Ephemer(e)ality Capture: Glitching The Cloud through Photogrammetry

Tom Milnes

Ephemer(e)ality Capture: Glitch Practices in Photogrammetry details artistic practice using cloud-based photogrammetry that actively invokes glitches through disturbance of the imaging algorithm by utilising optical phenomena. Reflective, transparent, specular and patterned/repetitive objects were used to confuse the imaging algorithm to produce spikes, holes and glitches in the mesh and textures of the 3D objects produced. The research tests the limits of photogrammetry in an effort toward new image-making methods. It builds upon the research of Hito Steyerl’s Ripping Reality: Blind spots and wrecked data in 3D in which she outlines the errors of 3D scanning media in her work and contextualises amongst thought surrounding the objectivity of photographic media. This research explores the potential gaps in Steyerl’s approach, building upon investigations into 3D scanning’s ‘constructed imagery’ through methods which explore ‘fractional space’ more thoroughly through glitches caused by capturing of optical phenomena. Through practice, the research investigates the possibilities of conducting a ‘media archaeological’ investigation of cloud-based technology using methods akin to ‘Thinkering’(Huhtamo) and ‘Zombie Media’ (Hertz & Parikka). These investigations sought to ‘hack’ technologies through focused technical adjustments or adaptations, centred on media that were ‘local’ or accessible to the artist - artists that have been able to open the machine’s hardware to change circuitry or to access and change the software code. With cloud-based media’s materiality being inaccessible, the investigation utilised techniques which actively disrupt and confuse the image-making process; a form of ‘digital détournement’ which develops techniques which reference Guy Debord’s approach to disrupt the powers of image-making culture. The research is discussed with regards to similar approaches in contemporary glitch practices and aesthetics. Prior (2013) posits that glitch practices form a ‘paralogy’ of the Lyotardian notion of ‘performativity’ of the contemporary techno-economic conditions; acknowledging that paralogy is a method that contributes important critical discourses to culture and research. Previously, ‘local’ glitch practices focused on the internal affordances and functionality of the machine, whereas this research demonstrates practice which is focused externally – through the optical nature of images selected to disrupt the algorithm in photogrammetry rather than through ‘hacking’ the algorithm directly. Through these investigations and a discussion of their methodology, the research encourages a critical reflexivity of the artist/user through use of a dynamic methodology. This is to reflect the issues of technological flux which sees imaging algorithms being updated and refined, forcing techniques and practices into obsolescence.

14th March

As I ventured outside in the morning, I could hear the distant

sound of bees in the almond orchard, that were attracted

by the blooming of the trees. The low cloud passed

by steadily as I crouched down to take images of the trees.

I shot the branches from underneath, the blossom

fluttering in the breeze. Some delicate leaves

fell away as I shot around the

circumference of its roots. The complexity

of the overlapping branches and petals

made the images confusingly devoid of

depth. The bright petals matched the soft

white of the sky, at certain angles petals

forming clusters similar to a wispy Cumulus.

Its brightness resembles a digital saturation

of light - akin to a white balance error. The distinction

between foreground and background is lost. The ground

around the trees was arid and harsh, broken yet indistinct. The stones

and clumps resembled pixilation or image grains. Sequentially, the

images appear not to depict a circle but rather a strange buzzing of static,

stones and grit appearing and disappearing instantaneously.

When faced with uncertainty of the homogenous earth or confusing tones of the petals, it leaves blank spaces, holes, or creates phantom forms.

Floating parts of the blossom appear disembodied from the tree.

Spiked forms and solid areas of neutral grey

appear within the negative space as a deformed

extrapolation. The technology approximates

spaces and textures based on the information

it has. Stretched and compressed

texture images are

collaged over the top,

pixelated and translucently

overlapping. A blurry

vision of tree branches

and petals overlay an open

funnel-shape estimation

of branches and blossom,

extending to the sky. Holes

punctuate it homogenous form

and allude to its transparency.

The ground is awash with dull

green and brown tones of indistinct matter.

Its pixelated nature belies the tree's actual complexity

and the repetitive optic nature of the pale petals

has fooled the technology into repeating images

in different places.The model's edges seem chaotic

but are the quantifiable limitations of what can be

understood. The sky fuses with the earth's matter through

the tonality of the blossom. The smeared and confused

textures are the limitations of the machine's knowledge,

trying to piece together an understanding of the space

and form presented to it.

The results are 3D digital models which houses holes,

glitches and blind spots in its form. When faced with

uncertainty of the homogenous earth or confusing tones

of the petals, it leaves blank spaces, holes or creates

phantom forms. Floating parts of the blossom appear

disembodied apart from the tree. Spiked forms and

solid areas of ‘neutral grey’ appear within the negative

space as a deformed extrapolation. The technology

extrapolates and approximates spaces and textures

based on the information it has. Stretched and compressed

texture images are collaged over the top, pixelated and

translucently overlapping. A blurry vision of the branches

and petals of the tree appear fuzzily overlaid on to an

open funnel-shape estimation of branches and blossom

which extends to the sky. Hole in it form punctuate it

homogenous form and allude to its transparency. The

ground is awash with dull green/brown tones of

indistinct matter. Its pixelated nature belies its actual

complexity and the repetitive optic nature has let areas

of the group to be repeated in different places.

The models’ edges seem chaotic but are the quantifiable

limitations of what can be understood. The sky is fused

with the matter of the earth through the tonality of the

blossom. The smeared, confused textures are the

limitations of the machines knowledge, trying to

piece together an understanding of the space and

form presented to it.

e-waste sites

The experiments above developed later

into works that explore the complexity

and affordances of environments.

More specifically, using the complexity

and political obscurity of hidden media

ecological sites such as e-waste sites,

data centres and sites of excavation.

This led to a project in Hong Kong

that aimed to capture the invisibile

black market trade of e-waste.

These existed on the periphery

of society and literally of HK's borders.

The complexity of their wealth of

devices create situations for glitch.

Also, the logistics of capturing the sites

past physical and political barriers

meant certain areas and parts were

difficult to capture. This lends itself to glitch

practices as these omissions reflect an invisibility of media construction.

Created from drone footage, the hi-res clarity of the top view is augmented by a molten, smeariness when viewed from the side. The textures run down the side of monitors and printers discarded on the ground. Stacks of printers drip with texture down their sides.

Undercover areas disperse and blur towards their periphery. Holes and fragmented corners become more frequent. In fact, the whole site appears to float devoid of context. The baron rubbly outskirt of the New Territories cannot be rendered due to its indistinctness. Therefore the e-waste site floats alone in space.

Tip

Tip