Cors Brinkmantel. 031+ 613899341
‘The new self-portrait’ is an ongoing project I started in June 2013. From my interests in the self-portrait genre I started to lifelong myself by having my picture taken every hour I am (actively) on my computer. Using software to generate and create visual collections or different forms of output.
Part of this project is to research how much I can let my computer take the lead in my creative process. While I act only as its operator, pushing buttons.
[VIDEO - 26 min]
16.000 Photo’s of my hometown Dinteloord in mosaic.
3000 Self-Portraits in their respective hue values
November 11, 2012
January 24, 2014
June 27, 2015
May 19, 2013
2 Self-Portraits matched on likeliness by software.
“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.
Camera effects in Virtual Reality:
the dolly zoom (2015)
The dolly zoom effect is a well know and used technique in cinema and film. With the up and coming field of Virtual Reality (VR) the authors try to simulate the dolly zoom effect in virtual reality to see if a historical approach to cinematic spectacle can survive in the new field of embodied vision technologies.
Cors Brinkman, Matei Szabo & Xander Bos
It's a common stereotype that Tinder is filled with people who only want to find hookups. Sometimes, people just want to meat. As far as this feckless slab of gristle goes, everyone is acceptable. Redheads: OK. Brunettes: Cool. Blondes: Sure. Welcome to Tender.
"Tender is the easy way to connect with new and interesting meat around you," creators Cors Brinkman, Jeroen van Oorschot, Marcello Maureira, and Matei Szabo write in their project's description. The foursome built the swiping device for their Media Technology class at Leiden University, and plan to exhibit it for the first time at the Habitat art exhibition next Saturday at Radion Amsterdam.
"Switch on and if someone likes you back, it’s a match!" they advise. If you think you've been stood up at the bar later on, however, check the kitchen.
from: The Creators Project
The new Self-Portrait
tel. 031+ 613899341
Cors Brinkman (1990, Netherlands) studied graphic design, photography with a focus on media art and is currently finishing his Masters of Science degree in Media & Technology.
With an overdose of creativity and a broad knowledge in both the creative process and technology he is always looking to create a lasting experience for the user, finding a balance between what we do not understand and what we think we understand.
CDBRINKM works mostly as a designer, creative mind/researcher and/or art director, both autonomously or in group projects.
currently under construction
Are green cars greener?! (2014)
Music and games are a common combination. Games almost always have music playing in the background. In some games music has an even more important role, it forms an intrinsic part of the gameplay. Take Guitar Hero or Rock Band for instance, the player is expected to push the buttons on his controller in time with the music. We wanted to expand on the importance of music within games. We envisioned a game where music forms the controls to a game.
Cors Brinkman & Sam van Tienhoven
As the heated discussion on the topic of global warming goes on it is almost impossible to stay on the sidelines. Especially when the people affected are the very cause of the issue and therefore share the duty to pitch in. Purchase of a car involves a deliberate decision on all aspects of the vehicle, in particular the color. In this research we take a formal dive into the correlation of vehicle color and it’s emission level. To this end we investigate data of 6.703.845 passenger vehicles registered in The Netherlands (a EU member state). Results are documented and various rationale are provided.
Cors Brinkman, Gleb Satyukov, Jeroen van Oorschot & Sander de Bont
31 / 08 / 1990
AKV.| St. Joost Breda 2010 - 2014,
- Major Documentary Photography
- Minor Art & Technology
- Minor Webdocumentary
- VIVID Excellence Programme 2013
Leiden University 2014 - 2016
MSc Media Technology
Geert Mul, Summer 2013,
Intern media artist
International Photo Festival Leiden 2015,
Route Du Nord, 7 - 9 June 2013
Visual Noise, 28 Nov - 1 Dec 2013
One Man Show, 14 Mar - 6 Apr 2014
Shift graduation expo, 28 June - 2 July 2014
Habitat Festival, 30 May 2015
Open Lab Expo Quartair, 5 June 2015
Playgrounds festival, 6 Nov 2013
Quantified Self Europe Conference 2014
Date of Birth:Place:
Collection of series I photograpged during the last view years.