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➤ Lev Manovich, <Aesthetic Fragments>,Generative media (made with Generative AI tools and edited in Lightroom and Photoshop) , Dimensions variable, 2022, Photo · Lev Manovich

 

 

你好,人類!

Hello, Human!

 

當AI人工智慧與人類的創造界線逐漸模糊不清時,日以繼夜無休止地持續運算,完美無暇地組合出真假難辨的文字、影像、事件與歷史。AI人工智慧如新世代的潘朵拉盒子,同時開啟了希望與恐懼。令人不禁回溯崇高(sublime)的美學概念,一種宏偉且危險的美,過去崇高與自然緊密相連,直到二十世紀,科技崇高取代了自然崇高。人類為何會對技術產生恐懼?從古老的傳說與神話中,無生命的物體被技術性賦予生命後,總是伴隨混亂與災難,即便原先被賦予生命的前提是幫助或保護人類,最終仍帶來傷害與毀滅,這些故事的寓意提醒著人類,失控的技術意即禍患。

 

The boundaries between artificial intelligence (AI) creations and that of human beings have become increasingly blurred, as incessant AI computing is now able to perfectly combine texts, images, events, and histories that are difficult to distinguish their authenticity. Like the pandora’s box of this new generation, AI has given humanity both hope and fear, and reminds us of the aesthetics of the sublime from the previous century—a kind of magnificent yet perilous beauty. In the past, the idea of the sublime was closely associated to nature. It was not until the 20th century that the natural sublime became replaced by the techno-sublime. Yet, why does humanity fear technology? In ancient legends and mythologies, when inanimate objects are given life through technics, chaos and disasters always seem to follow. Even though the original purpose of giving life might be to provide assistance or protect humanity, harm and destruction eventually ensue. The moral of these stories is to caution humanity that unbridled technics indicate catastrophes. 
 
 
 
 
 
➤ Mario Klingemann, <Appropriate Response>, Single-channel videos 38 sec.; 25 sec. 2022 Video Series, Photo · Onkaos

 

 

 

 

諸如熟悉的核能發電、生物基因技術等,我們有非常類似的感受,一方面讚嘆科技崇高,其所帶來的生活便利,心中同時恐懼可能帶來的災難,崇高感隱匿於我們日常的生活中,不可控的毀滅夢魘如影隨形。面對AI人工智慧的高速進展,隨著勾勒未來美麗世界時,我們對AI人工智慧是如何演算出結果而下出判斷的不確定性感到憂心,也對AI人工智慧被資本與強權把持所產生的性別、種族、觀念、言論、創造、歷史、法律與政治等控制與生存偏見感到不安。

 

We are all familiar with how nuclear power and genetic biotechnology make us feel: on the one hand, we are in awe of the techno-sublime for the convenience it offers, and on the other hand, there is a latent sense of fear for potential disasters. Our feelings about the techno-sublime lurk beneath the surface of everyday life, and the nightmare of controllable destruction always feels imminent to us. While coping with the rapid development of AI technology and envisioning the beautiful future world, it has become impossible not to worry about the uncertainty over how AI makes its judgments based on algorithms and the computed results. Furthermore, it is also disconcerting to think about the control and survival bias in relation to gender, race, thinking, speech, creation, history, law, and politics when capital and power monopolize the use of AI.
 
 
 
 
 
➤ Lfuse*, <Onirica()>, Audiovisual installation 1h 35min 11s 2023, Photo · fuse*
➤ onformative, AI Sculpting, 5-channel video installation 2 mins; 1 min. 4 sec. 2022 

 

 

 

未公開、不透明的技術如同未知的黑盒子,黑盒子中的脫繮技術代表著古典控制論(Cybernetics)與AI人工智慧的截然不同的全新關係,控制論原是一套建立在能夠維持系統的穩定性與可預測性的反饋迴路上理論框架,但當AI系統具有高度自主、學習和自我進化時,促使基於固定模型和確定性假設的古典控制論變得不再適用,AI人工智慧的黑盒子性質讓我們無法深入理解其內部運作,從而無法掌握其影響系統的關鍵因素,潛在的崩盤將使我們失去信任,導致不可預測的結果和混亂。

 

 

The non-public and therefore non-transparent technologies are like a black box with unknown content. The uncontrollable technics in this black box signal an utterly different relationship between classical cybernetics and AI. Originally, cybernetics is a theoretical framework founded on a set of feedback circuits that is able to maintain systemic stability and predictability. However, when AI system becomes highly autonomous and possesses the ability to self-teach and self-evolve, classical cybernetics which is theoretically rooted in fixed models and hypothetical certainty is no longer suitable and appliable. The black box quality of AI prevents humanity from obtaining a deep understanding of its internal operation, and thereby from controlling crucial factors in terms of how it influences the system. The risk of a potential systemic collapse weakens our trust, if not diminishes it all, leading to unforeseeable consequences and pandemonium.

 

 

 

➤ Yu-Chiao Yang, <strephein stoma>, Video installation, interactive machine, Dimensions variable, 2024, Photo · Yang Yu-Chiao

二十一世紀的人類已經被剝奪了不AI的選擇,AI人工智慧狀似溫柔地擁抱人類,更像是冷靜殘酷地向人類切割道別。人類是否能夠建立起真正開放、可信任、共享的AI人工智慧系統?或是AI人工智慧已經如無限套疊的俄羅斯套娃黑盒,朝向自主沒有止境的高速演化進程,一切都終將無關人類,待衝出層層黑盒,嘶吼著「你好,人類!Hello, Human!」,正是AI人工智慧向舊物種人類告別之時。

 

 

The human beings living in the 21st century have been deprived of the option of not choosing AI. As AI embraces humanity in a seemingly tender manner, it might be contrarily saying goodbye in a cool-headed and cruel way. Is humanity really able to build an open, trustworthy AI system that can be shared by all? Or has AI technology, like a black box of an infinite set of nesting dolls, already started its course of rapid evolution, which would eventually arrive at a point when humanity becomes simply irrelevant? The moment when AI finally breaks through the black box and snarls at humanity, saying “Hello, human!” would be the moment that AI bids farewell to the obsolete species once known as human being.
 
 
 
 
➤ Jonas Bendiksen, <The Book of Veles>, Prints, book, Dimensions variable, 2021-2023, Photo · Jonas Bendiksen . Magnum Photos
Jan 27~May 12, 2024
 

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