Digital Prayer

Project supervisor: Uroš Krčadinac
Programming: Miloš Trifunović and Mateja Stevanović

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




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 GAN 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.

PAINTINGS

A JOURNEY BACKWARDS 



Year: 2017-
Dimensions: 180 x 130cm
Medium: Oil on canvas

A Journey Backwards is a series of paintings that have been made during the three year period. Layers of oil applied to canvas are hiding several paintings behind the front one, that were growing and changing during the time, so the process of their creation would have the determined role of a record, a symbolic diary created through marks and strokes, haptic and visual traces in time. Mystical journey through [sub]conscious images, constructed as a map of human’s soul, primarily inspired by the language and the symbolism of Tarot and Alchemical manuscripts, in each painting represents one of the protagonists that carries it’s own “code” of meaning, translated from personal experience into a universal story.

THE UNCANNY MIRROR

slit-scan project
programmed in javascript

︎ instagram gallery

Artget Gallery // installation view
Catch 22 // installation view

The Uncanny Mirror is an interactive installation, working with a web camera, computer and a projector. In a mystical environment of a darkened room, with a strong spot light source, the visitor is expected to interact with the projection. Capturing the transformations of the image of the present moment, aligning the time that is passing by, frame by frame, columns of pixels are appearing one next to another, sliding over the screen, until the whole image has been created.

The program uses real-time video footage, and is based on a set of algorithmic rules which create a function of slit scan photography, distorts it, allowing visitors to participate and to create a site-specific image. It could appear as distorted portraits or images of their physical appearance, but also abstract images of the space. It questions the audience's approach to possibilities of transformations of digital image, exploring and showing the depth of it behind the computer interface layer.  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 will be posted to Instagram, after being selected and curated.

LINK TO WEB VERSION

 




Mark
THE POETICS OF  SPACE



2017
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.'

MOIRE
2016
       













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