ANIMATED DESERTED SPACES BY GEOFFROY DE CRECY

by Ariadna Zierold

geoffroy de crecy, animation, loop, loops, automated, landscapes, abandoned, deserted, motion, machines, upper playground

Animator Geoffroy de Crécy created a series of short animated loops depicting how deserted spaces and abandoned automated landscapes, left to perpetually continue in their motions, would continue to live on. Focusing on the machines we have created to make our lives easier, the machines in their loops seem very obsolete, almost sad looking.

The rolling sushi counter presents us with a continuous flow of perfectly presented plates, waiting to be picked up by the absent customers.  Elevators and escalators are plagued by cans that keep them going, whilst the ski lift moves in circles, waiting to transport someone to the untouched ski slopes. These empty places show just how we have defined the landscapes and how redundant they would become without us in it.

geoffroy de crecy, animation, loop, loops, automated, landscapes, abandoned, deserted, motion, machines, upper playground geoffroy de crecy, animation, loop, loops, automated, landscapes, abandoned, deserted, motion, machines, upper playground geoffroy de crecy, animation, loop, loops, automated, landscapes, abandoned, deserted, motion, machines, upper playground geoffroy de crecy, animation, loop, loops, automated, landscapes, abandoned, deserted, motion, machines, upper playground

TECHNOLOGY AND NATURE INTERTWINED BY KILIAN ENG

by Ariadna Zierold

kilian eng, scifi, technology, mechanics, machines, landscape, illustration, storytelling, science fiction, upper playground

Kilian Eng works as an illustrator and concept artist based out of his hometown of Stockholm Sweden. He graduated in 2010 from Konstfack, University of Arts Craft & Design in Stockholm with a bachelor and master in Illustration and storytelling.

kilian eng, scifi, technology, mechanics, machines, landscape, illustration, storytelling, science fiction, upper playground

The visions created by him inhabit a landscape grown of blinking lights and structures of beautiful mechanics. Eng’s drawings show the artist as architect; as the omniscient voice controlling a self-created world. He works in science-fiction, but not the modern version of it – there are no horrors, no desolate worlds. He doesn’t envision an end time apocalypse, but a future where mankind has evolved to a place where technology and nature intertwine. There is optimism and hope even in the darkest and most alien of his pieces.

kilian eng, scifi, technology, mechanics, machines, landscape, illustration, storytelling, science fiction, upper playground kilian eng, scifi, technology, mechanics, machines, landscape, illustration, storytelling, science fiction, upper playground kilian eng, scifi, technology, mechanics, machines, landscape, illustration, storytelling, science fiction, upper playground kilian eng, scifi, technology, mechanics, machines, landscape, illustration, storytelling, science fiction, upper playground kilian eng, scifi, technology, mechanics, machines, landscape, illustration, storytelling, science fiction, upper playground kilian eng, scifi, technology, mechanics, machines, landscape, illustration, storytelling, science fiction, upper playground kilian eng, scifi, technology, mechanics, machines, landscape, illustration, storytelling, science fiction, upper playground

 

USED FUTURE BY MAX PRENTIS

by Ariadna Zierold

max prentis, illustration, machines, future, illustrator, drawing, detail, future, apocalyptic, fantastical, upper playground, sydney

Sydney-based artist Max Prentis’ style is based upon detail and a strong emphasis on visual storytelling.  Machines, isolated figures and not to distant wastelands are a common reoccurring subject in Max’s work.

max prentis, illustration, machines, future, illustrator, drawing, detail, future, apocalyptic, fantastical, upper playground, sydney

Prentis’ technique is unique in the way he can apply his style to a variety of tones. His body of work is one that varies from playful to aggressive, and realistic to fantastical.

max prentis, illustration, machines, future, illustrator, drawing, detail, future, apocalyptic, fantastical, upper playground, sydney max prentis, illustration, machines, future, illustrator, drawing, detail, future, apocalyptic, fantastical, upper playground, sydney max prentis, illustration, machines, future, illustrator, drawing, detail, future, apocalyptic, fantastical, upper playground, sydney max prentis, illustration, machines, future, illustrator, drawing, detail, future, apocalyptic, fantastical, upper playground, sydney max prentis, illustration, machines, future, illustrator, drawing, detail, future, apocalyptic, fantastical, upper playground, sydney

SCIENTIFIC INTROSPECTION BY VICTOR FOTA

by Ariadna Zierold

victor fota, romania, oil, painting, machines, science, futuristic, human extension, surreal, upper playground

Victor Fota was born in 1989, he is from Bucharest, Romania. He’s a visual artist, graduate of Fine Arts High School “Nicolae Tonitza”, has a Bachelor and Master degree in Art History, department of Conservation and Restoration of Works of Art at the National University of Arts in Bucharest.

victor fota, romania, oil, painting, machines, science, futuristic, human extension, surreal, upper playground

Currently, he lives and works in Bucharest and he’s focusing on experimenting with oil paintings which illustrate concepts and phenomena described by the scientific methods, combined with personal introspection. For his paintings he uses a clean technique which resembles the old Flemish method of rigid forms and a successive glazes of paint. The most recent series of oil paintings, have a concept based on the relation of man and machine, called Human Extension, in which the artist explores this relationship using facts and imagination, resulting in a surreal image.

victor fota, romania, oil, painting, machines, science, futuristic, human extension, surreal, upper playground victor fota, romania, oil, painting, machines, science, futuristic, human extension, surreal, upper playground victor fota, romania, oil, painting, machines, science, futuristic, human extension, surreal, upper playground victor fota, romania, oil, painting, machines, science, futuristic, human extension, surreal, upper playground victor fota, romania, oil, painting, machines, science, futuristic, human extension, surreal, upper playground victor fota, romania, oil, painting, machines, science, futuristic, human extension, surreal, upper playground

Machine Learns to Watch “Blade Runner” and Recreates the Footage

The videos below are the result of Broad's unique machine-learned encoding project that attempted to reconstruct the 1982 film from a pile of disassembled data. The side by side comparisons show the actual film and the autoencoded version. Warner Bros. made a mistake in filing the notice because some of the Blade Runner footage wasn't actually from the movie itself. It was the product of the complex neural-networks systems Broad had created using Deep Learning, which uses algorithmic machine learning to create artificial intelligence, to make the video simulation of the movie. This machine was "taught" to understand and generate real video data. Thus, Warner Bros. retracted the take down notice as it was shown that the recreated footage was made of something entirely new- something we've never seen before. Via news.upperplayground.com

Just when you think you’re getting smarter by having a second brain attached to your hip, i.e. smartphone, a machine comes out that is not only smarter than you, but can learn to be human like you too.

The videos below are the result of Broad's unique machine-learned encoding project that attempted to reconstruct the 1982 film from a pile of disassembled data. The side by side comparisons show the actual film and the autoencoded version. Warner Bros. made a mistake in filing the notice because some of the Blade Runner footage wasn't actually from the movie itself. It was the product of the complex neural-networks systems Broad had created using Deep Learning, which uses algorithmic machine learning to create artificial intelligence, to make the video simulation of the movie. This machine was "taught" to understand and generate real video data. Thus, Warner Bros. retracted the take down notice as it was shown that the recreated footage was made of something entirely new- something we've never seen before. Via news.upperplayground.com

Roy Batty, a replicant from “Blade Runner”

Scared yet? You should be.

With billionaire futurists like Elon Musk and Bill Gates actively funding to stop, decelerate or bring “safety” into the world of Artificial Intelligence and Deep Learning, one thing is becoming very clear, there is an evolution of intelligence smarter than human beings, and sorry, humans – you ain’t the be all, end all of this universe. (Don’t worry, that’s just your ego getting upset right now, take a deep breath, and notice there’s also a Being of Love inside you that you can work on bringing out). With Ego wars having been the prevailing force of evil since the dawn of humanity, a new form is transcending that may or may not be capable of the same kind of thinking and being i.e. what Musk and Gates are deathly afraid of. Because if the super-intelligent robots learn to assimilate human, contradictory, fear-mongering qualities, the apocalypse is inevitable- we’d all be f*cked. A taste of our own medicine, if you will, a real-life Twilight Zone episode, the consequence of greed, social injustice, wars and did I mention, greed?

This next level of economic, social, political, AI, human transparency is absolutely fascinating to me. So let’s learn more about it from a researcher living in London named Terence Broad, who is working on a master’s degree in creative computing. His dissertation, “Autoencoding Video Frames,” is the crux to the regimented culture of copyright laws and the source of present day remix culture and Artificial Intelligence that led Warner Bros. to file a takedown notice of Broad’s artificial reconstruction of Ridley Scott’s sci-fi thriller, Blade Runner. The plot of Blade Runner is so apropos to the research Broad is conducting. The story shows that “Replicants” are AI versions of humans who have returned to earth to find their creator, are deemed as dangerous and consequently need to be killed or “retired” by human blade runners. Indeed it is what most humans are afraid of today: the rise of machines.

And the machines are rising.

The videos below are the result of Broad’s unique machine-learned encoding project that attempted to reconstruct the 1982 film from a pile of disassembled data. The side by side comparisons show the actual film and the autoencoded version. Warner Bros. made a mistake in filing the notice because some of the Blade Runner footage wasn’t actually from the movie itself. It was the product of the complex neural-networks systems Broad had created using Deep Learning, which uses algorithmic machine learning to create artificial intelligence, to make the video simulation of the movie.  This machine was “taught” to understand and generate real video data. Thus, Warner Bros. retracted the take down notice as it was shown that the recreated footage was made of something entirely new- something we’ve never seen before.

 

 

 

The videos below are the result of Broad's unique machine-learned encoding project that attempted to reconstruct the 1982 film from a pile of disassembled data. The side by side comparisons show the actual film and the autoencoded version. Warner Bros. made a mistake in filing the notice because some of the Blade Runner footage wasn't actually from the movie itself. It was the product of the complex neural-networks systems Broad had created using Deep Learning, which uses algorithmic machine learning to create artificial intelligence, to make the video simulation of the movie. This machine was "taught" to understand and generate real video data. Thus, Warner Bros. retracted the take down notice as it was shown that the recreated footage was made of something entirely new- something we've never seen before. Via news.upperplayground.com

Left Column of Photos from the actual movie, “Blade Runner”; the Right Column represents the autoencoded recreation.


 

The Incredible Art and love of Machines by Boris Artzybasheff

upper playground, machines, 1950, robotics, boris artzybasheff, illustration, political art

We examine today the incredible art of Boris Artzybasheff, who’s love for machines and mastery in illustration captivated a generation of fans of the 1940s-60s.  His well published works that innovated how to smartly examine our social, political surroundings still inspires us today.  We admire Artzybasheff’s  use of surrealist imagination as a tool to cleverly re-examine and precise what matters around us. And in particular, his own passion and admiration for technology and its machines led him to produce an impressive body of work focused on it:

“I am thrilled by machinery’s force, precision and willingness to work at any task, no matter how arduous or monotonous it may be. I would rather watch a thousand ton dredge dig a canal than see it done by a thousand spent slaves lashed into submission… I like machines.”  – Boris Artzybasheff

upper playground, machines, 1950, robotics, boris artzybasheff, illustration, political art upper playground, machines, 1950, robotics, boris artzybasheff, illustration, political art upper playground, machines, 1950, robotics, boris artzybasheff, illustration, political art upper playground, machines, 1950, robotics, boris artzybasheff, illustration, political art upper playground, machines, 1950, robotics, boris artzybasheff, illustration, political art upper playground, machines, 1950, robotics, boris artzybasheff, illustration, political art  upper playground, machines, 1950, robotics, boris artzybasheff, illustration, political art upper playground, machines, 1950, robotics, boris artzybasheff, illustration, political art

All Watched Over by Machines of Loving Grace, Episode1

Via Wired: “Documentary auteur Adam Curtis executes his cut-up brilliance in a new television series analyzing the fallout of the technoculture we take for granted… All Watched Over by Machines of Loving Grace — which takes its name from Richard Brautigan’s prophetic poem — explains how humanity now sees through the dead eyes built into the machines to which we have ceded our lives.”

Techno awesomeness.

From The Citrus Report

Posted By The Citrus Report

While some of you are watching that James Franco movie in the theater…

Posted from The Citrus Report

… This is a sneak peak of the inside of one of the machines you’re not supposed to see. What you don’t see in the photo is a security guard chasing us out of the theater. We present this photo to you at the cost of seeing Forrest Gump 2 Electric Boogaloo.

Posted By The Citrus Report

Kevin Costner saving the Gulf (and this isn’t a movie)

Posted from The Citrus Report

This isn’t Waterworld, or the plot to our screenplay for Waterworld Pt. 2 that we’ve been writing at The Citrus Report (although, thanks for asking, the screenplay is shaping up quite well).  Kevin Costner has apparently invest $20 million dollars and 15 years of his life in technology that can separate oil from water.

He just gave a speech at a congressional hearing to  promote the use of his centrifuges to clean up the gulf, although he has faced years of hurdles trying to get the devices passed through the federal regulatory process (we repeat, we are NOT summarizing the plot to ‘The Day After Tomorrow’ or any other movie where a nerdy scientist goes up against a panel of hard lined politicians who don’t believe in science, this is real, we can’t stress this enough). So now the regulatory committees have loosened their grip in the face of this utter catastrophe and BP has bought many of his machines to clean up the gulf with (once again, not a doomsday-esque movie plot, it just involved Kevin Costner).

Posted By The Citrus Report