{"id":846,"date":"2021-11-11T15:39:13","date_gmt":"2021-11-11T14:39:13","guid":{"rendered":"http:\/\/databaz.org\/xtrm-art\/?p=846"},"modified":"2021-11-11T15:39:13","modified_gmt":"2021-11-11T14:39:13","slug":"artificial-intelligence-the-rest-of-our-humanity","status":"publish","type":"post","link":"https:\/\/databaz.org\/xtrm-art\/?p=846","title":{"rendered":"[artificial intelligence] The rest of our humanity"},"content":{"rendered":"

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 [FRENCH] Depuis 2014, une part de ma recherche interroge la mémoire post-humaine, à savoir la possibilité de la constitution d’un récit post-historique. Shape of memory était le premier versant, qui a été suivi par les différentes séries des paysages de la catastrophe, que j’ai inauguré avec l’événement de Fukushima. <\/p>\n

La post-historicté se définit comme une histoire qui ne serait pas le résultat de la conscience humaine. La pré-histoire est la période où l’humanité n’était pas encore dans la possibilité réflexive d’écrire son histoire. La post-historicité est un état hypothétique, où d’autres formes de représentations que celle d l’homme, pourront définir ce que fut l’humanié avant sa disparition. Il s’agit en ce sens de penser une archéologie du futur. Je pose comme hypothèse que les intelligences artificielles, une fois l’homme disparu enquêteront sur cet effacement, tenteront de reconstituer, aussi ce qu’était son corps, que l’histoire de sa fin. <\/p>\n

La série de création The rest of our body constitue ainsi la 5ème partie des Paysages de la catastrophe (Disaster landscape). Une intelligence artificielle tente de penser les derniers moments de l’homme et d’en donner une représentation. Elle le fait à partir de sa base de donnée. Ce qu’elle matérialise ce sont des énoncés à la fois historique et sociologique ("L’homme est enfermé dans un monde d’écran", "Le monde est exploité par l’homme" etc…) Tous les énoncés qui ont servi à créer ces images sont tirés d’articles et d’ouvrages qui mettent en évidence l’effondrement du monde humain. <\/p>\n

[ENGLISH] Since 2014, part of my research has questioned post-human memory, namely the possibility of the constitution of a post-historical narrative. Shape of memory was the first slope, which was followed by the different series of landscapes of the disaster, which I inaugurated with the Fukushima event.<\/p>\n

Post-historicity is defined as a story that is not the result of human consciousness. Pre-history is the period when humanity was not yet in the reflexive possibility of writing its history. Post-historicity is a hypothetical state, where other forms of representations than that of man, can define what the human being was before his disappearance. In this sense, it is a question of thinking about an archeology of the future. I hypothesize that the artificial intelligences, once the man has disappeared, will investigate this erasure, will try to reconstitute, also what his body was, as the history of his end.<\/p>\n

The creation series The rest of our body thus constitutes the 5th part of the Landscapes of the disaster (Disaster landscape). An artificial intelligence tries to think of the last moments of man and to give a representation of them. It does this from its database. What it materializes are statements that are both historical and sociological ("Man is locked in a screen world", "The world is exploited by man" etc …) All the statements that have used to create these images are taken from articles and books that highlight the collapse of the human world.<\/p>\n

Chaque photographie (7800X7800 pixels) est tirée à 2 exemplaires uniques (un tirage artiste et une oeuvre à vendre) en format 70cmX70cm pour les oeuvres carrées. <\/p>\n

Série 1 : <\/strong><\/p>\n

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série 2 :<\/strong><\/p>\n

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 [FRENCH] Depuis 2014, une part de ma recherche interroge la mémoire post-humaine, à savoir la possibilité de la constitution d’un récit post-historique. Shape of memory était le premier versant, qui a été suivi par les différentes séries des paysages de la catastrophe, que j’ai inauguré avec l’événement de Fukushima.  La post-historicté se définit comme une […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[135,163,46,6],"tags":[],"class_list":["post-846","post","type-post","status-publish","format-standard","hentry","category-intelligence-artificielle","category-photographie","category-installation","category-une"],"_links":{"self":[{"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=\/wp\/v2\/posts\/846","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=846"}],"version-history":[{"count":1,"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=\/wp\/v2\/posts\/846\/revisions"}],"predecessor-version":[{"id":847,"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=\/wp\/v2\/posts\/846\/revisions\/847"}],"wp:attachment":[{"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=846"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=846"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/databaz.org\/xtrm-art\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=846"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}