Could artificial intelligence replace human creativity entirely? Designer Penny Webb muses on the current status of artificial intelligence as part of the creative process.
The volume of volumetric data that mining companies, hospitals, border agents and gaming industries acquire, is ever increasing in scale and resolution. As a result, the usage of powerful software environments to analyse and navigate this digital matter, grows exponentially as well. Imaging platforms draw expertise from computer vision, 3D-visualisation and algorithmic data-processing to join forces with modern science. Obediently adhering to Euclidean perspective, they efficiently generate virtual volumes and perform exclusionary boundaries on the fly.
To interrogate the consequences of these alignments, Possible Bodies presents four filmstills from a movie-in-the-making. The movie is calling for queer rotations and disobedient trans*feminist angles that can go beyond the rigidness of axiomatic axes within the techno-ecologies of 3D tracking, modelling and scanning. Possible Bodies is a collective research project that investigates the complex and fictional entities that “bodies” are, asking what matter-cultural conditions of possibility render them present. This becomes especially urgent in the context of 3D technologies, infrastructures and tools.
x, y, z emerges from the Possible Bodies inventory. The inventory is a mutant set of artworks, manuals, vocabulary, texts, software, physical objects, mathematical concepts and renderings. It is an attempt to think along the agency of these cultural artifacts, hopefully widening their possibilities beyond pre-designed ways of doing and being__
Possible Bodies (Jara Rocha and Femke Snelting) is a collaborative research concerned with genealogies of how bodies and technologies have been mutually constituted. The research interrogates corpo-realities and their orientation through parametric interfaces and looks at anatomies that are computationally constrained by the requirements of the techno-ecologies of 3D. It allows for intersecting issues of race, gender, class, species, age and ability to resurface through performative as well as representational practices by inviting generations of concepts and experimental renderings, wild combinations and digital and non-digital prototypes for different embodiments.