Digital Realm" in the EU commissions DG connect building in Brussels. The exhibition is curated by the great team at GLUON @gluon_bxl @nicolas_wierinck in collaboration with LUCA School of the Arts @luca.schoolofarts, Snowball, Ars Electronica @arselectronica and Bozar, Centre for Fine Arts Brussels @bozarbrussels Photos (c) Fabien Sylvestre. #kraftblog #cas #contentawarestudies https://www.instagram.com/p/CoDLxh9PFqt/?igshid=NGJjMDIxMWI=

@fondazioneprada recently published a brilliant catalogue dedicated to the exhibition “Recycling Beauty” - an unprecedented study about the reuse of Greek and Roman antiquities in post-antique contexts. The catalogue features my work "CAS_05 Julia Mamea" in the essay "Digital Artifacts: Processing Antiquities in Contemporary Art" written by Patrick R. Crowley @marbleindex. The exhibition is curated by Salvatore Settis and Anna Anguissola with Denise La Monica and designed by Rem Koolhaas/OMA and @2x4inc. Photos (c) OMA, Fondazione Prada and Patrick R. Crowley #kraftblog #publication #contentawarestudies (at Fondazione Prada) https://www.instagram.com/p/CmdUWPoPM_Y/?igshid=NGJjMDIxMWI=

Despite the horror of today's realms I'm glad to announce my participation in an online lecture series co-hosted by European Network for Cinema and Media Studies, on the topic of the impact of AI on contemporary visual culture and artistic practices. The Online Lecture Series is co-organized by Antonio Somaini (Université Sorbonne Nouvelle, Paris) together with Alexandra Anikina (London South Bank University, currently Balzan Postdoctoral Fellow within the research project “Aesthetics in the Present”). The history of visual cultures is periodically marked by the appearance of new images and new technologies of vision: images that introduce new forms of representation, and technologies of vision that introduce new ways of seeing, extending and reorganizing the field of the visible, while redrawing the borders between what can and what cannot be seen. In some cases, such changes produce only marginal transformations, whose effects can be felt only within specific areas of a specific visual culture, while in other cases the transformations are vast, tectonic shifts. This is what is currently happening, in a new phase in which AI, machine learning and neural networks are transforming profoundly the ways in which images are produced, modified, circulated, and seen, raising a whole series of aesthetic, epistemological, and political challenges, and leading us to question what we still mean by “image” and “vision” in the context of such vast transformations. The five speakers of the NECS Online Lecture Series – Emanuele Arielli, Tega Brain, Egor Kraft, Helena Nikonole, Joanna Zylinska – will tackle different aspects of this issue, focusing on the emergence of a new “artificial aesthetics” and of a new “extended aesthetic mind” (Arielli), on different possible approaches to the use of neural networks in art (Nikonole), on the way in which AI leads us to question again the status of human and nonhuman “creativity” (Zylinska), on the use of machine-learning processes in historical analysis (Kraft), and on the idea of the code as a “creative medium” (Brain) #kraftwork #cas #contentawarestudies #kraftblog (at Europe) https://www.instagram.com/p/CcjVVwah3QB/?igshid=NGJjMDIxMWI=

High-grade steel element of the computationally driven machinery intervenes marble blocks under a stream of water cooling it and thus manifesting the new works are coming about in flesh meanwhile. More soon #contentawarestudies #workinprogress #kraftblog https://www.instagram.com/p/CQGqrxonUuS/?utm_medium=tumblr

I'm honoured to share that my first written piece, titled 'On Content Aware & Other Case Studies' will debut as a published paper followed by tomorrows presentation at Art Machines 2 Conference in Hong Kong. The paper was co-written along with my friend and colleague Ekaterina Kormilitsyna. I will also hold a separate artist talk as part of the conference. This work is somewhat dear to me as a format in which I'm looking to further extend and unpack my research besides practical outcomes. It is also a result of limited mobility and access to means of production in which these ongoing circumstances have put me along with many of my colleagues. Massive thanks to Jussi Parikka for all the feedback and to Matthew Lenkiewicz for conversations that triggered this piece. #artmachines2 #artmachines #cas #contentawarestudies #egorkraftwork #kraftblog (at 𝙃𝙊𝙉𝙂 𝙆𝙊𝙉𝙂) https://www.instagram.com/p/CQCe1sjHDBN/?utm_medium=tumblr

One of the CAS pieces I did in late 2019 and overlooked sharing here. CAS_06 Female Portrait From Content Aware Studies Series Date Created:2019 Engineered Stone, polyamide, GAN algorithms, custom 3D scanner dataset Dimensions 26 x 20 x 23 cm #egorkraftwork #cas #contentawarestudies #kraftblog (at Vienna, Austria) https://www.instagram.com/p/CFuIE95nDlg/?igshid=1mo5gqdndzwmt