SET II: COLLABORATING WITH AI

Attempting a backflip is not safe. You can break your neck, or land on your head, or land badly on your wrists. None of that is nice, so my avatar does the trick. It practices on a 6-core processor with the help of Machine Learning. The processor is not the newest but still calculates 6 jumps per iteration. One iteration takes one minute, this is 360 jumps in an hour and 8.640 jumps in a day. I wouldn’t be able to jump so much myself. 

The narrator in the moving image work GALAXY is technology itself. The story is generated by an algorithm and offers an interpretation of an encounter of love and disappointment and tells about the brief meeting of the two characters Touch and Long Swipe. Small deviations in the language and the narrative logic reveal our social imprint of how stories are expected to be told and how technology is programmed to follow these perceptions. The mise en scéne is a computer-generated galaxy of objects and images reminiscent of the organic, but dismembered and fragmented, reflecting on the possibility of creating new worlds and stories in digital space by following a subjective system of ordering. 

See and hear synthetic actors talk about ‘AI-acting’, addressing many artists’ fears, namely losing artistic exclusivity because of emerging AI technology. Synthetic actors - generated with DALL•E 2, explain the differences between ‘traditional’ 3D-animated characters and them, ai-generated actors, as well as how artificial intelligence will affect acting careers in general soon. Some of the characters already appeared in Coenen’s earlier work, settling the record of being the world’s first-ever talking AI generated AI-characters. 

In just a few seconds, OpenAI’s DALL•E 2 generated all the synthetic actors from a random set of pixel-noise just by resorting to its machine-learning model, following Arno’s and Rodger’s art direction in natural language. However, DALL•E 2 is not capable of generating animation. Therefore, Werkhoven and Coenen resorted to an AI built by D-ID. That AI generated all the movement and voices needed for the many minutes of lip-sync synthetic chit-chat. Which also takes just a couple of seconds to generate. Except for the ‘after effects’, everything else in this work has been exclusively achieved by AI. 

AI machines dream about the future of life on planet Earth. 

Algodreams are made by prompting AI systems to imagine the future of life on planet Earth. They dreamt of time machines, memory machines, flamingos that can save the oceans, the AI civilization that destroys humans to protect the planet, and they dreamt of self-driving bicycles that fall in love. These algorithmic visions are made possible by the humans who are putting heroic eorts to build new AI capital highways, infrastructures; promising to create outstanding services to live in this world. In making 

Algodreams, a human assisted the machines by passing messages between dierent AI systems which are currently incapable of communicating with one another. The results are entertaining and shocking. They show machines’ ability to mimic, synthesize, surprise, and retell stories that humans already dreamt and wrote. 

While machines are turning into wonderful storytellers, animators or actors, humans are laboring for new forms of machine creativity and intelligence. 

An old man kills a family of wolves. But a little wolf cub survives - and eventually will return. Who will win, man or nature? 

It’s Ai generated film. Sine Anima means soulless. 

The film explores an undefined form of life that is neither animal nor human. These are moments of artificial life generated by artificial intelligence, a flurry of deformed shapes and odd instances. Everything appears so real and unreal at the same time. Does a world created by artificial intelligence lack a soul? 

The Pet Shop is an experimental stop-motion animation film that explores the fragile boundaries between physical reality, its digital manifestations, and alternative representations. The narrative centres on Louise, a pet shop assistant living with schizotypal personality disorder, who navigates a world where real and virtual pets coexist. Challenged with the demands of mundane reality and real-life social interactions, Louise relies heavily on digital guidance and directives from an omnipresent computer terminal named “Store Manager”. 

"The story of an AI unit who is anything but artificial." 

First year film at the University of Pennsylvania, taking around ten months for completion. Thank you everyone who has supported me along the way. 

A life insurance company uses an AI algorithm to determine the risk of a new applicant. The subsequent denial sparks a period of introspection for the individual in question. 

Forever was created with the experimental technique of using LiDAR to capture real life moments and environments. The LiDAR unit used to acquire the footage was originally created for self-driving cars. This junction of technology and filmmaking intersects with the subject of the film. AI uses LiDAR to “see” humanity in accurate detail, but has resolution limitations. In both story and style, Forever explores the boundary of advanced technology and the human experience.