Selfie Extender

I.c.w. Selby Gildemacher.

Materials: 2 laptops, 2 iPhones, 2 robot arms, 2 SparkCore, Skype, IFTTT app

The Selfie Extender devides the act of taking a Selfie from location, which is “traditionally” seen as a whole. A Selfie operates as a proof for being present at a certain place, and we basically become our own watermark. In this project the audience is physically present at one spot and takes a virtual Selfie at any other spot imaginable. By physically pressing a button on one location, the robot arm will take the photo on the other location. The installation was done with a 10.000 km distance selfie between Groningen (NL) and Cape Town (ZA) in 2014.

 

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Extensions of Man Workshop at Mediamatic during „Pret Park“.

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True Horror of Selfies Photo Booth

Interactive installation

Materials: three mirrors, one spy mirror, surveillance camera incl. software, computer

Dimensions: 90 x90 x 200 cm

Exhibited at Mediamatic Amsterdam in July 2014.

Selfie Horror Booth is a mirror cabinet that creates a mise en abyme with oneself taking selfies. The person inside the booth gets multiplied. The booth’s small dimension make people feel comfortable to take selfies. On top a surveillance camera is installed that anyone else can control from a distance on an external computer. After leaving the booth the person will see her/his performance on the external computer and makes then afterwards feel uncomfortable being monitored. It is an allegory to the digitally multiplied self and the loss control online.

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Selfie Horrors—Lecture Snippets

Lecture performance

True Selfie Horrors is a lecture about one part of my research on selfies; focusing on hidden layers that might have negative impact on one’s virtual and physical life, including accessibility for everybody to change context and identity, a selfies living their own lives online and the potentially chance of one’s selfie becoming an avatar for a bot.

Performed at Mediamatic Amsterdam, OTIS college for Art and Design, World Design Capital 2014 Cape Town.

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Selfie Cinema

Selfie Cinema is an installation for films that allow the audience to embed themselves into other’s narratives.

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The first short film featuring the installation entitled „A false paradise“ — a remote romance between ecstatic modern life and the Genesis. The used audio is taken from the TV series „Elementary“.

Both created by Yin Aiwen and Stefan Schäfer as Monolithm — investigating the coexistence of the digital and the physical, the rational and the irrational, the machinelike and the soulful.

EyeStockphoto

EyeStockphoto

— The power of stock photos lies in it´s contextual adaptiveness. A crucial role play the photo descriptions as well as the categories they are stocked in by agencies. Stock photography is not about the image as such, but the image as perception.

Wordseye is an online type to image programme, using a minimal sentence structure, comparable to the one of stock photo descriptions.

EyeStockphoto is literally copying stock photo descriptions and pasting them into the Woredseye programme. From this result images contrary to presumed perceptions, somewhere between 3d computer games and surrealistic landscapes.

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Boy with head in hands.

 

 

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Flowers atop a casket at a funeral with ribbons saying mother and grandmother.

 

 

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Portrait of teenage girls with globe.

 

 

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Laughing girl waving on the street.

 

 

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Happy child with painted hands.

 

 

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Young girl in the flower garden holding a camera.

 

 

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Portrait of a beautiful young woman.

 

 

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Portrait of a beautiful young girl in a playground.

 

 

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Mother and son outside in the fall.

 

 

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European Flag.

 

 

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Surprised laughing woman.

 

 

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Nylon bag, isolated on white.

 

 

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Skyline of downtown Atlanta, Georgia.

 

 

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Water drops on a bamboo leaf. High quality macro shot.

 

 

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A set of keys, isolated on white.

 

 

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A male office worker with speech bubble.

 

 

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Old American flag.

 

 

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Writing hand on white surface.

 

 

 

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Swiss railways.

 

 

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Hourglass with clipping paths.

 

 

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Pristine white Caribbean beach.

 

 

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Mouse on white.

 

 

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Woman typing on laptop computer.

 

 

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For sale sign over a piece of land with green grass, isolated on white.

 

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Brown paper bag and apple on white.

 

 

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Business woman on cell phone.

 

 

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Shown during solo exhibition „In the Maze of the Other“ @ The Bookstore Amsterdam

iStockphotoforreal

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— Silkscreen print on plexiglas, 100 cm x 50 cm —

iStockphotoforreal is the translation of iStockphoto´s digital watermark into a phsyical object. iStockphoto is an image bank for stock photos and stock videos. The digital watermark appears on each stock photo preview to avoid the free, or more to say, pirate usage of the actual photo. After buying the photo, the watermark is removed. The watermarked photo is so to say less valuable in the image economy.

In the class society of images, the watermarked photo takes the role of the poor image while at the same time, the non watermarked photo takes the role of the flagship1. By translating the digital watermark into a physical object, the watermark becomes a definitely part of the image, which defines the preview-stock photo as a self standing image.

In the history of stock photos, the setting to create a photo can be compared to a stage setting of a hollywood movie shooting. Photos were created with huge efford and a big crew of professionals, from actors and screenwriters to the photographer, of course. The images showed a perfect world and were mainly used in advertimsements to sell products2.

The power of stock photos lies in it´s contextual adaptiveness, as Matthias Bruhn points out in his text “Visualization Services: Stock Photography and the Picture Industry”. It is not about the image as such, but about the image as perception. A crucial role play the photo´s description, or tagline, as well as the categories they are stocked in by stock photo agencies.

On the website www.stockingisthenewplanking.com, which was just shut down in summer 2012, people imitated existing stock images and wrote their own tagline underneath their photos. The site shows examples of that with the original, watermarked version of the stock photo, placed on the left, and the imitated version including a new tagline, on the right. The digital watermark is what maked the stock photos official. And though they are (mostly) done more professional, the watermark brings them on the same level like the imitations, they are both for free4.

 

Referrences

1: “In Defense of the Poor Image”, Hito Steyerl

2:  “The New Heraldry: Stock Photography, Visual Literacy, and Advertising in 1930s Britain”,  Helen Wilkinson

3: Visualization Services: Stock Photography and the Picture Industry”, Matthias Bruhn

4: www.stockingisthenewplanking.com (till summer 2012)