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The photographer using AI to reconstruct stories lost to censorship

Video screens quietly glow from the floor, shave snapshots of salt lakes, sore sore, and decomposing nuclear test sites. It was hung above them by a large manual woven tissue map, made by craftsmen in Kazakhstan. TAPESTRY is planning 12 important sites throughout Kazakhstan and the surrounding area, each of which is compatible with one of the fake videos below. This is it Post -Humanity: Map of Return perception No. 3The most recent installation by the photographer and the Magal Magal Mistress artist.

Ferham was recently unveiled! Digital work and mystery in arts in Hamburg, Germany, is part of the continuous Menlibayeva series of “electronic textiles”, which provides a great mixture of crafts and symbol. He imagines the fee of alternative to Central Asia, with every video of the installation that fixes the sites of history and cupping traditions, providing a replacement future for them. While the handbolts are created, the videos are a mixture of real and repeated columns, which were built from documentary shots captured by Menlibayeva and then enhanced with artificial intelligence to implement feminist rituals, Bedouin stories traditions, and whispers of human -threatened languages.

Menlibayeva’s approach to artificial intelligence is not rooted in the magic of high -tech innovation for its interest. Instead, it is part of a deeper account – with history, loss, and with systems that constitute how to remember or erase stories. It is involved with artificial intelligence not as a neutral tool, but as a terrain of strength, ideology and potential transformation. “My interest in artificial intelligence may be rooted in the painful history of Kazakhin personnel,” she says, memorizing how a collective era in the Urban era dismantled the way of the life of its predecessors under the guise of technological progress.

She was born in Kazakhstan and its education in the Soviet art system, and the early Menlibayeva training in Russian folk and future textiles in its mixed works, which focused on photography and multi -channel video installations for many years. Since 2022, it has been practiced to include artificial intelligence, which represents a pivotal development in its participation for decades with historical erasure topics, cultural survival, and environmental shock. Through these media, Menlibayeva criticizes the continuous effects of Soviet rule in Central Asia – from ecological deterioration to cultural erasure – with the revival of the history of indigenous and Bedouin population for a long time by the empire. With artificial intelligence, I found a way to counter these stories and reactivate them.

Amnesty International’s reality: Qantar 2022 The first Menlibayeva project was to integrate artificial intelligence. It is a brutal example on how to use it from artificial intelligence to build squares. It was created in response to bloody protests in January in Kazakhstan – the mass demonstrations that were violently suppressed by the state and later retreated in the national media – the project builds artificial memory from a mass shock. During the protests, the Kazakhsta government imposed a near interruption online, as the nation sank in the information vacuum.

In the face of this siege, Menlibayeva began collecting stories associated with protests from friends and social media, and extracting the main phrases in Kazakh and Russian, as well as voice messages sent via ground lines and mobile networks. The real words of speech have become this raw material Amnesty International’s reality: Qantar 2022. “The same situation pushed me, because when these political events occurred, the Internet was closed in the entire country.” “I used audio recordings of the audio messages, and the words these people used to create pictures of this work.”

By working with text models to a photo and mystical image to a picture via Google Colab, Menlibayeva collected a series of images created from artificial intelligence from those designed stories. The resulting artwork, which is a 24-minute video clip and a series of haunting shots, is not written and accused, and facing erasure-both of the events that were persuaded in the country and others-from memory. “I knew the circumstances and events would be forgotten or erased intentionally,” she says. “In this work, people’s words are the main material. For this reason, the project is called Amnesty International’s reality

Photo Research and confiscation. History of Kairat Sultanbek. January Kazakh (2022), which is part of this series, reveals a chaos of blood stained and fragmented objects. But it resists the direct interpretation: there is no clear sequence of events and not clear heroes. Menlibayeva says: “AI large intelligence machines are largely, but sometimes system errors lead to interesting results,” says Menlibayeva. in Amnesty International’s reality: Qantar 2022These differences raise rupture in the same history: erasure, silence, and distortions imposed by both government violence and data -based platforms.

Menlibayeva often begins with analog, with its photographs or video clips – or even embroidered decorations that are transmitted from older generations. These materials are transformed with stable proliferation, midjourney, and confusion. For video related works, tools including Demorum, Runway and Kaiber AI are used, but not without friction. “My first phase is to find the right claim. Then I chose the most appropriate one based on the quality of its performance of this specific idea. Each platform has the strengths, restrictions and biases of it, so I adapt my approaches accordingly, she says.

While some celebrate the capabilities of Amnesty International, Menlibayeva is still cautious. “Artificial intelligence is a complex tool with both the potential of democracy and the risk of promoting new hierarchical serials,” noting that “artificial intelligence systems often controlled by large companies, which affect access and power.”

So why did it ever use it? Menlibayeva does not believe that artificial intelligence creates anything new, just the data that makes it possible. But by introducing its pictures, legends, and archives, you see that they open a dialogue between algorithm and human history. “Artificial intelligence works as a distorted tool and mirror, which reflects hidden symbols, preferences, and their creative restrictions: data, culture and power,” she says. “I am consciously involved with these biases, and I integrate personal legends into this process.”

For Menlibayeva, “AI Humanity” does not mean teaching machines to imitate sympathy. Instead, this means including human stories, memories and resistance in their logic. In her art, artificial intelligence becomes a way to restore what is government archives, history books and dominant media that refuse to keep. “This is the reason, as an artist, I try not to obey this logic, but to transform it. Humanity is from artificial intelligence is not the task of programmers, it is the task of artists.”

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