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Trevor Paglen: AI and Power

“Ideology’s ultimate trick has always been to present itself as objective truth, to present historical conditions as eternal, and to present political formations as natural. Because image operations function on an invisible plane and are not dependent on a human seeing-subject (and are therefore not as obviously ideological as giant paintings of Napoleon) they are harder to recognize for what they are: immensely powerful levers of social regulation that serve specific race and class interests while presenting themselves as objective.

The invisible world of images isn’t simply an alternative taxonomy of visuality. It is an active, cunning, exercise of power, one ideally suited to molecular police and market operations–one designed to insert its tendrils into ever-smaller slices of everyday life. […] Machine-machine systems are extraordinary intimate instruments of power that operate through an aesthetics and ideology of objectivity, but the categories they employ are designed to reify the forms of power that those systems are set up to serve.” Trevor Paglen, “Invisible Images (Your Pictures Are Looking at You)”, in The New Inquiry, December 8, 2016

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Boris Groys: the exhibition exhibits itself

“the exhibition does not only present certain images to our gaze, but also demonstrates the technology of presenting, the apparatus and structure of framing, and the mode in which our gaze is determined, oriented, and manipulated by this technology. When we visit an exhibition, we do not only look at the exhibited images and objects, but also reflect on the spatial and temporal relationships between them—the hierarchies, curatorial choices, and strategies that produced the exhibition, and so forth. The exhibition exhibits itself before it exhibits anything else. It exhibits its own technology and its own ideology. In fact, the framing is nothing but an amalgamation of technology and ideology.” Boris Groys, “Curating in the Post-Internet Age”, in e-flux Journal, issue #94 – October 2018