How is the intersubjective view of the image field transformed into the consensus of mass social discourse in the environment of Internet databases?
What changes occur in the perception of the image field in comparison with the AI generator system, which modifies images based on databases from the Internet environment and predicts the image itself according to its algorithms. And how can these algorithms transform the author's work?
Sample of the first image model / Resynthesis – Magical model
To initially create a re-updated pictorial magical model according to the structural semiotic models of doc. PhDr. Jaroslav Vančát Ph.D., a synthesis of the twenty-five artworks listed below was created, which can be included in the Magical Model.
„In relation to the Ogden-Richards triangle (see comparison in the picture on the right), we can imagine the schematic designation of the magical semiotic model (on the left) as fixed attention and concentrated respect for the sign, without its other parts, in their relations to the sign revealed only in modern times by Peirce (the subject perceiving the sign and the object represented by the sign), being consciously reflected. From another perspective, we can imagine the magical model of the sign as all three parts of the Ogden-Richards triangle sublimated into the sign, and therefore overshadowed from their awareness by its miraculous (and therefore attributed to divinity) existence.“
Based on the resulting image, I created my own authorial text description below:
A stone or wall of a sandstone character with a central motif of two symbols of an amorphous character with a shaded area in black, which are complemented by two simpler symbols similar to characters from the left and right sides.
This description was further assigned to a group of eight contemporary authors, each of whom created their own work based on the text above.
All works were resynthesized again by an image generator and the result of this resynthesis of the authorial works created a collective work. See the image attachments of the resynthesis.
Texts by all participating authors
Daniel Pechač: Street graffiti in organic plexiglass.
Liubov Maltseva: Where the frozen one suffered even the inner breath, there the structures folded into cobwebs and decomposed. They also layered on top of each other, overlapping and creating new shades and shapes. In some places the structure was missing. In other places the lack of structure created common forms.
Jindřiška Zajacová: Climbing carabiners on LSD.
Miroslav Mužík: Cracked and warped metal plate with broken ice, ink, pieces of plaster and drawings with bold lines.
Patrik Michl: A rusty chrome object.
Karolína Hanková: Fragility, fluid, deformation, decomposition
Žaneta Václavíková:
Eva Šindelářová: Cracked glass containing various objects.
From their text descriptions, I created a collective description of the AI prompt designed to generate images at different times:
A structure divided into the shape of a spider's web, which is composed of different layers superimposed on each other. Cracked, warped and deformed metal plates or broken a chrome object on which there is broken brittle decaying ice, ink, pieces of plaster, glass or organic plexiglass of a fluid nature, in which there are various objects resembling bold line drawings and similar in shape to street graffiti, or they can be seen as climbing carabiners on LSD. These layers create new shades and shapes. In some places, the structure is missing. Elsewhere, the structure creates a common form.
This text description of the prompt was used to generate 25 images in Midjourney at different times.
In order to be able to simulate how reconnected image buses work and how time and chance transform our methods of generation and compare how an author's work can differ, a work was created by resynthesis with the contribution of a smaller group of artistic respondents (simulating a qualitative research method), allowing us to see what a work created by collecting more image materials from the Internet environment can look like (simulating a quantitative method).
After completion, the first exhibit of the doctoral exhibition Blending was created in the Incubator Gallery at the Ladislav Sutnar Faculty of Design and Art, which consists of three image fields that represent three prisms of perception. The authorial position (representing the individual's perspective on the text description and the image field) is represented here by my painting in the combined painting technique of oil, acrylic, and charcoal, after which there is the so-called: collective work (representing the qualitative principle of viewing the image field), which was created by reconnecting multiple works of art in the Midjourney program, and a work that perhaps even denies authorship itself, because it is based on time lapse photos of AI image generators (representing the quantitative principle of viewing the image field) and is presented by an animation of the resulting generations on a kappa board.
As part of the transformation of the image, we can see in the collective work that the composition of the image begins to fragment and decentralize. The image is reduced to colours in shades of grey, black and degrees of white and ochre elements. This colour continues even in the mass collection of image data in the form of animation. In this mass collection, there is then a change in the composition, where we still perceive the fragmentation of individual elements, but also a return to the creation of a centralized point within the composition, which appears in various parts of the image, whether in places of the so-called golden ratio or elsewhere in the image field.