Tim Kunt


More Stitches, less Riches
Tim Kunt
The Palace of Knossos is generally considered to be a borderline case between restorative and exploitative management of an archaeological site. [...] [It] is a mixture of different periods of Minoan architecture and different phases of "reconstitution" and consolidation by Evans, followed by straightforward conservation by N. Platon and S. Alexiou.[Karetsou, 2004]
Restauration largely followed Arthur Evans's interpretation, reflecting his imagination and irreversibly changing the site rather than faithfully reconstructing its original form. His work itself is now falling apart. As a result, subsequent generations of archaeologists are confronted with iterative restorations upon restorations, obscuring the spirit of the original site.

Generative models feign a comparable position of neutrality. Instead, they reflect and reaffirm the cultural biases of their authors, training data, and their users. This raises the question of whether a similar distorting effect on the cultural cycle is emergent. 

In 'More stitches, less riches, ' the dolphin fresco of the Minoan palace of Knossos consciously extends, applying outpainting methods. Viewers may engage in the process of restoration, decay, and distortion or choose to remain observers.
Prof. Jussi Ängeslevä, Luiz Zanotello


Karetsou, Alexandra. "Knossos after Evans: past interventions, present state and future solutions." British School at Athens Studies (2004): 547-555.
Krauss, Werner. "H. de Bonald und die Theorie der Restauration." Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte 15 (1937): 269.
Will, Thomas. Reparieren. Die Kunst des Notwendigen. na, 2010.
Wyer, Cornelia. "Restoration Theory Applied to Installation Art." Beitrage zur Erhaltung von Kunst und Kulturgut, Verband der Restoratoren 2 (2006): 40-48.

Stefanie Bálint-Gruber, Bill Hartenstein, Hibiki Ishima