想象的场从一个分解装置

B. Bogart
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摘要

这件作品是在“探出窗户”项目的背景下制作的,在这个项目中,艺术家、学者和物理学家在新的艺术作品的发展中进行合作对话。实验粒子物理学和我自己的工作之间的一个重叠之处是解构材料,以检查物体及其组成部分的本质。这项工作的源材料是一组照片的实验装置的TRIUMF粒子加速器。照片的重点是促进各种粒子在装置中传输的光束线,这类似于一个工业工厂。各种奇异粒子通过加速、滤波和碰撞产生。我经常使用摄影图像和机器学习方法来质疑物体与环境、现实与想象、现实主义与抽象之间的关系。这张照片是由从在TRIUMF拍摄的100张照片中提取的130,000个图像片段组成的。图像片段是通过算法选择颜色均匀的区域来构建的。这些碎片的边缘是分割算法和照片相互作用的结果。图像是通过拼贴这些碎片来构建的,其中位置是通过分组碎片来确定的,根据颜色和方向,使用自组织机器学习算法。宏观结构也是一个突现的结果,这一次是自组织算法和一组摄影片段之间相互作用的结果。虽然我在其他作品中也使用了这种碎片化过程,但这是我对Karen Barad的“切割/分开”概念的接触,通过(相互)互动创造边界而对物体进行思考,从而巩固了这一概念。这个概念与我一直在思考的机器主体性非常接近,机器主体性是通过想象来实现的,作为边界的形成和对分类的批判。
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Imagined field from the decomposition of an apparatus
This work was produced in the context of the Leaning Out of Windows project, where artists, scholars and physicists are placed in collaborative dialogue in the development of new artistic works. One of the overlaps between experimental particle physics and my own work is the deconstruction of material in order to inspect the nature of objects and their constituents. The source material for this work is a set of photographs of the experimental apparatus of the TRIUMF particle accelerator. The emphasis of the photographs is the beam-lines that facilitate the transport of various particles in the apparatus, which resembles a industrial factory. The various exotic particles are made through acceleration, filtering and collision. I often work with photographic imagery and machine learning methods to question the relations between objects and contexts, reality and imagination, and realism and abstraction. This image is composed from 130,000 image fragments extracted from 100 photographs taken at TRIUMF. Image fragments are constructed by the algorithmic selection of areas of somewhat uniform colour. The edges of these fragments are an emergent result of the interaction of a segmentation algorithm and the photograph. The image is constructed by collaging these fragments where placement is determined by grouping fragments, according to colour and orientation, using a self-organizing machine learning algorithm. The macro-structure is then also an emergent result, this time following from the interaction between the self-organizing algorithm and the set of photographic fragments. While I have used this fragmentation process in other works, it was my exposure to Karen Barad's concept of "cutting together/apart," that solidified by thinking on objects as resulting from the creation of boundaries through (inter)intraaction. This conception aligns very closely to what I've been thinking about as Machine Subjectivity that is enabled by imagination as boundary-making and a critique of classification.
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