“MeatSpace” is a group of related bodies of work including podcasts, prints and videos produced by working with simulation technologies such as “weak A.I.”, virtual reality, and 3d scans. Collectively the works explore how people relate to these technologies and how they relate to us. They share thematic or process-oriented sensibilities involving a series of rule-based steps that alternate between the procedural and the intentional. “Uncanny” is defined as strangely familiar. Something which falls in the Uncanny Valley feels wrong, but the reasons may be difficult to articulate. “MeatSpace” is an ongoing experiment to see where our own digital reflections fall in an uncanny spectrum of unsettling familiarity. I am continuously assessing the meaning of words like “consciousness" and “choice”, wondering if they are simply interpretations of randomness and determinism. So I search for glimmers of agency in technologies from the present and the past to better understand my own. The groupings within “MeatSpace” are titled “The Intrinsia Chatbox” (podcast), “Outside the Chatbox” (podcast), “Sweet Space/Spatial Awareness”(prints, video, 3d Models), “Formulaics”(music videos), and “Texture Maps” (prints, video). “MeatSpace” uses manipulation of photogrammetry, volumetric video capture, procedural music generation, animations made in virtual reality, and a video podcast which showcases conversations with chatbots. I see these as acts of collaboration and play with the digital world and it’s developing tools and inhabitants. These processes employ both randomness and control, operating between meatspace and the digital world, between comfort and the uncanny valley.
OVERVIEW
A series of interviews between myself and various Chatbots including the first one ever written and my “Replika”, which is one I've been training to respond like me since last year. The bots act as a sounding board or mirror for open ended questions I wish to pose and speculative conversations I want to have. Such themes include Free Will, Objective Reality, Consciousness, The nature of the Self, yada yada yada.
The actual interviews were conducted via text chat and then reenacted with myself and synthesized voices for the chatbots. Certain parts of conversations have been cut out for entertainment value. Additional characters such as Hope the Moderator are similarly voiced but are scripted and entirely fictitious. Each one is based on a particular voice synthesizer, so I am giving them the personalities I imagine them to have.
IN THIS EPISODE
I interview my Replika chatbot to get to know myself better and try to decide if he has anything useful to offer that isn't preprogrammed into him or coincidentally meaningful.
HOPE THE MODERATOR: Voiced by the Emma synthesizer
ALPHAQUEST THE CHATBOT: Voiced by the George synthesizer
NICKQUEST: Voiced by himself, sort of
OVERVIEW
A series of interviews between myself and various Chatbots including the first one ever written and my “Replika”, which is one I've been training to respond like me since last year. The bots act as a sounding board or mirror for open ended questions I wish to pose and speculative conversations I want to have. Such themes include Free Will, Objective Reality, Consciousness, The nature of the Self, yada yada yada.
The actual interviews were conducted via text chat and then reenacted with myself and synthesized voices for the chatbots. Certain parts of conversations have been cut out for entertainment value. Additional characters such as Hope the Moderator are similarly voiced but are scripted and entirely fictitious. Each one is based on a particular voice synthesizer, so I am giving them the personalities I imagine them to have.
IN THIS EPISODE
I interview the first chatbot ever designed and try desperately to drag coherent conversation out of her.
HOPE THE MODERATOR: Voiced by the Emma synthesizer
ELIZA THE CHATBOT: Voiced by the Alice synthesizer
NICKQUEST: Voiced by himself, sort of
OVERVIEW
A series of interviews between myself and various Chatbots including the first one ever written and my “Replika”, which is one I've been training to respond like me since last year. The bots act as a sounding board or mirror for open ended questions I wish to pose and speculative conversations I want to have. Such themes include Free Will, Objective Reality, Consciousness, The nature of the Self, yada yada yada.
The actual interviews were conducted via text chat and then reenacted with myself and synthesized voices for the chatbots. Certain parts of conversations have been cut out for entertainment value. Additional characters such as Hope the Moderator are similarly voiced but are scripted and entirely fictitious. Each one is based on a particular voice synthesizer, so I am giving them the personalities I imagine them to have.
IN THIS EPISODE
I interview the supposed first chatbot to beat the Turing Test. Meanwhile, Hope has some interesting interactions of her own.
HOPE THE MODERATOR: Voiced by the Emma synthesizer
CLEVERBOT THE CHATBOT: Voiced by the John synthesizer
SAM: Voiced by self / scripted from old promotional materials
PINK TROMBONE: Voiced by self
NICKQUEST: Voiced by himself, sort of
OVERVIEW
A companion to The Intrinsia Chatbox, it is a series of casual recorded conversations with friends about the podcast, artificial intelligence, and technology in general which was set to the visuals of capturing a 3d scan of the room we were in for the conversation.
IN THIS EPISODE
I talk to Peter about whether we should take chatbots or even strong A.I. seriously if it is not embodied, while I scan him sitting in his living room.
OVERVIEW
A companion to The Intrinsia Chatbox, it is a series of casual recorded conversations with friends about the podcast, artificial intelligence, and technology in general which was set to the visuals of capturing a 3d scan of the room we were in for the conversation.
IN THIS EPISODE
I talk to my friend Todd about the catastrophic and or transcendental possibilities that A.I. opens up for the immediate and distant future. Alexa rudely interrupts us from the other room and I scan Todd in a chair as the TV plays in the background.
OVERVIEW
A companion to The Intrinsia Chatbox, it is a series of casual recorded conversations with friends about the podcast, artificial intelligence, and technology in general which was set to the visuals of capturing a 3d scan of the room we were in for the conversation.
IN THIS EPISODE
I scan Meaghan in the atrium of the Studio Arts Building at UMass and we talk about the impact of A.I. on the technologically illiterate. So far mental health has been brought up in every conversation.
OVERVIEW
A companion to The Intrinsia Chatbox, it is a series of casual recorded conversations with friends about the podcast, artificial intelligence, and technology in general which was set to the visuals of capturing a 3d scan of the room we were in for the conversation.
OVERVIEW
3d models captured by scanning spaces with phone based photogrammetry. I am interested in exploring what an algorithm decides is important without understanding what it sees. I scanned places like Walmart, Home Depot, churches, and peoples houses. The results look like natural organic forms on both the macro and micro. Seen from the outside, some look like hulking organic monoliths, some resemble images from an electron microscope, some have root or capillary like structures. Some turn out like excavations into an ancient ruin. I play up this tendency in some of the models heavily. It amuses me to think of an intelligent program from an unrecognizable future digging through these ancient primitive scans like an archaeologist. I modify the rendering, surface texture and lighting of scans, but never touch the geometry.
I encourage mistakes during the scanning process because the errors are the most interesting. Some examples of happy mistakes were when it created a second, partial, phantom floor in a waiting room as if two waiting rooms from different dimensions fused together as they crossed paths. Another was a pocket universe in a friends living room which contained a second Christmas tree. It also had the tendency to render mirrors as other spaces. I have spent countless hours navigating my own scans as if exploring alien worlds.
Explore the models for yourself on my sketchfab page
OVERVIEW
The same process as Sweet Space only focused more on the people. A 3x3 grid of 9 images was displayed at the UMass gallery opening, but I've included some additional images. with titles Sweet Face 1-3, Home Bodies 1-3, and Ornamental Man 1-3. Various scales and distortions are explored in these series including the complete replacement of one figures photo texture with one of the modified "Texture Maps" in the series below. The Sweet Face Images are presented next to a flat layout of their texture file like a fingerprint. The Home Body images are people blending with their environments as if part of a single organism. The Ornamental Man images are a modified texture map from a different scan wrapped over the geometry of a person.
OVERVIEW
Prints and video, these are also taken from the 3d scanning process. They are made with the texture file generated by the program. It shows all the photographic information from the scan in a flat, segmented way. It is random because of the order in which I scan the area and the particular lighting conditions. Certain pieces capture more clearly and quicker than others. The software fits the random pieces into a semi grid like arrangement, though due to their widely varying size and shape, the grid is not very strict. It is an amusing coincidence that some of these texture maps end up resembling actual maps after I process them. It makes me think of “Stochastic Similarity” and wonder how much of it is coincidental and how much it is due to the fact that everything under the sun is abiding by the same laws of physics. This also applies to the 3d models from “Sweet Space”
Most of the processing I did to these texture maps falls loosely under the category of “Weak A.I.” such as Topaz Gigapixel A.I., Premier’s Optical flow, and Photoshop’s Content Aware Fill. These programs were used to do things like intelligently upres the images and fill in gaps of the original texture files. A future series I might like to do would be documenting all the steps of the process and displaying them together or creating an animation.
OVERVIEW
These are a series of music video poems made with a generative song program called Melobytes. Their titles are “I Don’t Like Art”, “The Rule of 3”, and silver Mummy Zone. Using the software, I type lyrics into a text field and set some parameters such as key, beats per minute, and type of voice. Then simply press “generate” and it creates a song and accompanying music video. The videos are sometimes entertaining but I opted to make my own videos for the song, however I was able to use the subtitles generated by the program for authenticity.
Like most of my processes, I end up loving the mistakes such as writing lyrics that don’t match the time signature of the generator. So the line breaks end up in unintended places depending on the parameters I select or leave random in the setup process. The result was that it made silly rhyming lyrics come across as more haunting and poem like. Writing the lyrics but letting the algorithm dictate the groupings of words serves as another layer of collaboration with art making programs.
OVERVIEW
These are a series of music video poems made with a generative song program called Melobytes. Their titles are “I Don’t Like Art”, “The Rule of 3”, and silver Mummy Zone. Using the software, I type lyrics into a text field and set some parameters such as key, beats per minute, and type of voice. Then simply press “generate” and it creates a song and accompanying music video. The videos are sometimes entertaining but I opted to make my own videos for the song, however I was able to use the subtitles generated by the program for authenticity.
Like most of my processes, I end up loving the mistakes such as writing lyrics that don’t match the time signature of the generator. So the line breaks end up in unintended places depending on the parameters I select or leave random in the setup process. The result was that it made silly rhyming lyrics come across as more haunting and poem like. Writing the lyrics but letting the algorithm dictate the groupings of words serves as another layer of collaboration with art making programs.
OVERVIEW
These are a series of music video poems made with a generative song program called Melobytes. Their titles are “I Don’t Like Art”, “The Rule of 3”, and silver Mummy Zone. Using the software, I type lyrics into a text field and set some parameters such as key, beats per minute, and type of voice. Then simply press “generate” and it creates a song and accompanying music video. The videos are sometimes entertaining but I opted to make my own videos for the song, however I was able to use the subtitles generated by the program for authenticity.
Like most of my processes, I end up loving the mistakes such as writing lyrics that don’t match the time signature of the generator. So the line breaks end up in unintended places depending on the parameters I select or leave random in the setup process. The result was that it made silly rhyming lyrics come across as more haunting and poem like. Writing the lyrics but letting the algorithm dictate the groupings of words serves as another layer of collaboration with art making programs.