Data Masks – Sterling Crispin


Data-masks are face masks which were created by reverse engineering facial recognition and detection algorithms. These algorithms were used to guide an evolving system toward the production of human-like faces. These evolved faces were then 3D printed as masks, shadows of human beings as seen by the minds-eye of the machine-organism. This exposes the way the machine, and the surveillance state, view human identity and this makes aspects of these invisible power structures visible.

Data-Masks are animistic deities brought out of the algorithmic-spirit-world of the machine and into our material world, ready to tell us their secrets, or warn us of what’s to come.


Open Call – The Wrong Biennale

The Wrong Biennale
There are still some open calls for artists such as Press Refresh

what kind of work can i submit?
all works to be submitted must be internet friendly and belong to any digital art modality and beyond; video, image, sound, animation, immersion, reality augmentation, software related, systems related, and any mix of the above.

Some useful texts

Photography Is Magic.essay


Expanded Photography- Notes on the Hyperimage (1)

Extracts SFMOMA Is Photography Over


Interview with Joan Fontcuberta


Lucy Soutter 1000 words Current Issue
Back Issues
10 Years

Photography Changes Everything

Photography Encore David Campany


The Next Revolution in Photography Is Coming

VECTOR _2015 _Post-photography_extract

Website – Exhibiting the Networked Image

Project Check – Sarah Bryant

Work in progress

Project Statement

My work conveys the idea of time and how trends are always changing due to the influences of people and innovative ideas. This is shown through architectural buildings comparing the old to the new and how time moves on and new modernised buildings are slowly deteriorating the old brick styled buildings. The blending of the two buildings shows how high rises are taking over the city and changing the view of the world today.

My overall vision is to create awareness that everything is changing as time moves on. The modern world is never going to be one time frame or year. The world grows as people grow and generations change.

Swiss / French artist Corinne Vionnet that took thousands of snapshots of visitors for her series Photo Opportunities is an inspiration for my work and has made me think about the value of buildings.

Final presentation plan

I will be showing a select few of final images as printing all of my finals will be costly for me. I feel that the images are very similar and being able to show a few won’t make a difference if I showed more of them. I want the finals to be printed in either A3 or A2 to show the proximity of the buildings and the domination of high rises compared to old buildings in the city.

Scholarly sources for Project Contextualisation

Horne, R. (2014). Glitchy Aerial Photos Turn Real Buildings Into Artist Renderings. [online] WIRED. Available at: [Accessed 26 Sep. 2019].

Newman, C. (2011). Looks familiar: Corinne Vionnet at Arles photography festival. [online] Available at: [Accessed 27 Sep. 2019].

Shoemaker, S. (1969). Time Without Change. The Journal of Philosophy, 66(12), p.363.

Project Check In – Declan Corr

My project is focusing on the key ideas surrounding movement, and how we capture said movement. This will mainly focus on the speed of movement, whether fast or slow. How I am planing to capture these types of movements is through blending and combining multiple images of the same subject matter, on top of one another, creating a sense of said movement. The two types of editing that I am exploring is through both a messy, yet clear image of a subject matter, as well as a focused image with blur that comes from the movement of one person or thing.


For my first shoot, I decided to use my dog chasing a ball around the local park, and use my camera with continuous shooting on as so to watch him run for the ball. I greatly underestimated how much I was going to shoot as I ended up with well over 500 photos in about 10 mins. In this time I used three different modes for continuous shooting; low, high and high +. I found however, that the best mode to shoot on was in fact low, as it managed to capture the run of the dog, without having the images too close together, making for a short burst of captures.


My plan from now on is to get way less images then before, by having a clear understanding of what I am going to shoot and how I am going to shoot it.

For my final presentation, I want to have either a2 or a3 sized prints with my different images, with their different styles on every print, as to diversify the scope of my project.