Museum of Nonhuman Photography

Louis-Jacques-Mandé Daguerre, Shells and Fossils, 1839. Public domain. — Louis-Jacques-Mandé Daguerre, *Shells and Fossils*, 1839. Public domain.

Enhanced version of Joseph Nicéphore Niépce's View from the Window at Le Gras, 1826 or 1827. Public Domain.

William Henry Fox Talbot, Lace from The Pencil of Nature, 1845. Public Domain. — William Henry Fox Talbot, Lace from *The Pencil of Nature*, 1845. Public Domain.

William Henry Fox Talbot, Window in the South Gallery of Lacock Abbey made from the oldest photographic negative in existence, 1835. Public Domain.

Roger Fenton, Valley of the Shadow of Death, 1855. Getty Open Content. — Roger Fenton, *Valley of the Shadow of Death*, 1855. Getty Open Content.

Bird’s eye view from Dr. Julius Neubronner’s miniature pigeon camera, with the pigeon’s wing tips visible on the edges of the top image, ca. 1908. Public Domain.

Véronique Ducharme, Encounters, 2012-2013.

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DefSemiHidden="false" DefQFormat="f… — Véronique Ducharme, *Encounters*, 2012-2013.

The Pale Blue Dot, taken by the Voyager 1 space probe at the request of astronomer Carl Sagan, 1990, courtesy of NASA. Public Domain.

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<w:Laten… — *The Pale Blue Dot*, taken by the Voyager 1 space probe at the request of astronomer Carl Sagan, 1990, courtesy of NASA. Public Domain.

Earthrise (rotated), taken during the Apollo 8 mission, 1968, courtesy of NASA. Public domain. — *Earthrise* (rotated), taken during the Apollo 8 mission, 1968, courtesy of NASA. Public domain.

Lindsay Seers, Optogram (mouth camera), 2010.

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DefSemiHidden="false" DefQFormat… — Lindsay Seers, *Optogram (mouth camera)*, 2010.

The Blue Marble, taken during the Apollo 17 mission, 1972, courtesy of NASA. Public domain. — *The Blue Marble*, taken during the Apollo 17 mission, 1972, courtesy of NASA. Public domain.

Taurus Molecular Cloud, ESO, 2012, CC-BY. — *Taurus Molecular Cloud*, ESO, 2012, CC-BY.

Penelope Umbrico, Suns from Flickr, 2006-, screengrab by Joanna Zylinska, 2015. License: fair use. — Penelope Umbrico, *Suns from Flickr*, 2006-, screengrab by Joanna Zylinska, 2015. License: fair use.

Juliet Ferguson, Stolen Images, 2011.

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DefSemiHidden="false" DefQFormat="false… — Juliet Ferguson, *Stolen Images*, 2011.

Portable reflex camera obscura, c. 1800, in the Kodak Gallery at the National Media A Museum. Photo by Joanna Zylinska, 2016.

Ominous-looking sign (“Closed”) in the Kodak Gallery at the National Media Museum, featuring various iterations of the Kodak Brownie. Photos by Joanna Zylinska, 2016.

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… — Ominous-looking sign (“Closed”) in the Kodak Gallery at the National Media Museum, featuring various iterations of the Kodak Brownie. Photos by Joanna Zylinska, 2016.

Alexa Horochowski, from Club Disminución, 2014.

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DefSemiHidden="false" DefQForm… — Alexa Horochowski, from *Club Disminución*, 2014.

Tong Lam, An outdated and abandoned theme park in Chengdu, Sichuan Province, 2013.

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<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="fa… — Tong Lam, *An outdated and abandoned theme park in Chengdu, Sichuan Province*, 2013.

Dennis Skley, Time isn`t passing ... [Urban Explorer], 2012. Flickr, License: CC BY-ND 2.0. — Dennis Skley, *Time isn`t passing ... [Urban Explorer]*, 2012. Flickr, License: CC BY-ND 2.0.

Shane Gorski, Wasteland, from the Detroit Book Depository Set, 2008, Flickr, License: CC BY-ND 2.0. — Shane Gorski, *Wasteland*, from the Detroit Book Depository Set, 2008, Flickr, License: CC BY-ND 2.0.

Joanna Zylinska, still from Exit Man, 2017. — Joanna Zylinska, still from *Exit Man*, 2017.

Unexplained, geometric linear patterns associated with major temples across northwest Cambodia. Imagery consists of airborne laser scanning-derived bare earth models, overlain by a semi-transparent hillshade model, CC BY 4.0.

The Ostrich, Fractal Landscape, 2002. A fractal landscape randomly generated with a custom programmed algorithm and rendered using Terragen, Wikimedia Commons, CC BY 3.0. — The Ostrich, *Fractal Landscape*, 2002. A fractal landscape randomly generated with a custom programmed algorithm and rendered using Terragen, Wikimedia Commons, CC BY 3.0.

mikrosopht [deleted], Glitch 127, 2007. Glitch image of the body, created by utilising a temporary browser image caching error. Source: Flickr. Licence: CC BY 2.0. — mikrosopht [deleted], *Glitch 127*, 2007. Glitch image of the body, created by utilising a temporary browser image caching error. Source: Flickr. Licence: CC BY 2.0.

(Στα ελληνικά πιο κάτω, en français ci-dessous). The Street is a ‘moving photograph’ of a street in Thessaloniki, in Greece, in which the familiar perspective of the camera lens is replaced by the parallel projection used in technical drawing. The vehicles in the street stay the same size as they recede into the distance, and the far buildings are the same size as those in the foreground, though they are a mile away. In this projection the spectator’s eye is positioned everywhere, down in the street, opposite the balconies of the buildings, high and low, left and right, in an extension of vision that painters have employed since antiquity. http://vsw.org/afterimage/2013/11/07/video-and-interview-i-richard-whitlocks-the-street/ Το έργο H Οδός είναι μία ‘κινούμενη εικόνα’ ενός οδού της Θεσσαλονίκης, όπου η κλασσική προοπτική του φωτογραφικού φακού έχει αντικατασταθεί με την μη-προοπτικό ‘παράλληλη προβολή’ που χαρακτηρίζει το αρχιτεκτονικό σχέδιο. Αυτό σημαίνει ότι τα μακρινά αντικείμενα στη ταινία δεν φαίνονται πιο μικρά από τα κοντινά. Τα οχήματα δεν σμικραίνονται καθώς απομακρύνονται. Ο θεατής, πανταχού παρών, βλέπει τα πράγματα από το επίπεδο του δρόμου, και ταυτόχρονα από το επίπεδο των μπαλκονιών των πολυκατοικιών, βρίσκεται ψηλά και χαμηλά, δεξιά και αριστερά, σε μια επέκταση της όρασης που αξιοποιήθηκε από ζωγράφους σε παλιότερες εποχές. “La rue” est un ‘tableau mouvant’ dans lequel la perspective classique de l’appareil photographique est remplacé par la projection orthogonale employée dans le dessin technique. Les objets lointains sont donc de la même taille que les objets prochains et les voitures dans la rue restent la même taille tout en s’éloignant. Le spectateur regarde du niveau de la rue, mais en même temps du niveau des balcons des immeubles, d’en haut et d’en bas, de gauche et de droite, dans une extension de la vision que les peintres ont employée depuis l’antiquité.

Bonamy Devas, from Photographic Tai Chi, 2015.

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DefSemiHidden="false" DefQForma… — Bonamy Devas, from *Photographic Tai Chi*, 2015.

Commissioned to work with SALT Research collections, artist Refik Anadol employed machine learning algorithms to search and sort relations among 1,700,000 documents. Interactions of the multidimensional data found in the archives are, in turn, translated into an immersive media installation. Archive Dreaming, which is presented as part of The Uses of Art: Final Exhibition with the support of the Culture Programme of the European Union, is user-driven; however, when idle, the installation "dreams" of unexpected correlations among documents. The resulting high-dimensional data and interactions are translated into an architectural immersive space. Shortly after receiving the commission, Anadol was a resident artist for Google's Artists and Machine Intelligence Program where he closely collaborated with Mike Tyka and explored cutting-edge developments in the field of machine intelligence in an environment that brings together artists and engineers. Developed during this residency, his intervention Archive Dreaming transforms the gallery space on floor -1 at SALT Galata into an all-encompassing environment that intertwines history with the contemporary, and challenges immutable concepts of the archive, while destabilizing archive-related questions with machine learning algorithms. In this project, a temporary immersive architectural space is created as a canvas with light and data applied as materials. This radical effort to deconstruct the framework of an illusory space will transgress the normal boundaries of the viewing experience of a library and the conventional flat cinema projection screen, into a three dimensional kinetic and architectonic space of an archive visualized with machine learning algorithms. By training a neural network with images of 1,700,000 documents at SALT Research the main idea is to create an immersive installation with architectural intelligence to reframe memory, history and culture in museum perception for 21st century through the lens of machine intelligence. SALT is grateful to Google's Artists and Machine Intelligence program, and Doğuş Technology, ŠKODA, Volkswagen Doğuş Finansman for supporting Archive Dreaming. Location : SALT Gatala, Istanbul, Turkey Exhibition Dates : April 20 - June 11 6 Meters Wide Circular Architectural Installation 4 Channel Video, 8 Channel Audio Custom Software, Media Server, Table for UI Interaction For more information: http://www.refikanadol.com/works/archive-dreaming/ _________ Credits: SALT Research Vasıf Kortun Meriç Öner Cem Yıldız Adem Ayaz Merve Elveren Sani Karamustafa Ari Algosyan Dilge Eraslan _ Google AMI Mike Tyka Kenric McDowell Andrea Held Jac de Haan _ Refik Anadol Studio Members & Collaborators Raman K. Mustafa Toby Heinemann Nick Boss Kian Khiaban Ho Man Leung Sebastian Neitsch David Gann Kerim Karaoglu Sebastian Huber