Brenna Murphy’s prototype is a photographic sculptural installation that exists across both virtual and physical space. The physical realm is a printed tapestry placed on the floor. Using a Vive Virtual Reality headset the viewer explores a virtual landscape by physically walking around the tapestry area. Navigating a world of abstracted elements, the work explores the perceptual frameworks of an experience both virtual and embodied.
Plastic Pixels dissects the portraiture of stock photography to reveal the extent of its manipulation. Faith Holland separates the different layers of the portrait, paring the image back to create photographic ghosts that speak to the distortions of the beauty industry. But as she also suggests, the ghosts offer a glimpse into a not-too-distant future, one of manufactured humans, cyborgs designed and perfected by the algorithm.
The prototype for Zero Insertion visualises the consequences of a virtual world gone wrong, the moment the Internet ‘breaks’ or ceases to transmit information. Disrupted feeds and the deterioration of images through missing data – so called packet loss – speak to processes of delay, misdirection and corruption. Our world of instant virtual access is transformed, generating spectral presences of disruption, out of place and out of time.
Maximilian Schmoetzer’s prototype challenges what he describes as a new ‘techno-colonialism’ whereby states reconstruct destroyed monuments in the form of life-size facsimiles. Using ‘poor images’ found online he disrupts this strategy by exposing the fictional life of photographs. The computer-generated figure of Zenobia is introduced, a Northern Bald Ibis, found near the ruins of Palmyra. The bird, now vanished from Syria, becomes an emblem of critique, its dislocation challenging the techno-colonial ambitions of western governments.
Simen Musæus’ prototype engages with the possibility of creating semantically segmented images, cutting them up virtually and reorganising their form according to this segmentation. He simulates this process through scans of Norwegian beach-valleys, crunching complex topologies into geometry which can then be segmented and represented diagrammatically. The result is a transformative ecology expressed through data, a process heralding a semantic turn for images.