"Even the Darkness Is Not Dark"

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John Santerineross is an artist who does not classify or categorize himself. He prefers to let the viewer decide and define.
He has been called everything from” the world leading Neo-symbolist artist” by PROFIFOTO, Germanys leading photography magazine to an “artistic assassin who wants to artistically assassinate Christianity, especially Catholicism” in Bill Donohue’s newest book “Secular Sabotage: How Liberals Are Destroying Religion and Culture in America” along with several other groundbreaking artists including Andres Serrano, Robert Mapplethorpe, Cindy Sherman.
Therefore John never elucidates his imagery for fear of limiting viewers’ personal interpretation. He is influenced by the early symbolists’ belief that “the creation of a mood is as important as the transmission of information, (it must also) seek to engage the entire mind and personality of the viewer by appealing to the viewer’s emotions and unconscious mind, as well as to their intellect”.
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Oct 5

John Santerineross is an artist who does not classify or categorize himself. He prefers to let the viewer decide and define.

He has been called everything from” the world leading Neo-symbolist artist” by PROFIFOTO, Germanys leading photography magazine to an “artistic assassin who wants to artistically assassinate Christianity, especially Catholicism” in Bill Donohue’s newest book “Secular Sabotage: How Liberals Are Destroying Religion and Culture in America” along with several other groundbreaking artists including Andres Serrano, Robert Mapplethorpe, Cindy Sherman.

Therefore John never elucidates his imagery for fear of limiting viewers’ personal interpretation. He is influenced by the early symbolists’ belief that “the creation of a mood is as important as the transmission of information, (it must also) seek to engage the entire mind and personality of the viewer by appealing to the viewer’s emotions and unconscious mind, as well as to their intellect”.

Oct 5
Oct 5

Rushkoff talks.

prostheticknowledge:

LTU student shows that computers “understand” art
First of two news stories that could get you thinking about the future of technology and art museums.
The first, a student puts together a database of examples of art history for a computer program to visually analyse and make connections (such as above) - from Lawrence Technology University blog:

LTU student Jane Tarakhovsky showed, for the first time, that computers can match art historians in understanding and analysis of visual art.
In the experiment she let the computer analyze ~1000 paintings by 34 well-known painters, and let the computer automatically deduce the similarities between the artistic styles without using any information other than the visual content. The similarities were then visualized using a phylogeny (a tool normally used to visualize similarities between genomes of different species, but in this case was used to visualize the similarities between artistic styles). Surprisingly, the analysis of the computer was almost identical to the analysis of Art Historians.

For instance, the computer automatically placed the High Renaissance artists Raphael, Da Vinci, and Michelangelo very close to each other, and the Baroque painters Vermeer, Rubens and Rembrandt were placed by the algorithm in another cluster, indicating that the computer sensed that these painters share a common artistic style.
More Here
Oct 4

prostheticknowledge:

LTU student shows that computers “understand” art

First of two news stories that could get you thinking about the future of technology and art museums.

The first, a student puts together a database of examples of art history for a computer program to visually analyse and make connections (such as above) - from Lawrence Technology University blog:

LTU student Jane Tarakhovsky showed, for the first time, that computers can match art historians in understanding and analysis of visual art.

In the experiment she let the computer analyze ~1000 paintings by 34 well-known painters, and let the computer automatically deduce the similarities between the artistic styles without using any information other than the visual content. The similarities were then visualized using a phylogeny (a tool normally used to visualize similarities between genomes of different species, but in this case was used to visualize the similarities between artistic styles). Surprisingly, the analysis of the computer was almost identical to the analysis of Art Historians.

For instance, the computer automatically placed the High Renaissance artists Raphael, Da Vinci, and Michelangelo very close to each other, and the Baroque painters Vermeer, Rubens and Rembrandt were placed by the algorithm in another cluster, indicating that the computer sensed that these painters share a common artistic style.

More Here