How machine and computer vision produces contemporary images. Although often considered to be a fault or a glitch in the system, the event of hallucination is central to the models of image production generated by artificial intelligence (AI). Through mining the latent space of computer vision, Trevor Paglen's series
Adversarially Evolved Hallucinations (2017-ongoing) reveals this phantasmal and hallucinatory domain. In the conversation included in this volume, he discusses how we can think from within these opaque structures and, in turn, questions the frequently inflated claims made on behalf of automated image-production systems. In an accompanying essay, Anthony Downey explores the uncanny realm of algorithmically induced images and proposes that AI, through its generative modeling of the world, invariably estranges us from the present and the future.
Trevor Paglen is a multidisciplinary artist known for blending image-making, sculpture, journalism, and engineering into his work. His art, which explores themes like state secrecy and artificial intelligence, has been exhibited globally, including at the Smithsonian Museum of American Art and the Barbican Centre. Notably, Paglen launched an artwork into orbit and contributed to the Oscar-winning film
Citizenfour. He has also created public art for Fukushima's exclusion zone. An acclaimed author, Paglen's contributions to investigative journalism and art have been recognized with awards like the Electronic Frontier Foundation's Pioneer Award and the MacArthur Fellowship. He holds degrees from UC Berkeley and the Art Institute of Chicago, underscoring his diverse expertise across art, geography, and technology.
Anthony Downey is Professor of Visual Culture in the Middle East and North Africa (Birmingham City University) and the series editor for Research/Practice (2019-ongoing). He sits on the editorial boards of
Third Text,
Digital War, and
Memory, Mind & Media, respectively. Recent and forthcoming publications include
Decolonising Vision: Algorithmic Anxieties and the Future of Warfare (2025); F
alling Forward: Khalil Rabah--Works, 1995-2025 (2023), and
Shona Illingworth: Topologies of Air (2022). Downey is the recipient of a series of Arts and Humanities Research Council (AHRC) awards, including a four-year multidisciplinary project that focuses on cultural practice and educational provision for children with disabilities in Lebanon, the Occupied Palestinian Territories, and Jordan (2021-2025).
特雷弗·帕格倫（Trevor Paglen）是一位多學科藝術家，以將影像創作、雕塑、新聞學和工程融入其作品而聞名。他的藝術探索國家機密和人工智慧等主題，並在全球展出，包括美國史密森學會美術館和巴比肯中心。值得注意的是，帕格倫將一件藝術作品送入軌道，並參與了奧斯卡獲獎電影《公民四號》（Citizenfour）的製作。他還為福島的禁區創作了公共藝術。作為一位備受讚譽的作者，帕格倫在調查性新聞和藝術方面的貢獻獲得了電子前沿基金會的先驅獎和麥克阿瑟獎學金等獎項。他擁有加州大學伯克利分校和芝加哥藝術學院的學位，突顯了他在藝術、地理和技術等領域的多元專業知識。
安東尼·道尼（Anthony Downey）是伯明翰城市大學中東和北非視覺文化的教授，也是《研究/實踐》（Research/Practice）系列的編輯（2019年至今）。他擔任《第三文本》（Third Text）、《數位戰爭》（Digital War）和《記憶、心智與媒體》（Memory, Mind & Media）等期刊的編輯委員會成員。近期及即將出版的作品包括《去殖民化視覺：算法焦慮與未來戰爭》（Decolonising Vision: Algorithmic Anxieties and the Future of Warfare，2025年）、《向前墜落：哈利勒·拉巴赫作品集，1995-2025》（Falling Forward: Khalil Rabah--Works, 1995-2025，2023年）以及《肖娜·伊林沃斯：空氣的拓撲》（Shona Illingworth: Topologies of Air，2022年）。道尼獲得了一系列藝術與人文研究委員會（AHRC）的獎項，包括一個為期四年的多學科項目，專注於黎巴嫩、被佔領的巴勒斯坦領土和約旦的殘疾兒童的文化實踐和教育提供（2021-2025年）。
