prostheticknowledge:

Eternal Portraits
Art project by Brian House and Jason Rabie are framed pieces of Facebook Facial Recognition data of users (thus, a portrait of users characteristics):

Facebook uses face recognition software to identify its users in photos. This works via a ‘template’ of your facial features that is created from your profile images. These features — the distance between your eyes, the symmetry of your mouth — generally do not change over time. Unlike a photograph, which captures some ephemeral expression of who you are at a particular moment, a face recognition template forever remains your portrait. It is all possible photos, taken and untaken, by which you, or someone else, might document your life.These templates are Facebook’s proprietary data. For a brief period in 2013, users could access their template using the “Download a copy of your Facebook data” option in the settings (it is no longer included in the download). The information is unusable in its raw form without knowing the specifics of Facebook’s algorithm. But as an irrevocable corporate byproduct, the future implications of such data remain unclear.Eternal Portraits is a series of printed and framed face recognition template data from our friends and ourselves.

More at Brian’s website here
prostheticknowledge:

Eternal Portraits
Art project by Brian House and Jason Rabie are framed pieces of Facebook Facial Recognition data of users (thus, a portrait of users characteristics):

Facebook uses face recognition software to identify its users in photos. This works via a ‘template’ of your facial features that is created from your profile images. These features — the distance between your eyes, the symmetry of your mouth — generally do not change over time. Unlike a photograph, which captures some ephemeral expression of who you are at a particular moment, a face recognition template forever remains your portrait. It is all possible photos, taken and untaken, by which you, or someone else, might document your life.These templates are Facebook’s proprietary data. For a brief period in 2013, users could access their template using the “Download a copy of your Facebook data” option in the settings (it is no longer included in the download). The information is unusable in its raw form without knowing the specifics of Facebook’s algorithm. But as an irrevocable corporate byproduct, the future implications of such data remain unclear.Eternal Portraits is a series of printed and framed face recognition template data from our friends and ourselves.

More at Brian’s website here
prostheticknowledge:

Eternal Portraits
Art project by Brian House and Jason Rabie are framed pieces of Facebook Facial Recognition data of users (thus, a portrait of users characteristics):

Facebook uses face recognition software to identify its users in photos. This works via a ‘template’ of your facial features that is created from your profile images. These features — the distance between your eyes, the symmetry of your mouth — generally do not change over time. Unlike a photograph, which captures some ephemeral expression of who you are at a particular moment, a face recognition template forever remains your portrait. It is all possible photos, taken and untaken, by which you, or someone else, might document your life.These templates are Facebook’s proprietary data. For a brief period in 2013, users could access their template using the “Download a copy of your Facebook data” option in the settings (it is no longer included in the download). The information is unusable in its raw form without knowing the specifics of Facebook’s algorithm. But as an irrevocable corporate byproduct, the future implications of such data remain unclear.Eternal Portraits is a series of printed and framed face recognition template data from our friends and ourselves.

More at Brian’s website here
prostheticknowledge:

Eternal Portraits
Art project by Brian House and Jason Rabie are framed pieces of Facebook Facial Recognition data of users (thus, a portrait of users characteristics):

Facebook uses face recognition software to identify its users in photos. This works via a ‘template’ of your facial features that is created from your profile images. These features — the distance between your eyes, the symmetry of your mouth — generally do not change over time. Unlike a photograph, which captures some ephemeral expression of who you are at a particular moment, a face recognition template forever remains your portrait. It is all possible photos, taken and untaken, by which you, or someone else, might document your life.These templates are Facebook’s proprietary data. For a brief period in 2013, users could access their template using the “Download a copy of your Facebook data” option in the settings (it is no longer included in the download). The information is unusable in its raw form without knowing the specifics of Facebook’s algorithm. But as an irrevocable corporate byproduct, the future implications of such data remain unclear.Eternal Portraits is a series of printed and framed face recognition template data from our friends and ourselves.

More at Brian’s website here
prostheticknowledge:

Eternal Portraits
Art project by Brian House and Jason Rabie are framed pieces of Facebook Facial Recognition data of users (thus, a portrait of users characteristics):

Facebook uses face recognition software to identify its users in photos. This works via a ‘template’ of your facial features that is created from your profile images. These features — the distance between your eyes, the symmetry of your mouth — generally do not change over time. Unlike a photograph, which captures some ephemeral expression of who you are at a particular moment, a face recognition template forever remains your portrait. It is all possible photos, taken and untaken, by which you, or someone else, might document your life.These templates are Facebook’s proprietary data. For a brief period in 2013, users could access their template using the “Download a copy of your Facebook data” option in the settings (it is no longer included in the download). The information is unusable in its raw form without knowing the specifics of Facebook’s algorithm. But as an irrevocable corporate byproduct, the future implications of such data remain unclear.Eternal Portraits is a series of printed and framed face recognition template data from our friends and ourselves.

More at Brian’s website here

prostheticknowledge:

Eternal Portraits

Art project by Brian House and Jason Rabie are framed pieces of Facebook Facial Recognition data of users (thus, a portrait of users characteristics):

Facebook uses face recognition software to identify its users in photos. This works via a ‘template’ of your facial features that is created from your profile images. These features — the distance between your eyes, the symmetry of your mouth — generally do not change over time. Unlike a photograph, which captures some ephemeral expression of who you are at a particular moment, a face recognition template forever remains your portrait. It is all possible photos, taken and untaken, by which you, or someone else, might document your life.

These templates are Facebook’s proprietary data. For a brief period in 2013, users could access their template using the “Download a copy of your Facebook data” option in the settings (it is no longer included in the download). The information is unusable in its raw form without knowing the specifics of Facebook’s algorithm. But as an irrevocable corporate byproduct, the future implications of such data remain unclear.

Eternal Portraits is a series of printed and framed face recognition template data from our friends and ourselves.

More at Brian’s website here

(via rossfordart)

23rd-block:

Eva Hesse, Untitled. 1967. Black ink on graph paper. 280 x 216 mm

(via untitled-1994)

jessicamidgleyresearch:

Claude Heath 
Stone Age Flint Axe-Head 2010
Incised paper
From a residency at Museu Teleorman, Alexandria, Roumania, with the Art Landscape Transformations European Commission project
60 x 45 cms

jessicamidgleyresearch:

Claude Heath
Stone Age Flint Axe-Head 2010
Incised paper
From a residency at Museu Teleorman, Alexandria, Roumania, with the Art Landscape Transformations European Commission project
60 x 45 cms

utaupe:

Fritz Panzer
utaupe:

Fritz Panzer

christinapaik:

Sophie Calle, Les Dormeurs, 1979

gallowhill:

Matthew Barney - Drawing Restraint 5, 1989
gallowhill:

Matthew Barney - Drawing Restraint 5, 1989

halloween-in-january:

Dan Graham | Roll, Filming Process (1970)

Dan Graham is one of my favourite artists - his ‘Works and Collected Writings’ must be one of my best purchases. This interview with Pietro Valle from 2002 is a must read.

'I'm interested in inter-subjectivity, exploring how a person, in a precise and given moment, perceives him/herself while at the same time watching other people who in turn are watching him/her. When I was fourteen, I read Jean Paul Sartre's book Being and Nothingness and I realized how, when we are young, we develop the notion of Ego the moment we feel that someone is watching us. As a young man, for a short period of time I was the manager of the John Daniels art gallery where, at the beginning of the Sixties, I exhibited some of the early experimental works of Minimalism. The general opinion about that from of art at that time was that it was based on objective relations and therefore, to contrast that idea, I decided that my productions would highlight the spectator's subjective point of view. On top of that, I was interested in the relation between group perception and the perception of the individual spectator, the one who had time to ponder.' - Dan Graham

(via sculptureandcombinedmedialsad)

workman:

jb-bt:
Alberto Giacometti