Year: 2018

CFP – Biometrics: Mediating Bodies

Special issue #60 of PUBLIC: Art/Culture/Ideas Publication Fall 2019 Biometrics refers to the way that bodies are measured and identified. It uses the logic of calculation to reduce the identity of a body to a set of data. In her work on facial recognition, Kelly Gates (2011) reminds us that biometric identification is a way of addressing the “problem of ‘disembodied identities,’ or the existence of visual and textual representations of individuals that circulate independent of their physical bodies,” a situation that has been particularly exacerbated with the rise of media technologies since the nineteenth century. This issue of PUBLIC works to understand the many ways that biometrics reinserts the body into mediated communication. Signatures are one pre-digital example of the ways that we have extracted something produced by the body as a form of authoritative representation. Today, features of the body itself—such as the face, heartbeat, gait, fingerprint, DNA, voice—are used not only by humans to recognize each other, but also as a way to program computers, machines and electronic systems to read bodies …

Spring conferences on recognition

I recently presented some early work thinking working towards a political philosophy of media art that pivots around the technologies, the practices, and the concept of recognition. First at SCMS in March 2018 I gave a talked called “Facial Recognition in Art and Storytelling” as a part of a panel I chaired called “Recognizing Bodies.” Then in May 2018 I participated in a great conference in Copenhagen called EVA Politics of the Machines – Art and After. My talk was called “Emotional Reactions, Empathetic Interactions: A Talk on the Concept of Recognition.”

“Nano-Optical Image-Making” in Leonardo

This article has been a long time coming but it is finally available in online form in Leonardo’s Just Accepted (and on my Academia page). Nano-Optical Image-Making: Morphologies, Devices, Speculations ABSTRACT This article provides a technical overview of nano-optical image-making produced between the author, engineering scientists at the Ciber Lab in Vancouver, and the artists Christine Davis and Scott Lyall. It situates the work in relation to other optical technologies like holographs, to the primary application of nano-optical images as authentication devices, and to other artistic practices interested in nanoscale interactions of light and matter. The paper articulates the convergence of visual technologies and designed materials by explaining how the principles of structural color can be used for the production of images. Building a discussion on the shift from device to medium that is anchored around questions of remediation and reproducibility, it concludes with a speculation on informatic matters, or the convergence of mediating functions at the surface of things.