Can an image ever be identified as a species and will we ever validate information as a living entity? There are the questions i want to address in the short space of time. Information has the capacity to elicit emotional responses in humans whether that comes from crying, cuming or laughter. They successfully gain our attention and catalyze their own evolutionary progression as a digital species. The more the tadigital organism oscillates between virtual and real environments the higher a level of autonomy and agency it achieves. I try to use flowers and study the digital image in my practice to exhibit these forms. The more frequent this boundary is crossed the more compressed pixelated and mutated it becomes. I believe it is these mutations that is our greatest tool in approximation of future of artificial intelligence. There are already pre-existing discrete packets of computer codes that evolve spontaneously from no human intervention whatsoever; each time evolving their capacity to evolve. These are digital natives, not merely replicating models of life but emerging technological species. In many ways a vastly circulated images can be seen as a primitive form or artificial intelligence particularly digital images that appeal and exploit to our suppressed desires and aspirations as humans.In my practice I try to fabricate somewhat a cybantic kebab or digital ecosystem, placing information and varying embodiments in close proximity to collide with one another and compete in a Darwin-en struggle of survival, with human attention acting as the scarce resource required to sustain their evolution.  Kind of like ITV2 Love Island but for disembodied virtual enternites. But these spectualues of information gradually mimicking or rather completing with physical embodiment is already happening for instance, I identified recently that kebab houses mimic the process of advertising through layering up greasy flesh onto large rotating rotisseries - and then like I said, in advertising using recycled pixelated stock images on top of one another only defined by a thick white borderline. Both have a temporal flesh highly likely to be regurgitated back at some point but the shiny vinyl stuck on image of a Doctor Pepper and some chips has the capacity to transcend its flat state through this regurgitation and develop a kind of neon-flesh and enter a feedback loop of information between the virtual and the real. Something which is a kebab itself would not be able to do, even when sliced off from its body. My point is, that there is pre-existing patterns within the history of evolution that once identified can be applied to emerging technological innovation to see how fucked we’re likely to be soon as humans. Our biological bodies prevent us from entering this thriving techno-ecosystem and we are increasing spending the majority of our existence staring at this inaccessible portal that is a byproduct of that we are exponential growth. Obviously there is the potential to amalgamate in a kind of technological singularity but this is still up for debate. I identify my practice as sitting somewhere in this arena where information and material embodiment have a flatted ontology - there is no differentiation between the two. So in regards to turning and idea into an object or a concept, into a piece of work, for me it all becomes one. This approach stems from a kind of post-human theory but i won’t go into that right now because it is very long. I think it is my position as an artist currently to curate spectacles that showcase the latest evolution progressions of myself selected informational species. Whether that comes in the ritual of an exhibition,  digital residency, research, magazine or even this voice memo; they all become art of the genealogy of information that make my practice. Sometimes it kind of feels like a conspiracy theory - making unlikely suspect associations and then proceeding to defend the claims that I make. I mind of talking about kebab houses, greek mythology, Robbie Williams, artificial intelligence, fairgrounds, teddy-bear ham, Cher; all of these become part of a constellation of research which I believe can be used to find resolution or at least start an effective discourse in response to my first set of questions, can an image be identified as a species and will we even validate information as a living entity?

Image credit: Luke Carl Smith,  Sexy Ham , installation shot, 2018

Image credit: Luke Carl Smith, Sexy Ham, installation shot, 2018

Luke Carl Smith