In a collage of private scenes and fragments of medialized events as part of the “war on terror”, Guli Silberstein uses his typical method of digital image degradation with the help of compression algorithms to draw attention to the actual process of remediating images and thus in two way raises questions as to their representation, credibility, and the emotions that they can carry.

Stuff As Dreams

A collaboration with a machine-learning based AI technology of next-frame prediction. The computerised synthesis of images by a neural network learns video clips and then guesses how they will continue, recreating them in the process. The reborn video images are then woven together into an audio-visual poem, revealing both computer and human cognition processes and raising reflections regarding the implications and future of this new technology.

Somewhere We Live in Little Loops

An AI computer-vision system reconstructs footage of humanity in different contexts - business, love, city, joy, protest. The next-frame-prediction technology is trying to predict the future based on just a couple of seconds from each clip, producing surprisingly hallucinatory video outputs, engaging with surrealist and expressionist painting tradition. The AI-produced material is arranged by the human artist in a narrative reflecting on the tenderness of the human body, the implications of AI interacting with it, and the politics of its usage.  We are a viral breath, one embodiment, connected to each other physically, socially and psychologically. Now it's becoming mediated by machines, controlled by corporations and governments. The work explores senses of touch and body as seen by algorithmic processes.

The Body is a Gesture

A tribute to the pioneering, visionary film 'A Page of Madness' (1926, Japan, director: Teinosuke Kinugasa), reworked by AI coloring technology, digital processing, and re-cutting. Confinement, madness and love haunt an asylum (of the mind?), where a couple and their daughter become entangled in a troubled past and a complex present, as perceived through layers of moving-image making across almost a century.