Chris Tegho


Chris is a machine learning engineer with a focus on computer vision, language modeling, and generative models, and is interested in the intersection of art and machine learning, with a focus on multiplicity, relations to others, queerness, and movement.

Recent artistic collaborations include work with artist Zach Blas on Cultus, an installation commissioned by Arebyte Gallery and Secession, and developing a few-shot gas canister detector for Forensic Architecture.

Chris executed challenging tasks throughout entire pipelines, from dealing with small amounts of data (as little as 10 training data points) all the way to deploying ML models that serve thousands of requests per second.

Chris completed a Master's in Machine Learning at the University of Cambridge in August 2017.

research interests
video language models — few shot learning — generative models — Bayesian modeling — computer vision: video understanding, video generation, object and movement detection

other interests
contemporary dance — internal family systems psychotherapy —compassion therapy



CULTUS with Zach Blas — commissioned by Arebyte Gallery, London, UK, and Secession, Vienna, Austria
— text generation
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Profundior with Zach Blas — commissioned by Berlin Biennale for Contemporary Art, exhibited at Hamburger Bahnhof
— diffusion video generation
— text generation
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576 Tears with Zach Blas — commissioned by UP Projects for “This is Public Space” series
— live GANs video generation
— live sentiment camera based detection
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Triple Chaser, with Forensic Architecture —exhibited at Uncanny Valley: Being human in the age of AI, at the de Young Museum in San Fransisco
research work in collaboration with Forensic Architecture.
developped a few shot detector for detecting tear-gas canisters in videos, for assisting human rights investigations.
— object detection 
— video understanding
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Machines of Loving Grace, with DJ and producer Sonikku music video for single release Lifestyle with Boilerroom TV
— audio reactive StyleGANs video generation
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The Doors with Zach Blas — commissioned by Edith-Russ-Haus für Medienkunst, Oldenburg, de Young Museum, San Fransisco, and Van Abbemuseum, Eidhoven
— GANs video generation
— text generation
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MELTS INTO LOVE with Xin — album cover
— neural style transfer

CAD Conspiracy: Pattern Recognition in Contemporary Art with Mahan Moalemi and Bahar Noorizadeh — commissioned by the Mosaic Rooms, London
— GANs image generation


  1. D’Cruz, A., Tegho, C., Greaves, S., & Kermode L. (2022). Detecting Tear Gas Canisters With Limited Training Data. IEEE/CVF Winter Conference on Applications of Computer Vision (WACV). 
    equal contribution

  2. Tegho, C., Budzianowski, P., & Gašić, M. (2018). Benchmarking Uncertainty Estimates With Deep Reinforcement Learning for Dialogue Policy Optimisation. IEEE International Conference on Acoustics, Speech, and Signal Processing (ICASSP).

  3. Tegho, C., Budzianowski, P., & Gašić, M. (2017). Uncertainty Estimates for Efficient Neural Network-based Dialogue Policy Optimisation. Accepted at the Bayesian Deep Learning Workshop, 31st Conference on Neural Information Processing Systems (NeurIPS).

machine learning work

2022 - Present
Unitary, London, UK
— Develop and deploy multimodal machine learning models and pipelines for detecting harmful content in videos, images and text

2017 - 2022
Calipsa, London, UK
— Design, implement and evaluate models and software prototypes for object detection and motion detection in videos

Chris Tegho —


info — more infor here

“Profuse strains of unpremeditated art.”

Here the sculptor has made no concessions; no attempts to curry favor with curators or collectors — pieces wholly outside discourse. And if pressed for an affiliate movement for these “sculptures” (i.e. Cubism, Mannerism, etc.)… perhaps Monism or Cosmogonism? Definitely not Conceptualism or Pataphysics — Actualism?

The analog? Well for sure it is 1:1. Weird; yes — a knot to be admired for it’s curves — not for untying. An emergent surface as thick as it’s mass. 
Were it possible for the instances of our minds or world events to be mapped and dimensionally materialized, something similar to a rock would appear — areas of smoothness yielding to pockmarked particularities, density shifts and feathered explosions. What really is the shape of a boom town? A pilgrim’s journey? A section of jungle mayhem? A boring era? The silhouette of a father’s cold slap? The contours of a brief, intense friendship? Comfortably we perceive all of these things as ready to be integrated into ledgers or novels or timelines; but really they are queer crags and striations of unimaginable idiosyncrasy.

So yes, the reflective, reasonable yield of our mind has much symmetry (computation, cataloguing, narrativizing, etc.) but it’s actual shape is no shape, but unfolding chaos and singularity visible only to our particular time-scale. Our species-wide symmetries and quantizations are basically improvisations white-labeled onto directionless infinitude attempting the constant creation of navigable Dimension.

So, look intimately at a rock, walk around it, get up close to it, savor it’s complexion and composition as you would any painting or temple and see it as the faultless mirror that it is — a truly perfect sculpture.

We live our lives made up of a great quantity of isolated instants. So as to be lost at the heart of a multitude of things. (From the Double Dream of Spring, 1970.)

  1. Gavrilo Princip’s last grocery list written
  2. The time that alligator ate that fish
  3. When the Yongzheng Emperor found that weird dust bunny under his throne
  4. The great earthquake of Alexandria
  1. The invention of expectation in literature
  2. When the heaviest cacao fruit fell in Takalik Abaj
  3. Animesh eats his first Fly Agaric mushroom