Anthropomorphism of Media

08─17

Dynamo Arts Association, Vancovuer BC
Sylvana dAngelo, Oana Clitan + Larissa Monteiro

But if cattle and horses and lions had hands
or could paint with their hands and create works such as men do,
horses like horses and cattle like cattle
also would depict the gods’ shapes and make their bodies
of such a sort as the form they themselves have.
– Xenophanes 4th Century BCE

Above (left): Installation view  Above:(right) Analogue Glitch
Examines the brain’s tendency to detect the presence of other humans in natural phenomena by creating a series of graduated camera glitches emotive of human behaviour. In the essay “Art and Objecthood”, Michael Fried makes the case that Minimalism becomes theatrical by means of anthropomorphism. Suggesting viewers engage the work not only as an art object but as a theatrical interaction, associating a strong psychological connection to a series of random images if they evoke vestiges of human behaviour.

Introduction

Engaging both traditional and digital platforms the artists experiment with long distance collaboration as a devise to create new visual concepts by examining the way we communicate material ideas. As we attempt to make sense of our surroundings we often attribute human characteristics to mechanized electronics and it is unclear wether attributing such behaviours to technology is logically based on function or wether it is simply a projection of personification.

Information technology presents no clear correspondence with any other entities in the world besides humans, therefore interactions with this medium will inherently be in our own image.From this understanding Anthropomorphism of Media presents work that has transformed the intended nature of an application by ascribing new meaning to a commonly understood behaviour.

Above: Skype Portraits One and Two
In aesthetics, the uncanny valley is a hypothesized relationship between the degree of an object’s resemblance to a human being and the emotional response to such an object. The concept of the uncanny valley suggests that humanoid objects which appear almost, but not exactly, like real human beings elicit uncanny, or strangely familiar, feelings of eeriness and revulsion in observers. Using Skype, international participants were asked to sit for a 20min portrait at which time a series of physical responses and interactions would be photographed. In an attempt to interact with naturally occurring glitches this series catalogues human facial recognition in an unstable web environment and searches for the limit of distortion acceptable to emote human understanding through the lens of technology.

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