Su Yu Hsin
Screening in the context of House of Mirrors
HMKV (Hartware MedienKunstVerein)
Jun, 2 – 7pm-9.30pm
The international film programme (in English language) extends the discussions on artificial intelligence from the exhibition House of Mirrors at HMKV Dortmund. It focuses on the experimental status of artificial ‘intelligence’, which is used in the course of scientific experiments and knowledge.
The screening will be followed by a panel discussion with Charlotte Eifler and Su Yu Hsin. Registration is not required.
Language of the films: English
Su Yu Hsin’s essay film frame of reference (2021, 11 min., EN with German subtitles) discusses the tools and infrastructures required for automated image recognition on the basis of satellite images and location shots. In meditative images, the artist Su tells of a river that is measured and investigated by scientists. She discusses the different scales that underlie scientific work, sometimes as an overview image, sometimes as a microscopic examination. The original two-channel video installation is transformed into a double projection for the film programme.
Charlotte Eifler’s fictional film A set of non-computable things (2017, 21 min., EN) explores the possibilities of invisibility in the face of automated image recognition. In a road film provoked by slowness and silence, the protagonists test out various actions that can subvert the image recognition systems of artificial ‘intelligence’ and explore non-normative behaviour. Intertitles like “The more I sleep, the less I’m seen (maybe)” divide the film into different chapters. Also Eifler’s movie The pattern thieves (2022, 4 min., EN) will be shown: How do patterns of dominance shape our bodies and actions? Grids secure, grids order, grids categorize and evaluate. The logic of the grid is not only found in (colonial) geography, but also in digital evaluation systems. Diverse information about bodies, landscapes and situations are fed into binary systems to be classified. The thieves in the video intend to bend, deform and discard the grids – to create space for new disorder.
Philipp Schmitt’s documentation of a performance How Does Thinking Look Like? (2021, 26 min., EN) shows a choreography about thinking and artificial ‘intelligence’. In the performative lecture, the artist and designer demonstrates the extent to which thinking is always bound to physicality by placing a wide variety of materials in relation to his own body, especially his hands. The hands can be seen as pointing and thinking organs, while Schmitt talks about historical, technological and social aspects of artificial ‘intelligence’.