“Learning to See: Gloomy SUnday” by Memo Atken (2018)

 

“A deep neural network making predictions on live camera input, trying to make sense of what it sees, in context of what it’s seen before. It can see only what it already knows, just like us.

“(not ‘style transfer’!)

“memo.tv/learning-to-see-you-are-what-you-see/

“Music: Diamanda Galas – ‘Gloomy Sunday’

“code based on (but more evolved version of)
github.com/memo/webcam-pix2pix-tensorflow

“model (ie training + inference) based on
github.com/affinelayer/pix2pix-tensorflow

“In turn based on
phillipi.github.io/pix2pix/
arxiv.org/abs/1611.07004

“In turn based on
arxiv.org/abs/1406.2661

“and
github.com/Newmu/dcgan_code
arxiv.org/abs/1511.06434

“In turn based on
github.com/goodfeli/adversarial
arxiv.org/abs/1406.2661

“In turn based on
people.idsia.ch/~juergen/deep-learning-overview.html

nobody-but-yourself

A poet is somebody who feels, and who expresses his feelings through words.

This may sound easy. It isn’t.

A lot of people think or believe or know they feel — but that’s thinking or believing or knowing; not feeling. And poetry is feeling — not knowing or believing or thinking.

Almost anybody can learn to think or believe or know, but not a single human being can be taught to feel. Why? Because whenever you think or you believe or you know, you’re a lot of other people: but the moment you feel, you’re nobody-but-yourself.

To be nobody-but-yourself — in a world which is doing its best, night and day, to make you everybody else — means to fight the hardest battle which any human being can fight; and never stop fighting.

e.e.cummings

Cinema Is a Mosaic Made of Time

“There are two basic categories of film directors. One consists of those who seek to imitate the world in which they live, the other of those who seek to create their own world. The second category contains the poets of cinema, Bresson, Dovzenko, Mizoguchi, Bergman, Buñuel and Kurosawa, the cinema’s most important names. The work of these film-makers is difficult to distribute: it reflects their inner aspirations, and this always runs counter to public taste. This does not mean that the film-makers don’t want to be understood by their audience. But rather that they themselves try to pick up on and understand the inner feelings of the audience.”

Andrei Tarkovsky