The black box aesthetics: performative dynamics between artificial intelligence and human interactive staging

IF 0.8 0 THEATER
Luca Befera
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引用次数: 0

Abstract

ABSTRACT The present paper addresses a theoretical model for human-machine interaction in intermedia performance taking as reference the author’s perspective. It is discussed the role of artificial intelligence as an autonomous, pervasive, and real-time evolving entity in dialectical relation with the performer and/or audience. The convergence of physical and virtual elements suggests the emergence of hybrid systems, insofar as digital instances manifest their own agency and humans show mechanical actions linked to information processing. Three typologies of human-machine interaction are inferred: 1) the algorithm elaborates the output through self-referential data, as in Δnfang; 2) the algorithm gathers information from performed actions, as in Convergence; 3) the algorithm processes data from the audience’s reaction, as in DoPPioGioco. As digital and analogue devices are employed, programming environments are hidden from human agents and filtered through the author’s gaze. Comparing the underlying black box rules with stage setting, it is observed to what extent algorithms are mediated and enacted. The article considers the information bias commonly attributed to artificial intelligence as rooted in the aesthetic domain, with significant dramaturgical implications.
黑箱美学:人工智能与人类互动舞台之间的表演动态
本文借鉴作者的观点,建立了媒介表演中人机交互的理论模型。它讨论了人工智能在与表演者和/或观众的辩证关系中作为一个自主的、普遍的和实时发展的实体的作用。物理和虚拟元素的融合表明了混合系统的出现,因为数字实例显示了它们自己的代理,而人类显示了与信息处理相关的机械动作。推断出人机交互的三种类型:1)算法通过自引用数据阐述输出,如Δnfang;2)算法从执行的动作中收集信息,如收敛;3)算法处理来自观众反应的数据,如DoPPioGioco。由于使用了数字和模拟设备,编程环境对人类代理是隐藏的,并通过作者的视线进行过滤。将底层黑盒规则与舞台设置进行比较,可以观察到算法在多大程度上被调解和制定。本文认为,通常归因于人工智能的信息偏差根植于美学领域,具有重要的戏剧含义。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
International Journal of Performance Arts and Digital Media
International Journal of Performance Arts and Digital Media Arts and Humanities-Visual Arts and Performing Arts
CiteScore
1.70
自引率
0.00%
发文量
29
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