展览回顾 | AI&NI 人工智能与自然智能
文/沈葛予婧
配图：展览现场
石黑一雄在《克拉拉的太阳》中借AF（人工智能朋友）之口向读者问出“什么是人心？——那个让每个人都成为独特个体的东西。”随着科技的发展，人工智能的思考逻辑愈加靠近人的认知，但人工智能（AI）本身对于情感的反馈其实只是一种先验的模仿，是人们不断训练和进行算法修正的结果。人工智能使情感具备了可复制的特征，但这也使情感失去了它的独特性，失去了它的“灵光（Aura）”。而人类的艺术总是感性的，当艺术家们以人工智能为创作媒介或者把人工智能作为创作主题时，他们又该如何理解、思考和呈现感性与理性的融合？
In Klara and the Sun, Kazuo Ishiguro asks the reader, through the mouth of AF (Artificial Intelligence Friend), "What is the human heart? -- the thing that makes each person a unique individual." With the development of technology, the thinking logic of AI is getting closer to human cognition, but the feedback of AI itself to emotions is an a priori imitation, the result of constant training and algorithmic correction. AI makes emotions replicable, but this also makes them lose their uniqueness, their "Aura". How do artists understand, think about and present the fusion of the sensual and the rational when they use AI as a creative medium or as a subject?
4C Exhibition 2023 AI&NI人工智能与自然智能展览呈现了艺术家严瑜哲、牟翰林、杨君陶、Aussi CHEN、班世清、谢雨帆、吴岩、陈娱、宋婷、石天意、俞悠洋、怪圈剧团的作品。他们通过绘画、雕塑、动态影像、赛博戏剧表演等媒介围绕着人类与人工智能关系的问题，探讨了人工智能如何在这个飞速发展的时代里影响甚至改变人类的生活。
AI&NI Artificial Intelligence and Natural Intelligence at 4C Gallery presents works by Ashley Yan, Hanlin Mu, Aussi CHEN, Shiqing Ban, Yufan Xie, Yan Wu, Yu Chen, Juntao Yang, Ting Song, Tracey Shi, Youyang Yu, and The Strange Loop Group artists, who focus on the relationship between humans and artificial intelligence through the media of still images, paintings, sculptures, moving images, and theatre performances. They explore the issue of the relationship between human beings and artificial intelligence, and how artificial intelligence can influence and even change human lives in this era of rapid development.
严瑜哲以超现实主义的视角探讨了自然智能与人工智能的关系。她运用拼贴实验对图像进行二次创作，探讨自然智能与人工智能应如何存在于他们所处的世界运行秩序中的位置、人们应如何对待工业文明发展带来的自我异化问题，并以此为基础呈现在一张张诡谲、怪异却又自洽的图像当中。图像中反复出现的眼睛成为了艺术家探索和求知的意象，它代表了严瑜哲对于自然智能与人工智能关系的审视与分析，展现了她对于人工智能在人类发展路途中，可能产生的威胁与福祉的辩证思考。
Ashley Yan explores the relationship between natural and artificial intelligence from a surrealist perspective. She uses collage and experimentation to recreate the images, presenting her thoughts on how natural and artificial intelligence should be positioned in the world's order of operation and how people should deal with the alienation of themselves brought about by the development of industrial civilization in a surreal, bizarre yet self-consistent image. The recurring eyes in the images become the artist's imagery of exploration and knowledge, representing her examination and analysis of the relationship between natural and artificial intelligence, and her dialectical thinking on the possible threats and benefits of artificial intelligence in the development of humanity.
借助AI的力量，牟翰林重现了记忆深处的童年景象。他将Midjourney作为创作媒介，通过重组童年的记忆碎片，还原了一个男孩从乡村到城市的迁徙旅程。图像怀旧的色调展现了那个年代的独特气质。作品构成了非线性的诗意叙事，其中AI并没被完全驯服的野生感使图像具备了一种超越现实的质感，模糊了时间与空间，让人仿佛置身温柔朦胧的梦境。牟翰林邀请观众和他一起带着未来的，带着对于故乡的柔软情感，一同进入到这一段关于自省、回望和记忆的负向旅程中。
With the power of AI, Hanlin Mu recreates a childhood scene from the depths of his memory. Using Midjourney as a creative medium, he recreates a boy's migration journey from the countryside to the city by reconstructing fragments of his childhood memories. The nostalgic tones of the images reveal the unique atmosphere of the era, and the combination of works forms a non-linear poetic narrative; the untamed wildness of AI gives the images a quality that transcends reality, blurring time and space, making one feel like is in a gentle and hazy dream world. Mu invites the audience to join him in this back-to-old-era journey of introspection, retrospection, and memory.
Aussi CHEN的绘画作品展现了他对于人类信息数字化的思考。他自由的线条和充满趣味性的画作反映了他内心天真而童趣的一面，也体现了他对于人类与非人类在虚拟空间中互动可能性的探索。他认为人类精神的一部分会被保存在虚拟数据库中，并以这种方式永恒存在。
Aussi CHEN's paintings show his thoughts on the digitization of human information. His free lines and playful paintings reflect the innocent and childlike side of his heart and his exploration of the possibilities of interaction between humans and non-humans in a virtual space; he believes that a part of the human spirit will be preserved in a virtual database and will exist forever in this way.
班世清将人工培育的柑橘树图像框进由乐高砖块做成的洞窗中，构建了一个有秩序感的思考空间。人工培育、养殖、采摘，最后被遗弃，柑橘树的一生就此终止。这不仅展现了人类驯化自然的过程，也昭示着自然智能在达尔文社会主义背景下做出的残酷选择。在工业化进程中，人类对于统一和整洁的追求变得越来越极致，优胜劣汰似乎成为了唯一的生存真理，人类忽视了自然本身的力量，也忘记了自己本就是这“不完美”世界中的一部分。
Ban Shiqing frames images of artificially cultivated citrus trees into cavernous windows made of Lego bricks, building a space for reflection with a sense of order. The life of the citrus tree, which is artificially nurtured, raised, picked, and finally abandoned, not only shows the process of domestication of nature by human beings, but also indicates the cruel choice made by natural intelligence in the context of Darwinian socialism; in the process of industrialization, human beings' pursuit of uniformity and tidiness has become more and more extreme, and the survival of the fittest seems to be the only truth. Human beings have forgotten that we are part of this 'imperfect' world.
受到科幻小说的启发，谢雨帆、吴岩和陈娱三位艺术家通过3D打印雕塑呈现了四组未来城市的形态，它们构造各异，可以自由地在地下与天空之间来回穿梭。艺术家们向观众呈现了一个地球毁灭之际，人类和人工制造万物逐渐崩塌的世界。他们通过探索人和自然，人和建筑之间的关联，重构了“逝去”的意义。如福柯所言：“有限性”是“人之死”的核心，尽管人类不断地打破并重建秩序，但我们最后能够获得关于死亡和永恒的真相吗？
Inspired by science fiction, Yufan Xie, Yan Wu, and Yu Chen present four sets of future cities through 3D printed sculptures, which are constructed in different ways and can move freely between the underground and the sky. The artists present the viewer with a world in which humans and man-made things are gradually collapsing as the earth is destroyed. They reconstruct the meaning of 'fading' by exploring the connections between man and nature, man and architecture. As Foucault says: "Finitude" is at the essence of the "death of man", although mankind is constantly breaking and rebuilding order, can we finally obtain the truth about death and eternity?
杨君陶以人工智能发展背后的牺牲为出发点，重新考察了科技进步所带来的利与弊。在2023年年初，OpenAI就被爆出通过雇佣肯尼亚工人训练AI识别有关暴力、仇恨等极端言论，从而使AI更加安全和温和。但高强度地阅读有害文本使得工人们患上了严重的心理疾病，而低成本的雇佣报酬却无法为这样的后果买单。尽管人工智能公司宣扬AI能够增益人类福祉，但发展背后却是无止尽的精神剥削、种族歧视和资源消耗。杨君陶通过他的动态影像作品提出了对于AI发展前景的质疑和思考——AI究竟是人类智慧的实体化运用，还是政权和资本的博弈游戏？
Taking the sacrifices behind the development of artificial intelligence as a starting point, Juntao Yang re-examines the profits and drawbacks that technological advances have brought. In early 2023, OpenAI was revealed to have made AI safer and gentler by hiring Kenyan workers to train AI to recognize extreme speech about violence, hatred, etc.. The intense reading of harmful texts has caused workers to suffer from severe mental illnesses, and the low-cost employment remuneration cannot pay for such consequences. Despite OpenAI company claims that AI can enhance human well-being, behind the development is endless mental exploitation, racial discrimination, and resource depletion. Through his moving image work, Juntao Yang raises questions and reflections on the future of AI - is AI a successful application of human intelligence or a game of power and capital?
宋婷与人工智能共同制作的两个短片展现了她借助AI进行艺术创作的能力。《牡丹幻梦》讲述了一个人类爱上AI的悲剧爱情故事，向观众呈现了梦境与现实交叠的奇幻景象，实现了一场从未来到过去的穿越；《蜕》的故事则显得更加突破传统且具备批判精神，它讲述了女孩为了摆脱父权体系给她带来的创伤，通过点燃艺术之火来实现自我涅槃，从而在偏见与压迫中不断探索、前进的故事。两个影像作品交相呼应，展现了艺术家对于人类与人工智能如何共存共处的思考。
The two short films that Ting Song produced with AI showcase her ability to create with the help of AI. In a Peony's Dream, a tragic love story about a human falling in love with an AI, presents the audience with a fantastical vision of dreams overlapping with reality, enabling a journey from future to past; The story of “蜕” is more unconventional and critical, telling the story of a girl who seeks to escape the trauma of the patriarchal system by igniting the fire of art to achieve self-nirvana, thus exploring and advancing in the face of prejudice and oppression. The two video works echo each other, showing the artist's thoughts on how humans and artificial intelligence can co-exist.