My Life as an Artificial Creative Intelligence by Mark Amerika

Author:Mark Amerika
Language: eng
Format: epub
Publisher: Stanford University Press
Published: 2022-04-15T00:00:00+00:00

in that it gives precedence, although perhaps understandably, to human goals and human values as the driving force of future system design. But it also creates an opening towards a more entangled and less antagonistic model of envisaging future AI systems, and hence towards a better AI discourse. The main premise of this discourse would not pitch the human against the machine but would rather adopt the human-with-the-machine, or even, more radically, the human-as-a-machine scenario.47

Whitehead’s cosmological process philosophy is instructive to those of us exploring human-machine entanglement, particularly speculative forms of AI, as an intervolutionary Meta Remix Engine. In the opening chapter to remixthebook, titled “Source Material Everywhere: The Alfred North Whitehead Remix,” I write:

Imagine a complexity of things being made or made-up

by those who in the presentational immediacy

of their selectively manipulated data

form an aesthetic experience that we might call novelty

novelty as the immediate present

one that is capable of establishing the mysterious resonance of

social relatedness as currency in an emerging market of ideas

one that is fueled by this same sense of novelty

(and it really is a sense of novelty

just think of the hungry collectors hounding the scene

sniffing out the next new phase of novelty)

Yes novelty fuels novelty ad infinitum

and this is process theory branded

[of course this is also liable to make artists

society’s ultimate novelty generators

sick to their stomachs except for the fact

that they too now have been trained

to sniff out what those who buy art

may be anticipating as the next new thing to sniff

so that together they can sniff each other

the ways dogs do when first getting acquainted]

Embodying Whitehead’s “Theory of Feelings”

via an ability to generate value out of novelty

especially the contemporary art objects whose duration

history will soon determine for the always-emerging art market

moves well beyond the mercenary trends of the day

It is also related to that species of improvised creativity

Whitehead refers to as an “actual entity”

one that he describes as “spatialized”

and actuated by its own “substantial form”

This actual entity he describes sounds to me like

a remixological hacker cum artist-medium

as when he says:

“the ‘effects’ of an actual entity

are its interventions in concrescent processes

other than its own”

and that by hacking into or remixologically inhabiting

or intervening in the datum of our shared

(collective, collaborative) presentational immediacy

this actual entity that I refer to as

the artist-medium

becomes a transformational object

who unconsciously triggers their readymade potential

to stimulate “the production of novel togetherness”

(as Whitehead refers to it)48

Echoing Zylinska’s reading of Still and d’Inverno’s reading of Whitehead through the lens of AI research, while shadowing the artificial creative intelligence tagged Flusser, I would have to ask whether the human artist as such can actually be creative without technology. When artists as/and machines (or what GPT-2 coined “artist robots” and Duchamp tags “anartists”) meta-jam with/in each other, their collaboration signals a desire to behave less like themselves and more like the hybridized forms of onto-operational presence they are designed to inhabit, as if it were the most natural thing in the world to do. As a new media artist who embraces hyperimprovisation49—that is, human/machine call-and-response meta-jamming as a recurrent loop

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