Session 5  | 14:00-15:40

Ideas for a museum of the future

14:00-14:40
gamelab.berlin
Tom Lilge
Interdisciplinary Laboratory Image Knowledge Gestaltung
Ideas for a museum of the future
How does the Museum of the Future look like? How will we remember in the future? Will everyone have their own individual memory bubble, or will our collective memory be made homogeneous by artificial intelligent reminder bots? Together with the Humboldt Forum, gamelab.berlin is developing a digital research prototype to test and discuss the opportunities and risks of a personalized, digital and mobile access to museum collections. The current status of this research and development project will be presented.
14:40-15:10
Markus Rautzenberg
Folkwang Universität der Künste, Essen
Spielräume / Playing Fields: Artificial Agency and the Exteriorization of Mind
The lecture takes a look at a (possible?) practical turn in AI research, which can be witnessed in the change of concept from Artificial Intelligence to Artificial Agency in design research. In short this will be contextualized into the History of Philosophy using Stanley Cavell’s solution of the problem of the mental foreign. The lecture is going to illuminate and colluminate into the concept of the „Spielraum / Playing Fields“ – a space in between, which allows to underline the plausibility of the thesis „the smartest person in the room is the room“.
15:10-15:40
Kat Mustatea
TED
All The World’s A Stage And We Are Merely Puppets
What to make of bots that can now generate poetry, music and paintings? We have yet to recognize that bots generating poetry are a kind of performance art, specifically a type of puppetry. In the age of mechanical reproduction, film arose as an acceleration of photographic technology, which was in turn a novel new medium. Walter Benjamin was the first to recognize film as the great artistic medium of the 20th century, one that best described the social and political tendencies that brought about mechanical reproduction in the first place. Now that economic power is shifting radically toward the production of software, art in the digital age is increasingly interactive, demanding participation of an audience in order to exist. The various species of autonomously performing digital objects, such as bots and algorithms—which can be seen creating artistic artifacts that resemble poems—are the equivalent acceleration of these new, behavior-driven tendencies of art. If we might see these algorithms for what they are—puppets made of software, whose expressive qualities are determined by the puppet master that sets it in motion—we might start to demand of this new artistic medium that it explicates the extent to which any one of us has agency. Who is in charge in an interactive work? Are we puppets or puppet masters?