Some questions that are always at the forefront of my art practice: how do my images relate to the images that precede and surround them; what expectations are we bringing to images, and how are these expectations established and reinforced; what purpose do these expectations serve and how can we interact with these expectations? AI image generators are a fascinating new tool for exploring these questions because they create images based upon a dataset of hundreds of millions of preexisting imagery but are otherwise unfettered by the preexisting expectations of visual culture. That is, they make new images based on predictions from all the images (and image tags) that precede them. However, they are not otherwise bound by human logic or cultural codes and therefore make images that reflect these codes in surprising and often challenging ways, like a funhouse mirror. There is a beautiful collapse of category distinctions and a dynamic interplay between un-indoctrinated naivety and an appreciation of precedent.

Horizon Horse

Lunch Break

Date: 2023

Edition: 1 of 5

Print size: 41 x 61 cm (16.14 x 24 in)

Lo and Behold #88

The Uncanny Valley serves as a haunting reminder of the delicate balance between familiarity and estrangement. 
As individuals, I firmly believe that our inherent limitations prevent us from ever attaining a complete understanding of ourselves, our place within our present society, or our role in the broader scope of history. It is a perpetual quest for knowledge and growth that we must embark upon. In line with this pursuit, my aspiration is to create works that possess both recognizable attributes and an enigmatic, concealed nature—an intricately hidden realm within an existing realm, akin to a valley within a valley. This creative endeavor serves as a message intended for civilizations far removed in time, extending across ages yet to come. While I, personally, lack the capacity to decipher its meaning, I hold an optimistic expectation that a future race of profoundly advanced, cybernetic and genetically evolved humans will possess the innate ability to swiftly unravel its depths.

Moreover, I hope that this message will present a perspective and insight far beyond my own comprehension. I understand that my ideas may reflect an idealistic sentiment, meanwhile, my current approach embraces novelty, spontaneity, and experimentation. My immediate aspiration for the work is to ignite curiosity and fascination regarding the potential of artificial intelligence, allowing viewers to interpret and expand upon it in diverse and personalized ways—an “open-source” approach where its application becomes whatever each individual deems suitable.

Familia Atomically

Chapter 2: Fragile Memories
"Fragile Memories" is a video art series that explores the ephemeral nature of dance as a powerful metaphor for a way that our memories are formed, distorted and erased.

Human memories are not fixed and unchanging. Every time we recall a memory, our brain reconstructs and reinterprets it, a process called memory reconsolidation. This process not only influences how we remember but also has a significant impact on the authenticity of our recollections. The very act of remembering something can alter, modify or even erase parts of that memory. These art pieces embrace the fragility, uncertainty, and flexibility inherent in our perception of the past, to highlight the delicate balance between preserving and transforming our personal experiences.

Fragile Memories #06: Probably Not The Right Decision

"Cognitive Behavior" offers a glimpse into my interpretation of the psychological state of humanity, while also drawing a connection to my personal therapy sessions. My creative process is a fusion of experimentation and spontaneity. I initiate each artwork with a conceptual or emotional text, which I then transform into an absurd visual narrative. I repeat this process until the narrative unveils an unexpected facet of the human psyche.

Both classical and modern art have lost their ability to reflect the psychology of newer generations. The anxieties, insecurities, underlying tension, alienation, and mental fatigue experienced behind the scenes necessitate a new artistic grammar. My aim is to discover a fresh visual strategy and vocabulary that can effectively convey these tensions and accurately reflect the psyche of the new generation. I refer to my style as "absurdist surreal lonerism," as I believe the key to this lies within the realm of absurd stillness.

Depression, anxiety, panic, and other mental health issues have undergone rapid transformations in meaning within the information age, deeply intertwining themselves within our daily lives. The conventional modes of artistic expression for these matters have become obsolete. To adequately represent these issues, we must venture into uncharted territories within surrealism. By blending post-photography using AI tools with neo-surrealism, we lay a strong foundation for this exploration.

Spanning from minimalist symmetrical compositions to awkward surreal chaos, my collection employs a visual strategy that invokes the absurd. The constant bombardment of stimuli in contemporary life has left individuals feeling dull, numbed, and void. Through a visual style that captures this inherent tension and anxiety through absurd dullness, I aim to reveal unpredictable, awkward realms and unexplored territories"

Get quality sleep

A portal between reality and what is hidden in your oldest copy-paste JPEG folder. Reimagining old and tacky advertising, internet graphics, and prehistorical memes turns into a nostalgia field trip. Inspired and driven by almost today, back then, maybe soon. A visionary's parody or a parody of a vision. A punchline without a joke is the metamorphosis of every-day boredom-slaying and overthinking everything into an image.

Folk

Fried Egg

Art practice questions: image relationships, image expectations and their establishment. AI image generators are a tool to explore these; they create new images from vast preexisting imagery, unconstrained by visual culture expectations. They predict from all preceding images and tags, unbound by human logic or cultural codes, making images reflecting these codes in unexpected ways. It's a captivating collapse of category distinctions and an interaction between untrained naivety and appreciation of precedent.

Charlie Engman 1/1

Date: 2023

Edition: 1 of 5

Print size: 61 x 61 cm (24 x 24 in)

Computers Can't Jump #15

**What is a Fellowship Print Deed?**
The Fellowship Print Deed is a  NFT that symbolizes your exclusive right to acquire an editioned print (at cost) from a specific artwork within a collection released by Fellowship. It can be stored, used to order your print, or be actively traded on the secondary market.

**How do I claim my Print Deed(s)?**
To claim a Print Deed, access the Fellowship Portfolio Platform. Browse your collections and check whether the Print Deed linked to your selected artwork is still available.
If you own the Print Deed and the status is 'Deed Claimed' you can order the print by using the Fellowship Portfolio Platform.


https://collection.postphotography.xyz

Fellowship Print Deeds

The Uncanny Valley acts as a gateway to explore the boundaries of creativity, inviting us to challenge conventional notions of artistry and embrace new forms of expression.
As individuals, I firmly believe that our inherent limitations prevent us from ever attaining a complete understanding of ourselves, our place within our present society, or our role in the broader scope of history. It is a perpetual quest for knowledge and growth that we must embark upon. In line with this pursuit, my aspiration is to create works that possess both recognizable attributes and an enigmatic, concealed nature—an intricately hidden realm within an existing realm, akin to a valley within a valley. This creative endeavor serves as a message intended for civilizations far removed in time, extending across ages yet to come. While I, personally, lack the capacity to decipher its meaning, I hold an optimistic expectation that a future race of profoundly advanced, cybernetic and genetically evolved humans will possess the innate ability to swiftly unravel its depths.

Moreover, I hope that this message will present a perspective and insight far beyond my own comprehension. I understand that my ideas may reflect an idealistic sentiment, meanwhile, my current approach embraces novelty, spontaneity, and experimentation. My immediate aspiration for the work is to ignite curiosity and fascination regarding the potential of artificial intelligence, allowing viewers to interpret and expand upon it in diverse and personalized ways—an “open-source” approach where its application becomes whatever each individual deems suitable.

Heritage House

Post Photographic Perspectives II: Acceptable Realities is Fellowship's second group show celebrating a new wave of innovation in AI video and photography.

Current Value by Frank Manzano

My work explores the obsession with violence in American entertainment. While most Americans are removed from actual violence, there is still a celebration of it that exists on both ends of the spectrum. Despite years of movie and TV violence, it fails to capture the true horror and chaos of violence, which loved ones are left crippled by. The AI-generated images I create challenge viewers by presenting them with uncomfortable realities they may have otherwise ignored. As desensitised Americans, we need to confront these difficult truths, even if they turn our stomachs."

Current Value by Frank Manzano

Chapter 1: Idle Hands
“Idle Hands” series encapsulates the deep-rooted interconnection between human creativity and the dexterity of hands, and its relevance in the age of AI. The dancing Hands are the visualization of the actual real human dancer’s performance, transformed through CGI and AI. With a significant portion of the human brain dedicated to controlling hands, their inherent complexity can gracefully mirror the ebb and flow of an entire body dancing.

As Hands follow their carefully choreographed path, there comes a moment when they break free and improvise, before returning to form. This departure represents artists' metaphorical journey into uncharted realms, leveraging AI to explore new creative territories while still retaining full creative control.

We should not fear these AI-aided creative escapades. Rather than eroding our identity, they may enable us to delve into the depths of creativity previously unexplored, akin to how the personality of each of Hands is reflected not in the charted choreography, but in these fleeting moments of improvisation.


Idle Hands #10: Coherent

[Daily.xyz](https://daily.xyz/exhibition/3009) - Post Photographic Perspectives II: Acceptable Realities is DAILY's second group show celebrating a new wave of innovation in AI video and photography.

Almost Human by Irina Angles and Dr Formalyst 

“Idle Hands” series encapsulates the deep-rooted interconnection between human creativity and the dexterity of hands, and its relevance in the age of AI. The dancing Hands are the visualization of the actual real human dancer’s performance, transformed through CGI and AI. With a significant portion of the human brain dedicated to controlling hands, their inherent complexity can gracefully mirror the ebb and flow of an entire body dancing."

"Fragile Memories" is a video art series that explores the ephemeral nature of dance as a powerful metaphor for a way that our memories are formed, distorted and erased. These art pieces embrace the fragility, uncertainty, and flexibility inherent in our perception of the past.

Almost Human by Irina Angles and Dr Formalyst

Picnic

[Daily.xyz](https://daily.xyz/exhibition/3017) - Post Photographic Perspectives II: Acceptable Realities is DAILY's second group show celebrating a new wave of innovation in AI video and photography.

The folder "C:\Users\Admin\Pictures" holds a peculiar fascination for me, despite never having utilized it prior to my foray into PC-based work. Perhaps it holds something sacred or significant that one would preserve, or perhaps it is a repository of accidental clutter. It feels akin to Pandora's Box of JPEGs, its contents an enigma waiting to be discovered.

My work centers around the reimagining of antiquated and kitschy advertisements, internet graphics, and prehistoric memes, and transforming them into nostalgic voyages. I am a visionary of parody or perhaps a parody of a visionary. Through my work, I offer punchlines without accompanying jokes, a metamorphosis of banal daily existence and overanalyzing thoughts into evocative imagery.

Once upon the time in C:\Users\Admin\Pictures by Graphica

"Wasteland" stands as a testament to the allure that emerges from chaos and devastation. Its imagery portrays a post-apocalyptic world, where humanity grapples with survival amidst the remnants of a once-thriving civilization. The dominant presence of stark, brutalist concrete structures symbolizes the arrogance of mankind, while towering heaps of waste and debris serve as poignant reminders of the repercussions of our actions.
Within this desolation, an uncanny tranquility permeates the captured images. Inhabitants move with deliberate, almost meditative grace, as if they have come to terms with their fate and found solace amidst the ruins. Employing lighting and set design rooted in the theatrical tradition, the series evokes a sense of grandeur and spectacle, simultaneously beautiful and disquieting.

"Wasteland" manifests as a vision that oscillates between bleakness and hopefulness. It serves as a reminder of the delicate nature of our civilization and the ramifications of our choices, while also suggesting that even amidst the darkest periods, beauty can still be discovered. These evocative images challenge us to reflect upon our role in shaping the world and the responsibilities we bear towards future generations.

Woman of the Water

Post Photographic Perspectives II: Acceptable Realities is Fellowship's second group show celebrating a new wave of innovation in AI video and photography.

Wasteland by Mowgly Lee

"Wasteland" stands as a testament to the allure that emerges from chaos and devastation. Its imagery portrays a post-apocalyptic world, where humanity grapples with survival amidst the remnants of a once-thriving civilization. The dominant presence of stark, brutalist concrete structures symbolizes the arrogance of mankind, while towering heaps of waste and debris serve as poignant reminders of the repercussions of our actions.

Within this desolation, an uncanny tranquility permeates the captured images. Inhabitants move with deliberate, almost meditative grace, as if they have come to terms with their fate and found solace amidst the ruins. Employing lighting and set design rooted in the theatrical tradition, the series evokes a sense of grandeur and spectacle, simultaneously beautiful and disquieting.

Going To Work

Wasteland by Mowgly Lee

The word "Overture" carries a rich history in the realms of art and music, typically associated with classical and traditional forms. However, beyond its connotation as the introduction to an opera or play, it possesses an additional meaning—a prelude to something of greater substance.

The era we inhabit serves merely as an overture to what lies ahead. Presently, we witness the nascent stages of AI gradually unfolding and aiding humanity, whether in mundane daily tasks or in unraveling the planet's most intricate mysteries and challenges. We have merely glimpsed a small fragment of the imminent Future, which forms the core message of "Overture" itself.

“Overture” is produced through a complex process that utilizes four distinct AI tools, and stems from training AI on our own vast 15-year archive of cinematic photography to become an entirely new artistic creation utilizing neural networks. This amalgamation remains a natural extension of Synchrodogs' oeuvre, rather than a fusion of disparate and incongruous styles.

Overture #97

[Daily.xyz](https://daily.xyz/exhibition/3021) - Post Photographic Perspectives II: Acceptable Realities is DAILY's second group show celebrating a new wave of innovation in AI video and photography.

The word "Overture" carries a rich history in the realms of art and music, typically associated with classical and traditional forms. However, beyond its connotation as the introduction to an opera or play, it possesses an additional meaning—a prelude to something of greater substance.

Presently, we witness the nascent stages of AI gradually unfolding and aiding humanity, whether in mundane daily tasks or in unraveling the planet's most intricate mysteries and challenges. We have merely glimpsed a small fragment of the imminent Future, which forms the core message of "Overture" itself.

“Overture” is produced through a complex process that utilizes four distinct AI tools, and stems from training AI on our own vast 15-year archive of cinematic photography.

Overture #2

Overture by Synchrodogs

In 1963, Nam June Paik (1932 - 2006), a video artist associated with the Fluxus movement, provocatively placed a real cow's head at the entrance of one of her exhibitions. The head jolted visitors out of their perceptual lethargy, transporting them into an altered state of consciousness, and enabling them to engage with the exhibited works with a renewed vision. Inspired by Paik’s gesture, I seek to imbue this project, “Fluxus” with a similar function by subjecting myself, the AI, and the viewer to a cathartic shock.

Once upon a time, I harbored a recurring dream in which I tirelessly searched for a mysterious object—a book, a box, or some enigmatic device—that promised boundless inspiration and artistic creativity. Today, thanks to AI, my dream has manifested into reality, although it possesses the potential to metamorphose into a nightmarish realm. I venture into "The Zone," an infinite expanse that unveils a distinct reality for each visitor. In my case, it materializes as a realm steeped in darkness and disquietude. I contemplate whether the imagery I encounter reflects the depths of my own troubled subconscious or resonates with a collective unconsciousness. Regardless, my affection for what I behold remains unwavering.

Within this project, my aim is to subject the algorithm to a form of shock therapy. Through the utilization of extensive prompts comprising nonsensical words and phrases, I compel the AI to freely navigate uncharted territories, continually surprising me with its responses.

The Architects #04

Post Photographic Perspectives II: Acceptable Realities is Fellowship's second group show celebrating a new wave of innovation in AI video and photography.

In 1963, Nam June Paik (1932 - 2006), a video artist associated with the Fluxus movement, provocatively placed a real cow's head at the entrance of one of her exhibitions. The head jolted visitors out of their perceptual lethargy, transporting them into an altered state of consciousness, and enabling them to engage with the exhibited works with a renewed vision. Inspired by Paik’s gesture, I seek to imbue this project, “Fluxus” with a similar function by subjecting myself, the AI, and the viewer to a cathartic shock.

Typically, my images emerge as unfiltered outputs, rarely subject to modification or retouching, save for the occasional blemish or border adjustment. Respecting the vision and imprint of the algorithm is paramount to me; its errors often unveil unforeseen triumphs.



Wheelchair #02 "Chaos Reigns"

Fluxus by Inigo Bilbao

"AI-Log" is an immersive project that explores the realms of memory, place, and the allure of the apocalypse. Its genesis lies in a captivating dialogue between myself and AI, a journey of mutual understanding and shared perspectives.

The collection interweaves photographs sourced from various years and countries that I, as an immigrant, have called home. The resulting compositions resonate with a nostalgic undercurrent, evoking both the sentiments of bygone eras and the interconnections of our present reality. “AI-Log” unfurls like a diary, with entries that oscillate between personal anecdotes and contemplations on universal themes, notably the elusive nature of memory. Through this process, I have not only revisited past experiences but also forged new ones.

An unexpected facet of “AI-Log” manifests as a chronicle of events preceding the apocalypse. This element emerged organically during my interactions with AI, perhaps influenced by my state of mind or the melodies that serenaded me. While the imagery often alludes to disintegration and decay within nature, there remains an exaltation of beauty and a profound sense of curiosity for what may lie beyond. This sentiment is particularly palpable in the depictions of human figures who valiantly confront destruction with open arms.

To commence the creative process, I meticulously organized my extensive archive of photographs into categorized folders, considering factors such as year, location, subject matter (nature, people), and a particularly evocative folder entitled "Magic," housing images that exude a textural quality capable of imbuing the final compositions with an air of enchantment.

Guided by intuition and a desire to generate fresh narratives, I carefully selected pairs of photographs. Employing the capabilities of AI models, I harmoniously blended these visual counterparts, occasionally augmenting the process with textual prompts to achieve the desired outcome. After numerous iterations and variations, I amassed over 2000 images, each a testament to our collaborative journey.

Tearing At The Seams

[Daily.xyz](https://daily.xyz/exhibition/3014) - Post Photographic Perspectives II: Acceptable Realities is DAILY's second group show celebrating a new wave of innovation in AI video and photography.

“AI-Log” is an immersive project that explores the realms of memory, place, and the allure of the apocalypse. Its genesis lies in a captivating dialogue between myself and AI, a journey of mutual understanding and shared perspectives.

The collection interweaves photographs sourced from various years and countries that I, as an immigrant, have called home. The resulting compositions resonate with a nostalgic undercurrent, evoking both the sentiments of bygone eras and the interconnections of our present reality. “AI-Log” unfurls like a diary, with entries that oscillate between personal anecdotes and contemplations on universal themes, notably the elusive nature of memory. Through this process, I have not only revisited past experiences but also forged new ones.

Bus Station II

AI-Log by Alina Trifan

Sociability

[Daily.xyz](https://daily.xyz/exhibition/3013) - Post Photographic Perspectives II: Acceptable Realities is DAILY's second group show celebrating a new wave of innovation in AI video and photography.

“Cognitive Behavior” offers a glimpse into my interpretation of the psychological state of humanity, while also drawing a connection to my personal therapy sessions. My creative process is a fusion of experimentation and spontaneity. I initiate each artwork with a conceptual or emotional text, which I then transform into an absurd visual narrative. I repeat this process until the narrative unveils an unexpected facet of the human psyche.

Both classical and modern art have lost their ability to reflect the psychology of newer generations. The anxieties, insecurities, alienation, and mental fatigue experienced behind the scenes necessitate a new artistic grammar.

Cognitive Behaviour by Alice Gordon

If they were able to conceive or dream another time, perhaps they would be able to live in it.

––Chris Marker, La Jetée, 1962

Observations of Argleton Lane is a story…or is it a discovery? 

Depending on which one of these statements you believe will determine whether you think Jacqui Kenny (The Agoraphobic Traveller) is a post photographer, curator, explorer, story teller, or a conduit to another world, discovered during her escape from anxiety and agoraphobia. 

Her initial inkling that she was tuning into somewhere else, rather than just exploring a version of our reality, was during her project @streetview.portraits. As she journeyed through the virtual world of Google Street View, she began to notice time glitches and visual anomalies. On returning to a place she had once visited people would have moved or disappeared, something wasn’t right. This other place, crystallized into the concept of ‘Argleton Lane’. Argleton was a town on Google Maps that suddenly disappeared in May 2010, leaving no trace of its existence. 

Observations of Argleton Lane is the third in the Argleton Lane series. It is a collection of mysterious scenes, captured when Jacqui was able to intercept the extensive monitoring of Argleton Lane. To date she has been unable to discern if the “strangeness” is a result of technical anomalies or whether there is something more to it? Is it an indication that those who created and control these worlds have motives that are more nefarious? 

As with all Argleton Lane collections, Observations is seeded with imagery discovered during her extensive virtual journeys in Street View,  but augmented by her imagination.



Observation #036 - 06:24:11

[Daily.xyz](https://daily.xyz/exhibition/3) - Post Photographic Perspectives II: Acceptable Realities is DAILY's second group show celebrating a new wave of innovation in AI video and photography.

"Moments of Argleton Lane" represents more than a project; it embodies my journey of self-discovery and liberation from anxiety and agoraphobia. I could be perceived as a post-photographer, curator, storyteller, or a guide to an alternate realm discovered in my search for solace. As I delved into Google Street View, I encountered temporal glitches and visual anomalies that hinted at an existing, alternative world separate from the one I created.

This ethereal realm materialized as 'Argleton Lane,' a phantom town that appeared on Google Maps in the 2000s. It may have been a 'trap street' inserted by mapmakers to protect their copyright. The series "Moments of Argleton Lane" is the latest chapter of a larger series, following the debut of "Homes of Argleton Lane" and "Flora of Argleton Lane".

Observation #029 - 16:00:47

Moments of Argleton Lane by Jacqui Kenny

"Overpopulated Symphonies" is a collection of AI post-photography that immerses viewers in a commentary on the contemporary human condition. Through sprawling images of densely populated urban landscapes and human gatherings, the collection reduces individuals to minuscule points, forming an overwhelming sea of indistinguishable dots.

Beyond the literal portrayal of overpopulation, this collection utilizes the metaphor of crowd density as an analogy for the inundation of information in our modern era. It poses questions about identity, individuality, and the struggles faced by the human mind in processing and prioritizing the relentless surge of data we encounter daily. The figures in these photographs transcend mere physical bodies; they represent thoughts, ideas, and information, all vying for recognition and space within the confines of our mental landscapes. With humans depicted as dots in a chaotic neural network, these artworks serve as an allegory for the phenomenon of information overload.

The title "Overpopulated Symphonies" intends to evoke the intricate and often overwhelming nature of our current reality. "Overpopulated" alludes to the physical density of human gatherings depicted in the collection, but also metaphorically refers to the overflow of information and ideas that bombard us incessantly. The term "Symphonies" suggests a sense of harmony and order, offering an optimistic counterpoint to the chaos portrayed. It hints at the potential for synchronicity to arise from apparent disarray.

Symphony No. 2 in D Major, Op. 30, Allegretto: "Move Up"

[Daily.xyz](https://daily.xyz/exhibition/3012) - Post Photographic Perspectives II: Acceptable Realities is DAILY's second group show celebrating a new wave of innovation in AI video and photography.

"Overpopulated Symphonies" is a collection of AI post-photography that immerses viewers in a commentary on the contemporary human condition. Through sprawling images of densely populated urban landscapes and human gatherings, the collection reduces individuals to minuscule points, forming an overwhelming sea of indistinguishable dots.

Beyond the literal portrayal of overpopulation, this collection utilizes the metaphor of crowd density as an analogy for the inundation of information in our modern era. It poses questions about identity, individuality, and the struggles faced by the human mind in processing and prioritizing the relentless surge of data we encounter daily. The figures in these photographs transcend mere physical bodies; they represent thoughts, ideas, and information.

Symphony No. 13 in C Major, Op. 238, Vivace: "Stranger Than Paradise"

Overpopulated Symphonies by Alkan Avcioglu

My exploration into the intersection of photography and AI began with early AI generators such as VQGAN+CLIP and NightCafe's "artistic" mode. As a painter, I was captivated by the results that skillfully balanced the figurative and the abstract - an aesthetic I often strive for as an artist. When I first experimented with DALL-E last summer, I was initially put off by its seemingly flawless output. However, as I discovered ways to harness its potential in the creation of a series of absurdist film stills, I became hooked. This experience gave birth to my project titled "Sentient Muppet Factory."

Inspiration for the project stemmed from a talk I attended by Laurie Anderson, who used puppets as an analogy for new technologies. Imagining my AI-generated images as part of a late 1970s variety show, I began to develop the concept of “Sentient Muppet Factory.” Although the title humorously references AI discourse - as these muppets are not truly sentient - the term "factory" speaks to the mechanized production facilitated by AI, as I churn out new characters in a seemingly automated manner.

All the pieces in this series were generated using a bank of images stored on my computer, primarily consisting of the early NightCafe pieces, along with a few photos of myself in my studio. Purposefully utilizing disparate source imagery from the text prompts, I aimed to provoke an unsettling result, intentionally confusing the AI into responding in unconventional ways.

Sentient Muppet Factory #33

Post Photographic Perspectives II: Acceptable Realities is Fellowship's second group show celebrating a new wave of innovation in AI video and photography.

Inspiration for Sentient Muppet Factory stemmed from a talk I attended by Laurie Anderson, who used puppets as an analogy for new technologies. Imagining my AI-generated images as part of a late 1970s variety show, I began to develop the concept of “Sentient Muppet Factory.” Although the title humorously references AI discourse - as these muppets are not truly sentient - the term "factory" speaks to the mechanized production facilitated by AI, as I churn out new characters in a seemingly automated manner.

All the pieces were generated using a bank of images stored on my computer, primarily consisting of the early NightCafe pieces, along with a few photos of myself in my studio. Purposefully utilizing disparate source imagery from the text prompts, I aimed to provoke an unsettling result.

Sentient Muppet Factory #90

Sentient Muppet Factory by Beth Frey

My artistic practice embarks on an odyssey through the ethereal expanse of the Invisible Realm—a boundless space where intuition, memories, visions, and dreams converge to assume tangible visual form. Within this domain, “String Theory” emerges as a quantum plunge into a terrain I once identified as “The Edge of Reality.” Comprising ten narratives situated in an ostensibly divergent era, “String Theory” beckons us to dismantle our perception of reality, unraveling it into ethereal strands of color that resemble an infinite tapestry woven by the very fabric of our sensory encounters.

My creative process germinated years ago with “The Edge of Reality,” an exploration that entailed the creation of digital collages meticulously crafted from vintage postcards. Once the foundational composition is established, I embark on the laborious undertaking of manually stretching select areas of the image, transmogrifying them into delicate tendrils of elongated pixels. These vivid pixel strands are fastidiously chosen and orchestrated to confer equilibrium upon the compositions without compromising the essence of the subjects they envelop.

Through this project, I sought to depict a diverse array of scenarios where subjects and environments were deconstructed into ephemeral strands of texture and color, reminiscent of an imperceptible barcode—an encrypted language of the unseen. Through this process, I worked to decode our collective perception of reality, rearranging its constituent elements in a novel fashion. However, as I commenced my collaboration with AI, I encountered instances where subjects were disassembled and rearranged into an array of heterogeneous, and at times repetitive, patterns. This exploration resonates with the very appellation of the series, drawing inspiration from the homonymous principle in quantum mechanics. “String Theory” postulates the existence of multiple realities within an infinite matrix, where the passage of time eludes linearity.

Wave-particle Duality 

Post Photographic Perspectives II: Acceptable Realities is Fellowship's second group show celebrating a new wave of innovation in AI video and photography.

“String Theory” embarks on an odyssey through the ethereal expanse of the Invisible Realm—a boundless space where intuition, memories, visions, and dreams converge to assume tangible visual form. Within this domain, “String Theory” emerges as a quantum plunge into a terrain I once identified as “The Edge of Reality.” Comprising ten narratives situated in an ostensibly divergent era, “String Theory” beckons us to dismantle our perception of reality, unraveling it into ethereal strands of color that resemble an infinite tapestry woven by the very fabric of our sensory encounters.

Through this project, I sought to depict a diverse array of scenarios where subjects and environments were deconstructed into ephemeral strands of texture and color, reminiscent of an imperceptible barcode—an encrypted language of the unseen.

Metrology

String Theory (Beyond the Edge of Reality) by Felipe Posada

"Unmoored" seeks to challenge viewers by presenting familiar objects, locations, and tones in unexpected pairings. Drawing upon mundane characters, objects, and settings inspired by personal memories and life experiences, the work displaces these elements from their usual contexts, and challenges viewers to venture beyond the surfaces of the images to find new associations and deeper understandings.

The creation of each image in “Unmoored” entailed equal measures of memory, imagination, and emotion. Each studio session commenced with compiling a list of people (their professions, ages, and attire), settings/locations (specific eras and times of day), and other elements (inanimate objects, animals, etc.), all drawn from fragments within the artist's memory.

Ultimately, “Unmoored” reflects on the intoxicating allure of those moments when inspiration struck—a sensation akin to a drug that has captivated me since my youth. This feeling, characterized by the stimulation of entirely new neural pathways within the brain, serves as the driving force behind my creative pursuits. Striving to evoke this electrifying sensation, I endeavor to forge unexplored realms of perception and experience through my work.

Phantom footprints

[Daily.xyz](https://daily.xyz/exhibition/3020) - Post Photographic Perspectives II: Acceptable Realities is DAILY's second group show celebrating a new wave of innovation in AI video and photography.
“Unmoored” seeks to challenge viewers by presenting familiar objects, locations, and tones in unexpected pairings. Drawing upon mundane characters, objects, and settings inspired by personal memories and life experiences, the work displaces these elements from their usual contexts, and challenges viewers to venture beyond the surfaces of the images to find new associations and deeper understandings.

Ultimately, “Unmoored” reflects on the intoxicating allure of those moments when inspiration struck—a sensation akin to a drug that has captivated me since my youth. This feeling, characterized by the stimulation of entirely new neural pathways within the brain, serves as the driving force behind my creative pursuits. 

Car Jenga

Unmoored by Nathan Boey

[alignDRAW](https://aligndraw.fellowship.xyz/) - the first text-to-image artwork from 2015.

By early 2015, neural networks had mastered the art of 'image-to-text' and could create natural language captions for images. Flipping this process, and turning text into image, was a much more complex challenge solved by 19-year old prodigy Elman Mansimov's alignDRAW model.

Fellowship is pleased to present a special release of both print editions and **fully on-chain** NFTs of this historical artwork, containing all the original images created in 2015.

*"alignDRAW images can be compared to the first fixed photographs taken by Niepce in 1826-1827."* 
Dr Lev Manovich

*"These images represent the birth of text prompt AI generated imagery."* 
Darius Himes, Christie's

A person skiing on snow clad vast mountain #68

[alignDRAW](https://daily.xyz/exhibition/10002) (2015). The first text-to-image artwork.

By early 2015, neural networks had mastered the art of 'image-to-text' and could create natural language captions for images. Flipping this process, and turning text into image, was a much more complex challenge solved by 19-year old prodigy Elman Mansimov's alignDRAW model.

DAILY, in partnership with Fellowship, is pleased to present a special release of **fully on-chain*** NFTs of this historical artwork, containing all the original 32x32 pixel images.

*“These images represent the birth of text prompt AI generated imagery.”* - Darius Himes, Christie’s

*“alignDRAW images can be compared to the first fixed photographs taken by Niépce in 1826-1827.”* - Dr Lev Manovich

*We created an architecture that allowed for the progressive on-chain storage of data and images, through a phased roll-out during periods of lower gas prices. 

UPDATE: as of Mon 20th May 2024 alignDRAW is fully on-chain.

[alignDRAW](https://aligndraw.fellowship.xyz/) - the first text-to-image artwork from 2015.

By early 2015, neural networks had mastered the art of 'image-to-text' and could create natural language captions for images. Flipping this process, and turning text into image, was a much more complex challenge solved by 19-year old prodigy Elman Mansimov's alignDRAW model.


Fellowship is pleased to present a special release of both print editions and **fully on-chain** NFTs of this historical artwork, containing all the original images created in 2015.

*"alignDRAW images can be compared to the first fixed photographs taken by Niepce in 1826-1827."* 
Dr Lev Manovich

*"These images represent the birth of text prompt AI generated imagery."* 
Darius Himes, Christie's

What 2015 provenance is there?

The 'Paper Prompts' can be found in the published academic paper, 'Generating Images from Captions with Attention', submitted in November 2015. You can view the paper here:

[https://arxiv.org/abs/1511.02793](https://arxiv.org/abs/1511.02793)

The lead author of the paper was Elman Mansimov and the co-authors were Emilio Parisotto, Jimmy Lei Ba, Ruslan Salakhutdinov.

The 'Process Prompts' can be found on the University of Toronto website. Using archive.org you can see also see these images displayed in November 2015:

[https://bit.ly/aligndraw-toronto-edu](https://bit.ly/aligndraw-toronto-edu)

fellowship-photos

fellowship-photos

Featured (0)

All Works (0)