Preloader image
-1
archive,category,category-media,category-33,stockholm-core-1.0.8,select-theme-ver-5.1.5,ajax_fade,page_not_loaded,vertical_menu_enabled,paspartu_enabled,side_area_uncovered,wpb-js-composer js-comp-ver-6.9.0,vc_responsive

Marcello Mercado, The algorithm, 2024, Process art – New media art

 

 

 

Marcello Mercado

The Algorithm

2024

Process Art – New Media Art – Photography

 

 

 

In 1972, a Century Number 7 camera took a portrait of my maternal grandfather in a town square in northern Argentina. In 1980, the same camera made a portrait of me. My grandfather was already dead. This time, the photographer gave my portrait a vintage mask, giving the impression that it was an older photo than the one my grandfather took in 1972.

In 1998, I was able to recover the remains of that camera, which had been stored in a warehouse for 26 years.

This year, 2024, I took a photo of the remains of that century number 7 camera with an obsolete 2009 iPod, and finally took the last photo of the bellows camera with an iPhone 14.

This process project aims to build an algorithm that chains the transition from a physically very heavy analog photographic recording device to an AI language model. The evolution and story through three cameras and a language model that builds an algorithm on demand.

 

 

 

 

01. Two portraits taken with the same Century Number 7 camera in a town square in northern Argentina, in 1972 and 1980.

 

 

 

02. Detail of my portrait taken by a Century Number 7 camera in 1980. A vintage mask was used that gives it an aged appearance compared to the photo of my grandfather taken 8 years before.

 

 

 

 

03. Remnants of the rescued Century Number 7 camera that took my grandfather’s portrait in 1972 and my portrait in 1980. (iPhone 14 photo)

 

 

The Century Number 7 large format folding camera is a model from the early 20th century and was manufactured by the Century Camera Company. Here are some of its key features:
Film Format: The Century Number 7 camera was designed to use large format film, usually in sizes such as 4×5 inches or 8×10 inches. This made it possible to capture high resolution images with a high level of detail.
Folding design: As the name suggests, this camera had a folding design that allowed it to be collapsed for easy transportation and storage. When folded, the camera became more compact and portable, making it ideal for photographers who needed mobility.
Lens Focusing: The Century Number 7 typically came equipped with a high-quality focusing lens that offered manual focusing options as well as the use of an extendable bellows. This allowed the focal length to be adjusted to achieve optimal sharpness in the image.
Rugged construction: Large-format cameras such as the Century Number 7 were often constructed of durable materials such as wood and metal, giving them a sense of solidity and stability. This ruggedness contributed to the camera’s longevity and ability to withstand the rigors of outdoor use.
Tripod Mount: Due to its nature and size, the Century Number 7 would typically be mounted on a tripod to ensure stability during photography. Tripods provided solid support and allowed the height and angle of the camera to be adjusted to suit the potographer’s needs.

 

 

04. A 2009 version of the iPod took an image of the century number 7.

 

 

The 2009 version of the iPod did not have a built-in camera. However, in September 2009, Apple released the fifth-generation iPod nano with a built-in video camera. Here are the key features of this camera:Resolution: The camera on the fifth-generation iPod nano had a video resolution of 640 x 480 pixels (VGA) at 30 frames per second.
Storage capacity: The iPod nano allowed you to record video directly on the device and store it in its internal memory, which varied depending on the model’s capacity (8GB or 16GB).
Video format: Videos were recorded in H.264 format and saved as .MOV files.
Other features: The iPod nano’s camera could take still photos at a resolution of 640 x 480 pixels. It also offered basic video editing capabilities right on the device.

 

 

 

05. Picture of the century number 7 camera taken by a 2009 version of the iPod

 

 

 

06.The five images obtained are processed by an artificial intelligence language model to obtain an on-demand algorithm.

The algorithm obtained is regenerated to obtain a second variation of it.


The project is finished.

 

Algorithm 01- AI

PHOTO 01 + PHOTO 02 + PHOTO 03 + PHOTO 04 + PHOTO 05

 

A step-by-step algorithm that traces the transition of a photographic recording apparatus from an analog, physically heavy camera to AI

This algorithm provides a narrative framework for tracing the technological evolution from analog cameras to AI, incorporating historical context, personal connections, and the protagonist’s interaction with various devices:

  1. Introduction: Begin by introducing the task of tracing the transition of a photographic apparatus from analog to AI, spanning three cameras and a language model.
  2. Initial Setting: Describe the initial scenario where a Century Number 7 camera, known for its green flexible bellows, captured portraits in a town plaza in Argentina in 1972.
  3. Camera Evolution: Detail the history and significance of the Century Camera Co., founded in 1900, its acquisition by Eastman Kodak Co. in 1903, and eventual discontinuation in 1920.
  4. First Transition: Transition to the iPod era, introduced by Apple Inc. in 2001, offering portable digital audio players. Describe its features, including weight, storage capacity, screen size, battery life, and data transfer speed.
  5. Second Transition: Move forward to the iPhone 14, the latest smartphone model as of the present. Provide details on its announcement, release date, screen size, camera improvements, and connectivity features.
  6. Personal Connection: Introduce the personal connection to the story, mentioning that the protagonist’s grandfather was born in 1898 and the protagonist in 1963. Emphasize the transition from older to newer technologies over their lifetimes.
  7. Storage of Old Devices: Mention how the Century Number 7 camera was stored in a warehouse for 26 years before being rediscovered in 1998.
  8. Capture with Obsolete iPod: Describe how a photo of the Century Number 7 camera was taken using a 2009 iPod, marking the intersection of old and new technologies.
  9. Final Transition: Capture the last photo of the Century Number 7 camera with an iPhone 14, representing the ultimate evolution in technology from analog to digital and from physical to AI.
  10. Personal Reflection: Conclude with a reflection on the fascination with both old and new technologies and how the protagonist navigates between them using an iPhone 14 and ChatGPT.

 

 

 

Algorithm 02- AI

 

PHOTO 01 + PHOTO 02 + PHOTO 03 + PHOTO 04 + PHOTO 05

 

  1. Introduction:
    • Begin by outlining the objective of tracing the transition of a photographic apparatus from analog to AI, covering three distinct camera technologies and their evolution alongside a language model.
  2. Initial Setting:
    • Set the scene with the Century Number 7 camera capturing portraits in a town plaza in Argentina in 1972, highlighting its distinctive green flexible bellows.
  3. Camera Evolution:
    • Provide a historical overview of the Century Camera Co., established in 1900 and its subsequent acquisition by Eastman Kodak Co. in 1903, leading to its discontinuation in 1920.
  4. First Transition:
    • Transition to the iPod era, initiated by Apple Inc. in 2001, featuring portable digital audio players. Detail the iPod’s key features such as weight, storage capacity, screen size, battery life, and data transfer speed.
  5. Second Transition:
    • Progress to the iPhone 14, the latest smartphone model available at the time. Discuss its announcement, release date, screen size, camera enhancements, and connectivity capabilities.
  6. Personal Connection:
    • Introduce a personal connection to the narrative, mentioning the birth years of the protagonist’s grandfather (1898) and the protagonist (1963). Emphasize the generational shift from older to newer technologies.
  7. Storage of Old Devices:
    • Describe the circumstances of the Century Number 7 camera being stored in a warehouse for 26 years before its rediscovery in 1998, highlighting the passage of time and technological advancements during its hiatus.
  8. Capture with Obsolete iPod:
    • Explain how a photo of the Century Number 7 camera was taken using a 2009 iPod, symbolizing the convergence of traditional and modern technologies.
  9. Final Transition:
    • Conclude with the capture of the final photo of the Century Number 7 camera using an iPhone 14, symbolizing the culmination of technological evolution from analog to digital and from physical to AI.
  10. Personal Reflection:
  • Reflect on the fascination with both old and new technologies, and how the protagonist navigates between them using an iPhone 14 and ChatGPT, underscoring the interplay between past, present, and future in technological advancement.

This algorithm provides a structured approach to narrating the journey of technological evolution, weaving together historical context, personal connections, and the protagonist’s interaction with various devices.

 

 

 

 

 

 

Sense and Sensitivity I

 

16.09.2021 – 09.10.2021

 

Marcello Mercado

Sense and Sensitivity I

 

 

 

Bernet Bertram | Berlin
Goethestraße 2–3
D 10623 Berlin-Charlottenburg

Entrance B, across the Courtyard
Aufgang B, über den Hof, Hochparterre

 

Öffnungszeiten:
Mittwoch bis Freitag, 14 ‑18 Uhr
Sonnabend, 11–16 Uhr
und nach Vereinbarung.

 

Phone +49 (0)30 32 30 11 33
info[at]bernet-bertram.com

Connections and Gaps between Artists’ and Institutions’ New Media Preservation Efforts

02.02.2021

 

 

Connections and Gaps between Artists’ and Institutions’ New Media Preservation Efforts

 

 

 

 

Media art, which frequently involves data, software, or electronic devices, continues to face the challenge of technological obsolescence. In a previous article, this research project reviewed example models and strategies that media artists have personally developed to prevent artworks’ technical failures and to restore artworks on the edge of obsolescence. The preliminary study also touched on why artists may or may not devote themselves to preservation proactively. For example, an artist may have essential assumptions about their artworks’ life span. Or, an artist may recognize personal preservation efforts as a kind of assistance offered to potential collectors, including institutional conservation initiatives. However, given the diversity of media art, my preliminary research on three artists does not sufficiently reveal variations in or similarities between media artists’ understandings of preservation. Since preservation and conservation are fields often dominated by museums and similar organizations, a contrast also exists between personal and institutional practices.

 

Among the 21 artists contacted, seven artists (see Figure 1)—Ellen Sandor, Jeffrey Shaw, Marcello Mercado, Mark Reaney, Paolo Cirio, Susan Collins, and Yiannis Melanitis—participated in the semi-structured interviews and answered questions listed in Appendix A. Although the non-response rate (see Figure 2a) is admittedly high, the participants were able to provide information that may apply to other cases given the variety of their artistic practices (see Figure 1). Nonetheless, one limitation is that the distribution of participants’ gender is imbalanced (see Figure 2b) even though the numbers of female and male artists (10 vs. 11) among the 21 potential interviewees were very close.

 

 

 

 

 

 

 

 

 

 

 

Procesar Destruir Representar Archivar [Process Destruct Represent Archive]

02.07.2020 – 03.09.2020

 

Marcello Mercado 2020

 

Procesar Destruir Representar Archivar [Process Destruct Represent Archive]

 

Monitor 1: Facundo traducido [Translated Facundo], 5’
Monitor 2: Martín Fierro traducido [Translated Martín Fierro], 5’
The two milestones of national literature, Facundo by Sarmiento and Martín Fierro by Hernández, are remade through algorithmic processes that empty their content, destroy them and reencounter them.

 

The chaos and math contribute to the confrontation: Facundo “weights” digitally and textually 395 kb, and Martín Fierro, 101 kb, while the audio-book versions weigh 427,4 MB and 361,8 MB respectively.

The first step was to translate the books to a language invented by me, which has no meaning at all. The books may be leafed through, but the meaning is lost, though it seems to be there. Then, I mix/bundle both audio-books as soundtracks. From this mix, I take a fragment and obtain a photograph that shows a graphic representation of the sound of the combined books. The audio that cannot be heard can be seen. The founding ideas are erased. How can we read what’s invented/what we invent?

 

 

Details

  • Title: Procesar Destruir Representar Archivar [Process Destruct Represent Archive]
  • Creator: Marcello Mercado
  • Date Created: 2020
  • Date Published: 2020
  • Location: Roque Sáenz Peña, Chaco
  • Physical Dimensions: 200 x 150 cm
  • Original Language: Español
  • Provenance: 11th Itau Visual Arts Award Selection
  • Type: Video installation
  • Publisher: Itaú Foundation Argentina
  • External Link:

    Link to video of the active work

  • Medium: animation and photograph

 

 

Source: Itaú Cultural Visual Arts Award 2019-2020 Catalogue

 

Fundación Itaú Argentina

Victoria Ocampo 360 – 4th Floor – Puerto Madero.
C1107DAB Buenos Aires
Argentina

 

 

 

 

73° Salón Nacional de Rosario

04.10.2019 – 15.03.2020

73° Salón Nacional de Rosario

 

 

 

 

 

Artistas: Antonella Agesta, Rodrigo Alcon Quintanilha, Facundo Belén, Vico Bueno, Aurora Castillo, Carla Colombo, Cotelito, Diego de Aduriz, Alfredo Dufour, Clara Esborraz, Elvira Ferrazini, Víctor Florido, Alfredo Frías, Jazmín Giordano, Silvia Gurfein, Mónica Heller, Carlos Huffmann, La quemada – teatro de figuras [Emiliana Arias, Silvia Lenardón, Guillermo Martínez y Soledad Verdún], Martín Legón, Lucrecia Lionti, Valeria Maggi, Matías Malizia, Inés Marcó, Gustavo Marrone, Francisco Medail, Marcello Mercado, Flor Meyer, Clara Miño, Ariel Mora, Malena Pizani, Fabio Risso Pino, Alberto Antonio Romero en colaboración con Susi Villa, Maximiliano Rossini, Rob Verf, Mariela Vita.

 

 

Macro

Museo de arte contemporáneo de Rosario

Avenida de la Costa Brig. Estanislao López 2250

(Bv. Oroño y el río Paraná)

2000 Rosario
Argentina

 

 

BODENLOS. VILÉM FLUSSER AND THE ARTS

05.04.2017 –  07.05.2017

BODENLOS. VILÉM FLUSSER AND THE ARTS

 

curated by: Baruch Gottlieb, Pavel Vančát

 

exhibition concept: Baruch Gottlieb, Peter Weibel, Siegfried Zielinski

exhibition architecture: Oldřich Morys

graphic design: Jan Slabihoudek

(opening: Tuesday, 4. 4. 2017 at 6 pm)

 

The exhibition “Without Firm Ground: Vilém Flusser and the Arts” at GAMU, Prague presents the life and thoughts of one of the most acclaimed Prague-born intellectuals of the 20th century through the combination of rare documents and artistic collaborations and inspirations. It aspires to weave the threads of Flusser’s private and professional life, marked by various migrations, with those of his thinking and writing through dialogues, influences and collaborations. Following presentations at ZKM Karlsruhe, AdK Berlin and West Den Haag, the next stop of this unique project takes place in Flusser’s native city, adapted and enriched with local ties.

Vilém Flusser was born in the Bubeneč district of Prague in 1920 and was educated in a middle class Jewish intellectual family. In 1939, after the occupation of the Germans, he fled with his wife-to-be, Edith Barth, first to London, and eventually to Sao Paulo Brazil where he would live for over thirty years. Flusser brought his training in the classics, in Enlightenment Humanist philosophy and literature, to bear on his new environment, revelling in the utopian promise of the radically alien modernity into which he was thrown. Fighting through the despair of the extermination of his family and the horror of the Holocaust, Flusser carved out scintillatingly original, uncompromising philosophical insights into a world of scientific progress, automation and migration. During the 1980s he became one of the most respected philosophical guides of the upcoming electronic era. Even though he died only at the dawn of the Internet age his understanding of networks and communication is every bit as insightful to our contemporary condition as it was then. Through his life, Vilém Flusser sought a new utopian form of thinking, emerging from the crushing disappointment of modernity. He called this “synthetic thinking” using “technical images”. The exhibition will feature, beside biographical trajectories, objects from Flusser’s archive, his typoscripts and positions from artists who knew and loved him, some unique artistic collaborations where he would attempt to enact and elaborate the utopian modes of “synthetic thinking” he described. The selection of artists influenced by Flusser includes renowned personalities of Louis Bec, Michael Bielicky, Fred Forest, Harun Farocki, Joan Fontcuberta, Jiří Hanke, Dieter Jung, Martin Kohout, Andreas Müller-Pohle, Lisa Schmitz, Jiří Skála, among others.

An essential part of this exhibition project, the international symposium “Playing against the apparatus. Vilém Flusser’s media and culture philosophy”, will be held on April 7th – 8th, at Goethe-Institut in Prague and Charles University in Prague (Faculty of Arts). We will rework some of the themes in the exhibition: migration, technological change, the crises of writing, causal thinking and the humanist project.  We explore Flusser’s utopian proposals for new humanisms and new modes of information and communication for our contemporary condition of rapid technological transformation, playing with and against the apparatus. Join us for a rich and invigorating adventure through the life and work of a Czech pioneer of media thinking and philosophy for our networked age! The exhibition is held in collaboration with the Vilém Flusser Archiv/ Universität der Künste Berlin.

 

 

 

 

GAMU (Gallery AMU)

Malostranské náměstí 12

Praha 1

Czech Republic

(entrance from the passage to Tržiště Street)
open daily except Monday: 1 – 7 pm

Akademie der Künste : Bodenlos – Vilém Flusser und die Künste

19.11.2016 – 10.1.2016

 

 

Akademie der Künste : Bodenlos – Vilém Flusser und die Künste

 

Curators:
Baruch Gottlieb & Siegfried Zielinski

 

„Ins Universum der technischen Bilder“ oder „Lob der Oberflächlichkeit“ – mit solchen programmatischen Titeln avancierte Vilém Flusser (1920 – 1991) zu einem der einflussreichsten Denker der Kommunikation und der Medien des 20. Jahrhunderts. Offensiv nahm Flusser die Herausforderung an, die Künste neu zu denken angesichts der Tatsache, dass unsere Existenz wesentlich technisch geworden ist. Nach seiner Flucht vor den Nazis über Prag, England und Brasilien lebte er viele Jahre in Italien, der Schweiz und zuletzt in Frankreich. In der Art eines Parcours lädt die Ausstellung dazu ein, die Bewegung der flüchtigen Existenz als ein Modell für jene Gewalt des Zusammenhangs vorzustellen, den wir das 20. Jahrhundert nennen.

 

 

Beteiligte Künstler*innen
Danièle Akmen, Edmar de Almeida, Louis Bec, Michael Bielicky, Gabriel Borba, Jürgen Claus, Otávio Donasci, Harun Farocki, Peter Fischli/David Weiss, Alex Flemming, Samson Flexor, Joan Fontcuberta, Fred Forest, Herbert W. Franke, Cyriak Harris, Andreas Henrich, Fons Hickmann, Dieter Jung, Dietmar Kamper,  Knowbotic Research, Jörg Lindenmaier, Thilo Mechau, Marcello Mercado, Achim Mohné/Uta Kopp, Andreas Müller-Pohle, Anthony Moore, Mouse on Mars, Matthias Müller, Solomon Nikritin, Nam June Paik, Brothers Quay, Mario Ramiro, Mira Schendel, Lisa Schmitz, Peter Simon, Ed Sommer,  Wolfgang Spahn, Peter Weibel, Niobe Xandó, Pinar Yoldas

 

 

 

 

 

Akademie der Künste
Pariser Platz 4

10117 Berlin-Mitte

 

 

 

 

 

ISEA2016: 22nd International Symposium on Electronic Art

 

16.05.2016 – 22.05.2016

 

 

ISEA2016: 22nd International Symposium on Electronic Art

 

 

Marcello Mercado

Bestiary for the Minds of the 21st Century: Genomic Opera

 

 

(c) Marcello Mercado

 

 

ISEA International Foundation
C. Kouwenbergzoom 107
3065 KC Rotterdam
The Netherlands

 

 

ISEA International Headquarters
University of Brighton
Faculty of Arts
School of Art, Design and Media
Grand Parade
Brighton
BN2 0JY
United Kingdom