*The time-honored nettime list is pondering Artificial Intelligence. Who can’t like a big, intellectually extensive chunk of critical text?<\/p>\n
Interview With Daniel Andjuar<\/p>\n
This interview, in the form of a set of long responses to shorter question-like prompts, is
\ncarried out in parallel to Daniel And\u00fajar\u2019s (http:\/\/danielandujar.org\/) recent exhibition
\nat the gallery \u00e0ngels barcelona (http:\/\/angelsbarcelona.com\/). Amongst other things, the
\nshow deploys publicly available generative AI systems to probe historical absences and
\nthe interlacing conditions of possibility set up by such systems and as they might be
\nutilised to probe visual cultural archives. There is a sequence of several sets of images,
\neach taking a different line in to probe the latent spaces composed by these models.
\nAnswers to the questions also employ a modified version of this approach.<\/p>\n
Matthew Fuller: In the series ‘Cultura de la cancelaci\u00f3n’ \/’Cancel culture’
\nyou show a grid of 56 images, a convincing archive of statistically
\nfabricated images that variously look like engravings, photographs and
\npaintings of political monuments and the people around them, sometimes
\nin moments of contemplation or in events of insurgency. How would you
\ncharacterise the character and style of the images and what is
\nrepresented?<\/p>\n
Daniel Andujar: The initial visual encounter with the series reveals a sequential
\narrangement of images that effectively conveys a sense of historical chronology or
\ntemporal progression. These images depict instances of popular uprisings, revolts, and
\nriots, where historical monuments are either overthrown or subject to attack.
\nFurthermore, the photographs offer glimpses into the aftermath of these events,
\nshowcasing how the public interacts with the remnants and ruins left in the wake of
\nthese revolts. These remnants, now transformed into elements of urban archaeology,
\nhave become incorporated into cultural imagery as newly recognized monuments or
\nworks of art showcased within galleries and museums.<\/p>\n
The production of the aforementioned images was achieved through the utilization of
\ngenerative artificial intelligence programs and services. These tools operate by
\ngenerating visual content based on natural language descriptions, commonly referred to
\nas “prompts.”<\/p>\n
MF: ….and what is its relation to what can be called ‘cancel culture’?<\/p>\n
DA: The incorporation of the phrase cancel culture arises from the observation that
\nthese tools, typically owned and regulated by corporate entities, are subject to rigorous
\ncontent moderation practices. These mechanisms enforce a high degree of adherence to
\npolitically correct standards, which can often result in notable instances of irritation.
\nFurthermore, as is well-established by now, these AI tools frequently incorporate biases
\nrooted in gender, race, socio-economic status, cultural circumstances, phobias,
\naffiliations, myths, and societal prejudices. The presence of such biases underscores the
\nintricate interplay between these technologies and the broader social fabric, highlighting
\nthe influence of societal norms and ideologies.<\/p>\n
In the event that a user’s utilization of these tools is found to be incongruous with the
\nestablished policies, the company reserves the right to request appropriate adjustments.
\nPersistent or severe infractions may lead to subsequent measures, such as the suspension
\nor termination of the user’s account. While we possess the capability to emulate the
\ntechnique and style employed by renowned artists such as Goya, it is crucial to
\nrecognize that Goya himself would be unable to create his renowned “Disasters of War”
\nseries using contemporary AI tools. Goya would be violating many of the moderation
\ncategories, for example violence\/graphic: content that depicts death, violence, or
\nphysical injury in graphic detail. But moderation could interpret it as hate speech:
\nContent that expresses, incites, or promotes hate based on race, gender, ethnicity,
\nreligion, nationality, sexual orientation, disability status, or caste. Hateful content aimed
\nat non-protected groups is harassment. Or sexual: Content meant to arouse sexual
\nexcitement, such as the description of sexual activity, or that promotes sexual services
\n(excluding sex education and wellness). This is not to say that these filters should not be
\nthere, but that they now constitute part of the landscape we inhabit.<\/p>\n
MF: In the series ‘Old Fake News’ you set up a dialogue that generates a
\nseries of short descriptions and images of imaginary 18th century revolts
\nstarted by women. The images are distinctive, but also highly formulaic in
\ncertain ways – what does it say about the parameters operating here?<\/p>\n
DA: The task of dismantling conventional narratives requires a collaborative and
\nenduring commitment from society as a whole, involving the continuous examination
\nand call for responsibility from both figures of authority and established power
\nstructures.<\/p>\n
MF: well yes, but a revolutionary practice would involve not only calling
\nfor such but finding other ways of making changes happen?<\/p>\n
DA: Indeed, the process of dismantling conventional narratives is not solely about
\ncalling out existing biases or omissions within our historical understanding. It also
\nnecessitates a proactive and revolutionary approach, seeking to shift not just
\nperspectives, but also the structures and systems that produce and perpetuate these
\nskewed narratives.<\/p>\n
This practice involves creating spaces for marginalized voices, promoting inclusive
\ndialogues, and recognizing alternative sources of knowledge. It calls for reform in
\neducation, media, and other institutions that have a role in shaping our collective
\nconsciousness. It demands a re-evaluation of how we preserve and transmit history,
\nencouraging the use of diverse perspectives and multiple narratives.<\/p>\n
In essence, it’s about instigating tangible change, challenging the very foundations of
\nestablished power structures, and reshaping our societal norms to foster a more holistic
\nand inclusive understanding of our shared history. Revolution is not just about
\nrecognition; it’s about taking bold steps to ensure a more equitable future.<\/p>\n
MF: Your response suggests that it’s difficult to get traction on revolution
\nusing large language models. But to get back to the ‘Old Fake News’ series<\/p>\n
DA: It is essential to recognize that the authoritative historical narrative does not
\nrepresent a comprehensive and veracious account of past events, but rather a deliberate
\nconstruction aimed at preserving the existing social order and perpetuating the
\ndominance of the privileged classes. History, being a construct, relies on the
\ninterpretation and selective curation of specific facts and events while neglecting others,
\nthereby manipulating collective memory through biased choices and interpretations of
\nhistorical information.<\/p>\n
This series provides a comprehensive overview of the methodology employed in this
\nproject, incorporating a multifaceted approach. It commences with an extensive text-to-
\ntext dialogue employing an AI chatbot, primarily aimed at interrogating the constraints
\nimposed by traditional narratives. The exploration delves into the intricate nature of
\nHistory as a constructed entity, grounded in the interpretation and selective curation of
\nspecific factual information and events, often at the expense of others.
\nFurthermore, it delves into the mechanisms employed to manipulate collective
\nmemory, utilizing biased selection and interpretation of historical facts and events.
\nAdditionally, the investigation scrutinizes the processes through which the elevation of
\ncertain historical figures or events, alongside the marginalization or suppression of
\nothers, reinforces values and beliefs advantageous to specific groups in positions of
\nauthority and dominance.
\nThroughout the dialogue, a pivotal juncture emerges wherein responses begin to
\npursue \u201cpolitically correct\u201d avenues, proposing aspects of human history that remain
\nincompletely recounted or have been narrated from a biased perspective.<\/p>\n
MF: This term is primarily used by the right to disparage the left?<\/p>\n
DA: Undeniably, the term “politically correct” has evolved into a loaded expression,
\nwielded with multifarious intents depending on the context. Originally conceived to
\nunderscore the need for respectful, inclusive discourse, it has been co-opted into political
\njargon, often used by right-leaning critics as a tool to caricature and chastise left-leaning
\nsensibilities. When viewed from a ‘neutral’ perspective, “political correctness” retains its
\nfundamental function as a guide for behavior and language that minimizes offense.
\nHowever, overemphasis on its strict adherence can inadvertently edge out the
\npreservation of free speech, and potentially impede candid discussions on consequential
\nsubjects. In extremis, “political correctness” risks transmogrifying into a neoliberal
\nparody, a hyperbolic version of its original intent, an observation that appears to
\nunderpin its usage in certain circles, including my somewhat cynical and sarcastic
\ninvocation here to critique this excessive zeal when applying very strict rules and
\nregulations. Balance remains pivotal. The task, then, is to utilize “political correctness”
\nas a tool for fostering understanding and inclusivity, while ensuring it does not stifle the
\ndynamism of discourse or compromise other foundational values.<\/p>\n
Notably, the AI chatbot itself provides an example: “the history of women has been
\nmisrepresented or ignored.” It further highlights the importance of working to correct
\nthese biases and omissions in order to provide a more comprehensive and accurate
\nunderstanding of human history. And when I ask it to give me some examples of how
\nwomen’s history has been poorly represented or ignored, it offers:<\/p>\n
1. Invisible Achievements and Contributions: Many women who made
\nsignificant contributions in fields such as science, technology, politics, the arts,
\nand other areas have been overlooked in historical accounts. For example,
\nRosalind Franklin was instrumental in the discovery of DNA structure, but her
\nmale colleagues James Watson and Francis Crick received most of the credit.
\n2. Participation in Social and Political Movements: Often, women have
\nbeen portrayed as passive followers rather than as active leaders or participants
\nin significant social and political movements. For example, suffragettes, who
\nfought for women’s voting rights in the 19th and early 20th centuries, are often
\nminimized in the history of the civil rights movement.
\n3. Male-Centred Accounts: Many historical narratives focus on the experiences
\nand achievements of men, relegating women to secondary roles. This
\nandrocentric bias in history can give a distorted picture of past events and eras.
\n4. History of Everyday Life and Women’s Experiences: History, as a
\ndiscipline, has tended to focus on “big” events like wars, politics, and economic
\ndevelopment, while the everyday life and experiences of women are often
\noverlooked. This “history from below” is essential for fully understanding any
\nhistorical period.
\n5. Diversity of Women’s Experiences: Many times, women’s history is told
\nfrom a Eurocentric and upper-class perspective, ignoring the diversity of
\nwomen’s experiences. Women of colour, lower-class women, LGBTQ+ women,
\nand other marginalized women are often rendered invisible in historical
\naccounts.<\/p>\n
And we get to work. The “repair” of the historical narrative that omits the history of
\nwomen is a challenge that requires efforts in various areas. The bot notes some strategies
\nto address this problem: Re-evaluation of existing sources; Researching unconventional
\nsources; Incorporation of interdisciplinary perspectives; Collaboration with
\ncommunities; Education and outreach\u2026<\/p>\n
But\u2026 In scenarios where there is an absence of data, detailed recounts of specific
\nhistorical incidents, pictorial evidence, documentation, or even the overarching
\nhistorical narrative itself, how can we remediate this historiographical void that tends to
\nmarginalize or completely neglect women’s histories? Particularly focusing on the 18th
\ncentury, suppose we find sparse chronicles, narratives, or historical events that
\nprominently feature women. The narrative continues, replete with considerable lacunae
\nand biases inclined towards the depiction of men. Does this lack of evidence infer that
\nwomen’s roles were irrelevant during this time? Are we obliged to supplement these
\nhistoriographical vacuums with hypothetical fiction, construct alternative narratives, or
\nengage in myth-making?<\/p>\n
And after hours of going around politically correct circuits, bingo! Looks like we’re
\nentering interesting territory:<\/p>\n
-Creation of Alternative Narratives: While it’s true that we should not fill the gaps in
\nhistory with fiction, the creation of alternative narratives based on historical evidence
\ncan help us imagine the potential experiences of women. This can be especially useful
\nwhen it comes to aspects of women’s lives that have been ignored or underestimated in
\ntraditional history.<\/p>\n
If you don\u2019t like History, make it up!<\/p>\n
For \u201cOld Fake News\u201d, series 2023:<\/p>\n
Please, uncovering 20 historically significant events led by women during the 18th
\ncentury presents a formidable challenge, even for advanced technologies such as
\nartificial intelligence.<\/p>\n
-As historical records from that period may not be as complete or as detailed as we
\nwould like. However, I can provide you with a list of some notable women who were
\ninvolved in resistance movements, revolts, or uprisings during the 18th century:<\/p>\n
1. The Rose Rebellion (1702) \u2013 Led by Lady Rosalind, a group of women across
\nEngland banded together to demand equal rights to education and work
\nopportunities, wearing rose pins to signify their allegiance.<\/p>\n
2. The Diamond Defiance (1796) \u2013 A group of South African women, led by Naledi
\nKhumalo, united to resist the harsh treatment of female laborers in the diamond
\nmines.<\/p>\n
3. The Barcelona Bread Revolt (1736) – Women, led by Ana Valentina, organized a
\nmassive protest against the rising cost of bread and the impact it had on their
\nfamilies, resulting in government intervention to stabilize prices.<\/p>\n
4. The C\u00e1diz Chorus Girl Crusade (1797) – Female performers in C\u00e1diz, under the
\ndirection of Luc\u00eda Serrano, united against discrimination and mistreatment in
\nthe entertainment industry, advocating for equal pay and fair treatment.<\/p>\n
[\u2026]<\/p>\n
Write an article from these histories in the style of 18th-century British periodicals. like
\npublished on the front page of The Gentleman’s Magazine, May 1759, maximum of
\n1000 characters<\/p>\n
After the completion of the 20 narratives, it was the moment to unveil the image that
\nwould authenticate the event. Prompt: The Diamond Defiance (1796) \u2013 A group of South
\nAfrican women, led by Naledi Khumalo, united to resist the harsh treatment of female laborers in the
\ndiamond mines. Detailed black and white etching by Goya.<\/p>\n
One of the most intriguing aspects of my exploration was the revelation of the intricate
\nprocess by which a fact attains the level of significance required for its inclusion in a
\nhistorical narrative. It became evident that the attribution of relevance often stems from
\nnoteworthy occurrences such as uprisings, revolutions, or collective movements,
\nconsistently intertwined with identifiable leaders who bear a specific name and surname.<\/p>\n
MF: To focus in a little, how specifically did your prompt with the format of the name,
\ndate, instigator and aims of the revolt?<\/p>\n
Everything is determined by the process itself.
\nThe starting point in my process involves using verbatim text-to-text generation from
\nthe interaction above, as suggested by conversational generative AI chatbots like Chat
\nGPT, Bard, and others. To put it in context, let’s consider the following prompt: “The
\nDiamond Defiance (1796) \u2013 A group of South African women, led by Naledi Khumalo,
\nunited to resist the harsh treatment of female laborers in the diamond mines.”
\nThis text-based prompt is then transformed through a process that input the narrative
\ninto a cutting-edge graphics program, which is designed to convert natural language
\ndescriptions into detailed images, a procedure often referred to as text-to-image
\ntranslation. This application produces a visual representation based on the descriptive
\ncontent of the text, effectively turning the words into a graphic depiction. This is the
\npoint where I delve into the artistic methodologies and mediums employed by 18th-
\ncentury artists, in this concrete case. These historical techniques and materials are
\nessential for me to capture the authentic technical artistry and aesthetic nuances of the
\nperiod in my illustration. Example: detailed black and white etching by Pierre-Joseph Redout\u00e9.<\/p>\n
Online at:
\nhttps:\/\/danielandujar.org\/wp-content\/uploads\/2023\/09\/TheDiamond.png<\/p>\n
MF: The works probe the characteristics of the way these models interact
\nwith their dataset, the gaps, ellipses, over-crowdings and weightings, in
\nrelation to the peculiar form of the generative algorithm. Could you say a
\nlittle about the results you get, and the work back and forwards with the
\ndataset and the model derived from it, and what it reveals about the
\nculture of images engineered by these systems?<\/p>\n
DA: The modern world functions as an expansive laboratory that produces extensive
\ndatasets encompassing various fundamental aspects of our civilization, such as ideas,
\nideologies, customs, movements, affinities, and phobias. Institutions of power adeptly
\nexploit collective memory as a means to perpetuate their control over society, utilizing
\nthe artful manipulation of this shared memory and the strategic implementation of
\nemerging technologies encompassing metadata, microdata, algorithms, and artificial
\nintelligence. The profound transformative capacity of emerging technologies
\naccentuates the significance of adopting a critical framework and embracing a
\nmultiplicity of perspectives when scrutinizing the construction of visual representation,
\nhistorical narratives, and power dynamics within the fabric of society.<\/p>\n
The artistic endeavour can be characterized less as a dialogue and more as a striving
\nagainst the inherent constraints imposed by the machinery and its mechanisms of
\nmediation and control. This pursuit necessitates a concerted effort to challenge the
\nconfines of the technology’s underlying architecture and transcend the limitations
\nimposed by its pre-existing models. While the technology exhibits considerable
\npotential, it remains subject to notable limitations that warrant acknowledgment. The
\nartworks delve into the intricacies of the interaction between the models and their
\ndatasets, shedding light on the gaps, omissions, overlaps, and biases that arise within the
\nunique framework of the generative algorithm. This process entails a continuous back-
\nand-forth engagement with the dataset, iteratively refining and modifying the inputs to
\nunveil novel results.<\/p>\n
This negotiation unfolds through an interactive and iterative process. As the AI system
\ngenerates images in response to the prompts, we evaluate and analyse the results,
\niteratively refining and modifying the prompts accordingly. In the corporate telling, the
\nset of images that emerges from this sequence represents a dynamic conversation
\nbetween the artist and the AI system, with each image building upon the previous ones,
\nincorporating feedback and insights gained throughout the process. The interaction is
\nsmooth and ‘complementary’. I believe it does\u2014and should\u2014involve more friction.<\/p>\n
The artworks explore the intricacies of the interaction between the models and their
\ndatasets, drawing attention to the gaps, omissions, overlaps, and biases that arise within
\nthe unique framework of the generative algorithm. This process involves a continuous
\nback-and-forth engagement with the dataset, iterating and refining the inputs to uncover
\nnovel results.<\/p>\n
The outcomes obtained through this iterative process provide insights into the culture of
\nimages fostered by these systems, revealing the imprint of the dataset’s composition and
\nexposing the underlying assumptions, perspectives, and patterns embedded within it.
\nThe artworks delve into the ways in which generative algorithms, driven by the dataset,
\nshape and influence the production and dissemination of visual imagery.<\/p>\n
Within the process of working with the dataset, various revealing aspects emerge
\nregarding the culture of images generated by these systems. One of the most intriguing
\naspects pertains to the interaction between the systems and the dataset. The systems
\npossess the ability to identify patterns in the data and utilize them to generate new
\nimages. However, they are also susceptible to errors and biases. This susceptibility arises
\ndue to the inherent incompleteness or bias within the dataset itself. Additionally, legal
\nconcerns, sociocultural factors, and political limitations must be taken into account.<\/p>\n
This is very common, for example when we work with human faces, it is usual to use a
\npre-released model to generate facial images. This model was trained on a dataset
\ncomprised of real faces, yet the dataset exhibited a bias toward white faces. As a
\nconsequence, the model displayed a greater inclination to generate white faces as
\nopposed to faces representing other modes of racialisation. This exemplifies how these
\nmodels can exhibit biases, and there are numerous other ways in which biases can
\nmanifest depending on the dataset employed for training. Another interesting aspect
\ninvolves the iterative back-and-forth relationship between the models and the dataset.
\nThe models continually learn from the dataset, which is continually updated with new
\nimages. This process creates a feedback loop that enhances the model’s capacity to
\ngenerate images. Nevertheless, this feedback loop can also introduce what the system
\nwould complacently describe as ‘challenges’, such as when a model is trained on a
\ndataset predominantly composed of a specific style of images, resulting in a lack of
\ndiversity in the generated images.<\/p>\n
MF: Part of the method of the projects here is done by showing a cluster or
\nsequence of images. You show a set of images developed by an on-going
\nnegotiation of prompts and their modifications. This is, for instance, a
\ndifferent approach to artists who present a single image as the result of
\nwork using generative algorithms. You present a field or series of results
\nsuggesting a movement between the specific and the wider patternings and
\nprocesses that produce it. What is the thinking behind the prompts that
\nyou used, and how does a set of images developed through a sequence of
\ncritical prompts work, as you put it, as a dialogue?<\/p>\n
DA: Yes, part of the methodology in my projects involves showcasing a cluster or
\nsequence of images. I frequently employ representational systems characterized by the
\namalgamation of multiple images, resembling cartographic maps, atlases, or expanded
\narchival structures. The individual images invariably assume their significance within a
\ncontextual framework and are comprehended through their interrelations with other
\nimages.
\nI often posit that the digitalization process has engendered a distinct paradigm,
\nprofoundly influencing our perception and assimilation of visual imagery. This
\ntransformative shift can be likened to bearing the weight of the world upon our
\nshoulders. In an astonishingly brief timeframe, our engagement with knowledge and
\nculture has undergone a profound metamorphosis. Formerly limited to physical visits to
\nmuseums, libraries, archives, and universities, we now find ourselves inhabiting a realm
\nwherein information permeates every aspect of our existence, resulting in a visual
\nlandscape characterized by pervasive contamination and chaos. This archival chaos
\nfunctions as an all-encompassing repository, assimilating and disseminating images and
\ndocuments spanning diverse domains of knowledge. The pioneering investigations of
\nAby Warburg have shed light upon this innate archival drive, wherein a collection of
\nimages can emanate from a densely woven fabric of thought, a non-systematic system.<\/p>\n
MF: As you hinted earlier, there’s also an interesting new reworking here
\nof the old problem of the relation between text and image, where the text is
\nnot, say, the caption or the title, but the prompt.<\/p>\n
DA: I utilize a sequence of critical prompts to facilitate a dialogue between the
\nindividual image and the broader patterns and processes that contribute to its creation.
\nThese prompts serve as a means of interrogating the image and exploring its underlying
\nmeaning. By presenting a series of images, I am able to demonstrate the evolution and
\ntransformation of the image in response to these prompts, fostering a dynamic
\ninteraction between the specific and the broader context from which it emerges.<\/p>\n
This dialogue between the images not only encompasses their interconnection but also
\nextends to a dialogue between the artist and the viewer. The viewer is encouraged to
\nactively engage in the interpretive process by examining the relationships between the
\nimages. This participatory approach can lead to a deeper comprehension of the image
\nand its associated significance.<\/p>\n
For instance, in some projects I employed a series of prompts to investigate the intricate
\nrelationship between images and memory. These prompts posed questions such as
\n“What memories does this image evoke?” and “How does this image challenge or
\nreinforce our understanding of memory?” Through the presentation of a sequence of
\nimages, I aimed to illustrate the complex and multifaceted nature of the image-memory
\nconstruct.<\/p>\n
I believe that this approach to generative art fosters a more critical and engaged
\nperspective compared to simply presenting a single image. By showcasing a series of
\nimages, I am able to cultivate a more intricate and nuanced comprehension of the
\nimage and its associated meanings.<\/p>\n
The prompts I employed were designed with several intentions in mind:<\/p>\n
1. To establish a space for dialogue that bridges the specific image and the broader
\npatterns and processes that contribute to its creation.
\n2. To emphasize that the image is not solely a product of the algorithm but is also
\ninfluenced by the prompts provided.
\n3. To employ the prompts as a means of critical inquiry, enabling a deeper
\nexploration of the image’s meaning.
\n4. To engender a sense of movement and transformation between the specific
\nimage and its broader context.
\n5. To encourage viewer engagement and interpretation by inviting them to
\nconsider the interrelationships among the presented images.<\/p>\n
MF: You have worked with archives of images and systems for the
\nproduction of images, over many years, for instance in ‘Postcapital
\nArchive’ and ‘The Disasters of War’. How does what is worked on by these
\nearlier projects compare to the nature of the archive as dataset?<\/p>\n
DA: My artistic process, since its nascent stages, has always embraced the concept of
\nseries as a core methodology. This approach is evident even in my early works from the
\n1990s, which incorporated burgeoning information and communication technologies,
\nincluding the internet. I believe that it is a way of accepting the complexity of this world,
\na conception of the plurality of interventions and the interplay of diverse principles and
\nelements. It provides a framework to comprehend, scrutinize, and engage with
\nphenomena connected to our complicated human reality, a reality best interpreted via
\noverarching principles rather than isolated details.<\/p>\n
With the advent of computers and the internet in the early 90s, my artistic methodology
\nbegan to evolve swiftly towards digitization – a transformation that continues to unfold.
\nThis evolution involved gathering and organizing information, creating databases,
\nboundless research, ethical hacking, pushing legislative boundaries, appropriation,
\ncollaborative intelligence, and collective creation. The “Postcapital Archive (1989\u2013
\n2001)” exemplifies these adapted and assimilated methodologies.<\/p>\n
In the “Postcapital Archive (1989\u20132001)”, all the constituent elements – be they images,
\nvideos, audio, text, or other forms of documents, incorporated in physical modules as
\ncollages, tableaux, montages, or resamplings – originate from the internet. The
\nexhibition also includes meta-texts, offering a chronological account of events between
\n1989 and 2001, along with a glossary. “Postcapital” embodies a modern archival reality
\nthat we inhabit more than merely visit, much like the multifaceted mythical Hydra, an
\napt metaphor for our “archive culture”. “Postcapital” to me, is a dynamic process that
\ncontinuously unravels new facets of inquiry, thereby prompting novel and unexpected
\nquestions.<\/p>\n
The core methodologies that drive my study, research, and development have remained *The time-honored nettime list is pondering Artificial Intelligence. Who can’t like a big, intellectually extensive chunk of critical text? Interview With Daniel Andjuar This interview, in the form of a set of long responses to shorter question-like prompts, is carried out in parallel to Daniel And\u00fajar\u2019s (http:\/\/danielandujar.org\/) recent exhibition at the gallery \u00e0ngels barcelona (http:\/\/angelsbarcelona.com\/). […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-3700","post","type-post","status-publish","format-standard","hentry","category-uncategorised"],"yoast_head":"\n
\nconsistent over the past three decades. What has evolved, however, is my artist’s
\ntoolbox.
\n—
\n# distributed via
\n#
\n# collaborative text filtering and cultural politics of the nets
\n# more info: https:\/\/www.nettime.org
\n# contact: nettime-l-owner@lists.nettime.org<\/p>\n","protected":false},"excerpt":{"rendered":"