‘The Divine Anomaly’ aims to inquire into emerging aesthetic formation based on computer algorithms, machine learning and artificial intelligence (AI) – both promised a long time ago as a remedy of our shortfalls –, and more specifically the aesthetics of their falls, of what is considered as an error. As a helpless accident, the algorithms’ error could only bring forward its essence, but also could reveal itself as an extra-ordinary, thus an anomaly which has its own potential of emergence and of creation.
To be such an anomaly, the algorithms’ error should reveal itself as a detail, strongly insistent within the ‘great unity’, becoming therefore a factor of its disorder and disequilibrium. Both Egor Kraft’s ‘Content Aware Studies Series’ and Quayola’s ‘Unfinished Sculptures’ revisit artefacts based on the Hellenic ideal of divine beauty that excludes body hair, veins, fine lines; however, by algorithmizing already existing classical sculptures, an accidental transfiguration appears that both artists take as a creation instrument for the appearance of new aesthetic qualities.
On the other hand, Grégory Chatonsky’s artworks ‘Deep Body’ and ‘Organism’ use computer algorithms in order to create new models of organisms and of the human body.
‘The Divine Anomaly’ address new conditions that emerge from the entanglement of the physical – cultural art heritage for some, the human body and living organisms for others – and the virtual – 3D scanning, AI, etc.