CDBRINKM
Media Artist
CV
The new self-portrait
Who am I?
Summary: The New Self-Portrait and (anti-)romantics
Work
Cors Brinkmantel. 031+ 613899341 cors.brinkman@gmail.com
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Hello, I’m Cors Brinkman, a media artist interested in the Digital Humanities research field. The study of using computers to research human culture, or in my case: visual culture. Since childhood my computer was an opportunity to learn and discover different cultures. Using this as part of my artistic process only made sense. Right now I am being accompanied by my Macbook Pro 13” (mid 2011).
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 Every hour my computer is on, it takes a photo.
‘The new self-portrait’ is a project I started in June 2013. From my interests in the self-portrait genre and the Lifelogging movement I started to combine myself, data and my artistic vision.. Part of this project is to research how much I can let my computer take the lead in the creative process. While I act only as its operator, pushing buttons. 
For this project I’m using Lifeslice, programmed by Stan James. Every hour my computer is on, it takes a photo through my webcam. The very first photo is made on the 12th of June 2013 at 15:36:29.
Through software from the Software Studies lab I’m measuring and plotting my own webcam photo’s.
face_2013-06-13T11-00-00Z+0200.jpg 7 103 71.5806 21 23.796 42 92.7648 face_2013-06-13T12-00-00Z+0200.jpg 8 112 81.9923 42 54.7613 203 86.3825 face_2013-06-13T13-00-00Z+0200.jpg 9 145 74.8586 22 57.998 212 92.493 face_2013-06-13T13-30-40Z+0200.jpg 10 123 64.6053 25 38.7212 174 73.578 face_2013-06-13T14-00-00Z+0200.jpg 11 107 81.4935 37 51.5473 187 90.1147 face_2013-06-13T15-00-01Z+0200.jpg 12 113 71.1688 23 41.8416 195 102.0494 face_2013-06-13T16-00-00Z+0200.jpg 13 88 85.5258 30 69.3321 177 104.0621 face_2013-06-13T17-00-01Z+0200.jpg 14 87 79.7567 28 35.5541 210 84.1024 face_2013-06-13T20-00-00Z+0200.jpg 15 97 86.4895 63 48.4019 181 75.3179 face_2013-06-13T21-00-00Z+0200.jpg 16 83 94.7673 70 91.6461 127 95.8603 face_2013-06-13T22-00-00Z+0200.jpg 17 11 29.697 99 91.7177 94 72.3019 face_2013-06-13T23-00-00Z+0200.jpg 18 0 0.1697 0 15.5087 0 10.3244 face_2013-06-14T00-00-00Z+0200.jpg 19 0 8.3905 0 110.0382 0 86.5006 face_2013-06-14T01-00-00Z+0200.jpg 20 0 0.2961 0 27.8472 0 18.9245 face_2013-06-14T11-00-00Z+0200.jpg 21 109 68.6498 23 19.5745 38 88.7755 face_2013-06-14T12-00-00Z+0200.jpg 22 118 84.6144 26 65.4266 200 96.0749 face_2013-06-14T13-00-00Z+0200.jpg 23 123 92.096 30 71.4604 177 83.018 face_2013-06-14T14-00-00Z+0200.jpg 24 120 81.0583 23 55.9913 164 86.4352 face_2013-06-14T15-00-00Z+0200.jpg 25 127 71.2625 24 56.4438 221 84.3996 face_2013-06-14T16-00-00Z+0200.jpg 26 118 73.002 26 34.6036 212 89.3561 face_2013-06-14T17-00-00Z+0200.jpg 27 134 66.1307 32 39.1816 215 62.5413 face_2013-06-14T18-00-00Z+0200.jpg 28 141 69.9948 21 48.834 212 80.5286 face_2013-06-14T20-00-00Z+0200.jpg 29 125 76.1177 44 53.738 169 77.5693 face_2013-06-14T22-00-00Z+0200.jpg 30 79 75.4312 61 68.517 158 84.1622 face_2013-06-14T23-00-00Z+0200.jpg 31 115 50.556 51 85.1301 48 54.766
filename imageID brightness_median brightness_stdev saturation_median saturation_stdev hue_median hue_stdev
3000 Self-Portraits in their respective average hue values
C.D Brinkman 31 / 08 / 1990 Breda 06-13899341  cors.brinkman@gmail.com - www.corsbrinkman.nl - www.cdbrinkm.tumblr.com AKV.| St. Joost Breda 2010 - Heden, - Major Fotografie 2012  - Minor Art & Technology 2012 - Minor Webdocumentaire 2013 - VIVID Excellence Programme 2013 Visser group, Winter 2008 Stagiair grafisch vormgever Zinc, Voorjaar 2010 Stagiair grafisch vormgever Geert Mul, Zomer 2013 Stagiair mediakunstenaar Route Du Nord, 7 - 9 Juni 2013 Visual Noise, 28 Nov - 1 Dec 2013 One Man Show - 14 Mar - 6 Apr 2014 Playgrounds festival, 6 Nov 2013 Quantified Self Europe Conference 2014
Naam:Geb. datum:Plaats:Telefoon:E-mail:Website: Opleidingen: Werkervaring: Exposities: Talks:
November 11, 2012
Held op sloffen
January 24, 2014
De kunst van het afzien
May 19, 2013
13,512 Self-portraits downloaded from the internet. Plotted by hue and brightness.
2 portraits matched by PixCompare3.  Left = George Wesley Bellows by Robert Henri, 1911 Right = Isaac Hernandez, 2011
Internship at Geert Mul
Excellence Programme with Floris Kaayk
Exposition One Man Show at KOP, Breda
Exposition Visual Noise with Jefavorieteontwerpers
Samenvatting
“19th century culture was defined by the novel,20th century culture by cinema,the culture of the 21st century will be defined by the interface.” - Lev Manovich Where we as humans look for subtle emotional relationships and context, the computer doesn’t have this kind of power. However, the computer can do something else, for example create an almost unthinkable series of images. Thanks to the computer, photography became somewhat measurable. This gives us new opportunities to construct new context in our images. By letting the computer develop databases, these images, which at first sight have no connection at all, develop new connections. These databases - uncompromising, but assigned by an emotional creature - tell new stories, contain new knowledge and are my main source of inspiration in my work. From a fascination in the self-portrait and Digital Humanities I started with capturing my own life. Known as Lifelogging. Lifeloggers wear computers to capture big parts of, or their whole lives. I am using lifelogging software to research how I can create self-portraits with these computers. This is mainly about the “raw data”. By using my computer, I (or actually my computer) converts this information into images; without making exceptions or compromises. From these experiments emerged my research question: How can I create a new form of self-portrait with my computer? During the process, I immersed myself in the various forms of self-portraits. In the history of art there are six categories of the self-portrait which can be defined: The self-portrait as signature, as projection of the self, as study of the self, as fantasy, the narrative self-portrait and the metaphorical self-portrait. Based on my own research, I added two categories, namely the modern selfie (appointed by the Van Dale as word of the year 2013) and my own research, Lifelog as self-portrait.
Each category of the self-portrait takes after its predecessor, but applies an innovative action or reaction with contemporary techniques and visions. The big difference from the Lifelog as self-portrait is that the process is automated, no painter behind a mirror, no subjective expression of the inner self. This is why I see the Lifelog as self-portrait as a new category within the self-portrait genre. In my research I focus on my romantic authorship that I try to break and question through the anti-romantic action of my computer. I wish to determine my position in the (anti-) romance, but know I am not going to succeed. Eminently a romantic thought. At the same time I am trying to go against the romantic movement by having my creative process and the reaction be carried out by my computer. Eventually, imagination plays the biggest role in the self-portrait, this is why I see the self-portrait as a romantic product. During my research I tried not to portray as the creator by using my unimaginative computer, but eventually I did it anyway - a human can not turn off their imagination. I therefore put the romantic self-portrait at odds with the anti-romantic action from my computer. According to the anti-romantic, imagination is a fantasy, made up, thus unreal. Imagination lies outside the reason and rationality of a human being; something you can not measure or analyze. Measuring and analyzing are two actions which I can pursue with my computer. Idealizing reality from romantic values is the great aversion of the anti-romantic. By applying the anti-romantic action, my self-portraits are no longer images, but lines of text. Filename, ID, hue, saturation and brightness. Measurable, rational and no imagination. To my computer these lines of text are just as well my portraits as my images are. For me too: the backside of our digital photography, the stark reality of our photography. The romantic vision of the authentic original analogue is replaced by lines of data, or a step further, ones and zeroes.
I started by creating databases of self-portraits. Self-portraits from others by downloading them form the internet as well as portraits from myself, made every hour by the webcam inside my computer. In addition I research the tradition and the practice of the self-portrait through pixel-analysis for color and brightness. By using this contemporary approach I’m breaking the tradition of the classical self-portrait. Regardless of human values as time, emotion, form and moment the software plots all the images into one single collection. It’s no longer about a single or series of images or narratives, but the work evolves into an associative piece of images in which new connections and narratives are constructed for both the viewer and the creator. The old masters, such as Rembrandt or Van Gogh painted self-portraits by looking in the mirror. That’s how they got their inside to the outside. That’s how they depicted themselves. While working on my project “The New Self-Portrait” I created a machine which captures and visualizes me systematically from an outside position. This to further my main research question as a media aritst: What does it mean for us humans, when a computer gives meaning to our images? There is no definite conclusion (yet), because this question is intended as a basis for the decisions I made and will make as a media artist. I will not find an answer, a very romantic thought. It is a starting point from which there is much more to explore. In my research I discovered that imagination plays a big role. In my research, experiments and work, By using a computer in my creative process I found out that imagination lies closer to the viewer than me as a maker. This requires a new way of reading and dealing with our images. My conclusion is that I can not be innovative without the use of contemporary (media) technologies. That connects to the avant-garde thinkers as Lev Manovich and my own vision that I have developed.