What is alarming, though, is our own inability to distinguish between human and automated cultural production. The bot-generated political Blingees are comical, amateur, and deceptive. We see Obama donning a glittering chain and baseball cap, or devil horns, and McCain signage overlaid with flower blooms and flashing dancers. Using these images, the system reproduced its own-very convincing-political Blingees. In an attempt to influence the machine to create political images, he began feeding the system images of Joe Biden, Barack Obama, and Hillary Clinton, along with popular sets of Blingee stickers. Tyka also used machine learning to replicate the Blingee creation process itself. Another version ( away from IVK ) follows various compositions throughout the network. In one iteration of the piece, called staying with IVK, they use the tool to trace the animations of Lialina’s favorite Blingee user, Irina Vladimirovna Kuleshova. * Once again to IVK * (2017) uses an automated tool they’ve created to mirror the process of surfing through Blingee by identifying the corresponding stamps that lead to each composition, and surfacing other Blingees created with these stamps. Users can endlessly surf from one image to another through stamps and Blingees, much like you would use a series of text links, or back and forward buttons, to browse the early web.įor their Seven on Seven collaboration, Lialina and Tyka aimed to survey the data and the philosophy behind Blingee. The site does offer limited communication through comments, voting, and forums, but its most distinctive attribute by far is its navigation system. The web service allows users to create animated GIFs by compiling and layering “stamps” into collages, adding to the website’s massive collection of clipart, icons, and digital stickers. ![]() As an avid Blingee adopter, she has explored the site as a tool, subject, and community base. Lialina has long credited the popular graphics generator,, as an important piece of modern digital folklore. The principle of these was to take a static image-photo or graphic-and decorate it with all sorts of glittering-sparkling “stamps,” from stardust to rotating necklaces. With the new millennium came new GIFs, glittering and blinging graphics created with new tools called glitter graphics generators. The figures or objects were in constant action-running, dancing, rotating around the sun, or working on an endless construction. No matter how funny and unprofessional early animated GIFs appeared, they were animated. In a 2010 blog post titled All That Glitters, Olia Lialina discusses the transition from the early animated GIF to the glittering GIF of the new millennium: The collaboration resulted in a collection of three works, presented as part of First Look, the ongoing series of digital projects co-curated and co-presented by Rhizome and the New Museum. ![]() As part of their contribution to Seven on Seven 2017, Olia Lialina and Mike Tyka took a closer look at a modern digital folklore legend:.
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