{"id":951,"date":"2024-05-01T11:01:25","date_gmt":"2024-05-01T10:01:25","guid":{"rendered":"http:\/\/databaz.org\/xtrm-art\/?p=951"},"modified":"2024-05-05T16:03:19","modified_gmt":"2024-05-05T15:03:19","slug":"the-latent-space-of-off-screen","status":"publish","type":"post","link":"https:\/\/databaz.org\/xtrm-art\/?p=951","title":{"rendered":"The latent space of off-screen"},"content":{"rendered":"<p><iframe loading=\"lazy\" title=\"vimeo-player\" src=\"https:\/\/player.vimeo.com\/video\/941513956?h=bfca0bd93d\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p>french \/\/<br \/>\nEn 1967 , Michael Snow r&eacute;alise Wavelength. Un lent zoom de 45 mn dans un loft qui nous est inconnu. Lent zoom qui tend vers une image : celle de l&rsquo;Oc&eacute;an. Le zoom peu &agrave; peu r&eacute;duit le champ, am&egrave;ne que ce qui pr&eacute;c&egrave;de tombe dans le hors-champ. Notre m&eacute;moire dans la lecture de ces quelques m&egrave;tres &agrave; travers lequel le zoom s&rsquo;effectue, enregistre silencieusement chaque d&eacute;tail, de ce qui ne fait aucune di&eacute;g&egrave;se.<br \/>\nGene Youngblood d&eacute;crit Wavelength comme &laquo; sans pr&eacute;c&eacute;dent dans la puret&eacute; de sa confrontation avec l&#8217;essence du cin&eacute;ma : les relations entre illusion et fait, espace et temps, sujet et objet &raquo; Le film Latent space of off-screen inverse le processus.La vague surviendra mais dans le zoom arri&egrave;re infini &agrave; partir d&rsquo;une oeuvre de Hopper :  People in the Sun. <br \/>\nDes convives sont allong&eacute;s sur des transats, en bordure de terrasse, le long d&rsquo;une b&acirc;tisse dont on ne per&ccedil;oit qu&rsquo;un fragment. Ils regardent vers la droite. Ils regardent en direction d&rsquo;un hors-champ. Celui-ci nous est interdit d&eacute;finitivement. Hopper n&rsquo;aura pas dit ce qu&rsquo;il aurait pu ici imaginer. Notre pens&eacute;e est suspendue &agrave; ce qui s&rsquo;&eacute;chappe de la repr&eacute;sentation. <br \/>\nNous regardons ces regardeurs, et nous sommes saisis par ce manque. C&rsquo;est l&agrave;, une des signatures remarquables de Hopper. Le hors-champ. <br \/>\nAvec une IA qui fonctionne sans prompt, donc sans un vecteur d&rsquo;imagination humaine demandant de produire un motif, il s&rsquo;agit d&rsquo;explorer ce hors-champ, ce vide. L&rsquo;IA va alors imaginer seulement &agrave; partir des pixels, le hors-champ. Mais ici il s&rsquo;agit de travailler dans une exploration spatiale et temporelle comme l&rsquo;a initi&eacute; Michael Snow en 1967 : au lieu du zoom avant, c&rsquo;est un zoom arri&egrave;re infini. En contre-point a &eacute;t&eacute; mont&eacute; du son concret. <br \/>\nPar ce processus il s&rsquo;agit de relier le hors-champ &agrave; l&rsquo;espace latent de l&rsquo;imagination artificielle.  Qu&rsquo;est-ce qui va avoir lieu, si on laisse une IA constituer ce hors-champ. Alors que l&rsquo;&ecirc;tre humain aura tendance &agrave; imaginer un univers di&eacute;g&eacute;tique, aura sans doute le d&eacute;sir de combler la suspension du regard par une causalit&eacute;, dont les regardeurs seraient alors la cons&eacute;quence, l&rsquo;IA va poursuivre l&rsquo;image selon un processus non-&eacute;v&eacute;nementiel : seulement pictural. L&rsquo;imagination artificielle, d&eacute;tach&eacute;e de l&rsquo;intentionnalit&eacute; humaine et du prompt est la saisie pure de la densit&eacute; des pixels et l&rsquo;intensification plastique du motif initial. Plus on s&rsquo;&eacute;loigne, plus devient concret la factualit&eacute; de l&rsquo;IA, plus on explore l&rsquo;espace latent de l&rsquo;image en tant qu&rsquo;image et non pas en tant que r&eacute;cit ou narration. La compl&eacute;tion ici, ne renvoie pas &agrave; la question du monde humain et du possible anthropologique, mais d&#8217;un d&eacute;collement de l&#8217;imaginaire humain et de ses notions spatiales et temporelles, pour que ressortent la mat&eacute;rialit&eacute; et la temporalit&eacute; sp&eacute;cifique de l&#8217;IA.<\/p>\n<p>&nbsp;<\/p>\n<p>\/\/ english<br \/>\nIn 1967, Michael Snow directed Wavelength. A slow 45 minute zoom in a loft that is unknown to us. Slow zoom which tends towards an image: that of the Ocean. The zoom gradually reduces the field, causing what precedes to fall off-screen. Our memory, within these few meters through which the zoom takes place, silently records every detail, of which there is no diegesis. Gene Youngblood describes Wavelength as &quot;unprecedented in the purity of its confrontation with the essence of cinema: the relationships between illusion and fact, space and time, subject and object.&quot; The film Latent space of off-screen reverses the process. The wave will occur but in the infinite zoom out from a work by Hopper: People in the Sun.<br \/>\nGuests are lying on deckchairs, at the edge of the terrace, alongside a building of which we can only see a fragment. They look to the right. They look towards someone off-camera. This is definitely forbidden to us. Hopper will not have said what he could have imagined here. Our thinking is suspended on what escapes from representation. We look at these spectators, and we are struck by this lack. This is one of Hopper&rsquo;s remarkable signatures. Off-camera. With an AI that works without a prompt, therefore without a vector of human imagination asking to produce a pattern, it is a question of exploring this off-camera, this void. The AI \u00e2\u20ac\u2039\u00e2\u20ac\u2039will then imagine only from the pixels, the off-camera. But here it is a question of working in a spatial and temporal exploration as initiated by Michael Snow in 1967: instead of zooming in, it is an infinite zoom out. As a counterpoint, concrete sound was produced.<br \/>\nThrough this process it is a question of connecting the off-camera to the latent space of artificial imagination. What will happen if we let an AI constitute this off-camera. While the human being will tend to imagine a dietary universe, will undoubtedly have the desire to fill the suspension of the gaze with a causality, of which the viewers would then be the consequence, the AI \u00e2\u20ac\u2039\u00e2\u20ac\u2039will pursue the image according to a non- event-related: only pictorial. Artificial imagination, detached from human intentionality and promptness, is the pure capture of the density of pixels and the plastic intensification of the initial motif. The further we move away, the more concrete the news of AI becomes, the more we explore the latent space of the image as an image and not as a story or narration. <br \/>\nThe completion here does not refer to the question of the human world and the anthropological possibility, but of a separation of the human imagination and its spatial and temporal notions, so that the materiality and specific temporality of AI emerge.&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>&nbsp; french \/\/ En 1967 , Michael Snow r&eacute;alise Wavelength. Un lent zoom de 45 mn dans un loft qui nous est inconnu. Lent zoom qui tend vers une image : celle de l&rsquo;Oc&eacute;an. Le zoom peu &agrave; peu r&eacute;duit le champ, am&egrave;ne que ce qui pr&eacute;c&egrave;de tombe dans le hors-champ. Notre m&eacute;moire dans la [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[11,184,135,6,5],"tags":[217,222,204,219,211,234,216,223,221,220,218],"class_list":["post-951","post","type-post","status-publish","format-standard","hentry","category-article","category-imagination-artificielle","category-intelligence-artificielle","category-une","category-video","tag-ai-art","tag-art-video","tag-artificial-imagination","tag-back-zoom","tag-hopper","tag-intelligence-artificielle","tag-michael-snow","tag-videoart","tag-wavelength","tag-zoom","tag-zoom-arriere"],"_links":{"self":[{"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=\/wp\/v2\/posts\/951","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=951"}],"version-history":[{"count":4,"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=\/wp\/v2\/posts\/951\/revisions"}],"predecessor-version":[{"id":960,"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=\/wp\/v2\/posts\/951\/revisions\/960"}],"wp:attachment":[{"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=951"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=951"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=951"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}