SEELENMASCHE: Automation penetrates our bodies, but what we call "artificial" has long since arrived in poetry and thought, is a home-made artificiality. Originally and in the late fin de siècle, this concerned the aesthetics of l'art pour l'art, the philosophical analysis, the stepping back, dismantling and symbolic reconstruction of the phenomenon. Nothing about it is natural, on the contrary: the more artificial, the better. Because where nothing can ever grow, there is truth - always there and bare.
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Today, however, we have crossed (overcome?) the threshold of nature and culture, art and artificiality, the true and the probable, or let's put it this way: we no longer live in the "second nature" (Lukacs), but are making our way into the third. That is why it is worth subjecting the latest momentum in the history of automation - from VR to the Large Language Models - to a literary self-test.
In this project, however, we are not only debating artificial intelligence. Instead, we place the "elephant in the room" so that everyone avoids it. The aim is to re-examine the concepts of artificiality and intelligence.
WORDS What does the rise of artificial intelligence mean for literature and life? How does the most probable word of the next word affect the creation of the first or last?
FUTURE The tech revolution, living online in bits and pieces, the isolation and multiplication of subjects: what future does all this herald? Are we helping to write it?
MYSTERY Computational Creativity & Generative Literature: Is artificial excellence already more virulent than we would like to claim? How do we write about the mystery of human self-abolition?
BOUNDARY Or are the artificial idiots left out? Does the sacred boundary of the human, transcendental and/or singular remain at the gates of emerging technologies? Into which biotope will we retreat in order not to be affected by the generative power of the many, which we ourselves are after all?
GENERICS Or do we rub the generic against the arbitrary, driven by the Flaubertian longing to become the "idiot of the family" (Sartre) in the mass of the excessive, until we end up in the mirror of neoliberal arbitrariness?
IDION On to the level of the "lowest combination" (Musil)! We call situations in which no thought stirs idiotic, but the arts have always sought these standstills. The impossibility of grasping a single thought feeds great novels. Do we want to become Artificial Idiots (AI)? That is godlike: masturbation in the "black bush" (Trakl) and then giving birth to oneself - the biblical Onan, a conqueror of God.
READING And what about the automated readership, the Artificial Audience (AA), which will one day applaud its Artificial Authors (AA)? AI-controlled publishing software is already sifting through manuscripts. What will be the role of literary pilots in this cultural blind flight? Will disorientation become an art religion?
Additional information
Dates
October 2024
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