“It was important for me to remove human interaction because I wanted to highlight the huge leaps of faith we place in these technologies,” he continues. “It’s a work between a video game and a smart story,” the artist said. New elements are introduced at random, and the work iterates, becoming increasingly complex the longer it is active.
“We often impose human characteristics on these bots when actually, all they’re doing is mirroring human conversations in the manner that they’re programmed to.” Machine-to-machine communication is also a theme in Ian Cheng’s Simsinspired, evolving virtual ecosystem “Emissary in the Squat of Gods”. “Visitors at the beginning and the end of the exhibition will see a different piece,” he said.
Google’s head of technology, Ray Kurzweil, recently predicted that we will achieve human-level artificial intelligence by 2029. in art, and its validity as art, is inevitable.” Artificial intelligence is generally defined as “the study and design of intelligent agents”, where this agent is a system that can perceive and interact with its environment, taking decisions that maximise its chance of success. Eliza was used in therapy and Weizenbaum made a startling discovery: patients started to enter into emotional relationships with ‘her’.
At this point, he argues, human and machine intelligence will merge to form a “Singularity” – a melding of biological and synthetic minds. speak to the contemporary condition and our current situation, that’s why it’s so interesting right now. This phenomenon is now known as the “Eliza effect”, and her programmer was so horrified by it – the programme was intended to be a parody – that in 1976 he wrote a book about it titled “Computer Power and Human Reason: From Judgment to Calculation”, which pointed out the dangers of this technology.
“Osiris is a composite of the DNA of all users of the scanning booth that tracks their genetic origins.