For the group exhibition Perverse Instantiations curated by Carla Gannis, I showed the video A Cartography of Fantasia together with prints from Primal Tourism made as bed sheets, and installed the works to develop the atmosphere of being inside of a bedroom where fantasies of other ecological places come to life.  By curator and Assistant Chair of Pratt Institute Digital Art Department, Carla Gannis:  "Perverse instantiation is a term coined by philosopher Nick Bostrom to describe the possibilities of human programmers failing to anticipate all the possible ways in which a goal could be achieved. Suppose a programmer decides that an AI should pursue the final goal of “making people smile”. To human beings, this might seem perfectly benevolent. Due to their natural biases and filters, they might imagine an AI telling us funny jokes or otherwise making us laugh. But there are other ways of making people smile, some of which are not so benevolent. You could make everyone smile by paralyzing their facial musculature so that it is permanently frozen in a beaming smile (Bostrom 2014, p. 120).  The idea that there may be future artificial intelligences that unconsciously or willfully act outside of the realm of the expected is a fascinating premise and not entirely unrelated to human intelligences that respond to outside stimuli in unconventional ways. Thus, I am approaching the theme perverse instantiations elliptically, from the point of view of the human artist’s brain and its instantiations of ideas that often subvert the status quo.  Artists historically have shocked and astounded their viewers by offering radically new perspectives on the human condition; by teasing out the “profane from the mundane;” and by exposing biases that exist in normative culture. For this exhibition I have selected a group of six young artists, all working with digital technologies and within networked culture, who lend new insight into symbiotic relationships developing between humans and machines. These artists are generating their own original and perverse artistic responses to goal-oriented societal expectations."   "Primal Tourism: Borabora"   The prints are made from a virtual model of Bora bora in French Polynesia that I created from geo-satellite data. The model is available as a virtual reality scene that the audience can fully explore and navigate themselves. The economy of Bora Bora is entirely reliant on tourist industries. It was conquered in the late 1700 and its local population undermined by the French venturing to establish colonies and tropical tourist destinations in the region.  The virtual Island is developed from satellite data of Borabora which I developed in a virtual reality program titled Unreal 4. This software is used by the leading computer game industries today, which develop some of the most highly advanced graphical virtual worlds for commercial purposes. Often, these settings take place on exotic and dramatic locations, far from the Western Hemisphere. Bora Bora is also an Island heavily influenced by the sea rise of climate change. Ultimately, the work reflects on the convergence of high quality commercial mediation technologies, climate change and middle class escapism.  A virtual reality video and a video projection of the landscape can be exhibited together with the print on bedsheets.
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