Marco De Mutiis

Photographies without photographer

Marco de Mutiis has created a simple programme that interacts autonomously with two tools to create synthetic music and images using artificial intelligence. The first, GauGAN2, is a research project from the company NVIDIA, which produces images using segmentation maps. The second, AIVA, is a platform that composes automatically generated music based on a series of preset algorithms.

By replacing a human agent with a bot, the project closes the circle of automation by creating an autonomous audiovisual ecosystem. Paradoxically, despite only using computer processes, the images constantly attempt to resemble human visual culture, replicating the aesthetics and motifs of traditional photography. By acting on their own, the computer programmes reveal human involvement in their own creation, since the code that developers have written or the image-tagging work that different people have done to train the algorithms inevitably reflect their involvement in the synthetic audiovisual material that is generated.

Photographies without Photographer uses a simple bot to create images and play music in an automated way that explores how intelligent and artificial Artificial Intelligence is.

Born in Trento (Italy) in 1983, Marco De Mutiis is an artist who works with different media and technologies and is interested in questions of perception and communication. He holds an MFA from the City University of Hong Kong and his work has been exhibited internationally at festivals and galleries in London, Montreal, Philadelphia, Athens and Hong Kong. He currently works as a digital curator at the Fotomuseum Winterthur (Switzerland), where he has organized exhibitions with experimental formats or the SITUATIONS research lab. He is also part of the research project “Postphotography”, carried out with the Lucerne University of Applied Sciences and Arts and is a PhD student at the Centre for the Study of the Networked Image at London South Bank University. His research focuses on computer games and photography, simulations of the photographic act of capture, the gaze of machines, photorealism, photographic modes, the photographic game or screen capture practices.


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