I am interested in how our brains distort memories through neuroscientific processes, and the ways in which our technologies can mirror these human glitches and failures. I use a variety of visual distortions to relate to the distortion of our memories, becoming recontextualized as part of our repeated recollections. 

This installation consists of projected, morphing abstract imagery, digital prints of these abstracted images on chiffon, mylar sculptures, an abstract soundscape made from the color data of the video, as well as the audio interpretations of the images by humans and artificial intelligence algorithms1. 

For this project, I have trained a neural network, a type of artificial intelligence (AI) algorithm, on a set of images from my past to try and create new memories, shared between myself and my AI. I then used the images that were created from my dataset as training data for the neural network, in order to create a feedback loop to enhance the qualities inherent to the visual qualities created by the model. 

I am also considering the tendency towards building our technology to mimic human experience– such as the ways we look to nature for pattern making (ie, using fibonacci numbers to create patterns in code, calling randomized numbers ”seeds” for our programs). The neural network that trained to generate these images uses a randomized noise field (which looks like static on a television screen) as the underlying structure for the image, and then draws out the images it generates through a machinic apophenia2, creating unnatural, blobby animations that look not natural, but have a wide possibility of interpretations. 

Our embodied experience extends into the fourth dimension– a space expanded through our experience of time and virtuality through the internet.3 This is also what I am trying to create and consider: the spaces we experience when looking at a digital screen, and the spaces that we cannot see within the computer programs, and how we consider and interpret the past when situated in a different temporal and physical space. 

1:  An algorithm is a program that consists of a set of rules to solve a specific mathematical or other type of problem. Algorithms are still the base of all of our computer models, and the goal of how we approach computation- as problems to come to a concrete solution.
2:  Apophe​nia: the tendency to perceive a connection or meaningful pattern between unrelated or random things (such as objects or ideas) (Merriam-Webster)
3: Laurence Scott, The Four-Dimensional Human 

thanks for the 128kbps memories is an immersive installation that utilizes glitch aesthetics and computer-generated imagery to reference, create, and highlight how tenuous the connections of memory are. This piece used images created by a text-to-image AI generator based on prompts from my most recalled memory. However, these images can only reflect the content, biases, and assumptions of the source dataset in a loop of endlessly recreating the world as it is depicted. I am interested in how this reflects the neuroscientific process through which the human brain overwrites a memory each time it has to recall that memory. We are all in loops of our own design, rewriting and reinscribing our own systems and memories. The image and prompt pairs were projected in the installation, appearing when triggered by an Arduino-controlled infrared sensor that also distorted the generated imagery. I composed a soundscape and written narrative as part of the installation as well.

This piece includes a companion website to installation: ai image generator prompt generator, http://tarayoungborg.com/ai_image_generator_prompt_generator/

In this piece I created a reference to water, memory, and glitch that is rooted in my personal experiences, but distorted and glitched through the process of recollection. This installation consisted of three floor pieces- plexiglass bodies of water enmeshed in wooden coastlines. The plexiglass reflected light and moving images around the room from the projected imagery that consists of a program written to glitch and pixelate videos of water from various coastal locations. Accompanying the sculptures and code is an audio piece that includes a narrative I have written about water and my memory.