THEME #36Winners2022JUL




Aim an arrow at the rock in the ocean

Just as bison were painted using cracks and hollows in the walls of the caves of Altamira, and constellations were created by connecting countless stars in the night sky with lines, humans have had a desire to 'project' and imagine things that have been absent since time immemorial. Human perception is caught up in an apophenic action that tries to find certain patterns in chaos, and each person discovers a visual reality like a mirage.

AI, which is now being nurtured by the entire human race, cannot escape bias in the same way as we do, as long as the algorithms (i.e. procedures for seeing things) are determined by humans.

In this work, I drew out the AI's machine-learned biases and made it see illusions. An LCD TV was made to make poor contact and glitch noise was generated in the flowing news program to capture a screen where it was impossible to tell what was on the screen. The images were then loaded into an AI-powered Photoshop to disturb its automatic landscape-recognition system, which was confused by the meaningless and deviant information and forced to fit together the hundreds of millions of learned landscape fragments to create an ordered landscape.

Artemis, the Greek goddess of the hunt, killed her beloved by "misunderstanding". Jealous of Artemis' love for the giant Orion, her brother Apollo one day points to the back of Orion's head while he swims in the sea and seduces his sister, telling her to "shoot that rock and show me your archery skills". So Artemis, having mistakenly seen the rock, fired an arrow at the back of Orion's head.

Misinterpretations of meaning can turn this world into something rich or cruel. Bias hurts people, and copying errors drive the evolution of art and biology. The original and the copy blended, and even now misdistribution continues to link the constellations of another kind.


Taro Karibe

Artist/ Photographer born in 1988. Interested in glitches and the relationship between truth and falsehood, he works across fields from news reporting to documentary and image recognition technology. Selected solo exhibitions include《Saori》Kyotographie, KG+ SELECT (Kyoto, 2021); 《Age of Photon/ INCIDENTS》 IMA gallery (Tokyo, 2020); 《Saori》 Paddington Town Hall, Head on Photo Festival (Sydney, 2018). Group exhibitions include 《ANB Open Studio vol.3》ANB Tokyo (Tokyo, 2022) and 《LUMIX MEETS/ BEYOND 2020 BY JAPANESE PHOTOGRAPHERS #6 》(Paris, Amsterdam and Tokyo, 2019). Major awards include the “Tokyo Frontline Photo Award Takashi Kawashima Prize" (Tokyo, 2022), "PDN Photo Annual” (NY, 2018) and finalist in the 18th “1_WALL” (Tokyo, 2018).

Jury selection

A very touching work made out of the mistake that digital imagery can bring us. An impressive body of work that has been made from a deep fascination of these so called 'digital glitches'. It shows ones more what beautiful work you can make out of imperfections.




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