Fakewhale STUDIO: “GENERATIVE ITEMS”, BOOK PRESENTATION
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We are pleased to announce the latest release from Fakewhale Studio, published by PRNTD, titled "GENERATIVE ITEMS." This project brings together the work of fifteen artists, including Camille Rouzaud, Christian Holze, Emmanuel Van Der Auwera, Erris Huigens, Huber Huber, Jorge Isla, Léo Fourdrinier, Lolo & Sosaku, Manor Grunewald, Manuel Fois, Mathias Pöschl, Mit Borrás, Oliver Hull, Patrick Bérubé, and Sasha Sime and Fakewhale STUDIO.
In "GENERATIVE ITEMS," we explore the evolving dialogue between digital photography and generative artificial intelligence, opening new aesthetic and conceptual frontiers. Each artist contributed 5-6 photographs from their personal body of work, which were then processed by an algorithm designed to generate outputs inspired by the visual styles of the original pieces. This algorithm interprets each artist's unique style in a guided manner, creating a bridge between human creativity and computational interpretation.
At the heart of our initiative lies not just AI’s capacity to generate new photographic works inspired by diverse artistic styles, but the creative dialogue that emerges between human thought and algorithmic processing. In developing GENERATIVE ITEMS, we have embraced a process of learning and transformation that does not strive to replace traditional artistry but introduces an aesthetic variation that fuses the artist’s vision with the power of computational mechanics. The resulting images embody a reciprocal exchange—a kind of “third space” that challenges conventional distinctions between the natural and the artificial, between creation and reproduction, and between original work and generated output.
Baxter and Fakewhale Studio: Synergy between Digital Art and Design in the 2024 Mood Book
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The collaboration between Baxter and Fakewhale Studio represents a perfect balance of design, digital art, and technological innovation, culminating in the release of the 2024 Mood Book, a limited-edition catalog.
This project goes beyond a simple catalog, presenting itself as a complex work of art that blends photography, technology, and design, creating a unique visual narrative for each Baxter product. Every chapter is enriched with carefully curated images, the result of cutting-edge experimental and digital photographic techniques.
Fakewhale Studio contributes to the project with the piece “Untitled #53,” a digital artwork that reflects the integration of artificial intelligence in the creative process.
Through algorithmic analysis of reference images, combined with generative synthesis, the piece explores new formal configurations while maintaining a constant dialogue with the original visual models. The result is an object that challenges conventional categories, combining contrasting materials like reflective panels and farics, and marked by structural complexity that questions the balance between aesthetics and functionality.
As Baxter highlights, “each recipient of the book also receives a digital certificate of authenticity created by FW Studio, inspired by the theme of reflection: a digital sculpture that explores the boundaries between reality and dream, and that, starting from the quote engraved on the elastic band that seals the volume, seeks to enclose the mystery and beauty of what you hold in your hands.” This certificate becomes not only a digital extension of the artwork but also a symbol of Baxter’s continued commitment to innovation and to surprising its audience.
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Fakewhale Studio: Generative Constructions
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Building is an act that goes far beyond the mere assembly of parts. Derived from the Latin “construĕre,” meaning “to put together” and “to build,” the term itself embodies a fundamental idea: the creation of a new, ordered, and functional entity. In a world where the concept of building applies not only to physical structures but also to ideas, relationships, and social frameworks, understanding the true essence of building allows us to see the process as an art, governed by precise and intentional plans, that brings order to what was once chaos.
The notion of structure is intimately linked to that of building. In the field of architecture, for example, structure represents the “system” that supports the entire building, an organized arrangement of elements that ensures solidity, stability, and functionality. More broadly, the concept of structure can be applied to any domain where there is an ordered set of components working together toward a common goal (ranging from biology to linguistics, to logic and mathematics).
Structure, therefore, is not merely the physical arrangement of elements but the functional interaction between them. This interrelation defines the system’s emergent properties—those characteristics that cannot be reduced to the simple sum of the parts. It is through structure that building comes to life and acquires meaning.
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Fakewhale STUDIO: A New Imaginary
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Every work, every action, and every word we express are the products of accumulated knowledge and past experiences. This seemingly simple principle reveals a fundamental truth: nothing we consider new is truly devoid of roots in the past. Every idea, every concept, every creative form that emerges is the result of a complex interaction between what we already know and what we are able to synthesize from this knowledge.
Analyzing this phenomenon in more rational terms, we can observe that innovation is not an isolated act but rather a process of evolution. Every new creation is intrinsically linked to existing patterns, models, and structures. These preexisting elements form a sort of matrix that conditions and guides our ability to create something new. Therefore, there is no real discontinuity between the past and the present; instead, there is a continuity that manifests through the transformation and adaptation of existing knowledge.
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FAKEWHALE STUDIO: Inside the Generative Productions
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Since the latest update, FAKEWHALE STUDIO continues its research into the vast potential of generative images and their profound impact on artistic production. In his seminal essay “The Work of Art in the Age of Mechanical Reproduction,” Walter Benjamin discusses how technological advancements, such as photography and cinema, have transformed the aura and authenticity of artworks. His insights are incredibly relevant today, where the concept of originality in producing a visual image related to a given reality is once again challenged by generative technologies.
Benjamin observes that “what withers in the age of mechanical reproduction is the aura of the work of art” (Benjamin, 1936). With the advent of mechanical reproduction, the authenticity of the artwork is lost as it is separated from its original historical and cultural context, yet it assumes a new kind of originality inherent in the derived multiple. This phenomenon is similarly observable in generative images created by artificial intelligence, where reproduction not only copies but also transforms and reinterprets reality.
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Fakewhale presents: Fakewhale STUDIO
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We are pleased to present FAKEWHALE STUDIO, a research platform committed to the scholarly exploration of artificial intelligence in contemporary art.
Throughout the 20th century, Marshall McLuhan’s theories on the technological extensions of man and the understanding of media as extensions of human capabilities remarkably anticipated many of the changes in the perception and interaction with art and media.
In 2024, decades later, we witness the emergence of an unprecedented phenomenon in the field of digital imagery. Similar to how McLuhan predicted technologies would expand our communicative abilities, generative artificial intelligence now extends our capabilities in image production, allowing us to explore new aesthetic and conceptual frontiers.
With the advent of tools like Midjourney, DALL-E, and other generative models that utilize AI to create detailed images from simple prompts, a turning point in the history of photography is marked. The ability of these technologies to generate images not only opens new possibilities for the role of the artist but also redefines the very essence of the artwork, narrowing the gap between human creation and algorithmic generation.Throughout the 20th century, Marshall McLuhan’s theories on the technological extensions of man and the understanding of media as extensions of human capabilities remarkably anticipated many of the changes in the perception and interaction with art and media.
In 2024, decades later, we witness the emergence of an unprecedented phenomenon in the field of digital imagery. Similar to how McLuhan predicted technologies would expand our communicative abilities, generative artificial intelligence now extends our capabilities in image production, allowing us to explore new aesthetic and conceptual frontiers.
A concrete example of this change is already taking place in industrial design, where automatic customization from defined models leads design to explore new aesthetic variants. In this process, AI can dynamically generate images based on the context of visualization or the progressive corrections of the prompt creator.
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