Audiovisual piece in collaboration with Louis Carnell (FKA Visionist), titled “Fixed is the day We´ve cast our lot” (audio from song under the same title, Mute records, 2021).

This video work is produced entirely in CGI, structured in three acts.  The rythm of the piece is tied through the visual remains of an AI, which reconstructs and interpolates each frame progression, analogue to predictive behavior in consumer oriented platforms. The first two parts develop like a working day would, starting early in the morning. The sun entering the room replicates the sensation all kids we had in Spain when the summer came, whe we could feel the heat of the sunlight entering the class and calling us to the outside. Finally, we see Visionist claiming an individual representation amongst unpersonal data.  An exercise of reclaiming our self image from abstract, anonymous profiling, user information, and generic categorizations of personality.
Here, I propose a visual grammar in a post Trump/Brexit moment. It imagines a visual vocabulary of unity and ideological coexistance in consumer media platforms, where our ideological positions (and our antagonists) are widely formed. Our ways of participating in society are largely discussed here (social media, news, TV) and, in social media, they are formed to a certain degree without user control due to the algorith that feeds content based on our taste, expectation and individual bias. This personalized input of information may create a distorted and caricaturistic experience of the world, terminating in the "filter bubble": intelectual isolation and communication only with those who agree with us. We seek an use of these plaforms based in dialogue, acceptance and understanding of everything that is "the other" to us.
Recently, artificial inteligence and cgi have shown how easily moving images can be manipulated (video with Obama, Trump, swapping actors in movies, putting your face in a Britney Spears video, ...), raising doubts of what is staged (engineered to appear as natural to our perceptual process, hiding its original intention, manipulating) and what can we trust from what is offered in media, if that is possible. Again, we come to the question of an interpretation of the world that has high chances of being created to generate an specific response on us, to takeadvantage of our predictible emotional responses. This can turn specially dangerous when it´s our future what depends on said emotional responses. 
Finally, one can argue that we have become a sort of duality as social media user: a consumer- worker. On one hand, we receive tailored content according to our exact individual interests. On the other, we are a source of revenue for the platforms with our usage, data and consumer activity. Again, we could question the true nature of consumer media if what we see serves a purpose that doesn´t belong to us: we operate in rented spaces





















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