ILSE KIND ︎ 










[Website under construction]








2024





Happiness Machine






Installation ‘Happiness machine’
[Pose-landmark detection system, Camera, Aluminium,
Irrigation nozzle, Tube, Water]
110 x 110 x 150 cm
2024
  
 Sculpture ‘BLOB #2’
[Wet Clay]
90 x 70 x 60 cm
2024



















Teaser


Humans are increasingly analyzed and shaped by algorithms that prioritize basic emotional states, like happiness. Surveillance systems track our movements and expressions to fit within predefined patterns. Treated as “shapeless data storages’’- BLOBs (Binary Large Objects), our bodies are defined by the data we generate or lack. Stripped from our individual complexity, we are simplified to recognizable forms, leaving only the most basic expressive features.

In this installation, a pose recognition system monitors the sculpture, feeding it water to keep it malleable as long as the form is recognized. Shaped into a "happy" pose to fit the algorithmic framework, the clay represents how we are sculpted by data flows; caught between bewcoming and being. Once the pose is recognized, a feedback mechanism activates, keeping the clay malleable and alive. However, with each moment of validation, the sculpture risks being over-watered, losing it’s adabtability.  As the algorithm continues its gaze, it determines whether the human figure remains intact or eventually crumbles away, returning back to soil.




















2024





DO LABEL items that are real 




Sculpture ‘HAND 14’
[Silicone]
21x18 cm
2023
  
Mechanical Sculpture ‘HAND 21’
[Silicone, Mechanics]
23x17 cm
2023

Video Installation ‘Lifetime Approval Rate 96%’
[Annotation work on A training platform,
Laion-5B Database, Recorded heartbeat,
Raspberry pi, LCD Screens, Speaker]
Variable size
2024


Sculpture ‘Training data’
[Silicone]
Variable size
2023












Documentation video 



Hands are part of the body language of humans. Sometimes they seem to possess a life of their own and communicate more than what their owner means to convey, opening up hidden emotions and involuntary messages.

While we put AI on a pedestal for its intelligence, it’s depiction of our hands in its early stages tells a different story. Where humans give more and more tasks -like image making- out of hands to Artificial Intelligences, digital and physical spaces are merging. Within the unclear distinction between physical and digital reality, hands, known for communicating hidden messages, now reveal one too. AI deforms and multiplies them. These anomalies not only reveal that these hands are generated by AI, moreover, that AI is dependent on human hands as tools to grasp reality – through their (data-labeling) clicks on a trackpad and as source material for training data. Translating these resources and dependencies that underlie AI technology into tangible forms, expose unfamiliar gestures and discarded training data, that reflect our joint struggle to grasp each other’s realities.

In this symbiotic relationship, hands are, like a visible sign under the surface, signaling a juggle between trust and sacrifice, recognition and estrangement in the formation of our reality.


    [Accompanying essay ’Handwerker’ on request ︎]





Teaser



























2022





OUR MIND AS A HOST 



Video Installation
    [Database with 1866 images,
    321 sounds of parasites
    and surveillance technologies] 
    750 x 300 cm 

























Documentation video 




New species are entering our world and living at our expense. As parasites, hidden surveillance technologies are preying and feeding on us. When they find a weak spot, their biometric algorithms crawl under our skin without consent. They modify behavior, interpret and maybe even shape one’s being, often without us noticing.

I assembled a database of 1866 images and 321 sounds of parasites and surveillance technologies, and compared their appearance and behavior, like surveillance algorithms and parasitologists do to analyze their find. In the montage, a mental phenomenon is used, where the viewer creates- from two images, a third image in te brain. Therefore,these images are expected to interact in the mind of the viewer; even though they are in reality unrelated. Visual similarities lead the edit, and‘‘control’’ the viewer’s eyes over the screen. As unpredictable and elusive parasites andsurveillance technologies are, the images appeara-rhythmic, in different sizes and places, which makes it hard to isolate and identify one byitself.

So the work will, as a parasite in the brain, manipulate perception -and can only exist- in our mind as a host.
























2022





SPONSORED



Book ‘Sponsored’
   [Ink on paper, saddle stitch binding]
   21  x 21 cm (1080 x 1920 px)
   2022


New dummy in production
















‘’The relationship with my phone used to feel like a one-way relationship. But now it is getting more intelligent and is able to talk back sometimes. Swiping from advertisement to advertisement, I’m in a continuous feedback loop of who I consciously- but also unconsciously am. Or maybe; of who I should be?’’

This ongoing conversation is laid bare in a photobook novel, where brutally honest data is kept chronologically. The feedback loop manifests itself directly, with a huge delay, or not at all. It is not always clear what influences what, yet biases present themselves. In the narrative, elements like maintaining a healthy lifestyle, migration and being in a relationship are misconstrued as signs of pregnancy, contrary to reality. These assumptions found in the personalized ads, result in a distored self-perception. As the story unfolds, the ads seem to take sides, endorsing the partner's perspective in conflicts and subtly probing whether the user is trapped in a toxic relationship. Initially promoting casual alcohol consumption and dating, the ads gradually escalate to the point of advocating behaviors that result in liver problems and sexually transmitted diseases.




























2021 - now 





PAREIDOLIA ‘SELFIE’





Prints ’Selfie’
     [Hacked surveillance cameras,
crystalgloss dibont print]
    Variable sizes

2021 - now












Over 770 million security cameras worldwide are watching over us. Even though, they are here to secure us from danger -like yet another god who is always by our side- it is easy to enter their minds and become a viewer through their eyes. While breaking into surveillance cameras, I started to feel empathy for them. I developed the tendency to recognize animalistic- and human traits in security systems. A sense of pareidolia might even occur to them -the security systems- as well. Seeing familiarities where there are none.

How do they view themselves? Who’s domesticating who?