| Abstrakt: |
In considering future imaginings of art and Artificial Intelligence (AI), we point out two key premises to our approach: the human-machine relation without opposition between the two terms; and the implications of artificial intelligence within practice-led art practices. According to Gilbert Simondon, there is a biological and technological evolution that does not separate nature and technics or culture and technics, since what is defined by human nature is already part of a technological system. Yuk Hui criticizes the idea of technological singularity supported by strong artificial intelligence which converges on itself. However, there is also the possibility of multiple bifurcations emerging from technodiverse practices and aesthetics. On algorithmic art, Lev Manovich points out that AI is increasingly culturally influencing our imagination, choices, and behaviours and that it has built its own imagery and cognitive patterns in society. Joanna Zylinska connects the dots between AI, creativity and innovation, which by bringing AI to research into practice-led art practices, opens the problematization of AI to the possibilities of reprogramming the human sensory-cognitive apparatus. In this paper, we extend these approaches to examine whether these computer systems that enable the processing of big data can or cannot program our imagination, desires, likes, sensations, perceptions and attitudes. Finally, in order to think the worlds built through these emerging AI technologies, we ask what kind of society we want to live in, and what roles we will allow ubiquitous computational technologies, such as AI, to play in our daily lives. [ABSTRACT FROM AUTHOR] |
