Challenging the Selfie: Perfect Skin by Chatonsky
In the series Perfect Skin launched in 2015, Gregory Chatonsky, a French Canadian artist, ran an AI programme on the more than 5000 Tumblr and Instagram selfies posted by Kim Kardashian, to create distorted and serial representations of the celebrity which were then reproduced through a series of me...
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| Veröffentlicht in: | URI:https://journals.openedition.org/interfaces, |
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| Format: | Article ou chapitre numérique |
| Sprache: | Anglais |
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Interfaces
2022
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| Online Zugang: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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openedition-oai:revues.org:interfaces_4208 |
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openedition-oai:revues.org:interfaces_4208 https://doi.org/10.4000/interfaces.4208 urn:doi:10.4000/interfaces.4208 en https://journals.openedition.org/interfaces/4208 2022-01-21T01:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/h4id https://creativecommons.org/licenses/by/4.0/ Challenging the Selfie: Perfect Skin by Chatonsky Interfaces Université Bourgogne Europe info:eu-repo/semantics/reference/issn/2647-6754 info:eu-repo/semantics/reference/issn/1164-6225 URI:https://journals.openedition.org/interfaces Larsonneur, Claire representation social media affect selfie portrait data algorithm distortion celebrity exposure réseaux sociaux représentation affect selfie portrait données algorithmes distortion célébrité exposition de soi In the series Perfect Skin launched in 2015, Gregory Chatonsky, a French Canadian artist, ran an AI programme on the more than 5000 Tumblr and Instagram selfies posted by Kim Kardashian, to create distorted and serial representations of the celebrity which were then reproduced through a series of media: photo, video, textiles, ceramics, VR. Chatonsky challenges the genre of the selfie on several accounts. He highlights issues such as scale and exposure within the infoglut. Using algorithms also enables him to trigger cognitive and artistic shifts: from the visual arts to mathematics, from representation to data, from creative control to chance, from recognition to perceptual aporia, from social media to the gallery. These distorted and serialised images, “organes sans corps” to take up Deleuze’s famous concept, may pertain to a regime of meaning based on affect, as defined by Brian Massoumi, rather than on mimesis. Dans la série Perfect Skin lancée en 2015, l’artiste franco-canadien Gregory Chatonsky a utilisé un algorithme d’intelligence artificielle sur un ensemble de plus de 5000 selfies postés par Kim Kardashian sur Tumblr, pour créer une série d’images déformées de la célébrité qui ont ensuite été reproduites sur différent supports : photo, vidéo, textiles, céramique, réalité virtuelle. Chatonsky remet en question le genre du selfie à plusieurs égards. Il pose la question de l’échelle des images et de leur exposition médiatique en ligne. L’utilisation d’algorithmes lui permet également d’opérer plusieurs renversements cognitifs et artistiques : des arts visuels aux mathématiques, de la représentation aux données, du contrôle créatif au hasard, de la reconnaissance à l’aporie perceptive, de l’espace des réseaux sociaux à celui de la galerie. Ces images déformées et sérialisées, “organes sans corps” pour reprendre le célèbre concept de Deleuze, pourraient relever d’un régime de sens basé sur l'affect, tel que défini par Brian Massoumi, plutôt que de la mimésis. |
| collection |
OpenEdition Journal |
| language |
Anglais |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| topic |
representation social media affect selfie portrait data algorithm distortion celebrity exposure réseaux sociaux représentation affect selfie portrait données algorithmes distortion célébrité exposition de soi |
| spellingShingle |
representation social media affect selfie portrait data algorithm distortion celebrity exposure réseaux sociaux représentation affect selfie portrait données algorithmes distortion célébrité exposition de soi Larsonneur, Claire Challenging the Selfie: Perfect Skin by Chatonsky |
| description |
In the series Perfect Skin launched in 2015, Gregory Chatonsky, a French Canadian artist, ran an AI programme on the more than 5000 Tumblr and Instagram selfies posted by Kim Kardashian, to create distorted and serial representations of the celebrity which were then reproduced through a series of media: photo, video, textiles, ceramics, VR. Chatonsky challenges the genre of the selfie on several accounts. He highlights issues such as scale and exposure within the infoglut. Using algorithms also enables him to trigger cognitive and artistic shifts: from the visual arts to mathematics, from representation to data, from creative control to chance, from recognition to perceptual aporia, from social media to the gallery. These distorted and serialised images, “organes sans corps” to take up Deleuze’s famous concept, may pertain to a regime of meaning based on affect, as defined by Brian Massoumi, rather than on mimesis. |
| author |
Larsonneur, Claire |
| author_facet |
Larsonneur, Claire |
| author_sort |
Larsonneur, Claire |
| title |
Challenging the Selfie: Perfect Skin by Chatonsky |
| title_short |
Challenging the Selfie: Perfect Skin by Chatonsky |
| title_full |
Challenging the Selfie: Perfect Skin by Chatonsky |
| title_fullStr |
Challenging the Selfie: Perfect Skin by Chatonsky |
| title_full_unstemmed |
Challenging the Selfie: Perfect Skin by Chatonsky |
| title_sort |
challenging the selfie: perfect skin by chatonsky |
| publisher |
Interfaces |
| publishDate |
2022 |
| container_title |
URI:https://journals.openedition.org/interfaces |
| url |
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/interfaces.4208 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/interfaces/4208 |
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