In Lend Me Your Face!, a single photo of a participant’s face is enough to animate their simulacrum in a deepfake artificial intelligence video. A neural network takes over their face and animates it to mimic speeches given by selected “driving videos” of public figures. Minutes after the photo is taken, the deepfakes appear on large projections displayed to the public. The participant is confronted with a very personal encounter of how their most intimate and yet public part of the self, the face and the emotions it expresses, can easily be manipulated and placed in contexts out of their control.
在《借借你個樣》中，只需要一張參與者的臉部照片就足以讓他們在一個深度偽造的人工智能影像中被神似模擬；一個神經網路接管了他們的臉並將置入選定的公眾人物影像中，以其臉作出模擬演說。在現場被拍照後的幾分鐘內，深偽影像便會即時播放在裝置的大型投映上，參與者將面臨一個極之個人化的遭遇，就是他們既私密又最公開的自我部分 – 臉孔，以及其所表達的情感，是如何輕易被操縰和置於他們無法控制的環境之中。
https://tamikothiel.com/lendmeyourface/
biography
Tamiko Thiel was awarded the 2018 SAT Montreal Visionary Pioneer Award for her (now) over 35 years of media artworks exploring place, space, the body and cultural identity in political and socially critical artworks. Her first major artwork was as lead product designer on Danny Hillis‘ Connection Machine CM-1/CM-2 (1986/1987), the first commercial artificial intelligence (AI) supercomputer, and in 1989 the fastest computer in the world. It influenced Google’s AI technology and inspired Steve Jobs‘ designs, and are in the collections of MoMA NY and the Smithsonian Institution.
Her first VR was as producer/creative director of Starbright World (1994-1997) with Steven Spielberg, and her own VR artwork Beyond Manzanar (2000) was the first VR artwork collected by a US art museum (San Jose Museum of Art, 2002). She created Land of Cloud (2017) as Google VR Tilt Brush Artist in Residence, and Atmos Sphaerae (2021) for DiMoDA 4.0 curated by Christiane Paul.
Her first augmented reality (AR) art was ARt Critic Face Matrix (2010), in a path-breaking intervention into MoMA NY, followed by Shades of Absence in an intervention into the 2011 Venice Biennale. This led to many invitational AR shows and commissions, including the Whitney Museum NY commissioned Unexpected Growth (2018, with /p), now in the collection, and in November 2021 ReWildAR for FUTURES, the 175th anniversary exhibit of the Smithsonian.
https://tamikothiel.com
/p is a German media artist with a degree in Computer Science. He has been working on web-based projects and virtual reality since 1994. Since the Whitney Museum commission for Unexpected Growth in 2018 he has been collaborating on media artworks with Tamiko Thiel.
In 2020 they created the AI deepfake art installation Lend Me Your Face! together. In 2021 The Photographer’s Gallery London commissioned the online net art version Lend Me Your Face: Go Fake Yourself!
https://www.mission-base.com/
現時有超過35年媒體創作歷史的蒂勒‧多美子獲得2018年的SAT蒙特利爾先鋒藝術家大奬，她的作品探索空間、地方、身體與文化身份以及批判社會命題。她的首個大型藝術作品是在1986/87年作為 Danny Hillis的《Connecting Machine CM-1/CM-2》項目中作為首席設計師，作品是為第一台商業人工智能超電腦，也在1989年成為世界上最快的電腦。它影響了谷歌的人工智能科技以及啓發了喬布斯的設計，被美國MoMA及史密森學會作收藏。
她的首部VR作品是以監製及創意總監身份參與的《Starbright World》 (1994-1997)，與Steven Spielberg合作，而她個人的VR藝術作品則是《Beyond Manzanar》(2000)是第一部美國藝術館 (聖荷西藝術博物館)收藏的VR作品。她隨後也為Google VR Tilt Brush Artist in Residence項目創作了《Land of Cloud》 (2021)，以及由Christiane Paul策展的DiMoDA4.0展覽中的《Atmos Sphaerae》 (2021)。
她的首件擴張實景(AR)藝術品是2010年的《Art Critic Face Matrix》，展於美國MoMA，介入傳統導向，後以《Shades of Absence》同性質地展於2011年威尼斯雙年展。這引發許多後來的AR邀展及委託，包括與/p在2018年合作在美國Whitney Museum的《Unexpected Growth》，現為館之藏品，及後即將在2021年11月在Smitsonian175周年展的《ReWildAR for FUTURES》。
https://tamikothiel.com
/p是一位德國藝術家，擁有計算機科學學位，自1994年開始一直從事於網絡有關的項目及虛擬實境作品。自2018年與蒂勒‧多美子合作受美國Whitney Museum的委託作品《Unexpected Growth》以來，他們就一直合作創作媒體藝術作品。
2020年他們合作創作人工智能深偽影像藝術裝置《借借你個樣》，2021則受倫敦攝影師畫廊委託線上藝術版本《借借你個樣：去假扮你自己！》。
https://www.mission-base.com/
