ILLUSTRATION NOSTALGIA BY ANDREW FAIRCLOUGH

by Ariadna Zierold

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Andrew Fairclough is a Sydney based Illustrator, Designer and Art Director. After completing a Business Degree, Andrew moved on to designing skate and snowboard graphics in between self-instruction and full time work in a design agency.

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Andrew’s work is inspired by mid-century spot illustrations and design as well as vintage sci-fi, comics, surrealism, DIY art culture, and the textural wonders of degraded print. Often working with a restricted color palette Andrew’s work seeks to hint at the nostalgia and tactility of found art, whilst also creating something completely new.

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LIVERIED SPACECRAFTS BY PETER ELSON

by Ariadna Zierold

peter elson, sci fi, science fiction, space, spacecraft, illustration, concept, upper playground

Peter Elson was an English science fiction illustrator whose work appeared on the covers of numerous science fiction paperback novels, as well as in the Terran Trade Authority series of illustrated books.

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Elson, whose illustrations often placed detailed, brightly liveried spacecraft against vividly colored backgrounds, influenced an entire generation of science fiction illustrators and concept artists.

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NEON DREAMS BY PATRYK HARDZIEJ

by Ariadna Zierold

patryk hardziej, illustration, sci fi, dreamlike, neon, characters, surreal, poland, upper playground

Polish illustrator and graphic designer Patryk Hardziej lives and works in Tricity, Poland, and is active internationally. He handles projects dealing with illustration, branding, logo design, visual communication, editorial graphics and art projects, as well. In particular, Hardziej is fond of combining in different proportions technical aspects of graphic design with illustration. He loves old graphic signs and is highly interested in their history. Together with Patrycja Podkościelny they operate in a graphic tandem and run the ¬ Negation Studio.

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BEAUTIFUL SCI-FI BY ARTYOM TRAKHANOV

by Ariadna Zierold

artyom trakhanov, comic, illustration, undertow, stories, sci-fi, russia, upper playground

Artyom Trakhanov lives and works in Novosibirsk, Russia, where he is feverishly working on his next creator-owned project. Trakhanov’s most recent work includes the moody and beautiful sci-fi epic UNDERTOW, as well as assorted cover work for Image, BOOM!, and DC Comics.

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Artyom has contributed covers and short stories to several titles while working on multiple new projects, both with writers and on his own.

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DYSTOPIAN FUTURE BY SIMON STALENHAG

by Ariadna Zierold

simon stalenhag, dystopian, future, sci fi, technology, children, virtual, reality, dreams, painting, upper playground

Swedish illustrator Simon Stålenhag depicts a uncomfortable collision of present and future where people much like us seem to confront a brave new technological reality. In his digital paintings children throw spears at terrifying drones, and people wander aimlessly in their yards while fully engrossed inside virtual reality helmets strapped to their heads, and sometimes there’s even a giant alien caterpillar.

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The artwork is impactful as a result of this juxtaposition between the harsh realities of life and the sci-fi technologies of our dreams.

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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.


 

“ACT 1: WARPED PASSAGE” BY CURIOT

by Ariadna Zierold

curiot, favio martinez, mexico, mythological, sci-fi, alien, surreal, upper playground

Favio Martínez, aka Curiot, is a street art artist based in Mexico City. His work is often mythological, but he doesn’t apply a specific myth to the images that he paints, strongly inspired by his Mexican heritage which he hopes to uphold in his art. Strange creatures inhabit his compositions, while every one of them is definitely alien like.

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The Third Dimension | JONATHAN BENAINOUS

Jonathan Benainous is a 32 year old 3D artist, Senior Environment Engineer on the video game “Ghost Recon: Wildlands” near Paris. First starting off with 2D video games, Benainous quickly moved into what would be his focus and true interest, 3D art. Benainous says he was inspired by the realm of Japanimation and sci-fi hits like Akira and European artists like H.R. Giger’s work on Alien. He is currently working on a personal project on sci-fi helmets he creates with ZBrush.

Jonathan Benainous is a 32 year old 3D artist, Senior Environment Engineer on the video game "Ghost Recon: Wildlands" near Paris. First starting off with 2D video games, Benainous quickly moved into what would be his focus and true interest, 3D art. Benainous says he was inspired by the realm of Japanimation and sci-fi hits like Akira and European artists like H.R. Giger's work on Alien. He is currently working on a personal project on sci-fi helmets he creates with ZBrush. Via news.upperplayground.com (1)

Jonathan Benainous is a 32 year old 3D artist, Senior Environment Engineer on the video game "Ghost Recon: Wildlands" near Paris. First starting off with 2D video games, Benainous quickly moved into what would be his focus and true interest, 3D art. Benainous says he was inspired by the realm of Japanimation and sci-fi hits like Akira and European artists like H.R. Giger's work on Alien. He is currently working on a personal project on sci-fi helmets he creates with ZBrush. Via news.upperplayground.com (2)

Jonathan Benainous is a 32 year old 3D artist, Senior Environment Engineer on the video game "Ghost Recon: Wildlands" near Paris. First starting off with 2D video games, Benainous quickly moved into what would be his focus and true interest, 3D art. Benainous says he was inspired by the realm of Japanimation and sci-fi hits like Akira and European artists like H.R. Giger's work on Alien. He is currently working on a personal project on sci-fi helmets he creates with ZBrush. Via news.upperplayground.com (3)

Jonathan Benainous is a 32 year old 3D artist, Senior Environment Engineer on the video game "Ghost Recon: Wildlands" near Paris. First starting off with 2D video games, Benainous quickly moved into what would be his focus and true interest, 3D art. Benainous says he was inspired by the realm of Japanimation and sci-fi hits like Akira and European artists like H.R. Giger's work on Alien. He is currently working on a personal project on sci-fi helmets he creates with ZBrush. Via news.upperplayground.com (4)

Jonathan Benainous is a 32 year old 3D artist, Senior Environment Engineer on the video game "Ghost Recon: Wildlands" near Paris. First starting off with 2D video games, Benainous quickly moved into what would be his focus and true interest, 3D art. Benainous says he was inspired by the realm of Japanimation and sci-fi hits like Akira and European artists like H.R. Giger's work on Alien. He is currently working on a personal project on sci-fi helmets he creates with ZBrush. Via news.upperplayground.com (5)

MUSEUM OF TOMORROW BY TIANHUA MAO

by Ariadna Zierold

tianhua mao, museum of tomorrow, painting, illustration, colorful, sci-fi, upper playground

New York-based illustrator Tianhua Mao received her MFA degree from School of Visual Arts. Drawing is her natural way to express herself and also build her wacky world.

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For a new series, Museum of Tomorrow, Mao has dreamt up a weird and wonderful squad of living exhibits, their gooey anatomy visible through translucent flesh. Although the exhibits are entirely whimsical, the institution’s name was inspired by Beijing’s Today Art Museum, which Tianhua visited frequently as an undergrad, and its architecture references The Metropolitan Museum of Art in New York.

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Work in Progress: ‘Thesis’ by Jesús Benítez opens Friday, July 11th!

Mexican muralist and artist  Jesús Benítez, known previously as ‘Dhear’ made his way to San Francisco this month and has been focused on the preparations for his solo show, ‘Thesis’ at Fifty24SF Gallery.  Set to open this Friday, July 11th, 7pm, the show marks his first North American solo show after several duos with Smithe One.  Despite recurring health difficulties and challenges,  Jesús has been steadily working his beat and maintaining his presence in the world of street art and muralists.  His latest mural, gargantuan in size covered a giant facade of a public Hospital in Mexico and took him about a month to complete.  The ambitious project won him over many more admirers of his work and put a stamp on his talent as one of the up and coming visionary muralists of his generation.

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He’s currently working on a distinct mural inside the Fifty24SF Gallery for the show and we are covering his progress as he works:

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