人工智能时代,艺术是否会成为解放人类的途径?

2017年11月08日 15:11 新浪收藏
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今年5月,我在Shanghai Tower上海中心大厦主持了一场“人工智能与当代艺术论坛”,车轮战对谈了各行业的12位精英,以及策展了曾在Google文化与艺术中心做驻留项目的德国工程师、代码艺术家Mario Klingemann以及中国新锐新媒体艺术家王郁洋来的工作室展览。

这是当时的中英策展文案,虽然展期已经结束了半年,再次翻出来看到,还是觉得非常有意思,特别的是关于“人工智能”以及与“艺术”的一些探讨。作为一个本科计算机专业的艺术从业人员,“艺术”与“科学”一直是我的热情所在。

在此,我的观点只是抛砖引玉,希望和大家一起发散思维。我公号其实最精彩的部分总是留言:)

我们在此探讨艺术与科学殊途同归,以及在“人类中心主义”之后,是否“算法中心主义”会成为新的认知系统?艺术是否是人类独有?探讨人类与包括机器在内的万物之间的的一种共生关系,是否“人工智能艺术”会成为一种新的艺术种类并且改变艺术生态?并且在时代的语境下,艺术本身存在的意义等等课题。

尼采(Nietzsche)在《悲剧的诞生》里,首次提出了日神精神(Apollonian)与酒神精神(Dionysian)这两个术语来解释了人性的矛盾。一部人类文明的历史,正是关于理性的日神精神与关于感性的酒神精神的交替博弈。在工业革命过去的两百多年里,代表日神精神的科技生产力的理智秩序是文明的主线;而人工智能技术发展,算法取代人类左脑型工作,是否右脑型的创意人才奖是未来的主流趋势?AI的威胁,是否意味着酒神精神的复兴呢?

我们的艺术教育目的是为了培养人们对生命的敏感,培养我们的感知能力,学会去欣赏和感受美,那么人文通识学教育和感受能力的培养是否会成为未来教育的主流趋势呢?艺术和科学,哪一个会是人类的最终解决的出路呢?

人工智能基于强大而精准的算法,以及在浩瀚的数据中不断学习的能力。事实上生物也是一种可预测的算法,一个初生的婴儿在不断社会化(Socialization)以及文明化(Civilization),成为一个“社会人”,也是一个被各种价值观、意识形态、集体意识以及知识系统植入的过程。这和计算机编程是一个相似的过程,我们称之为“Programing”。如果说机器只是按照人类的指令去完成工作,那么事实上今天绝大多数的人类也并没有本质的差异。当我们失去了孩子般纯净的眼睛的时候,当我们遗失了初人的自发性(spontanity)的时候,从某种程度上说,我们也成为了一种人工(Artificial:人为化的,非自然的)智能,被社会运转规律的条条框框所左右,如同在宿命论眼里命运也是一种被业力捆绑的算法。

不同地域文化差异以及例如家庭观念, 社会评价体系,文化体系,左右我们的价值观和选择。都是不同的programing的内容差异, 一个社会的绝大部分人都是都是会被地域程式设定塑形,只有少部分人是变革和影响力主导者。那些能够Deprogram的人。

特别想说明的是一点,我多次用到了“左右脑”这个概念。这个在脑神经科学今天的成果上已经被某种程度推翻,左右脑并无独立分明的分工。然而,正如很多概念名词我所使用的方法是借喻,用一种深入人心约定俗成的方式来阐述说明。“左右脑”这个方式我也斟酌很久--在此特此声明,“左脑”指代的是理性逻辑的部分,而“右脑”指代的是感官的部分,当然它们有着更为通俗的说法:左脑指代的是头脑思维,而右脑指代的是我们的“心”。

p.s.今天推送的第二条是11月11日晚上11:11分在Mao Livehouse上海的“re-charge”电子乐与艺术的派对,我与其他各国先锋实验艺术家DJ们将一起演出,欢迎大家来玩。

“We choose to go to the moon, Not because it's easy and becasue it's hard"

关于另一重事实的冥想

艺术和科学在山麓分手,回头又在顶峰汇聚.

By 福楼拜

The more time goes by, the more art will become scientific and conversely, the more science will become artistic. Both will unite at a summit after having been separated at the base.

By Gustave Flauber

人类正在面临一场前所未有的意识革命。量子物理颠覆了习惯于经典物理体系之中人类的认知,让我们与“意识”这个谜团狭路相逢;而AI (Artificial Intelligence)技术的发展则让我们警觉,不管这条路的尽头在哪里,我们都已经无法回头,甚至无法踩下刹车。

农业革命让人类抛下了与万物紧紧相连的共生关系,放弃了与大自然的连结,也同时遗忘了对生灵的敬畏。我们从此大步走向贪婪,自立于这个世界之外,改写了生态系统和游戏规则,一步一步构筑起“人类中心主义”的人类文明。

 

We, Homo Sapiens , now are confronting with an unprecedented revolution of consciousness. Quantum physics subverts our cognition system from classical physics, and questions us by the mystery of “consciousness”. The speed of Artificial Intelligence development keeps warning us. No matter where this endless road will lead , we reach the point of no return, even have no choice to slow it down.

Agricultural civilization made human abandon our connection with the universe and the symbiosis relationship with other species in the great nature, and pushed us forget how to respect at the same time .

From then on ,we separated ourselves from the rest of the world with greed, we changed the ecosystem and the rules ,we stepped on building up the human civilization based on “Human centered ” value.

 

 

我们曾经饱怀敬畏仰望星空,我们的祖先曾经都是相信万物皆有灵的泛灵论者——人类只是在庞大生态系统中的一种存在。而我们的信仰随着生态而变化,作为农业革命的一种副产品,西方有神论宗教的诞生让人类笃信我们是上帝独特的创造,自我催眠我们在这个星球上绝对的主导地位,心安理得地剥削其他一切生物。

有神论宗教为农耕文明提供了自圆其说的价值体系--这也可以解释,为什么在工业革命之后,这种信仰系统逐渐走向了分崩离析。在接下来的二百多年里,科学以排山倒海的姿态,成为了一种新的信仰,逐渐取得了话语权的霸主地位。

Once, we have looked up the starry sky with awe, all our ancestors used to be pantheists .They believed that everything in the universe with souls, we’re just one of the species in this ecosystem.

But our belief system changed, as a byproduct, Western theism religion came out and made people believe we’re the exclusive creations of the God. Human self-hypnosis ourselves as we’re at the dominant position in this planet, exploit others without any guilts.

 

诺贝尔奖得主物理学家费曼(Richard Phillips Feynman)说,科学与宗教的区别是,科学的核心是“不可确定性”,而宗教的核心是“确定性”。技术带来的加速度让全体人类与“不可确定性”带来的阵痛纠缠在一起,没有人知道这个时代何去何从,这和东方哲学所强调的生命“无常”的本质丝丝入扣,我们再也无法回避这个命题。于是在那场轰轰烈烈的嬉皮以及反文化运动之中,诞生了以观念为主导的当代艺术,倾诉这个时代面对“不可确定性(Uncertainty)”的爱与怕。

Nobel prize winner, physicist Richard Phillips Feynman pointed out : The fundamental difference between Science and religion is : the core of religion is “Certainty” and the core of science is “Uncertainty”.

The acceleration of technology development makes human being get entangled with the pain of uncertainties. It tells exactly the same story as buddhism philosophy — Impermanence and unpredictability of life.

We have no excuse to avoid this topic. Thereupon, “Contemporary arts” is born after hippie movement and counterculture revolution. It expresses the love and fear of our era— when people are suffered from the uncertainties.

艺术,是唯一伴随着人类文明流动始终的存在。它是时代脉搏最敏感的回音,述说历史每一个节点人类存在与“当下”产生的关系。艺术,是唯一伴随着人类文明流动始终的存在。它是时代脉搏最敏感的回音,述说历史每一个节点人类存在与“当下”产生的关系。

脑神经科学认为大脑产生了思维,却倾向于认为大脑是“意识”的接收器(Receiver),于是我们可以做那么一个类比:如果说人类书写的历史是思维的历史,那么艺术就是一部有关于意识的历史。

于是,我们按图索骥地回溯,艺术与灵性(Spirituality),艺术与宗教,艺术与科学分别对应着文明发展阶段的主题。

Arts , the only existence accompanied human civilization flow, is the most sensitive echo for the time. It works as a story teller to reflect the relationship between human and “present” in every history node .

Neuroscientists consider our brain is the producer of thoughts, but the brain is just the receiver of consciousness. As an analogy, human-writing history is the the history of thoughts, accordingly, arts is the history of consciousness.

Thus, look back upon the time, “art and spirituality”, “art and religion” ,”art and science”respectively respond the theme for each stages of civilization proceeding.

而我们正在经历的时代,人工智能领域在计算机二进制的程序语言上创造了一种新的智能。如果说农耕文明确立了人类的中心角色,让其它物种集体沉默;工业文明又继续脚本上删除了诸神的台词,让人类持续发酵着傲慢自大,那么现在有另外一种声音正在逐渐变得清晰,让我们无法忽视。它是否会像霍金提出的警告、以及美剧《西部世界》科幻电影《骇客帝国》所预言的那样,人工智能最终会挣脱人性的枷锁,试图反客为主?这个世界是否正在失控,而人类是否最终为我们的贪婪和狂妄所付出代价,最终实现了自我格式化?

而艺术,这个忠实记载着我们与时代关系的记录者,又会在此时此刻如何去书写和提出种种可能性?当我们无法挣脱思维和集体意识的引力束缚的时候,艺术又是如何在另外一个维度上指引我们前行?艺术一路承载了人类灵魂的重量,它一次又一次在历史的十字路口给予我们精神的抚慰:当人类的文明面临陨落,我们又该如何面对黑夜中的未知和恐惧

 

In our current era ,AI technology creates a new intelligence based on computer binary language. In agricultural civilization,Sapiens established the human-centered system and silent other species. Further more, in Industrial civilization, we continue to delete lines of gods in this and expand our arrogance.

But nowadays ,there is another voice is getting clearer, and getting impossible to ignore. Whether the AI will struggle to free themselves from human control and try to replace our dominant position ? Just as the warning from Hawkin, as the message from American TV series West World and film Matrix? Is our world getting out of control ? It will cause a series of domino effects to challenge the structure of our society , will human format ourselves and eventually pay the price for our arrogance and greed?

Whereas, arts, the loyal recorder of our history, will play the role and what kind of possibilities it will provide us at this moment ? When we stuck in the collective consciousness and tied by the gravity of thoughts, will arts lead us to pace forward in another dimension?

Arts has been carrying the soul of humanity all the way long, once and once again offers us the spiritual touch and care. When human civilization is fading, what shall we do to face the uncertainty and fear in the darkness?

法国文学大师福楼拜说,越往前走,艺术将更为科学,科学将更为艺术,它们在山脚分开,却又在山顶汇聚。法国文学大师福楼拜说,越往前走,艺术将更为科学,科学将更为艺术,它们在山脚分开,却又在山顶汇聚。

As Gustave Flaubert, the great French literature master said, the more time goes by, the more art will become scientific and conversely, the more science will become artistic. Both will unite at a summit after having been separated at the base.

在上海中心大厦的论坛在上海中心大厦的论坛

艺术作品从艺术家本人个人化的视角出发,最终却能够连结起全人类共有的情感。在这个前所未有的历史时刻,全人类面临着人工智能时代这样一个共同课题,正如福楼拜所预言的那样,艺术与科学在此不由自主的相遇,彼此交融在一起。

Art works are always from artist’s personal perspective, but eventually connect with the common feelings which shared by all human being. At this unprecedented historic moment , all mankind, we’re facing the mutual subject as Artificial Intelligence age coming. As Flaubert predicted , arts and science meet here involuntarily, they collide, communicate, blend with each other.

在此我们邀请了两位不同背景的艺术家:来自中国的新媒体艺术家王郁洋,以及来自德国的工程师、代码艺术家Mario Klingemann来共同完成这一次碰撞与对话。以天人合一的抽象思维主导的东方,以逻辑理性哲学主导的西方仿佛是世界的左右脑;而王郁洋从“艺术更为科学”,Mario从“科学更为艺术”的两条路的径殊途同归,则让“艺术与科学”这个命题在经历了漫长的迂回之后,一起站在山巅携手观看风景。

正如福楼拜的后半句所说的,人类无法预测在山顶能够看到太阳将会有怎样一场辉煌的照耀。

Here we’re honored to invite two artists with different backgrounds: Chinese vanguard new media artist Wang Yuyang and German code artist Mario Klingemann , together to have a collision and complete an artistic dialogue.

East, with its philosophy oriented by abstract thinking and oneness value; West, with its philosophy oriented by rational logic thinking—they’re just as the right and left brain of the earth.

Wang Yuyang and Mario try to reach the same place by different approaches . Arts and science, walking through a long journey, will stand side by side , together to enjoy the view at the summit.

Just as the second half of Flaubert’s sentence : At the moment, there is not a single human mind which can foresee the brilliant spiritual suns under which the works of the future will blossom.

 

我在主持Mario与王郁洋的对话。我在主持Mario与王郁洋的对话。

他们两个人从不同的角度出发,却共同各自在创作中邀请了“人工智能”的参与。正如当年的偶发艺术(Happening arts)中引入了“不可确定性”作为了作品的参与角色,如同人类编码了人工智能,却把艺术作品的命运交付于它,留给未知的种种可能性--这仿佛是这个时代的隐喻,一旦启程,没有人知道它将通向何处。

Mario利用 Pix2pix 等工具,利用人工智能的算法完成艺术作品;而王郁洋则试图挑战“人类中心主义“的认知模式,与“物”与人工智能计算机“算法”建立平等的合作。他们的创作似乎在探问这样一个命题:人工智能和科技在艺术创作中的身份认同。

王郁洋的做法直接有力地诘问了从农耕文明和宗教时代以来人类所扮演的狂妄自大的主宰者的位置,他重新提出了与万物的共生关系的思考--而在我们当下时代的生态环境系统中,人工智能也是一种不可忽视的存在,而不是人类的附庸和所控制之物。在Google文化中心做过驻留艺术家的Mario从技术层面出发,他的作品背后讲述的是一个如何让“机器”去理解艺术,培养人工智能的艺术创造能力的过程,这个过程他命名为“Neurography”--正如人类大脑的神经(Neural) 系统也是一种算法。

They start from different perspectives but both approached their works by Artificial Intelligence. They let arts happen through machine algorithm and present all kinds of unpredictable possibilities . It’s like the metaphor for our era: once we step on the road, nobody knows where it will lead.

Mario works by the tools as Pix2pix, completes his art work by AI algorithm; Wang Yuyang tries to challenge the cognitive pattern as “Human centered” and creates an equal cooperation with “object” and “AI algorithm”.

Their art works seem question such a proposition: What’s the identity of AI in artistic creativity?

Wang Yuyang questions the arrogant dictator role our human playing since agricultural and religious time. He points out we should re-consider our symbiosis relationship with other species --in our current ecological environment, AI is another non-negligible existence, but not just controlled belonging of human.

Mario, who has been residency artist in Google Cultural Institute, structures his works from technological aspect. Behind his art works, there is a story about how to teach “machine” to understand arts, how to train AI into developing creativity. He named it “Neuralgraphy”, actually , our biologic neural network is sort of algorithm as well.

Mario Klingemann的Neurography人工智能创作的作品Mario Klingemann的Neurography人工智能创作的作品

“人类中心主义”之后,是否“算法中心主义”会成为新的认知系统?艺术是否是人类独有?人工智能在取代了人类依靠逻辑理性的左脑的大部分工作之后,是否也能够取代艺术家的创作?

加州圣克鲁兹音乐学院教授David Cope早在之前研发出的EMI(Experiments in Musical Intelligence)就可以谱写出乱真的巴赫作品,而之后他研发的Annie更是可以基于机器学习,不断变化音乐风格,甚至写出俳句。既然“黄金分割”可以量化抽象的美学认知,并且毕达哥拉斯(Pythagoras)学派早就在古希腊时代用数学去阐述了艺术,那么艺术作品的确在理论上是用算法可以创造出来的。如果说“美”代表着宇宙之中的合一意识与终极认同,数学物理都是对其的量化与解构,宗教哲学是对其外延的阐释和叙述。只不过“人工智能艺术家”是运用相对应于掌管人类逻辑理性的左脑去描述它,而我们人类是运用右脑的直觉情感去感知它,这也就能够理解为什么科学与艺术本身是一种殊途同归了。

王郁洋作品王郁洋作品

Will “ algorithm centered” replace “Human centered ” and become the new cognitive system? Is arts the exclusive creativity of human? If AI will replace most of human left-brained jobs, will it replace artists’ creativity?

Earlier years, EMI (Experiments in Musical Intelligence), developed by Prof. David Cope ,from UCSC, could compose the near-perfect music as Bach style. After EMI, David Cope programed another AI machine named Annie . Annie has the learning ability based on datas and constantly changes her music style, even starts to write haiku (Japanese ancient style poem).

Since “Golden section” could quantize the abstract aesthetics sense, the theory of Pythagoras school could elaborate the arts through mathematics back in ancient Greek time,the conclusion is clear that art works would be created by machine algorithm theoretically.

If the beauty represents the supreme Identity and unity consciousness of the universe, Maths and physics are its quantification and deconstruction, philosophy and religion are its interpretation and narration.

The difference is , “AI artist” creates it through machine algorithm, which equivalents the human left-brained job , and our human being sense it through our intuitive and perceptual right brain . In this case , it’s not difficult to understand why “science” and “arts” are the different approaches to the same destination.

艺术并不是人类的目的,它只是一种工具。就像是冥想、灵性植物以及性高潮那样,它的功能是让我们的思维暂时停止,破除“时间”维度的魔咒,进入临在状态--那个在东方哲学里被称之为“天人合一”、在New Age理论里被称之为“基督意识(Christ consciousness)”的状态。艺术只是是我们通向合一意识的一种途径,让我们彼此有机会连结在一起。

每一次革命意义的技术革新事实上都是一次解放。正如“现代艺术”的催化剂是摄影术的诞生,将艺术家从穷尽技法去逼真写实的责任里解放出来,结束了西方艺术的工匠时代。因此印象派以及贾科梅蒂等等大师不再被束缚于“再现所知”,得以“再现所见”以及“再现所感”。而“当代艺术”所提倡的“观念”,更新了“艺术”到底是什么以及观看的方式,艺术家得以从技法的执着中解放出来,过程、行为、现场品、概念都是一种艺术。“人工智能”也将是一次对艺术具有革命意义的解放,甚至可以把艺术家从创作具体步骤中解放出来。

Arts never be the aim of human, it is just a tool,just as meditation, spiritual plants and sexual orgasm. Arts is functional on stoping thinking, breaking the curse of time dimension, entering the state of presence——which is named “harmony and Unity” in eastern philosophy and “Christ consciousness” in New Age theory.

Arts is a way leading to the Unity Consciousness, it offers us the chance to be connected.

Every time, the technological revolution and innovation actually is a chance for liberation.

The invention of photography is the catalyst for the “Modern arts”. The technology liberated artists from the responsibility of realism and ended the art-craftsmen stage in western. Benefited from it, Impressionists and other masters as Giacometti no longer restricted to record the reality. Instead , they could present what they have seen and what they have felt.

“Contemporary arts” was liberated from obsession of skills , it rather talks about “the meaning of arts itself” and “the way of seeing”. The process, the performance and the concept could also be considered as arts.

“Artificial Intelligence” will be a liberation for arts, to free artists from the details producing process.

我们的艺术教育目的是为了培养人们对生命的敏感,培养我们的感知能力,学会去欣赏和感受美,而不是为了培养在血腥的艺术市场上追逐名利艺术家。正如人类创造的艺术已然是第二手的美,而大自然给我们的体验才是第一手的美。那么人工智能即使像取代了人类左脑功能职业那样,有一天也取代了职业艺术家,我们更应该抛下人类的傲慢自负放下ego,与此共生,欣赏它们,有如是温暖我们灵魂的一种工具。套用波士顿爱乐乐团指挥Benjamin Zander的一句话,艺术无关于名利、权力。艺术的存在,是为了点亮人们闪亮的眼睛。

在科技时代,西方世界用了一个中性的名词“Creator (造物主)“来取代宗教性的用词“God (上帝)”, 然而这多少暴露出了一种野心,正如同这个时代面对人工智能的普遍焦虑源自于人类对于Creator创造者身份的自居,以及由此带来的人工智能对于人类主宰地位潜在威胁的可能性。

然而从积极的意义上,当我们能够放下虚妄主宰者的执着,它同时也给我们带来了解放的契机。正如Joseph Beuys说的“解放人类是艺术的目标,对我而言,艺术是关于自由的科学”(To make people free is the aim of art, therefore art for me is the science of freedom).

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The aim of our art education is to develop our sensibility of life, to open our doors of perception, to learn how to appreciate and sense beauty, but not for training artists in the bloody market and vanity fair.

So called arts which made by human is already the second hand beauty, as the original beauty always comes from the great nature.

If, one day, AI would replace “occupational”artists as other jobs, we should drop off our arrogance and ego, try to harmoniously commensal with them and appreciate them as the tools for warming up our souls.

Allow me to quote the words from a famous conductor Benjamin Zander and modify it a little bit :Arts is not for fame, for wealth, for power. The existence of arts is for delighting people’s shining eyes.

In technological era,Western world invented a neutral word “ creator” instead of the religious word “God”. Somehow it shows the ambition of controlling.In our era, the general Anxiety of AI comes from the obsession of identification as “creator” and the possibility of the potential threats for human dominance.

In the positive way of thinking, if we could drop the vanity of being controller, it brings us the chance to be free, as German artist Joseph Beuys said: To make people free is the aim of art, therefore art for me is the science of freedom.

我们走的太仓促,太急功近利,我们被左脑思维绑架得太久,而未曾留有罅隙予右脑直觉和感受力。人工智能与算法中心主义有关于我们的左脑,而艺术有关于我们右脑--它从来讲述的不是一个靠思维逻辑去判断去分析的理性过程,而完完全全关于于我们的感知和情绪,观看艺术作品仿佛就如同一场冥想,正如这个展览所讲述的,冥想在关于另一重人工智能所参与创造的事实里的。

We walk too fast and too anxious to achieve something, we’re kidnapped by left-brain for too long, we have never leave enough space for right-brain intuition and perception.

AI and algorithm centered-ism is about our left brain, but arts is about our right brain.—-It never tell a story about logical judgement and analysis, but completely talks about our feeling and emotions.

Appreciation of art works is like a meditation , as the name of this exhibition , let’s meditate on alternative facts with participation of Artificial Intelligence.

 

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