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The border between fictional or projected futures and reality is becoming more and more difficult to precisely determine. The next version of the internet, which is referred to as the Semantic Web, is being designed to be navigated by machines, and The Internet of Things promises us a world where all objects will possess and be able to communicate some kind of awareness of their place in a hierarchy of matter. Processes like Machine Translation and Sentiment Analysis, which are part of the Artificial Intelligence jigsaw alongside technologies such as Machine Vision and Deep Learning systems, have been slowly leaking into the present for a number of years now.
These and other shifts in the human/machine relationship form the backdrop to Corpus, a two volume artist’s publication project by Dennis McNulty. The word ‘corpus’ means ‘body’ in Latin, but it also refers to a large and structured collection of texts. Large corpora (the plural of corpus) form the basis contemporary Machine Translation algorithms, such as Google translate. The volumes of McNulty’s project are entitled Corpus and Organs. The former comprises a diagrammatic translation of every review of the movie The Fountainhead on amazon.com, each of which is generated algorithmically, while the latter presents a series of texts as an accompaniment and contextualisation.
Corpus is co-published by Publication Studio Vancouver and Project Press and funded by an Arts Council of Ireland Project Award.
Dennis McNulty is an artist whose work is generated through an investigation of embodied knowledge in relation to other forms of knowledge, often in the context of the built environment. Beginning with detailed research of various kinds, and informed by his studies in psychoacoustics, the works often take hybrid forms, drawing on aspects of cinema, sculpture, sound and performance.
Recent projects include A cloud of soft equations, Pallas Projects, Dublin (2014), A Stew of Universals, ZKU – Zentrum fur Kunst and Urbanistik, Berlin (2013); The Face of Something New, Scriptings, Berlin (2013); INTERZONE, Seamus Ennis Centre, Naul, Fingal, Co.Dublin (2012); PRECAST, Robin Hood Gardens and Preston’s Road roundabout, Blackwall, East London (2012); Some feeling of living in today, Jerusalem Project(2012); Another Construction, Irish Museum of Modern Art(2011); and The Driver and the Passenger, Green On Red, Dublin (2010).
Previous publications include Obscure Flows Boil Underneath (IMMA Associated Press, 2011) and Underground (w/Peter Maybury, 2008).
McNulty was one of Ireland’s representatives at the São Paulo Bienal in 2004. He is represented by Green On Red, Dublin.