And thank you Arvida for making this incredible show and inviting me here to speak about it with you. Thank you for coming. So, from what I understood, you have received a little bit of information, at least specifically about the project in the clouds and this hologram that you're looking at at least right now. And the fact that Arvita plays with artificial intelligence and this nudifying app. And something, a theme that comes up, but also sometimes a reaction that you've had from people, and specifically one of the reactions out of the project was anger at finding out that the images weren't real. And so I want to just start by talking about what this funny boundary we have around desire and particularly pornography, which is inherently artificial and simulated and composed, and yet there is an expectation for some degree of authenticity. And I think you play with that so beautifully in your work, the question of what is authentic, what is artificial. And I was wondering, I guess, with, for example, Biblically Accurate Babe, it also plays off of, you know, a heritage, a long legacy of truth or artifice, and I'm wondering how do you feel like this work and also just this tool mirrors something that was maybe already present in the Bible, in a cultural consciousness, and you've said before, in the way that societies structure and construct and condition expectations and ideas that we think are natural when in fact they are created by humans. So that's a big question but I think you can jump from that from there. I guess to start somewhere it's like as mentioned I do photography and I come from like a photographic practice and I think this is a pretty interesting medium to explore internet with, because photography is now an established medium, but it's fairly new. So not so long ago, say like late 1800s, a lot of the arguments about why photography is an art is the exact arguments that is used about AI. But with that said, when new technology comes into our lives like this, it can still change a lot how we relate to art, and it can change what we think is beautiful and interesting. For example, when it comes to AI, it's very easy to make beautiful imagery. And I mean, something like the nude, it's something that's, especially when it comes to women, and female presenting bodies, it's very stigmatized. It's very artificial, but not artificial in a bad way. I think a lot of femininity is a performance and it's very sexually charged. So nudes and feminine nudity is like very, very charged. I think the interesting thing with something like AI pornography is that all of a sudden it's so much easier to get access to this. and it's so much easier to get access to this. And in one way, I think that can change how we relate to nudity and pornography, and actually, possibly, the most positive outcome, maybe destigmatize it. Because all of a sudden, it's hard to distinguish what is a real nude, say, for example, even though that is already stated, like photography is not a very truthful medium, but still, like, someone can have an intention to send a nude to someone. If this gets spread, they can have, like, people having negative feelings about this. It was really hard to know if this person had the intention to send a nude in the first place because it could be an AI-generated nude. Maybe it won't be so dangerous to get your nude spread on the internet if it gets too flooded with it, basically. Totally. And I know that part of sort of the impulse to use the notifying app was partially following there was a sort of scandal where Taylor Swift the American pop star people had taken images of her and created these deep fake pornographic images and videos of her and as someone who is so public who has so many images available online not only to me at least it seems like not only did you kind of do it before someone else could do it, you also created with it and I think that is also something that's so interesting and when you speak about the evolution of media and medium, AI can be a medium also for experimentation. So I mean in this video at some point you can see that in some of the images the clothing is part of the skin, in other images the body is but the bodies end up being contorted if you which you'll see in the next room and just kind of knowing you for the past couple years I know how much fun also you've had making those images and also questioning what is even attractive or desirable in in sort of the bodies that are being made and produced and sometimes even sort of grotesque or scary ones and I'm excited to see more of that personally, but but I think I think that's an interesting path to take as well. I don't know if you have something you want to add to that. No, but I think this is actually I have really enjoyed this with AI to make the more grotesque bodies because there are things that are culturally seen as beautiful or sexy and this is a sort of aesthetic that I've been very drawn to. Projects I've done before is around things like the selfie. And what I find really interesting with the selfie is that for a long time I have had mainly a female audience. Like you can even see little stats on Instagram. And sure, some of them might be queer women, but a lot of them are probably just straight women. And for quite some time, there was a practice for women to just comment very positive comments on each other's really hot, sort of sexist images. And I think it's interesting that when you give people cameras that they can represent themselves, they still want to represent themselves in... to something that like sort of resonates with maybe not so always positive and empowering past. So like pretty sexist images. And for me, I am very drawn to this like very sexy feminine aesthetic that's not always so, like it's not always empowering. Like it can be a little bit maybe, but at times it's also a bit of a pressure. So, but I don't want to walk away from this aesthetics too much because I'm so intrigued by it and I want to explore the darker and more complex sides of it. And what I have really enjoyed with the AI and the more grotesque bodies is that I can keep some of the things that I find really beautiful with this aesthetics, but make bodies that you can't recreate yourself offline and to see if you can, I don't know, get to the core of that sort of aesthetic or that obsession and what that really is. Totally. I keep doing that. I think that also bridges another major theme of this show which is relating to mythology and relating to mythology and the parallels that we can find between archetypes, women archetypes in mythology like Venus or Aphrodite or Venus, the symbol of the goddess of beauty and desire is in fact born out of testicles that have been, Uranus's testicles that are severed and fall into the sea and come out of the sea foam and it's Venus on the shell. And I think speaking about these expectations or these models that we have that are artificial, in fact, and then putting them in parallel with these contemporary figures such as the sex doll or the AI chatbot, I think you also kind of, you're bending this parallel as well of well what is an actual realistic idea of what a woman's body or what femininity should look like and is it ever actually natural, quote unquote natural, and what even is that? And so I love how you play with the balance between Venus, for example, and the cyborg imagery and kind of revealing that they're actually not that far apart, I think. Yeah, no, I hope it sort of gets to this and I guess it's also fun because the past year we have been a couple years ago I had a Show more only with the sex doll harmony Which is an AI sex doll that I have done some performance with and done some projects with the past Couple years, but also this past year we have been talking a lot and you have also done projects on the theme of and you have also done projects on the theme of motherless figures. So it's been really fun to explore and discuss these topics together. And Aphrodite is also a poem that I don't know if it will be on tonight and if it's going to be loud enough when there's so many people in the room. But there's one poem by Odette who has written a poem about Aphrodite and how she comes through, comes to be through castration. And she's, among other things, but a trans girl so it's sort of also discussing about how she comes to be like this, which I think it's just very cute and beautiful. And then I do a bunch of loose things that pops up into my head right now, but as mentioned before, like Pygmalion and how he sculpts this beautiful sculpture that then comes to life. But the really funny thing is also that Aphrodite blows the life into the sculpture, which I think it's like she I guess she has some soft spot for a woman that comes to be through a man. Sort of sisterly of her in a strange way. Yeah, totally. way. Yeah, totally. The layering also of all of these iterations of the way that you also blow life into these mythologies and ideas is maybe one of the last things I want to touch on if we have time, but about the different materials that you work with and that you guys will see in the show is is really vast and Impressive from 3d printed shells a hall, you know LED holographic fan Video sound pieces that have one of the sound pieces at least has so many layers I mean if you could even just explain a little bit of how many different layers are in that in that sound piece I think it would be really interesting. So I think you can find some of these texts on the postcards. It's actually two different postcards on the back. So yeah, you can take one or if you find the two different ones, that's ideal. And I think it says where all of these texts come from. So it's Anitra among other things and How can I even start this so there's a lot of different themes on like AI women basically so it can be anything from a conversation from the movie her to Some conversations that My or Vita AI had with some of the men that bought artificial nudes. There's also, for example, there was a chatbot called Bing for a while that sort of went a bit crazy and emotionally got very aggressive towards a journalist that was just chatting with this chat bot, which is, of course, it's built on our common language and language that's collected from online and of course there are people that are Sort of emotionally Aggressive towards people. So yeah, it's not so strange that I am Chatbot can take this sort of form and then it's also The text that and nitro wrote which is is, is it, it is on here, right? Oh, it's on the other one. That's called, How Can a Body Be Air? And it's sort of about the words that tech companies use to dematerialize technology and also like sort of a bottom man also like lusting for this for like pornography in a way and like that non-realness and lack of better words and also like the reason the performance was called in the Cloud is to evoke the words that tech companies use to dematerialize their platforms. It's like calling it clouds, and clouds is also like this sort of romantic, yeah, evokes thoughts of romance novels and stuff like this. What time? How? It's over. Huh? Continue right now. I don't know. No. OK. I'm sorry. OK. OK, well, so then just one last thing, maybe, to build off of that, the way the terminology is, the way, so like we said, cloud is like a window, you know, a portal, a hotspot. These are all terms that we use that evoke atmospheres or visuality, transparency, lightness, transcendence. And one of the other aspects of your work and this show that I really appreciate is reminding us of the actual material that goes into creating these images and this media and that this work here is just a perfect example that if you just look at it from the front, it does seem like it's just an image. And then you can look through it and see the metal wires, the fans, the lights, all the material that goes into making it. And I feel like that can echo into the images we see themselves, because these images are actually made out of hundreds and thousands and actually millions of women's bodies, real women's bodies actually. So behind the art behind the artifice there's there is a face, there's many faces in fact, and there's also materials and resources that I feel like you constantly are bringing back into your work as a reminder of not only our own bodies, but also of other bodies, of the materials, and the environment that we're living in. And that is important to me, actually, just personally even. But also I think as a media theorist, it's important to consider the ecosystem of media, theorist, it's important to consider the ecosystem of media, not only the way the images affect us, but also reciprocally how we're affecting the products. So thank you for doing that. Thank you. Thank you, everyone, for coming.