Abstract
In the series Perfect Skin launched in 2015, Gregory Chatonsky, a French Canadian artist, ran an AI programme on the more than 5000 Tumblr and Instagram selfies posted by Kim Kardashian, to create distorted and serial representations of the celebrity which were then reproduced through a series of media: photo, video, textiles, ceramics, VR. Chatonsky challenges the genre of the selfie on several accounts. He highlights issues such as scale and exposure within the infoglut. Using algorithms also enables him to trigger cognitive and artistic shifts: from the visual arts to mathematics, from representation to data, from creative control to chance, from recognition to perceptual aporia, from social media to the gallery. These distorted and serialised images, “organes sans corps” to take up Deleuze’s famous concept, may pertain to a regime of meaning based on affect, as defined by Brian Massoumi, rather than on mimesis.
Highlights
Les contenus de la revue Interfaces sont mis à disposition selon les termes de la Licence Creative Commons Attribution 4.0 International
This text was automatically generated on 23 January 2022
8 Chatonsky capitalizes on the latest IT technology such as deep learning, neural networks and generative algorithms to foster what he calls AIship, the creative power of artificial intelligence, a word coined on the model of craftsmanship. These techniques rely on a three-step process of collection, discretization and combination: collecting data in the form of thousands of pictures, turning these pictures into sets of discrete elements and rearranging them through an algorithm. To enact those chancebased re-combinations, Chatonsky exploits the possibilities offered by data breakdown, scale issues and genre switching
Summary
ISSN: 2647-6754 Publisher: Université de Bourgogne, Université de Paris, College of the Holy Cross. Electronic reference Claire Larsonneur, “Challenging the Selfie: Perfect Skin by Chatonsky”, Interfaces [Online], 46 | 2021, Online since 15 December 2021, connection on 23 January 2022. This text was automatically generated on 23 January 2022. Les contenus de la revue Interfaces sont mis à disposition selon les termes de la Licence Creative Commons Attribution 4.0 International
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