The body ego, as Freud said, that is, the most primitive and physical and organic ego.
It becomes clear that the violent conceptual explosions that have recently taken place were decisively influenced the re-definition of body images, of body perceptions.
Fifty years ago, the Francis Bacon thought, aimed to restore the body “to a kind of dignified, animal resignation”. For him, art was about ribs and forearms and eye sockets. "It was about flesh over bone. Bacon never forgets that flesh is meat".
In my case, the bone become excessory, the flesh becomes inflesh, an inorganic re-definition. The purveyor of inflesh of all kinds, as an inflection, of livid and brilliant hues: phthalo greens, cobalt blue, eerie pale or saturate red and shocking yellows, sepulchral titanium whites, black ivory and ritually primitive lines. The excessories of my artworks, steel and fiberglass erection, conjure unlikely anatomies and intelligent devices (nanotech, A.I.).
My artistic approach and acclaim the spectacular extremes of bodily manipulation by new technologies, the deconstruction of corporality(Derrida) and evaporation of the body into virtual(Deleuze), moving towards to a new aesthetics, butchering of the ideal body as a gift from nature. These departures first liberated the body from societal codification, aesthetics delimitation and the “prison of Godlike embodiment”.
This new technology allows artists to use those powerful tools to emphases the new process of creation, in my case from fine arts to the inorganic and augmented humanity. As the top university of the world warn us, the Artificial Intelligence A.I. will impact all segments of daily life by 2025 with huge implications. I speculate that a new political, social and cultural order will be instituted by these rationalizations and modeling technologies, structured by digital virtualization machines or devices, which will begin to take form at the threshold of an ephemeral age of the senses as in "working with contemporary demons".
Until this very moment, my research leads to Body Shape unsupervised recognition that does not require the prior knowledge of class membership (Hartigan). This approach develops algorithms that construct classes as the analyzed forms are considered [*]. They are called grouping algorithms or clustering – a machine learning technique. Machine learning ML uses a type technique named unsupervised learning, which finds hidden patterns or intrinsic structures in input data. Choosing the right algorithm can seem overwhelming – there are dozens unsupervised machine learning algorithms, and each takes a different approach to learning – for instant I called them PHIDIAS and VENUS algorithms.
[*] THE UNCONSCIOUS OF THE HUMAN BODY
Dictated by its finality and its expression (a working process), the origins of movements and forms I did not conceive them totally beforehand, but by experimenting them physically. What is experimenting, “trying”? Arrive at a coordinating point such that the energy goes through naturally. These are flows of motion rather than shapes and figures. By “trying” a sequence of movements and verifying that the energy passes, I find myself in front of multiple possibilities of other movements (abstractions, enhancing AI algorithms). Then I “try” again and choose, and so on, creating a flow of energy.
This flow builds the body movements by transforming every conscious sense into an abstraction emerging from the unconscious of the body, from the communication and osmosis between unconscious. When it comes to the body movement, its choreo/ graphy "ecriture au corps" becomes abstraction and translates the embodied meanings into intensive paths, while evolving them in motion
"I will go to the thread of Ariadne (Greek: Ἀριάδνη), and I am following your traces as a contemporary "Inorganic" art sculptor. I mean inside the human body. You shiver me, Mr. Liber (I know you like aesthetic shivering, what would you do without it?) with your invasive style in the human body structure. You strongly enter - as a surgeon in and dissect, divide with the aesthetic scalpel meat pieces, human skeleton parts and you place them cynically on a metal/ technological support, replacing life, blood, nerves, and veins with the cold skeleton of industrial matter. Basically, you drain the life and replace it with something that brings a very life. I do not know whether you intend to draw the signal on the decay of life, the process of decomposition of the livelihood or even of the overlapping of the nourishment on death, of the interlocking of the three faces of the whole: life-death-hybridization. I really do not know! But your works become finally anatomical. Do you know what saves them from Cut, Paste, and noLife?! - You play, you assassinate, you cut, you drain the life from the biological body and then mimic it, endowing the anatomical material with the pictorial blood, in a very "lively" great object-painting, transforming it into an inorganic study sequel, into a contemporary aesthetic object. " by Lucia BIBART, BA and former Curator/ Impresario of the "Ioan Slavici" Classic Theater - Cultural Center of Arad County; actually President of the Romanian Writers' League - Arad Branch, Transylvania.