However, in the case of Comet 67P and other extreme topographic environments, we would be looking at when a landscape is no longer a landscape, so to speak, at least in terms of the computer-vision algorithms programmed to analyze it.[Image: Comet 67P, via ESA]. “It’s an entirely manual process,” New Scientist continues, “because the complex and bizarre landscape of comet 67P defies any kind of automated search. That project explored the point at which machine-learning algorithms could no longer distinguish the iconic fruit from a jumble of colorful objects. Learning from Comet 67P.(Earlier on BLDGBLOG: The Comet as Landscape Art). Posted Friday, November 14, 2014 • comment(s) Or take Harvey’s more recent CV Dazzle experiment, which looked at how to prevent facial recognition software from identifying a face at all through the clever use of cosmetic camouflage. Bump Adam Harvey’s investigations up to the scale of a landscape, and a million potential design projects beckon. ‘We don’t have an algorithm for this,’ he says.”We don’t have an algorithm for this.[Image: The irregular terrain of Comet 67P, via ESA]. “We’re working our eyes off,” one of the scientists says to New Scientist, describing how they are personally and individually poring over photographs of the comet. Light and shadow; depth and range; foreground and background; geometry and complexity. What other landscapes fall within this category—of spatial environments unrecognizable to machines—and what do those spaces reveal about the dimensional prejudices of the algorithm? Think, for example, of Adam Harvey’s work, asking When Is An Apple No Longer An Apple?