12 were inaccessible to the eye. A viewer who yields to this shift in perception will gain a depth of experience that will forever change the way they view, or rather inhabit the campus space. In preparation for Generative Crafts, Wegner and Nissim took several photos of campus areas, focusing on particularly dramatic ones such as dark passages and underground spaces. They uncovered key architectural features of the campus, such as floating staircases, bare concrete walls, and vegetation weaving its way on and between the walls. At the next stage, the artists dialogued with the AI model which, as mentioned, cannot ”see” in a physiological sense. In place of human eyesight, AI applies identification processes based on machine learning and training on big data—an incomprehensible super-consciousness supposedly encompassing the total of human experience. Wegner and Nissim uploaded their photos of the campus to the AI model and prompted it to reimagine the photographed architecture. Without going into the prompts in detail, it can be said that the artists’ dialogue with the Migjourney model initiated a process of double interpretation of the space. The artists presented the AI model with their experience of the space, and in response to their prompts they received a reflection of the human experience through the ”eyes” of the machine. The non-human perspective is salient in the video work at the installation's center, which comprises spatial leaps that ignore human limitations. The video links together numerous outlooks inaccessible to a person wandering through the space. But the process did not end there. The ”crafts” element of Generative Crafts indicates that the artists insisted on a direct human touch throughout the creative process, bringing together virtual images and material reality. To this end, they built a physical studio model of a gallery niche, of the kind that eventually was to house the images. The dimensions of the model, made of MDF wood, were exactly those of the real niches. Wegner and Nissim composed fourteen collages of photo segments, fitting each into the wooden model, to be photographed in preparation for the gallery installation. Although the dialogue with the AI model inspired the disrupted images, in the final processing and composition of the collages the artists distanced themselves from the versions created by Midjourney. All the exhibited images are compositions created by the human mind and realized in actual materials such as paper and fabric cuts, before being rephotographed and printed on backlit slides. The artists' insistence
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