PropaGAN
2022.
Small format custom build server, steel open frame chassis and frame, machine learning algorithms, custom dataset, stereo sound.
Hashterms
A growing phenomena of paranoia driven by proliferation of disinformation and information wars online.
‘Weltschmerz’ is a literary concept derived from the German words ‘Welt’ (world) and ‘Schmerz’ (pain). It describes the feeling experienced by someone who believes that reality cannot satisfy their mental expectations. 'Netzschmerz' relates to the unease experienced upon acknowledging the deliberate production of the collapse of modern political, social, and cultural models through infowarfare across information networks (Netz).
A form of infoscape pollution involving deliberately disruptive information with a high degree of contingency.
Relates to epistemic technological regimes capable of producing what may be perceived as truth. Could be applied to both factual and fictional events, narratives and evidences.
The moving image generated by an algorithm is synchronised with an audio file, aligning sound with a dynamic visual choreography of explosions, smoke and clouds. Public justification, political rhetoric and weak arguments dissolve into dust, fire and ash in a direct visual allegory. An audio loop plays an out‑take from an interview with Sergey Lavrov, Russia’s foreign minister, in which he defends Russia’s nuclear intentions as being taken out of context and misunderstood. A computational simulation exposes the politician’s words as fragments of fear‑driven politics and veiled threats. The spectator watches morphing flames ravage the screen, their motion governed by the waveform of the speech. Blunt phrases and grievous sentences become metaphorical bombs and explosives, embodying the scale of contemporary information warfare.
A moving image generated by an algorithm is synchronised with an audio file, aligning sound with a dynamic visual choreography of explosions, smoke, and clouds. Through this computational coupling, public justifications, political rhetoric, and fragile arguments are rendered unstable, dissolving into dust, fire, and ash as a direct visual allegory. What is spoken as explanation or defence is transformed into a volatile spectacle, where language itself appears combustible. An audio loop plays an out-take from an interview with Sergey Lavrov, Russia’s foreign minister, in which he claims that Russia’s nuclear intentions have been taken out of context and misunderstood. Stripped from its original media framing and reinserted into a generative system, the statement becomes raw material for a computational simulation that exposes the underlying logic of fear-driven politics and veiled threat. The spectator watches morphing flames ravage the screen, their motion governed precisely by the waveform of the speech. Blunt phrases and grievous sentences are translated into bursts of force and destruction, becoming metaphorical bombs and explosions. In this process, language is revealed as an operative weapon, embodying the scale, intensity, and violence of contemporary information warfare.
'Lies, Half-Truths & Propaganda [The Bad, the Worse, and the Worst]' at | alexanderlevy Gallery, Berlin, Germany, 2022
'Lies, Half-Truths & Propaganda [The Bad, the Worse, and the Worst]' at | alexanderlevy Gallery, Berlin, Germany, 2022
'Lies, Half-Truths & Propaganda [The Bad, the Worse, and the Worst]' at | alexanderlevy Gallery, Berlin, Germany, 2022
PropaGAN
2022.
Small format custom build server, steel open frame chassis and frame, machine learning algorithms, custom dataset, stereo sound.
Hashterms
A growing phenomena of paranoia driven by proliferation of disinformation and information wars online.
‘Weltschmerz’ is a literary concept derived from the German words ‘Welt’ (world) and ‘Schmerz’ (pain). It describes the feeling experienced by someone who believes that reality cannot satisfy their mental expectations. 'Netzschmerz' relates to the unease experienced upon acknowledging the deliberate production of the collapse of modern political, social, and cultural models through infowarfare across information networks (Netz).
A form of infoscape pollution involving deliberately disruptive information with a high degree of contingency.
Relates to epistemic technological regimes capable of producing what may be perceived as truth. Could be applied to both factual and fictional events, narratives and evidences.
The moving image generated by an algorithm is synchronised with an audio file, aligning sound with a dynamic visual choreography of explosions, smoke and clouds. Public justification, political rhetoric and weak arguments dissolve into dust, fire and ash in a direct visual allegory. An audio loop plays an out‑take from an interview with Sergey Lavrov, Russia’s foreign minister, in which he defends Russia’s nuclear intentions as being taken out of context and misunderstood. A computational simulation exposes the politician’s words as fragments of fear‑driven politics and veiled threats. The spectator watches morphing flames ravage the screen, their motion governed by the waveform of the speech. Blunt phrases and grievous sentences become metaphorical bombs and explosives, embodying the scale of contemporary information warfare.
A moving image generated by an algorithm is synchronised with an audio file, aligning sound with a dynamic visual choreography of explosions, smoke, and clouds. Through this computational coupling, public justifications, political rhetoric, and fragile arguments are rendered unstable, dissolving into dust, fire, and ash as a direct visual allegory. What is spoken as explanation or defence is transformed into a volatile spectacle, where language itself appears combustible. An audio loop plays an out-take from an interview with Sergey Lavrov, Russia’s foreign minister, in which he claims that Russia’s nuclear intentions have been taken out of context and misunderstood. Stripped from its original media framing and reinserted into a generative system, the statement becomes raw material for a computational simulation that exposes the underlying logic of fear-driven politics and veiled threat. The spectator watches morphing flames ravage the screen, their motion governed precisely by the waveform of the speech. Blunt phrases and grievous sentences are translated into bursts of force and destruction, becoming metaphorical bombs and explosions. In this process, language is revealed as an operative weapon, embodying the scale, intensity, and violence of contemporary information warfare.
'Lies, Half-Truths & Propaganda [The Bad, the Worse, and the Worst]' at | alexanderlevy Gallery, Berlin, Germany, 2022
'Lies, Half-Truths & Propaganda [The Bad, the Worse, and the Worst]' at | alexanderlevy Gallery, Berlin, Germany, 2022
'Lies, Half-Truths & Propaganda [The Bad, the Worse, and the Worst]' at | alexanderlevy Gallery, Berlin, Germany, 2022
Studio Addresses
Ikejiri, Setagaya, Tokyo, Japan
Neubau, Vienna, Austria
Studio
E. G. Kraft – artist-researcher, founder
Anna Kraft – researcher, director
Contact:
mail[at]kraft.studio
Studio Addresses
Ikejiri, Setagaya, Tokyo, Japan
Neubau, Vienna, Austria
Contact
mail[at]kraft.studio
Studio
E. G. Kraft – artist-researcher, founder
Anna Kraft – researcher, director
