28 of necessity to move with it. This is what we were looking to work with. Carmit: You are both artistphotographers whose trained eyes capture reality with great sensitivity. How did you form a connection with artificial intelligence which relies on vast amounts of data and on data analysis, comparison, averaging, or the intersection between them? This is exactly the opposite of the human eye, especially photographers' eyes which are accustomed to relying on what is visible, what exists and is real. Shirley and Tal: The photographic medium today is undergoing a radical change due to the development of artificial intelligence. As photographers, we are aware of the historical timeline in which we function. Since the dawn of photography, central questions have been asked about the medium itself and the technology it's based on. In a sense, artificial intelligence is the opposite of the photographic paradigm, yet it also complements it. AI is created through the reduction of "noise" layers and, therefore, one could say it poses a fascinating contrast to traditional photography which, in its classical form, is thought of as representing a sliver of reality. There is a paradigmatic shift in how we perceive what a photographic image is and in how it guides us to rethink the relationship between image and reality in an exhibition that echoes the very architectural space that envelopes it. While classical photography represents first person reality – meaning, what is seen and captured by the human eye – an AI creation offers representations that are once or twice removed from reality. It doesn't aim to reflect what's in front of us but rather produces images that are data-based interpretations influenced by information processing. We see this as a moment that challenges the way we perceive the relationship between image and reality as well as posing new questions about what is the ”real” essence of photography. Carmit: What's unique about your practice in this exhibition is your laborintensive, material-based studio practice - a practice that takes time and manual work, like cutting, tearing, collating, connecting, combining, and attaching elements together. The result of it can be seen here in the gallery as the next phase: photographing the constructed pieces in the studio that were initially made from photographs taken in the gallery. The viewing experience might be somewhat confusing - as I'm not sure one can understand exactly what they're seeing - and that's what's so interesting about it. Was this your intention?
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