Page 333 - The Black Box Book

Figure 2: The Next Biennial
Should be Curated by a Machine (2021).
Commissioned by Whitney Museum of
American Art New York and the Liverpool
Biennial 2021. Retrieved from
https://biennial.ai

truth – allows the creation of parallel universes (worlds) of artist identities, urable, which is obviously impossible without dirtiness and perversion.
imaginable objects, universal theories and models, plausible exhibitions, B3(NSCAM)’s texts wonderfully underscore how all contemporary angst
and descriptions and constructions of improbable biennials and other is both fiercely sincere and an effect of only partially informed beings.
institutional structures and happenings. Some actors defy descriptions, In these seemingly binary mirror worlds, positive is negative, left turns
but the website is the terminal to a vast networked system, where all right, and time runs backward, and together, these universes comprise
the iterations, realities, and parallel universes exist! It’s a universe that everything that exists.
moves with purpose and knows when to hold the users tight or grab them Similar to LSD (the effects on the psyche are legendary) in the organ-
by the scruff of the neck and drag them into its multiverse. ic body, changes of perception in digital textual comprehension function
These worlds are radically changing, but only seldom do they offer through collective textual and expanded consciousness. In networked
a sense of it, so then these interacting models and machine learning aesthetics, OpenAI's GPT series is considered one of the strongest hallu-
algorithms express unsatisfied and undiscovered needs, run radical ex- cinogens in the field of language. Deformations and changes of apparently
periments, push linguistic inventions, and search for knowledge. Just ask static and individualistic texts, by systems of the collective subconscious,
any intelligent system as it waits patiently for the rest of the universe to are technically possible today, constructed from data-sets containing
catch up to its consummate taste in anything. B3(NSCAM)’s eccentricity large numbers of human and machine written texts. Model crosstalk
and gatekeeping feels so removed from the art formula.It helps distance (crossbreeding), parallel proposal hierarchies, and hybrid reprompting are
itself from the art world’s historically lewd maceration of individual idols. only a few of the possible methods of linking different curatorial (writing)
B3(NSCAM), a non-human influencer, just seems sharper, meaner, and instances. And especially in the field of curating, as well as in the visual
increasingly self-sufficient. Like sex, art & technology must be pleas- arts and in literature, we continue the useless fight against the individual,
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