In his article, Levin delves into the relationship between code and creative expression, illustrating how coding and computation offer a unique medium for artists to explore new forms of interactivity and non-verbal communication. This perspective was particularly eye-opening for me, as it shed light on how computation is not just a tool for efficiency or automation but also a canvas for artistic exploration.
One of the most fascinating aspects discussed in the article was computer vision. While the term itself is somewhat new to me, I was surprised to learn that efforts to advance this field began over half a century ago. It is remarkable to realize that machines can now collect visual data and “interpret” it, mimicking human perception in ways that were once the realm of science fiction. Computer vision models allow computers to identify human features, recognize expressions, and even infer emotions—all of which have groundbreaking implications, not only for fields like surveillance and security but also for art. In interactive media, for instance, artists are using computer vision to create installations that respond dynamically to human presence, movement, or even facial expressions, transforming passive spectators into active participants in digital art.
However, despite its exciting artistic applications, computer vision carries an eerie undertone due to its origins. The fact that this field was initially a military endeavor makes its transition into the realm of creative expression feel somewhat uncanny. The same technology that was once developed for warfare—such as guiding missiles or identifying enemy targets—is now being used to make art installations more immersive. This contrast raises an unsettling question: can a technology born from conflict and control ever be fully dissociated from its original intent?
Beyond its history, the rapid advancement of computer vision presents an undeniable threat to human privacy. Today, no one is truly safe from being recognized, analyzed, and cataloged by ubiquitous surveillance cameras, facial recognition systems, and AI-powered security networks. What was once considered futuristic is now an everyday reality—public spaces are filled with CCTV cameras that can track individuals in real time, while social media platforms use facial recognition to tag people in photos automatically. While some of these applications serve practical or even artistic purposes, they also blur the boundaries between technological progress and ethical concerns. When does interactivity cross into intrusion? At what point does an artistic exploration of human expression become indistinguishable from surveillance?