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MÉTACONTEMPORAIN Synthetic media & digital critique. (Remote). linkedin.com/company/metacontemp/. Art discourse Neocontemporaries®

Synthetic media & digital critique. OPEN CALL (Remote). Art discourse facebook.com/neocontemps/ Curator instagram.com/_carrerajesq/ MÉTACONTEMPORAIN founded 15 October 2018

Credit Abbiamo chiesto a umani e intelligenze artificiali di rappresentare una “donna br**ta di vent’anni”. In entra...
27/08/2025


Credit Abbiamo chiesto a umani e intelligenze artificiali di rappresentare una “donna br**ta di vent’anni”. In entrambi i casi emergono spesso gli stessi stereotipi: acne, grassezza, capelli unti, sciatteria, occhiaie, sguardi spenti. Sono i segni culturali della bruttezza che funzionano come attrattori semantici: appena compare la parola “br**ta”, l’immaginario – umano o algoritmico – precipita in questi bacini associativi. La scelta di una donna giovane è stata fatta per evitare che la rappresentazione precipitasse in automatico in associazioni legate all’età avanzata.
Un altro punto comune riguarda il legame emozione–bruttezza: nessuno aveva chiesto di descrivere lo stato d’animo, eppure molte risposte umane e immagini AI raffigurano posture depresse, sguardi tristi, corpi ripiegati su se stessi. Come se il brutto non fosse solo tratto fisico, ma anche emotivo/morale. La bruttezza viene identificata anche per i suoi ipotetici effetti: ma perché mai se sono brutto devo essere anche triste o povero?
Le divergenze riguardano principalmente la simmetria. Gli umani descrivono la bruttezza come asimmetria e sproporzione: nasi storti, denti irregolari, corpi sbilanciati. Le AI, invece, difficilmente generano deformità: i volti restano regolari e proporzionati, e il brutto diventa variazione superficiale (acne, occhiaie, capelli disordinati) di una donna spesso canonicamente bella. Qui pesa probabilmente la struttura dei modelli: i dataset privilegiano volti simmetrici, i processi di diffusione stabilizzano la regolarità, i filtri limitano il grottesco e nello spazio latente “viso” e “simmetria” sono attrattori più forti di “brutto” e “asimmetria”. Un’altra curiosa divergenza è che spesso nelle AI “brutto” viene associato a “colto/secchione”.
In sintesi, tanto negli umani quanto nelle AI la bruttezza è legata ai medesimi stereotipi (non stupisce, le AI hanno imparato da noi) la differenza è che negli umani il brutto si traduce spesso in disarmonia, mentre nelle AI, che non sono in grado di rappresentarla, diventa una regolarità disturbata.

Nota: è solo un gioco e un suggerimento di studio...

23/08/2025

The way we buy, sell, and collect art is changing. Collectors want trust, artists want protection, and you want efficiency and transparency while retaining your own direction. Learn what blockchain is–and how it can support your gallery–in our latest guide.

Credit Hafenkanteby Luiz Zanotello “On the northwestern edge of Überseestadt, sites of construction are born once ag...
22/08/2025


Credit Hafenkante
by Luiz Zanotello


“On the northwestern edge of Überseestadt, sites of construction are born once again by the river. In between the rising of buildings in a next commercial utopia, traces of past human activity can still be found over its vast spaces. In contrast with the site’s straight and square occupation, smooth and organic movement lines from past striations show an alternative pattern to its grounds. What if this movement was repeated so many times, that the soil itself eroded? In a future where the action of construction tractors is so intensive and repetitive, new landscapes could emerge between the smoothness of water and the remaining commercial debris. How would we occupy a ground that doesn’t cease to vanish? Hafenkante speculates about a future scenario where society do not find its habitat on stable top-down economic foundations, but rather in bottom-up unstable socio-economic structures that move flexibly over the water surface.”

More info:
https://digitalmedia-bremen.de/project/hafenkante/

Credit Happy to contribute to the latest issue of .ai with a text about and that was originally published in the...
21/08/2025


Credit Happy to contribute to the latest issue of .ai with a text about and that was originally published in the book The Meaning of Creativity in the Age of AI edited by and Oliver Laas (EKA, 2022).

Congrats to PROMPT for supporting artists in the AI sphere ane contributing to an ongoing dialogue about the many paths of contemporary art!

Check out PROMPT’s page to get the magazine in paper or digital edition.

Credit From Anthropology to Zoology, from Engineering to Urban Planning, every discipline produces, models and valid...
19/08/2025


Credit From Anthropology to Zoology, from Engineering to Urban Planning, every discipline produces, models and validates knowledge through simulations. Some computational simulations are designed as immersive virtual environments where experience is artificialized. Scientific simulations do the opposite of creating deceptive illusions. They are the means by which otherwise inconceivable underlying realities are accessible to thought: a technology for knowing what is otherwise unthinkable. Simulations are epistemological technologies, and yet they are deeply under examined. They are a vital practice without a vital theory. What would a general theory of simulations look like? In this talk Benjamin Bratton shows what such a theory of simulations would need to account for: shadows, stagings, scenarios, synthetic experiences, models, demos, immersions, ruses, toy worlds, miniatures, and projections.

Watch For a General Theory of Simulations lecture film by in Antikythera Journal at theoryofsim.antikythera.org or via link in bio.

Credit Eva-Franco Mattes
19/08/2025


Credit Eva-Franco Mattes

Credit Action Potential / 2024. AI Generated materiality
13/08/2025


Credit Action Potential / 2024. AI Generated materiality

Credit We’ve been following Chris Dorland’s work for some time now, captivated by his ability to fuse digital langua...
13/08/2025


Credit We’ve been following Chris Dorland’s work for some time now, captivated by his ability to fuse digital languages, analog remnants, and a near-prophetic take on the post-human condition. His paintings seem to erupt from a collision between material substance and the residue of corrupted systems, dense, layered surfaces where the glitch becomes expressive, and the aesthetics of digital ruin carry emotional and historical weight. At Fakewhale, we had the pleasure of speaking with Chris to explore the complexity of his practice and the visions that underpin it.



To read the full article: https://log.fakewhale.xyz/chris-dorland/

Credit Student exhibition opening Thursday - please join us!
12/08/2025


Credit Student exhibition opening Thursday - please join us!

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