Listening the chromosome 17
1-channel Video Installation
21´02″, colour, stereo, HD
Vimeo Pass: deutschland
The idea of this installation is to explore the different instances and possibilities of the self-portrait through A.I. and 3D scanners.
Who can I be if I am perceived by machines? Am I alive or am I dead to those artificial intelligences? Is it necessary to make this distinction? It would seem that the text acquired a hysterical character as a producer of images.
The countless beta versions of the self-portrait For three months, I conducted listening sessions on chromosome 17 of the human genome. Some of its fragments were translated into audio by a synthetic voice (A.I.). During the sessions, I randomly scanned my head with various 3D scanner apps on my iPhone.
These captures were unsuccessful because the 3D scanner completed and resolved my head – even textured it – without understanding the contextualization or understanding of what a human head is like. I created images using DELL-E and combined them with those created by the scanners. I virtually walked around with a carved wooden head that was my object of study, like my own head.
I took 3D scans of almost everything around me: Plants, walls, various objects, garbage, keys, laptop, etc. and a final animation in the style
of a big primordial scanner soup.
Then I corrected the editing of the animation by suppressing text with A.I.
The audio of the installation partially performs a sonic recombination of chromosome 17 with itself through A.I.
Testflüge – Test flights
1-channel video installation
10m 04″, colour, silent,
Vimeo Pass: deutschland
The interacting subroutines
Adding elements to the Scene
The moving target
[data mining] program
Why does this method fail with nonsense factors?
1 – To conserve valuable energy
2 – Behavioral
3 – A virtual particle
4 – Access Restricted
Start a new topic
I start to divide myself in an uncontrolled way.
Marcello Mercado, Wem gehört die Zeit? (To whom does the time belong?)
The installation explores the time that the same medium consumes. The inaudible soundtrack is made up of frequencies that stimulate photosynthesis.
The conceptof the videoinstallation is based on the text of Siegfried Zielinski written in Variations on Media Thinking, 2019: «The decisive question posed by those who, after the First World War, laid claim to be fighting for a better life for the many, was “to whom does the world belong?” Bertolt Brecht had asked the same question in the second half of his title for the film Kuhle Wampe (1932), framed as an urgent question mark regarding territorial ownership (in the broadest sense: of factories, land, resources, machines, etc.). At the present time and for the decades to come, however, it appears to me that the decisive question is “to whom does the time belong?”
Die Installation untersucht die Zeit, die dasselbe Medium benötigt. Der unhörbare Soundtrack besteht aus Frequenzen, die die Photosynthese stimulieren.