me, kdg
Kim de Groot is a design researcher with an MA in new media. She is part of the lectoraat Communication in a digital age and teaches new media at the Willem de Kooning academy Kim's research deals with the inverted relation between image and reality. Moving from representation to the performative, from the visual to the infrastructural, images are no longer created to represent a reality but to manage it. Kim examines images as informational objects and traces the relations between image, event and media.


Image Evolution Caroussel

This is an experiment with making moving object out of the 3D sculptures that represent the evolution of the image, going from a flat plane to a collection of loose modules.



design utrecht manifest by Metahaven

The overload of thumbnails on the iPhone's interface is not images, it is all applications (apps). Apple claims there is "Apps for Everything"; Apps for Working Out, Apps for Around the House, Apps for Going Out, Apps for Managing Money, Apps for Cooks, Apps for Keeping Current, Apps for the Great Outdoors, Apps for Music, Apps for Students, Apps for Mom and Dads, Apps for Work, Apps for Fun and Games, Apps for Traveling. For now this is where the 'Apps for Everything' range ends although I guess that within a month another segment of life will be ‘apped’ and interfaced.


JVE yearbook 2009

My Image Map research in the JVE yearbookMy Image Map research in the JVE yearbook


from outer space, an exhibition by VLF

This is an excerpt of a text I wrote for the exhibition catalogue of VLF a collective of 3 french designers and my exchange students of the Willem de Kooning academy, click here to read the full article

tool image
In the work of VLF a virtual world of data and tools meets the visual and especially perspective. Being inspired by cubism they try to further develop the concept of (multi) dimensionality by using software, a digital tool. Four to five dimensional objects or hypercubes, linedrawings and images of virtual perspectives in the form of paint are the result. All start from one concept; materializing a virtual perspective, that of the tool.
What you are looking at in VLF's work is the tool. The tool at work but also designers challenging a tool and finally designing tool images. A tool image is an image that integrates a tool's characteristics and potentials as well as the aesthetic of the tool. It shows how it is being produced. The question is, can the drawings be re-produced, can the hypercubes and its virtual dimensions that are produced by the software, really exist as an object?
VLF manages to do this by painting 'impossible perspective' on top of the existing faces of a possible cube. In that way the virtuality of the tool and of an impossible shape is actualized through its materialization in paint.


The materialization of the digital double of the artwork

I’m examining the relations of the museum with its collection, more specifically focusing on the potential of the digital double for the museum as a unique variant of the original.*1 Studying the digital management of the artwork, I aim to find the museum collection’s potential doubles or even multiple other.

The fact that the artwork is a different image in the context of the museum shop, the museum’s website or in the process of restoration, interests me. These contexts produce different property relations between the museum, the collection, the artwork and its image. Embedded within these relations are multiple representations of an original artwork. One could say, these relations produce an applied and desired image of the artwork. How can these images start to level with the collection's original?


The camera that portrays itself

As a follow up on the annotation caps that pre-divide your images, I have designed a cap as a mirror. Taking pictures with this mirror cap would introduce the image of the lens in the image. This work questions the presence of the camera in the image event.


reconfiguring the camera lense

With designing mounting devices for camera lenses I try to reflect on the transformation of the image as a modular and preprogrammed visual object and speculate on how it could affect the tool, a camera in this case.

Instead of annotating the image in a separate web-based context I’m integrating the annotation process into the technique of the camera. In that way, the annotation process returns as a visual gesture within the image. I have designed (conceptual) annotation caps which should be attached to the lens.
The annotation caps also reflect on the concept of preemption in image production. With phone camera's the photographer is aware of the future context and use of the image. An example is the existing digital camera’s that come with You Tube capturing mode. Shoot, easy upload and share! is the advertising slogan. No more DIY digitizing, resizing or encoding, the camera does it all for you. I have reconfigured the tool in such a way that the distributive contexts are already embedded within the tool.


the tool (in the) image

“Reimagining the camera” is one project in which I will trace the camera as ‘the tool in the image’. My two main questions are: How do different technologies such as web-applications and weblogs transform the role of the camera in the image event? Can the camera be reconfigured on the basis of the networked image? youtubecamera

To reimagine the camera allows me to work on the dualistic relation of tool and image. It enables me to move between the transformation of the image through tools and the reconfiguration of the tool departing from the new image.
I will compare images on the level of camera functionality, presence and general usage. Starting with classic photography such as press photo’s in which the presence of the camera and the recording of the image is hidden or invisible. Moving to camera phone imagery in which the camera plays a central role in the image event. Think of happy slapping images in which the presence of a (mobile phone) camera and its future networked live on You Tube is part of the violent act against a person. What is the significance of the camera being part of the image? How does it change the relation between the photographed subject and photographer?


reconfiguration of the painting

For this project I’m working with a painting by El Lissitzky. On the basis of digital footage of the gaps in the painting, I am reconstructing it according to different methods. All methods are based on the reconfiguration of the painting from the perspective of the digital networked image. The visual decay of the painting could be interpreted as metadata. In visualizing the change of the painting through time I try to show its possible evolution as an 'original'. What multiple images are part of a painting?


Image relations: Figure & Medium

The figure/medium relation in the image is a topic I have started to work with in the context of a collaborative .imp project called: The Noise Margin, at the van Abbe museum, Eindhoven. “The image of the medium” is my working title for a project on the decay and restoration of images.
Lissitzky animationLissitzky animation, a reconstruction based on the colors of the gaps in the painting. This way the painting itself becomes an image of its decay

When restoring a painting the restorer is constantly managing a noise margin between figure and medium in which the figure gets priority. In a sense through restoration the figure cannot become something else since the medium is constantly being updated by the restorer. While the decay of the medium could potentially lead to its transformation into another object or multiple images. I’m interested in how a disappearing object, the medium, claims visuality. It could be an image…


Imaginary Property INTERVENTIONS

Guest: Sylvère Lotringer

Sylvère Lotringer will be the guest for Intervention #5: Born 1938 in Paris; editor of Semiotext(e), he is professor of French Philosophy at Columbia University in New York and Jean Baudrillard Professor at EGS in Switzerland. He is credited for introducing "French Theory" in America. He has published catalogue essays for the Guggenheim, the Moma, the New Museum, the Musee du Jeu de Paume, Modern Kunst in Vienna, etc. and edited dozens of magazines and books.


Imaginary Property INTERVENTIONS

On Bakhtin: Symposium with Arianna Bove, Maurizio Lazzarato, Angela Melitopoulos

Maurizio LazzaratoMaurizio Lazzarato

Intervention #3 will be centered around some of the theories of the Russian philosopher Mikhail Bakhtin. The "imaginary property" research group invites to a small symposium on May 16th featuring three guests and a screening: After "Passing Drama" a film by Angela Melitopoulos, Arianna Bove, Maurizio Lazzarato, and Angela Melitopoulos will give presentations that are linked up with Bakhtins radical reconceptualization of the relation between self and other. Bakhtin suggests an event-like relation between “possible worlds”. The other is neither an object nor a subject; it is the expression of possible worlds.


Imaginary Property INTERVENTIONS

Guest: Eyal Sivan on "The common archive"

Eyal SivanEyal Sivan
Intervention #2 has been delivered by filmmaker Eyal Sivan. He presents "Towards a common archives: Manipulating the enemies images". Eyal Sivan is a London based filmmaker, producer, essayist and research professor in media production at the school of social sciences, media and cultural studies at the University of East London (UEL). Sivan directed more then 10 worldwide awarded feature-length political documentaries and produced many others.


Imaginary Property INTERVENTIONS

Guest: Ted Byfield

ByfieldTed Byfield
New York based media theorist Ted Byfield will be the first guest in Interventions, a new series of events hosted by the imaginary property (.imp) research group at Jan van Eyck Academie Maastricht. Ted Byfield is a professor at Parsons the New School for Design and visiting fellow at Yale Law School (Information Society project). In his intervention he will be reflecting on methods and practices that make up (im)material architectures.


Image Map

Startingpoint for the Image Map research is the Add note feature of photo-sharing application Flickr and image recognition software. The remarkable transformation going on here is the introduction of the image metadata as a visual layer on top of the original digital image, a painting in this case.

Image Map diagram +Image Map diagram +

The image with notes turns into a kind of map, a diagrammatic collection of notes linked to the image; an abstract image. A map of comments but at the same time a map of relations between people, images and camera’s. They map out the network of this particular image, they are organograms, visualizing the organization of the internal image architecture of data as well as social relations of Flickr users through images which the image as data repository is collecting. Both the original data + metadata are in fact in one interface: the image itself.


Image Evolution Diagrams

Image evolutions: from image plane to modules, to globes

Image Evolutions DiagramImage Evolutions Diagram

My object of study is the production and distribution of different kinds of digital networked images in and by networks. Central to this research is the exchange between the visual and the infrastructural. One of my main questions is, whether the structural and organisational role of images in digital networks has become more important than the visual representation of images?
Through making diagrams I try to include both the findings of my research as well as to speculate on the current status of the (digital/networked) image. For my case studies, the Image Map & Modular image, i'm interested in the way the image body is disintegrating, moving from surface or plane to modules and globes.


To walk around an image

The method I’m using for my visual research is to develop concepts in Sketchup, a 3D modeling software. The most interesting and inspiring aspect of the software is that it allows me to walk around an image. collection of notes detached from image planecollection of notes detached from image plane

playing with notes on the Flickr imageplaying with notes on the Flickr imageIn many ways it opens up the potential of the image. For example, turning the image in SketchUp into an architectural model, allows me to work with the archival potentials of the digital image.

In translating the notations added to the image (its metadata) into an 3D model, the status of the original image (the painting) is challenged.
SketchUp enabled me to manipulate the Image as Map of interconnected Note objects. A question is how the 3D models in SketchUp could represent the internal networks of the image at the same time to allow for a rescripting of relations and protocols of the Flickr image?
Does the Image as Map allow for a protocological development of this particular image?


Case study: Flickr 'add note' feature

One of the questions of my research for Imaginary Property is: What are the production mechanisms of digital images that are being produced today? On the basis of various case studies, I'm trying to map out image production mechanisms through the images that result from these mechanisms. Flickr Add note feature

At this moment my case study is the Add Note feature of Flickr concerning the Flickr image production. I'm wondering how much the deconstruction of existing image production mechanisms will allow for the design of an alternative model of production?


Workshop at Montevideo

Territorial In/-/formation

This saturday, March 18, I will join a workshop by Linda Hilfling at Montevideo, Amsterdam.

This workshop examines the performative gaps in between laws and their structure of participation in offline as well as online territories. A number of casestudies and artistic projects will serve as the starting point for a discussion of the different, yet interacting materialities of territorial information.
Physical spaces as well as information architectures are being explored: From the art of misspelling as an intervention into the corrective info regimes of search engines, to a house on wheels as a circumvention of building regulations or the extra-territorial paradox of virtual embassies. Following these examples, the participants are encouraged to work individually or in groups developing their own interventions or strategies for mapping out territorial in/-/formation.


Monitoring image

Digital image devices, such as camera phones and digital camera’s, with a connection to various networks and being an ever present eye on the world, instigate a performative role of the image; monitoring. The eye of the interconnected camera does not just capture, it observes, evaluates and sometimes predicts.

The resulting imagery is inextricably connected to its productive technology, many times performing preprogrammed network protocols. A camera phone image of her dog’s poop in the metro configures the future of a Korean girl at the moment the image is being recorded and instantly uploaded to the web. Networked images allow for the management of power relations inscribed to it by software. This ‘image utilitarianism’ is a result of the social productivity stimulated by web-applications as well as by the easy access to recording devices. The combination of these tools makes imagination applicable, directly linked to implementation.

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