Recoding Art
short movie, HD, 14'50", 2019.
Research awarded by Deviant Practice 2018-19, Van Abbemuseum.
Directors: Bruno Moreschi and Gabriel Pereira
Editing: Luara Oliveira
Production: Fernanda Pessoa
Cinematography: Rodrigo Levy
Graphic design: Guilherme Falcão
Animation: Ricardo Monteiro
Sound: David Menezes
Soundtrack: Wolfgang von Kempelen
Color correction: Isabela Moura
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IDFA, 2019, Amsterdam (world premiere)
Festival É Tudo Verdade 2020, São Paulo
Hot Docs 2020, Toronto
Aspen Shorfest 2020, USA
Kaohsiung Film Festival 2020 Taiwan
Dart Festival 2020, Barcelona
Lo schermo dell’arte Film Festiva 2020, Firenze
Festival de Fino Filme 2020, São Paulo
Videoforme 2020, Paris
Besides the Screen 2020, Vitória e Porto
Interfilm Festival 2021, Berlim
Editing: Luara Oliveira
Production: Fernanda Pessoa
Cinematography: Rodrigo Levy
Graphic design: Guilherme Falcão
Animation: Ricardo Monteiro
Sound: David Menezes
Soundtrack: Wolfgang von Kempelen
Color correction: Isabela Moura
IDFA, 2019, Amsterdam (world premiere)
Festival É Tudo Verdade 2020, São Paulo
Hot Docs 2020, Toronto
Aspen Shorfest 2020, USA
Kaohsiung Film Festival 2020 Taiwan
Dart Festival 2020, Barcelona
Lo schermo dell’arte Film Festiva 2020, Firenze
Festival de Fino Filme 2020, São Paulo
Videoforme 2020, Paris
Besides the Screen 2020, Vitória e Porto
Interfilm Festival 2021, Berlim
On an October evening, the digital media researcher Gabriel Pereira sent me an e-mail. The message marked the beginning of a research that involved creating a platform that centralized 7 comercial Artificial Intelligences to read the collection of a contemporary art museum.
In the results, Pereira and I looked for glitches, errors and unexpected readings by the AIs – but we also encountered algorithms that nivelate the artistic subjectivity to the capitalist logic.
Underpinning it all was the crucial but invisible labour of Amazon Mechanical Turkers.
In the results, Pereira and I looked for glitches, errors and unexpected readings by the AIs – but we also encountered algorithms that nivelate the artistic subjectivity to the capitalist logic.
Underpinning it all was the crucial but invisible labour of Amazon Mechanical Turkers.
Also available in Aeon, magazine of ideas and culture.
"(...) carefully composed film (...) a sobering and entertaining game of words and images that takes you out of your comfort zone."
- IDFA Competition for Short Documentary.
"Techno-capitalism is not an art aficionado."
- Eileen Arandiga, HotDocs.
"An entertaining and thought-provoking exploration of subjectivity, capitalism and machine learning that shows how AIs reflect the imperfect humans who train them.”
- Aeon magazine.
More about the research:
Article “Artificial Intelligence and Institutional Critique 2.0: Unexpected Ways of Seeing with Computer Vision”
With Gabriel Pereira. Springer AI & Society Journal (special edition edited by Mitra Azar, Geoff Cox, and Leonardo Impett).
Chapter “Ways of Seeing with Computer Vision: Artificial Intelligence and Institutional Critique”
Devian Practice 2018-19 book, Van Abbemuseum, NL.
or recodingart.com
Movie stills.
Museum labels with commercial AI readings.