Sapien ex Machina

Erik ReeL painting
Erik ReeL, opus 1679, acrylic on paper

In the recent film Ex Machina Jackson Pollack’s concept of automatic painting is mentioned in conjunction with testing whether an Artificial Intelligence is displaying programmed behaviour or  willfully conscious behavior. It’s a subtly complex issue, both for AI and art.

The programmers in the movie also make the astute point that if Jackson Pollack had to be rationally aware of each action, its meaning, and its significance, it would probably have been impossible for him to make a single mark. Rational awareness, and rationality, has its own built-in limitations.

 

It is virtually impossible for a machine to create a truly random sequence, because its activity has to be programmed, that is, determined by something, or constructed via something that cannot be random called computer code.. Mathematicians have shown that even the so-called “random number generators” of computers are precisely not random.

In that case one has to exploit data from certain phenomena which exhibit specific tendencies to chaotic behaviour under certain conditions.  In this way, a machine might be made to generate what seems to be random-like sequences.  This turns out to be far more difficult than it would appear at first glance.

It is also very difficult for a human to make something that is not willful.  Certain states have to be attained or cultivated that permit more freely unmotivated behaviour or actions.  There is an interesting gray area or set of fringe situations where things seem to be somewhat random, but aren’t, but are completely program-free, even rational-free. It is this area that has become increasingly interesting as the search for AI continues and our exploration of the problem of human consciousness continues as we gain deeper insight into human consciousness, both ontologically and epistemologically, and the human mind’s awareness evolves of what, specifically, makes it a human mind.

This is precisely the territory that my painting explores.  I further constrict the limitations on randomness by consciously outlawing some of Pollacks devices, such as flung paint. Every mark is made via a deliberate action of the human hand, my hand, so that human intention is inherently involved. But all traces of rational structure and “programmed” process are also eliminated.

This is one reason I’ve never been much interested with what many have come up with in terms of mathematically or geometrically determined art. To me, such art is  exploring the very territory that is most irrelevant to  our future understanding of human, and on the converse side, artificial, intelligence.  If it is mathematically determined structure, then the problems above are solved, known, and relatively straightforward. It is in the cases where no mathematical or geometrically generated structure manifests that the demarcations and issues of human, or non-human intelligence get really interesting.

2 thoughts on “Sapien ex Machina”

  1. I often wonder, Eric, how “doodling” and “offhand design-making” relate to creativity and “real art.” The marks in margins of notebooks and texts while listening to a lecture, or thinking out something, usually with someone else, often yield wonderful un-self-conscious expressions of the session, with emotion and sometimes a kind of hieroglyphics that may be considered “concept art.” What do you think?

    Or maybe it is the right brain trying to intrude on the left brain conversation?

  2. I’m not sure, since I don’t tend to take notes, nor took any notes in school, the only thing I tend to have around to draw in are my sketchbooks, thus no “margins” etc, so I never made any distinction. I sometimes write in the sketchbooks, but I never wonder whether that writing is writing or not.

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