Ibiye Camp, 2020
5’58” 

Behind Shirley deconstructs and rethinks the colonial narratives in the development of facial recognition systems, exploring how darker skin was not taken into account in film chemistry and is now ignored in facial-recognition software.

In photography, ‘Shirley cards’ were used as a standardised reference for colour-balancing skin tones. These cards generally showed a single Caucasian woman dressed in bright clothes, and coloured square blocks of blue, green and red. The chemicals distorted tones of red, yellow and brown, which led to faults when photographing darker skin. Film was not improved until furniture and chocolate makers began complaining that it was unable to capture the difference in wood grains and chocolate types. The default towards lighter skin in technology is still present today, with facial recognition occasionally not registering people of colour. 

The algorithmic bias that exists in digital-imaging technology is due to human biases. When trying to make artificial intelligence, we inevitably recreate human intelligence. AI finds patterns from within pools of data, reflecting our own behaviour and often exacerbating its negative aspects. Empathy has a growing importance in artificial intelligence, datasets and algorithms, fields whose inherent perspectives require further interrogation.  

Hammam

Hammam

Cura

Cura

Dark Origins

Dark Origins

Stream of Consciousness / The Caves of Hasankeyf

Stream of Consciousness / The Caves of Hasankeyf

Robocaliptic Manifesto: techno-politics for liberation

Robocaliptic Manifesto: techno-politics for liberation

Behind Shirley

Behind Shirley

Party on the CAPS

Party on the CAPS

Undercurrent

Undercurrent

Jean-Michel Basquiat Look At Me!

Jean-Michel Basquiat Look At Me!

The exhibition “Look At Me! Portraits and Other Fictions from the ”la Caixa” Contemporary Art Collection” examined portraiture, one of the oldest artistic genres, through a significant number of works of our times. Paintings, photographs, sculptures and videos shaped a labyrinth of gazes that invite spectators to reflect themselves in the social mirror of portraits.

The Golden Horn

The Golden Horn

When regarding the paintings of Istanbul by western painters, Golden Horn has a distinctive place and value. This body of water that separates the Topkapı Palace and the Historical Peninsula, in which monumental edifices are located, from Galata, where westerners and foreign embassies dwell, is as though an interpenetrating boundary.

Midnight Stories: Hotel of Retro Dreams <br> Doğu Yücel

Midnight Stories: Hotel of Retro Dreams
Doğu Yücel

He didn’t expect this from me. And I hadn’t expected that we would decide to get married that day, at that moment. Everything happened all of a sudden, but exactly like it was supposed to happen in our day. We thought of the idea of marriage simultaneously, we smiled simultaneously, blinking and opening our eyes in unison.