[2019 - ]

Project supervisor> Uroš Krčadinac

Programming>         Miloš Trifunović, Mateja Stevanović, Jacques Laroche
Sound Composer >  Marija Šumarac
Supported by>        Faculty of Media and Communication, Belgrade
                               Centre for the Promotion of Science, Belgrade

Festival S.U.T.R.A. // Official Website

Remont Gallery

The Digital Prayer project is using one of the computer vision methods for image generating, with final visual output that resembles an orthodox icon. Through pixel generating using Machine Learning techniques and Generative Adversarial Neural Networks, a relation has been established between the canonical structure of an Orthodox icon and the image artificially created through computer program.
A computer program was created and a database of about 4000 digital reproductions of orthodox christian icons was collected, on the basis of which the computer learns to create a completely new image.
In relation towards geometric and mathematical order of the elements inside of the digital reproduction of the orthodox icon, it is expected that, through statistical operations, the computer will we able to repeat and reproduce the elements of canonical imagery of visual language of the icon, which from the viewers perspective would be perceived as symbolical elements.

When all of the aspects of the virtual environment of the digital image in the age of internet are taken into account, this projectional form of appearance on the surface such as the computer interface, it could be claimed that every phenomenon can be translated onto that projective surface. Icon has had the same purpose during medieval times - as a window towards immaterial, projective, spiritual. The image that is seen is just a visualisation of the code and data, which leads us to the analogy proposed by Boris Groys: “The digital image is a visible copy of the invisible image file, of the invisible data. In this respect the digital image is functioning as a Byzantine icon—as a visible copy of invisible God.
The goal of this artistic project is the demystification of the power of the AI. What used to be the God in feudalistic medieval times, it is AI in today’s neoliberalism. Through direction of algorithmic processes towards imitation of the language of the icon, two visual interfaces oppose to each other - virtual world of digital image, and the traditional handcrafted Orthodox icon.


generative real-time video installation,
based on machine learning program for motion tracking
program written in javascript

Surveillance Disco is using real-time video recording to relocate the presence of a visitor in a room, onto a limited projective surface. On that surface, the movement of the visitors is being tracked using a computer vision motion tracking program. The motions of the visitors are depersonalised and visually interpreted as red lines and dots. Through statistical data processing, the visual information is reduced to basic coordinates - referent joint points of a human body. Their movement could create an infinite number of variable constellations. Visualisation of a surveillance technology points to the layers of data behind a digital video recording in one way of interpretation as an example of how computers could see us. This is an interactive, but, primarily, a participatory project in which the visual output depends only on the actual presence of a person. The visitor-participant is not instructed with a set of rules. He does not have to aware of the fact that he is participating in the creation of a digital recording, but the visual output of the recording itself depends on his presence.
This piece has been created as a visual-sensory reminder on our every-day participation in creating digital images where our reality becomes a statistical dance of numerical data on a pixel grid.


slit-scan project
programmed in javascript

︎ instagram gallery

Exhibition views>       Prosthetic Pavillion Vol.2, Remont Gallery    
      [November 2019]
                                  Bye, Photography!, Artget Gallery [November 2018]                                    Catch 22/Kvaka 22 [July 2018]

The Uncanny Mirror is a generative interactive installation, based on a web camera, computer program and a projector/screen. The camera records the video in real-time, and the slit-scan program which I have written generates numeric values of the digital video footage. As the result, the projected material is showing the fragments of video frames aligned as a stream of pixel columns, similar to a scanning process, sliding over the screen, until the whole image has been created. After each full scan-pass across the width of the screen, the program is taking a screenshot, leaving a photo document approximately every half a minute of its activity, which are being posted to Uncanny Mirror Instagram, after being selected and curated.

Visitors are invited to participate and to create a site-specific image. This participative generative installation is giving an example of transformative possibilities of the digital image, exploring and showing the depth of the data behind the computer interface layer.





stone lithography | digital photography | drawings

Measuring dimensions of intimacy of the view: the degree of presence in the seen.
The boundaries of the space create the geometry of the soul. The view determines the point, within the architecture of  memory.

The Grid - either a curtain or a cage, is a coordinate system for moving from space [where we are] to the view [what we see]. Separating, but also directing the flow of the interface between the inner and the outer, it gives the character and spirit to what is seen.

Archiving memories and mapping the presence, observed - within the awareness of the personal space and identification with it. The synthetic geometry of awareness and notion of consciousness, recognising and removing the boundary into a non-place, it is from / between - breaks the logical external relations of the elements inside-out, linking the view with the presence. The DE-Construction of the seen is a re-construction of the memory, as key references and acknowledgments to the recognition of past, and non-actual, descriptive self-activation.
The task of such a procedure is to double the already asserted role of the artwork as the principle of affirmation of the existence of * - his own, as well as the author's existence and presence, in this case, directly taking into account the issue of space - where we are and what we see. *Friedrich Nietzsche — ’Art is essentially the affirmation, the blessing, and the deification of existence.'

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