Veronika Romhany

V E R O N i K A
R O M H á N Y

Multi-layered, overlapping abstractions are at the expense of transparency- and the basic predictive character of the model is to forecast a given sequence of movements based on a given image according to the maximum likelihood (training methods and statistical computation). The prediction of an arrogant smile itself is insignificant and harmless on a base; however, the technology is inherent in its alienating and objectifying function (the learning process itself is a series of multiple reductions, compressions, classifications and separations (I-frame P-frame). From this it is easy to relate back to the flaws in research and engineering to projected/generated bias. The most difficult and at the same time the most important condition is in which context the I2V generative models will be applied. However, at present there is no age limit or any caveat to their use and application, (...)

The problem of Identity
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. If I say thought space, I mean the inevitable limitedness of the world it constructs - I refer also to the void; the missing, the unknown, filtered-out or particularly denied data that is NOT part of the system-of-thought.

Depending on how we want to organize, filter and extract the data we rely on, we create design choices: design choices of our own constructed world that we let other people to discover - always according to our own set of rules.

“ ...limited set of subpopulations can continue to easily add data, sharing their thoughts and developing platforms that are inclusive of their worldviews; this systemic pattern in turn worsens diversity and inclusion within Internet-based communication, creating a feedback loop that lessens the impact of data from underrepresented populations.” Bender, E. M., Gebru, T., McMillan-Major, A., & Mitchell, M. (2021). On the Dangers of Stochastic Parrots: Can Language Models Be Too Big? FAccT'21, 610-623.

WIP Web with actual stream of thoughts and research interests running on the top of a (motion-sampled) digital twin

“This is an approximation of how society, through a filter of average internet garbage, sees me”(Steyerl, 2023)

“...generative tools and their phantasmal and hallucinatory domain” (Paglen, 2024)

no-neutrality

“This is an approximation of how society, through a filter of average internet garbage, sees me”(Steyerl, 2023)

“...limited set of subpopulations can continue to easily add data, sharing their thoughts and developing platforms that are inclusive of their worldviews; this systemic pattern in turn worsens diversity and inclusion within Internet-based communication, creating a feedback loop that lessens the impact of data from underrepresented populations.” Bender, E. M., Gebru, T., McMillan-Major, A., & Mitchell, M. (2021). On the Dangers of Stochastic Parrots: Can Language Models Be Too Big? FAccT'21, 610-623.

E M A I L M E .
P R E V I O U S _ P R O J E C T S

BRIEF///////////////////////////////////////////////////////////////////////////////////////////////////////////////////

Romhány’s artistic practice and research focuses on appropriative methods and unreliable narration to reflect on the complexities of the digital, non-destructive character of the contemporary digital space. She uses deconstructive analysis with a speculative reconstruction in virtual, laboratory environments, focusing on the digitized, automated human/body.

SyleGAN 1-2-3 ; Vidnoz 1 ; PolloAI; KlingAI; Vidnoz 2-3; (2023-24-25)

The often sarcastic, dark-toned works aim to encourage specifically self-critical thinking: critical thinking about technology's procedural and persuasive influence on identity production; let it be either personal or collective knowledge.

She often uses screen recordings of performative software-testing to treat creation as ‘performance’(Please, Do Not Touch, 2018); explanatory videos (Footnote, 2023, and Der Bau: White Heaven, 2020) or interactive narration for deceptive storytelling (Sensing Chamber, 2023 or Denkraum, 2024). She examines how digital tools and interfaces can control interactions and self-expression: our ways to access (and to create new) knowledge in the algorithmic era. These projects –mostly with a dystopic setting– highlight these sociopolitical (and historically colonial, biased) dependencies built into the digital tools.

Moreover, she uses the theme of self-actualization through storytelling as a feminist and critical approach while analysing the limits of ‘sharing and understanding’ in this multidisciplinary context. She follows the argument that while interfaces are becoming more and more personalized, this customization is very often external and therefore controlling(Foster,2022) –and it brings the danger of losing our capabilities of objective judgement and self-positioning by filtering out the ‘less likely’ of our digital perception.

SYNTHETIC SMILE ///////////////////////////

COLLAPSE OF NARRATIVES - GENERATIVE IDENTITIES//////////////////

MOTION - CAPTURE IN CONTESTED DIGITAL HERITAGE////////////////