Alongside many related experiments, Recognition analyzes images from news reels to match them with historical artwork. Using a range of artificial intelligence technologies, it analyzes images through object, facial, composition and context recognition. In doing so it aims to simulate how humans see images.
This comparative viewing is intended to offer new ways to understand art as well as current images. Does it? Can it? The realm of art with its intents, expressions and possible interpretations and sensorial perceptions can only be thought as infinite and certainly reaching beyond any sort of “intelligence.”
The recurrent mismatches of the Recognition project does imply relative futility, however, this technical experiment is impressive and allows viewers creative approaches to actually consider the space between two images that in truth are in most ways completely unrelated.
The use of “aesthetics” and “terror” in the same sentence is more than disturbing. What is meant by each term, and how can they be linked? From the start, let me emphasize that I do not equate the word “terror” only with the actions of “terrorists” and war with its opposition, as in “the War on Terror.”
As for the use of “aesthetics,” I use this term in a neutral sense, as in a study of the forms and principles by which the images under investigation are used, not with a reference to the word’s popular connotations of beauty or value. I am in search of what can be termed an “aesthetics of terror” much in the way that the nomenclature “fascist architecture” immediately connotes a style of building. At this stage, we may not have the clarity of distance as in the aforementioned example, but such an aesthetic of terror is, I believe, permeating our popular culture and that of the visual arts.
QUESTIONS ABOUT AUTOMATONS
1. The most advanced robots are killer robots that will soon do the war for us. With what weapons will we prevent these victorious robots from turning against us?
2. Since Coppélia don’t we dream about the dangerous relationship called by our automaton creatures?
3. With all these mechanical transplants and implants that are curing and augmenting our capacities, will there be a time when our organic self is nothing but a mere residue, the ultimate pretense of a natural identity?
_Christian Bernard, Director, Mamco, Geneva.
The Anatomies of the Automaton exhibition was born from the encounter between a project and a context. The project are the investigations of Mamco on the culture of the automaton as it relates to literature, art and science. The position of La Panacée in the emblematic history of medicine in Montpellier which before turning into a a center of contemporary culture was alternately Collège Royal de Médecine, Ecole de Pharmacie and Institut de Chimie
That is how we quite naturally came to propose an exhibit putting in perspective the automaton with medical thinking and an anthropology of the mechanistic man / machine relationship. Framed by anatomical research, the theme of Man-machine has triggered many philosophical, scientific and medical debates and controversies, in the seventeenth and nineteenth centuries—debates that have taken on particular importance in Montpellier with the Ecole Vitaliste for which vital dynamism borrows mechanist patterns without being subordinated to them—certainly ancient debates, but nonetheless suggestive as we live in environments where we coexist with machines that sometimes borrow organic characteristics.
Anatomies of the Automaton probes a context that is at once historical and ultra-contemporary. The exhibit awakens resonance between history and present, creations and context, art and science. Calling for echoes is also to question the viewing and to create meaning. On this occasion the ancient paths linking La Panacée at the Facultée de Médecine were reopened as if the city was a palimpsest to be continually rediscovered. Partnerships with the University of Montpellier were established to broaden and deepen dialogues around anatomy andautomation, and to present objects and books from these collections.
If in the words of the British artist Douglas Gordon, “Art should be an excuse for a good conversation.” we can only hope that the converstions that led to the design of the exhibit will continue with the visitors.
_Franck Bauchard, Artistic Director of La panacée
Marker-Moore‘s riff on time-lapse photography compresses all of the takes into a single image he calls a a “time slice.” This creates a gradient of colors, distilling sunsets (and sunrises) of up to 60 minutes or more into into one epic vista. “I love using this technique to showcase the transitions in the day, like a sun setting and city lights turning on,” he says.
»more @ Wired
When considering the place of robotics in the creative process: what are the machine-human boundaries in interpretation, implementation and creative authorship?
Artist-scientist Patrick Tresset is exploring a relationship with the artificial creativity that we may find in the drawing of his robotic hands. Indeed the eye-hand coordination and repetitive tasks of the portrait artist are to a large extent not unlike a mechanical process, therefore we can easily be seduced by the creative gestures of a machine output. Seemingly random gestures can in our imagination easily be interpreted as poetic expressions that combine into a distinctive artistic style. We may see an artist in the machine, and see human likeness in the portraits it produces, even if the interpretation process is inherently inhuman and only capturing the mere physical aspects of the subject—its forms, whether organic or not.
Beyond the questions of representation that are here interestingly raised, Tresset’s robotic arms are fascinating performative sculptures. Can we trust and prefer the hand of the machine more than that of the artist? Probably, even if the hand of the machine is after all “drawn” by the artist.
This project also questions the relationship between the model and the artist.
When you pose for an artist you enter a relationship of relative empathy. You sit in front of another human not unlike you and may wonder or second guess their impressions, challenges, possible thought process, hesitations and/or judgements on you as model.
When posing for a machine, you are caught in some sort of analytical, algorithmic or other mysterious interpretation process. Tresset’s machine takes its time, hence giving you plenty of it to wait, think and wonder. You sit in front of a disconnected robotic eye and hand, in an emotive void punctuated with moments of curiosity, amusement or perhaps dismay. You are observing and considering the situation far more intensely than if the artist was human. You have entered a performance whose creator is probably absent from your thoughts. Why? Because we have a challenging relationship with machines that is still to be resolved. We are helplessly witnessing the incoming invasion of robots in our life—as it is out of the artist’s control. Surely, that concern raises the question of our relationship with a generation of machines that we suspect will know to look at us in the eye, as well as to draw us.
In her CRAC exhibit “S’inventer autrement”, Sylvie Blocher explores, among others, concerns of the self and of identity as it can be expressed through the image that we make of ourselves, as well as through the image that the artist makes out of her subjects. With her “Living Pictures”, Sylvie frames people into time-based images, somewhere between static and dynamic expressions, as if her models were free to move and yet unable to escape the containment of the portrait.
The Mundaneum was an institution created in 1910 by Paul Otlet and Henri La Fontaine, as part of their work on documentation science. It aimed to gather together all the world’s knowledge. The Mundaneum has been identified as a milestone in the history of data collection and management. Otlet regarded the project as the centerpiece of a new ‘world city’—a centrepiece which eventually became an archive with more than 12 million index cards and documents. Some consider it a forerunner of the Internet and knowledge projects such as Wikipedia and WolframAlpha. The Mundaneum was originally housed at the Palais du Cinquantenaire in Brussels, Belgium.
Otlet commissioned architect Le Corbusier to design a Mundaneum project to be built in Geneva, Switzerland in 1929. Although never built, the project triggered The Mundaneum Affair, a theoretical argument between Corbusier and Czech critic and architect Karel Teige.
The Mundaneum, with Aby Warburg, Google image search, Pinterest, and others is an influence behind our Simage Project initiative
From mosaics to frescos to pixels and virtual 3D, we as humans continue to enhance the art of representation. We depict forms, textures and motions to then stage them through a process running from dematerialization and disembodiment to rematerialization and re-embodiment.
Doing so, we virtually materialize goods as we once materialized gods and emperors.
This sort of representation, today as yesterday should be seen as “objectification”—the “representation” itself being in the eye of the beholder. In merchandizing as in any spectacle, the act of seeing is the ultimate phase in a dramaturgy where the viewer can be a passive or active participant.
Do we see a virtually invisible (and naked) emperor?
Chander: What do you expect from Paris Fashion Week next month? Are you launching anything radical? Diana: I am excited to introduce the first wave of TechLuxe in a form of a resin handbag with an LCD video screen. >more @ Forbes
C2C: A Promising idea packaged as a clunky object that looks like it could hurt if mishandled. The chain and gold detailing are derivative of traditional luxury accessories, (the Gucci pedigree is no surprise) hence contrasting with the high-tech contained on and in the bag. One might expect future oriented streamline expressions but this is a reminder that luxury is first and foremost an image we chose to be attached to, if not chained to.
“We train an artificial neural network by showing it millions of training examples and gradually adjusting the network parameters until it gives the classifications we want. The network typically consists of 10-30 stacked layers of artificial neurons. Each image is fed into the input layer, which then talks to the next layer, until eventually the “output” layer is reached. The network’s “answer” comes from this final output layer.” »MORE: Google Research Blog & SingularityHubvia Mark Petrakis
Pure creative thinking implies free open-ended associations. I do so most easily in alpha state, before or after sleep. It is a form of semi controlled day dreamings reminiscent of M. C. Escher, Baudelaire, mandala, maze, stained glass, abstract patterns or Google image search environments.
Google is building a mastery of “image” through an artificial neural network informed by vast image classification and deep learning algorithms. AI is there quickly acquiring image recognition skills, increasingly doing so better than human: faster and with a greater memory to reference.
With an initiative called “inceptionism”, a challenge was thrown at the artificial neural network to generate images starting with random noise. Applying the algorithm iteratively the software activity could range between cues and free association—running through feedback loops until pictorial associations were made or eliminated. E. g. when do we start to see a “dog” in a “cloud” formation?
In this so-called “creative” exercise, software once again performs possibly better than humans since it can quickly build images that combine complex representations, patterns and abstractions.
It is then merely up to us human viewers to select the ones we find “expressive”, “dazzling”, “artistic”, “beautiful”, “surpirsing”, “innovative” or whatever candy our minds are seeking at the moment. We become curators, judges and consumers by a stimuli of creativity that is fact is initiated by an algorithm.
Technology can surprise us through superior “creative processes”, but cyber creativity will remain an oxymoron even if the notion becomes pervasive.
Regardless, the techno-combinations dreamt up by Google, Adobe, Kai’s Power Tools and others in this past two decades have become part of our creative process. As visual designers, we use Photoshop and image search on a daily bases. In that sense, automation has crept into our own human creative process.
Humans and “image” are irreversibly both being processed, for better or worse depending on our POV. What is most amazing with “inceptionism” is the rising power of image recognition.
Project Soli combines finger gestures, radar technology and sight to rethink the potential of haptics.
Approximately the size of a small computer chip, this technology can transform your hand into a virtual dial machine to control something as mundane as volume on a speaker, or into a virtual touchpad to a smartwatch or a smartphone screen. »MOREvia Mark Petrakis
Monitoring what people the world over buy online @ walmart.com.
Why would you want any other job?
Why would you want the ceiling to be any higher?
Why would you want to have any more daylight?
Why would you want to face others?
Patch Tuesday? Microhard? Thync again – it’s a digital drug, altering your energetic and mental state by either calming it down or by revving it up. thync.com
While the high point of the hype for electrical treatments to the mind may well have been 1818, when Frankenstein was published, we’re after all getting more subtle and refined about it.
The trouble with becoming reliant on substances, or a technology such as this, is of course that you’ll likely suffer if you ever have to go without — nothing new about that, but there will be a psychological difference between that pill we (already) need, and that device we (will) need on our haid.
Virtual Reality 3.0: The idea has been around since Jaron Lanier coined the term VR. VRML anyone? Maybe we are getting closer.
Having a box with screens in it strapped to your head creates visual and auditory immersion, but what happens when that’s not enough? Some people may want to spend their entire lives fully immersed. Especially when you have 340 friends on FaceBook and nobody has actually seen you in years.
What was that again about opium for the masses?
GumGum is a new kind of display advertising platform reaching over 600 million unique visitors per month across billions of images on premium websites. Its in-image technology , hence allowing brands to attach their stories to relevant images, while unlocking revenues for image publishers.
Thanks to Igor Siwanowicz for this great microscopic vision.
Micro is yesterday, Nano is tomorrow.
Proteins used by the human body to regulate and maintain homeostasis exist on the nanoscale. Probably one of the best-known naturally occurring nanomaterials is hemoglobin, which carries oxygen through the bloodstream, which is 5 nms in diameter. What’s 5 nanometers? A nanometer is one billionth of a meter. This is roughly ten times the size of an individual atom. That’s small! For comparison, 5 nanometers is 2000 times smaller than the diameter of a human hair. How small is that? “If a centimeter is represented by a football field, a nanometer would be the width of a human hair lying on the field. If you fill a 1 cm cube with particles that are 1 nanometer in size, the surface area of all those particles is an astonishing 6,000 square meters, nearly the surface area of 3 football fields.
Enter particles that are purposefully manufactured with nanoscale dimensions, and we have nanoparticles.
Pros: they can enter the body through cells, into the bloodstream, and effect medicinally positive change. Example: diagnosis and treatment of breast cancer – we can finally get to the body from the inside.
Cons: they can enter the body through cells, into the bloodstream, and effect medicinally negative change. Example: Dunkin Donuts used them in their white powder coatings, and we don’t know what they (titanium dioxide) do in the bloodstream.
Bottom line, nanoparticles are so damn small that they can be considered the human equivalent of microelectronics – where the effects are subject to programming. They can – and will – go places we have heretofore been unable to go. Like any new pathway, it will be used in all ways possible. Brave New World indeed, Aldous.
What to say when an equation involves too many mental and emotional dissonances to even identify the foremost issues. Even art is in there.
Memorial Day in Chicago, a Float. Some pictures may say more than the proverbial thousand words.
Whether street art challenges or ignores the art establishment, shouldn’t it stay out of it? This question is probably too old to be raised. Street art has its own market and its own collectors. It has joined the establishment. It has gone from pure image to mere artifacts. via Etapes
An instance of Warhol context maximization : The Andy Warhol – Icons exhibit rethinks the standard museological white space by staging the artist’s imaginary space—an iconographic environment that is at once commercial, pop, industrial and consumerist. »via Divisare
Dane Kennedy reflects on two disastrous expeditions into Africa organized by the British in the early-19th century, and how their lofty ambitions crumbled before the implacable realities of the continent. …Continued
Carolyn Janssen, Artist In Residence Program 2015 : Adopting the sprawl of the historic landscape, I create mural-sized digital works that exist as photographic and painterly hybrids. Framed as psychedelic Photoshop objects, these images feature über-universes that reference the sublime landscape, digital kitsch, miniaturized science fiction tableaus, and religious mortality tales. Built from elements gleaned from personal snapshots, I use individual objects as brushstrokes, building each scene mark by mark. I utilize the “photoshoppy-ness” of the software program the same way a painter might manipulate the inherent qualities of paint, saturating, abusing, and “anointing” in order to achieve a hyper-superficial, aesthetic surface pleasure. Populating these worlds are figures engaging in ritualistic narratives and mini-dramas, creating uncanny and fetishized scenes that examine the blurred borders of gender, desire, and materiality. »MOREvia Mark Petrakis
Perpetual Photography Machine: A 30 x 40 array of pixels acts as both an image collector and a photovoltaic power source.
Computer scientists at Columbia University have made a video camera that can power itself. The rudimentary camera can capture an image every second of a well-lit scene while converting light into electric power.
The device is a step towards tiny, low-cost standalone cameras that could be useful for wearable devices and sensor networks. “For these applications to be successful, the camera has to be more or less standalone,” says Shree Nayar, a computer science professor at Columbia University. “You want to be able to deploy them and forget about them while they continue to function. And you want them to be really small and really cheap. One obvious way to make a self-powered camera is to attach a solar panel to a camera, but that’s not the most viable solution in terms of cost and size.” »MORE
The sheer mass of digital imagery was itself the subject of “24 Hrs of Photos,” a project by the Dutch artist Erik Kessels (first in 2011, and other times since). Kessels downloaded every photograph uploaded to Flickr in the course of a single day, about a million in all. He printed a fraction of them, around 350,000, which he then piled up in massive wavelike heaps in a gallery. Asked to explain the project, Kessels said: “I visualize the feeling of drowning in representations of other people’s experiences.” But that’s not art! And yet the emotions that accompany such an installation — the exasperation, the sense of wonder or inundation, the glimpses of beauty — are true of art. The shoe fits, maddening as it is.
» more: A Visual Remix, NYT Magazine
France’s famed Grotte Chauvet, a vast cave containing the world’s oldest prehistoric art, has been hailed a masterpiece of modern ingenuity. The ‘caverne du pont d’arc’ contains 1000 drawings, with 425 animals figures, 27 original paintings and around 450 bones. A near-perfect replica is open to the public.
Cinemizer OLED glasses + drone = FPV (First Person View). Remotely control a camera equipped copter, plane, car, etc. via OLED image glasses. It allows users to be immersed in the panorama of the drones they are flying. I’d call it Aero First Person Viewer. MORE: Zeiss
SIMAGE : Ancient traces imply that drawing was the first form of human expression. Dance, music, sounds, and environmental markings surely appeared in prior millennia as multi-modal forms of communication. However, visual representation is the form that has shaped our destiny throughout history.
Image is virtual substance on top of a concrete world. When 40-millenia-old cave art survives longer than all known civilizations, religions and empires, it is Neanderthal substance that we see. With the invention of walls, the surfaces of image have migrated in all directions in a momentum that appears unstoppable even as the civilization of walls is being supplanted by screen image. In that sense, walls have become transparent, reflective, touchable, and responsive.
Caves, walls and screens have become the landscape of creators. They are the surfaces of creation, the space of image.
Ludovic Duchateau : The Gagosian Gallery in Chelsea is larger than some museums. I saw guards standing by every third painting at a Jean-Michel Basquiat exhibition. This high security imposed on the creations of a graffiti artist is symptomatic of an absurd situation.
Andrei Tarkovsky : Artistic creation, after all, is not subject to absolute laws, valid from age to age; since it is related to the more general aim of mastery of the world, it has an infinite number of facets, the vincula that connect man with his vital activity; and even if the path towards knowledge is unending, no step that takes man nearer to a full understanding of the meaning of his existence can be too small to count.
SIMAGE : Whether true or not, we can always proclaim that creation is art and that art is image and that its subject was real. However, we do see the hand behind the creation as authentic. We now see hands as 40,000 year old traces of humans in Indonesian and Southern European caves.
1.A robot may not injure a human being or, through inaction, allow a human being to come to harm.
2.A robot must obey the orders given it by human beings, except where such orders would conflict with the First Law.
3.A robot must protect its own existence as long as such protection does not conflict with the First or Second Law.
RoboCop : Serve the public trust, protect the innocent, uphold the law.
SIMAGE : Humans and machines cohabitate and compete because they are becoming more alike than different. The robot population is growing, as virtual pets, maids, caretakers, factory workers, soldiers, and increasingly as extensions of ourselves.
Steven Pinker : We no longer worry about electronic serial killers or subversive silicon cabals because we are beginning to appreciate that malevolence does not come free with computation but has to be programmed in. The computer running WordPerfect on your desk will continue to fill paragraphs for as long as it does anything at all. Its software will not insidiously mutate into depravity like the picture of Dorian Gray.
SIMAGE : A parallel can be found in the world of images where automation has produced countless millions of bots that often work with images or even control, enhance or destroy them.
A MMO-Champion : I see more and more bots… There are more bots than humans… I will quit now thanks to bots ;(
Aaron betsky : We may have to re-imagine ourselves as cyborgs and delve into the architecture of that new kind of self.
The phone is notable for its hallmark feature “Dynamic Perspective”: using four front-facing cameras and the gyroscope to track the user’s movements, the OS adjusts the UI so that it gives the impression of depth and 3D.
»MOREvia Peter Fahrenkamp
The billboard, which is about the length of a football field, will cost advertisers $2.5 million a month. Google’s ad will run from Nov. 24 until early 2015, and a digital art exhibit courtesy of Universal Everything and SapientNitro will fill the screen until then, according to The New York Times. »MOREvia Peter Fahrenkamp
With the pervasive access to online networks by institutions and individuals, the sharing of image files via search engines, crowdsourced collections, U.S. Government collections and open source collections has caused a dissemination of photos, graphics and art works of tsunamic scale.
Some consolidation – or augmentation, if you will — in the world of augmented reality Blippar — an image recognition platform used in digital advertising — has acquired Layar, an augmented reality platform used across different applications (from advertising to education) that uses cameras on devices like smartphones to inject virtual elements into real-world images in real time. »+ TechCrunch
NASA: In 1960, the United States put its first Earth-observing environmental satellite into orbit around the planet. Over the decades, these satellites have provided invaluable information, and the vantage point of space has provided new perspectives on Earth. The beauty of Earth is clear, and the artistry ranges from the surreal to the sublime. »THE APP
C2C: Aerial photos are often colorized the the point where they appear as abstract psychedelic experiments. Do we “lose” the subject when doing so?
A great (but incomplete) Guide to Visual Content: The Science, Tools and Strategy of Creating Killer Images (like every body else)
• Sixty-three percent of social media is made up of images.
• Nearly half of all Internet users have reposted a photo or video they have found online.
• Content with relevant images gets 94 percent more views than content without.
• Tweets with images receive 150 percent more retweets.
• Images are the No. 1 most important factor in optimal social media content.
MarketsandMarkets / 3D and 4D technologies are getting increasingly popular as the trends toward its integration with the giant industries like manufacturing and healthcare, have increased, along with the already dominant entertainment industry. With the advancement in technology, the applications of 3D and 4D technologies have gradually increased and the industries are now utilizing these technologies for many applications; such as industrial, consumer, entertainment, healthcare, education, and governmental applications. Over the last few years, the 3D technology has gained much popularity and the number of 3D movie releases has also increased significantly; thus, the demand for 3D TVs has also increased drastically, making the ‘3D TV’, a major market segment in the 3D technology market in terms of revenues. »MORE
“Through this new, open-access policy, we join a growing number of museums that provide free access to images of art in the public domain. I am delighted that digital technology can open the doors to this trove of images from our encyclopedic collection.” _Thomas P. Campbell, Director and CEO of The Metropolitan Museum of Art More than 400,000 high-resolution digital images of public domain works in the Museum’s world-renowned collection may be downloaded directly from the Museum’s website for non-commercial use—including in scholarly publications in any media—without permission from the Museum and without a fee. The number of available images will increase as new digital files are added on a regular basis. »more / the Met
And here is an interesting rant on how the Met worded its terms and conditions. »techdirt
– Space Photo credit: An image of a galaxy cluster taken by the NASA/ESA Hubble Space Telescope gives a remarkable cross-section of the universe / NASA, ESA This 14-hour exposure by the Hubble Space Telescope captures objects around a billion times … >+>I Fucking Love Science
Software from firms such as Snap Fashion and Style-Eyes lets shoppers upload photos of clothing and link to relevant stores When Cara Delevingne told Vogue that one of her favourite apps was the newly released Asap54 which uses visual-recognition.
“If someone matches a very expensive dress, the chances are they will not be able to afford it but what we intend to do is bring back similar ones that might be in the price range so you can filter all the results with what your intended range is – [for example] ‘Find me something like that that is less than £200’,”
SIMAGE : We use our hands with our left brain to make. We use our eyes with our right brain to make sense.
EL Lissitzky : The book is the monument of the future.
SIMAGE : There is no step at all between ear, hand, and eye. Lissitzky regarded the book as a dynamic object that called for “unity of acoustics and optics,” and required the viewer’s active involvement. This prediction has become commonplace with mobile devices. The materiality and sound of paper has been replaced by the sharpness, colors, speed, and sonic range of retina displays.
Sebastian Seung : If we can really figure out the retina, perhaps we will have a shot at figuring out the vastly more complicated brain.
SIMAGE : In the race for evolution, retina interfaces are bypassing the role of hand. The eye now grasps and controls information and it is beginning to control interfaces.
Jean-Luc Godard : In “Praise of Love” (2001) an off-screen voice poses the question, “When did the gaze collapse?,” and pursues a possible response with another question, “Was it ten years, fifteen years, or even fifty years ago, before television?”
Roland Barthes : You see the first thing we love is a scene. For love at first sight requires the very sign of its suddenness; and of all things, it is the scene which seems to be seen best for the first time: a curtain parts and what had not yet ever been seen is devoured by the eyes: the scene consecrates the object I am going to love.
SIMAGE : Human eye contact is a contact between what cannot be seen—hearts and thoughts. However, with iris biometric scanning, it is the complete identity of an individual that is being seen.
Cinematic special effects, trompe-l’œil, manipulation of perspective and magic trick. Image sometimes attempts to highjack our perception of reality. This is advertising trying hard to capture eyeballs.
Michelangelo : The greatest artist has no conception which a single block of white marble does not potentially contain within its mass, but only a hand obedient to the mind can penetrate to this image.
SIMAGE : Optic vs. haptic vs. planning vs. making. While our minds can invent, dream, and scheme, our hands can make, and even more easily, destroy. Hands say more about us than our minds can, so what happens when the machines we invent can “make” more easily than our hands?
Wikipedia : The recent evolution of the human hand is a direct result of the development of the central nervous system, and the hand, therefore, is a direct tool of our consciousness—the main source of differentiated tactile sensations—and a precise working organ enabling gestures—the expressions of our personalities.
There is a hypothesis suggesting the form of the modern human hand is especially conducive to the formation of a compact fist, presumably for fighting purposes. The fist is compact and thus effective as a weapon. It also provides protection for the fingers. Although this is not widely accepted to be one of the primary selective pressures acting on hand morphology throughout human evolution, with tool use and production being thought to be far more influential.
Mark Petrakis : The human hand trumps the power of the eye. It is the lever of gravity.
SIMAGE : The hand is an organ whose manifest externality expresses the range of its powers: touch, grab, steal, hit, embrace, and make. It is an accessory to greed, love, crime, and creation. One could argue that with the appearance of retina displays and eye tracking technology, it is the eye buried in its socket so close to our brains that will become the all important creative device that determines how we see and choose to show the world.