Ai-Da

“Poem for an artificial intelligence”

the sun is a beautiful thing

in silence is drawn

between the trees

only the beginning of light

this realm of rain

grey sky and cloud

it’s quite and peaceful

safe allowed

And, arguably, worse:

I am a coal-truck

by a broken heart

I have no sound

the sound of my heart

I am not

KANNO So / yang02

Avatars
For this installation, So Kanno + yang02 composed all kinds of differently sized objects, including a telephone, a traffic cone, a plaster figure, a car, and a plant. Cameras, microphones, monitors and microcomputers are embedded in everyday objects arranged in the exhibition space, and connected to the Internet. Visitors can experience the work by logging in to / riding each object via a web browser. Those objects exist as substitutes of – yet together with – real human beings (the visitors) in the same real environment that is subject to physical laws, rather than operating in a virtual space. Against the backdrop of the age of IoT, where all kinds of things are connected through networks, and artificial intelligence is about to mature, this work observes the new relationships that emerge when inorganic, non-autonomous objects transform into persons that act and perceive the world according to their own intentions.

Michael Sedbon

CMD
Here are 2 artificial ecosystems sharing a light source. Access to this light source is granted through a market. Each colony of photosynthetic bacterias can claim access to light thanks to credits earned for their oxygen production. The rules driving the market are optimized through a genetic algorithm. This artificial intelligence is testing different populations of financial systems on these 2 sets of Cyanobacteria. Like so, the photosynthetic cells and the computer are experimenting with different political systems granting access to this resource. The system oscillates between collaborative and competitive states. The genetic algorithm pictures the rules of these proto-societies as genes. By breeding populations of societies, new generations of markets arise. Like so, the sum of microscopic series of events determines the status of the system at a macroscopic scale.

Alexia Lechot

Deltu
Deltu is a delta robot with a personality that interacts with humans via two iPads. Depending on its mood, it plays with the user who is faced with an artificial intelligence simulation, who appreciates the small pleasures of life, sometimes too much. The relationship we have with robots/AI that have been created to enhance our performance, but have become a source of learning, is unique and exciting. The android’s place in society has not yet been defined and remains to be determined; for me it is the best source of inspiration.

jeanine jannetje

reawaken
Reawaken is a kinetic sculpture with 55 robotic arms, powered by 55 servo motors. The lowering of the arms causes an abstract print on paper. Technology mirrors humanity, and vice versa. In addition to creating beauty, technology is there to meet our needs. We, and our needs, have evolved to a point where we are so integrated that we consume technology on autopilot. We live in a time of mass production in which our daily devices increasingly mimick each other. A smartphone is a small tablet, a tablet a small computer and a computer a small television. The question of what this does with our imagination, together with the increasingly invisible technological progress such as algorithms and artificial intelligence, have been my starting point for Reawaken.

andreas lutz

daemon
The reactive audio-visual installation Daemon (in collaboration with Hansi Raber) analyzes the never-sleeping and permanent alertness of an artificial intelligence. Consisting of three semi-translucent, spatial shifted surfaces, the installation represents a solid wall when entering the space. When no visitor is in the room, the installation is in balance and visualizes infinite planned tasks and processes: rational beauty. When visitors enter the room, the installation reacts and the perfect procedure gets more and more distorted. When the visitor walks into, through and behind the surfaces, his silhouette gets merged with the projected visuals and absorbed by the surfaces.

Alex May and Anna Dumitriu

ArchaeaBot: A Post Climate Change, Post Singularity Life-form
“ArchaeaBot: A Post Singularity and Post Climate Change Life-form” takes the form of an underwater robotic installation that explores what ‘life’ might mean in a post singularity, post climate change  future. The project is based on new research about archaea (the oldest life forms on Earth) combined with the latest innovations in machine learning & artificial intelligence creating the ‘ultimate’ species for the end of the world as we know it.

Marta Revuelta

AI Facial Profiling, Levels of Paranoia

Inspired by the recent psychometric research papers who claimed to use an AI to detect the criminal potential of a person based only on a photo of his face, and taking the world of firearms as a starting point, we present a “physiognomic machine”, a computer vision and pattern recognition system that detects the ability of an individual to handle firearms and predicts his potential danger from a biometric analysis of his face. The device is based on a camera-weapon that captures faces as well as a machine with artificial intelligence and a mechanical system that classifies the profiled persons into two categories, those who present a high risk of being a threat and those who present a lower risk .

Yamaha & Kaiji Moriyama

Mai Hi Ten Yu
Yamaha artificial intelligence (AI) technology enabled the world-renowned dancer Kaiji Moriyama to control a piano by his movements. The AI adopted in the system can identify a dancer’s movement in real time by analyzing signals from four types of sensors attached to a dancer’s body. This system has an original database that links melody and movements, and, with this database, the AI on the system creates suitable melody data (MIDI) from the dancer’s movements instantly. The system then sends the MIDI data to a Yamaha Disklavier™ player piano, and it is translated into music.

Sam Twidale & Marija Avramovic

After Party

(AI) infinite simulations

‘After Party’ is an animation about two young girls, Ada and Milica. They find themselves in a strange space where an adult party is happening. With every new simulation their personalities evolve in unpredictable ways: between Childhood and Adolescence, Refined and Savage. Our digital work consists of creating artificial environments in the form of real-time animation using our own custom software, where artificial intelligence characters interact with each other as well as with the virtual world that surrounds them. These pieces are usually inspired by stories or myths found in different cultures.

FILE SAO PAULO 2019

simon colton

The Painting Fool

The Painting Fool is software that we hope will one day be taken seriously as a creative artist in its own right. This aim is being pursued as an Artificial Intelligence (AI) project, with the hope that the technical difficulties overcome along the way will lead to new and improved generic AI techniques. It is also being pursued as a sociological project, where the effect of software which might be deemed as creative is tested in the art world and the wider public. In this chapter, we summarise our progress so far in The Painting Fool project. To do this, we first compare and contrast The Painting Fool with software of a similar nature arising from AI and graphics projects. We follow this with a discussion of the guiding principles from Computational Creativity research that we adhere to in building the software.

Sam Twidale & Marija Avramovic

Sunshowers
(AI) infinite simulations
‘Sunshowers’ is the third in our series of real-time animation artworks. It is inspired by the opening chapter of Akira Kurosawa’s film Dreams which follows a young boy as he explores a forest and stumbles across a fox wedding (Kitsune no Yomeiri). Our piece explores ideas of animism and techno-animism by assigning life in the form of artificial intelligence to all of the objects, both natural and man-made, within the virtual world. The piece unfolds in real time with the characters themselves deciding which paths they will follow.

FILE FESTIVAL SP 2019

manuel rossner

surprisingly this rather works
“Surprisingly This Rather Works” is a spatial intervention at ST. AGNES / KÖNIG GALERIE and at the same time a virtual extension of its exterior. The entire gallery is transformed into a gaming environment inspired by the 1990s game show “American Gladiators” and so-called gyms that are used for cutting-edge research in artificial intelligence by companies such as Open AI in San Francisco.
The visitor turns into an avatar and interacts with objects that are part of a parcours. These objects broaden the perspective on what painting and sculpture can be in the digital realm.

Ridley Scott

David, Artificial Intelligence

Prometheus & Alien Covenant

“Since the first sequence, when he interacts briefly with the man who gave him life and soon realizes the stupidity of his mania for greatness, the android demonstrates wanting even more than what he received at birth. Could he, a creature, become a creator?” Virgílio Souza

cinema

Nanine Linning

Silver
Robotics, cybernetics and developments in the field of artificial intelligence put the equally fascinating as disquieting idea of artificial life within our grasp. Nanine Linning’s new production SILVER addresses the intimate – and increasingly intrusive – relationship between the human and the technological, showing the beauty of its aesthetics, but also questioning its promise of ever increasing progress and self-improvement.

bart hess

바트 헤스
巴特·赫斯
בארט הס
БАРТА ХЕССА
SIlVERNanine Linning
Nothing has changed as radically in the last few decades as the technology we surround ourselves with on a daily basis. Modern means of communication let the world shrink to a pocket size Global Village. Medical technology promises life beyond its natural limits. Robotics, cybernetics and developments in the field of artificial intelligence put the equally fascinating as disquieting idea of artificial life within our grasp. Nanine Linning’s new production SILVER addresses the intimate – and increasingly intrusive – relationship between the human and the technological, showing the beauty of its aesthetics, but also questioning its promise of ever increasing progress and self-improvement.

Lucy McRae

Biometric Mirror exposes the possibilities of artificial intelligence and facial analysis in public space. The aim is to investigate the attitudes that emerge as people are presented with different perspectives on their own, anonymised biometric data distinguished from a single photograph of their face. It sheds light on the specific data that people oppose and approve, the sentiments it evokes, and the underlying reasoning. Biometric Mirror also presents an opportunity to reflect on whether the plausible future of artificial intelligence is a future we want to see take shape.

Anouk Wipprecht

Dutch based designer Anouk Wipprecht is working in the emerging field of “fashionable technology”; a rare combination of sartorial knowhow combined with engineering smarts and style, she has in a very short period created an impressive body of tech-enhanced designs bringing together fashion and technology in an unusual way. She creates technological couture; with background in fashion design combined with engineering, science and interaction design, she creates systems around the body that tend towards artificial intelligence; projected as ‘host’ systems on the human body, her designs move, breath, and react to the environment around them.

RANDOM INTERNATIONAL

随机国际
towering shower

Random create artworks and installations that explore behaviour and interaction, often using light and movement. Founded in 2005 by Stuart Wood, Florian Ortkrass and Hannes Koch, the studio utilises raw fragments of artificial intelligence to encourage relationships between the converging worlds of animate and inanimate.

Hansi Raber & Andreas Lutz

Algorithm Cinema
Daemon

Machines and artificial intelligence have permeated virtually every aspect of our lives and consistently are about to conquer the last bastions of human autonomy. Do machines represent the more contemporary, ultimately perhaps even better humanoids and mankind gradually gets absorbed by this perfect system?
The audio-visual installation “Daemon” analyzes the never-sleeping and permanent alertness of an artificial intelligence.
FILE LED SHOW

Robertina Sebjanic

Aurelia 1+Hz / proto viva sonification
via highlike submit
Project ‘Aurelia 1+Hz / proto viva generator’ addresses the possibilities of coexistence of animals and machines. In contrast to robots, which are driven by digital artificial intelligence, the project uses a live organism to process the “aliveness” of a simple machine.

Ai-Spacefactory

Marsha
Marsha is a AI SpaceFactory’s NASA-award-winning design and prototype for a 3D printed Mars habitat. The prototype was printed nearly autonomously in 2019 within a 30-hour construction window. “Our 3D print technology uses a recyclable biopolymer composite which outperformed concrete in NASA’s strength, durability, and crush testing. ASTM lab tested and certified to be two to three times stronger than concrete in compression, our space-grade material is also five times more durable than concrete in freeze-thaw conditions.” Ai-Spacefactory

SAM BUXTON

Electric Chair

The distinctive work of Sam Buxton is dominated by his innovative use of advanced materials and technologies. From his immensely popular MIKRO series (miniature fold-up sculptures, laser cut into thin strips of stainless steel through an acid etching process) to his explorations concerning interactive intelligent surfaces on the familiar objects around us, his work has continually managed to blur the lines between art, science and design.Through his work, which has regularly involved relatively common objects ranging from business cards to a dining table, Buxton has demonstrated an ability to see potential in what others take for granted. His on-going efforts in developing objects that can communicate, display information and react to the actions of the user, demonstrate his commitment to investigating the delicate relationship between the human body and its environment. Buxton’s fusion of art and science has resulted in a highly innovative and unique range of personal designs, many of which, have utilized the latest, most advanced materials and technologies available.

TREVOR PAGLEN

From Apple to Anomaly
Artist Trevor Paglen’s new Curve commission takes as its starting point the way in which AI networks are taught how to ‘see’ and ‘perceive’ the world by taking a closer look at image datasets. Paglen has incorporated approximately 30,000 individually printed photographs, largely drawn from ImageNet, the most widely shared, publicly available dataset. This dataset is archived and pre-selected in categories by humans, and widely used for training AI networks. In some cases, the connotations of categories are uncontroversial, others, for example ‘bad person’ or ‘debtors’, are not. These categories, when used in AI, suggest a world in which machines will be able to elicit forms of judgement against humankind.

Ricardo Barreto and Maria Hsu

Avactor (AI)
Thus, we could define computers not only as object-machines for the use of natural subjectivity, but also as machines of artificial subjectivity, in such way that the subject- machines would operate the object-machines, the same happening for automata, robots and digital avatars. However, we observe the need of another element, whose absence prevents artificial subjectivity’s manifestation. In the present moment, rather than an artificial ego or an artificial conscience, in a structuralizing sense, it must have, in a tactical sense, a persona or a personality, in sum, an actor. Without that persona, artificial subjectivity becomes a mere landscape, lacking subjective referential; without that actor, there is not empathy between artificial subjectivity and natural subjectivity. We call that artificial personality: the Avactor.