Technical data:
Industrial Monument MPEG-4 movie, 405,7MB
Created October 2022
Dimensions: 1920 x 1080
Codes: H.264 AAC
Industrial Monument and AI
It is quite recent that there has been talk about the semiotics and aesthetics of camera images shot by drones as they fly around. The most specific thing about drone footage is its verticality: the constant change of altitude can even cause vertigo when the drone's camera is connected to VR glasses.
In the filmed performances shown here, I focus as a performer on the question of what the difference is between a sculpture made by a sculptor or an object set on a pedestal and called an 'industrial monument'. The difference is that a drone exploring an area will have little trouble detecting a sculpture. The industrial monument, however, is a pars pro toto and a Readymade. The object used to be part of an industrial process, as in this case of Luxembourg's steel industry. Because the machines were shut down, it was possible to choose a part of it and exhibit it in the public space. By choosing an object that is not a work of art but which is exhibited 'as if' it were a work of art, we should refer to the work of conceptual artist Marcel Duchamp, who did the same thing in 1917 with a urinal.
The two filmed performances show the different roles of the performer: in the first case, an active role, and in the second, the performer seems redundant to her contextual reference, a sculpture that itself shows a strong message. ('Trophy', Wim Delvoye, 1999). In my research on ontologies for drone exploration, I use theory from conceptual art to add new knowledge to drone vision. Thus, in the future, we would like to experiment with drones that are trained to be able to recognise objects set up as works of art in public spaces. This is important because these objects are part of industrial heritage but are often overlooked and thus risk being removed from public space.
This artwork will have an update in the near future, when I will use AI as a medium to interact with from a distance, this will be a great opportunity to develop "live" Human Drone interaction which enables us to include "undefined objects" like the industrial monument and represent the images made by the drone cameras as artworks.
Egberdien van der Peijl, Netherlands, 1964 is a conceptual artist specialising in Land Art, situational art, performance and conceptual theory as published in the form of various manifestos (Charlotte Posenenske, Sol LeWitt) and in magazines such as Art and Language. In 2018, she co-organised the LuxLogAi and Art conference in Luxembourg. This summit featured various practices of interdisciplinary research between AI and Art. Since 2020, the artist has been actively conducting interdisciplinary research together with computer scientists and she has several papers to her credit. She is particularly interested in researching the interaction between drones and humans because, as a video artist, she wants to study the evolution towards images from drone cameras. This new area of research - semiotics and aesthetics of drone images - she would like to apply within the field of industrial heritage. In which non-Western countries are also her interest according to drone vision research.