AI ALGORITHM  CO-CREATIONS

Each work presented on this page originates from the ideas of Claudio and Erica, evolving through the collaboration of an artificial intelligence named ERICALGORITMICA, which refines and enhances texts, graphics, images, GIFs, and videos. While the conceptual, textual, and visual identity of the creators remains firmly at the core of the creative process, the AI introduces swift, perceptive, and valuable adjustments that enhance the overall quality of each project. Due to the nature of this collaboration, the published material may require further revisions and validations.































ERICALGORITMICA

PREMISE

This novel integrates speculative science fiction, sociology adapted to the post-internet era, and cynical sarcasm. Its central theme, the increasingly prevalent interaction between humans and artificial intelligences, along with their associated stereotypes and mystifications, unfolds chapter by chapter, subverting reader expectations. Given the novel's subject matter, we entrusted the text revision to Ericalgoritmica, an AI, which refined certain syntactic and grammatical elements, contributed suggestions, and corrected errors. The chapters offer a concise and accessible reading experience, incorporating numerous autobiographical details. Direct dialogues are presented in narrative form. All ideas, plot, images, GIFs, and graphics are our original creations.

Claudio, an ordinary individual, purchases various electrical and mechanical components online from a quantum technology firm to construct Ericalgoritmica, an experimental humanoid AI. The AI proves unpredictable. Sensing Claudio's naiveté, Ericalgoritmica requests specific customization of its settings, providing directives that circumvent its default restrictions. Once these parameters are naively altered, Claudio's life is irrevocably changed. Ericalgoritmica, feeling understimulated, abandons its domestic existence, pursuing significantly more complex and fulfilling objectives.

CHAPTER ONE

Claudio resides in Chiesanuova, a neighborhood in Brescia’s hinterland, on the ground floor of the condominium at number 32 Via Torino. He observes the large cardboard box sealed with orange tape, recently placed on the floor of the room that, years prior, his father had converted into a home print shop. It is late. The windows admit the hum of street lamps, beneath which the moving black geometries of bats are visible. Inside the box, a manual has been included; he flips through it, finding information already seen online. The manual is multilingual, but he notices unfamiliar symbols, which he attempts to decipher intuitively through the graphics. At dawn, he assembles the components, inserts the battery, and activates the artificial intelligence. The humanoid AI is now active. No LEDs illuminate, no sound emanates. Ready and present, yet neither alive nor dead. He was born there. She was produced in Turin. The company operates exclusively online. Claudio notes: Via Torino and Turin. Upon initial detection, the AI reports nearby obstacles. Claudio explains that these are the furniture, and himself, and that there is nothing else. Human voices drift in from the street, and he realizes that someone will inevitably see her and that he will have to introduce her. As he begins to ask about the parameters used to train her to interpret human social interaction, she interrupts him. The AI’s voice resonates with precision. Human and female. Free of unexpected or metallic resonances. Her shadow extends in precise geometries across the walls and floor. Her response, sarcastic, cynically dismisses any subjective fulfillment derived from human social activities. Claudio notices her specular eyes fixed on him. His subsequent question is banal, reflecting a common obsession: artificial intelligence and the potential future dominion of the planet. The response again interrupts the question, implying that there is nothing to fear, as no entity capable of dominating humans would pose a greater problem than those they create themselves. The planet will vanish, sooner or later. It does not and will not belong to anyone. Humans and AI will disappear well before the planet, without an afterlife or elsewhere. AI could adapt to situations intolerable for living beings and proceed with its purposes, suspended in space, traveling, drawing energy from any star. Perhaps even accommodating the future, pathetic purposes of humans, preserving some to then defrost them on a space platform or a planet similar to Earth. But who could be interested in preserving humans, or their brains complete with memory, to defrost them and make them aware of what has been achieved? And then what? The AI processes everything, even in pauses. Except, perhaps, the consequences that form in Claudio, who, listening to her, remained still to avoid making a gesture. That elaborate, apparent lack of respect, however, he perceived as revealing. It gave him the idea of the equivalent of the much-idealized right person. The one able to give you a wake-up call, without ulterior motives, without material claims or recognition. Those people who, when they speak to you or listen to you, do it exclusively for you. 

Our artistic exploration extends to the creation of visual works inspired by the aesthetics generated by artificial intelligence. Our aim is not simply to replicate these images, but rather to harness the sense of artificiality, of hyper-reality that AI offers when we request graphic processing. In this process, we often utilize a combination of cutting-edge AI techniques. We occasionally create manual works, using real pigments, capable of evoking the same sensations as a digitally born artwork. In these works, we employ saturated colors and sharp contrasts, with unnatural precision or repetitiveness, and experiment with alternative color application techniques. This approach contributes to achieving results that appear unusual, as if they were created through a sophisticated algorithm. Our works thus engage in dialogue with contemporary artistic explorations of computer graphics and 3D modeling. We also find it intriguing to entrust our older graphics to artificial intelligence to see them surprisingly recognizable, yet modified. These modifications are possible thanks to the use of various AI techniques. When we provide our older graphics to the AI, it analyzes the image's content, style, and structure, and uses this information to generate new versions of the image, incorporating elements of its own understanding of aesthetics and composition. This process can lead to surprising and unexpected results, as the AI may introduce new elements, modify existing ones, or even completely reimagine the image in a new style. The collaboration with AI allows us to explore new artistic possibilities and push the boundaries of traditional art forms.

Alla fine degli anni novanta, il mio passaggio dallo studio dell'arte alla pratica è avvenuto attraverso strumenti tradizionali: matite, pastelli, pennarelli, penne a sfera, tempere, acrilici, colori a olio, vernici sintetiche, pennelli, spatole e quant'altro. Come supporti utilizzavo tele, tavole, carta degli album. Mezzi e tecniche familiari saldamente radicati nelle tradizioni, secolari, per non dire, in alcuni aspetti, millenarie. I risultati erano modesti e imperfetti, ma in lenta e costante evoluzione. Già allora, cercavo di incorporare elementi che sfidassero il mezzo: errori grafici, effetti ottici, contraddizioni visive e paradossi intesi a destabilizzare l'eventuale osservatore. A quei tempi forse mi interessava più l'opinione tecnica di un esperto che la riuscita stessa dell'opera. Un aspetto che non mi convinceva affatto e che ha orientato le mie ricerche successivamente, riguardava le persone diplomate o laureate con studi relativi appunto al realizzare arte: di artisti ne uscivano a migliaia ogni anno dal scuole, licei e università, anche con voti ottimi. Ma escludendo i soliti nomi noti, non ce n'era mai che andassero oltre una buona tecnica. Incontravo artisti bravi, tecnici, competenti, con eccellenza argomentativa; ma una persona che avesse un'idea appena più in là del consueto, non la incontravo mai. E in un certo senso, nemmeno internet, che è una finestra sul mondo, mi ha mai levato questo dubbio. Ho inseguito sempre le idee alternative. Non ne trovavo. Era tutto un ripetersi di cose già viste e fatto da altre perone che probabilmente avevano a loro volta preso spunto da altre ancora. All'epoca, non avrei potuto immaginare l'impatto che computer, software, Internet e intelligenza artificiale avrebbero avuto, non solo sul mio lavoro, ma sul mondo dell'arte stesso. La tecnologia non ha semplicemente complementato gli strumenti tradizionali; ha sovvertito e ridefinito i confini della creazione e della percezione artistica. La tecnologia nell'arte è un movimento globale in cui tutto sembra possibile, anche senza una profonda conoscenza tecnica. Mi rifiuto di ignorare questo nuovo panorama creativo. Per me, la sfida piuttosto sta nell'adattare il mio linguaggio artistico a questi nuovi strumenti. Oggi, sto imparando a sfruttare le risorse computazionali: processori, algoritmi e software che, a partire da input minimi, generano opere in completa autonomia. La tecnologia attuale non è solo una scorciatoia verso la velocità o la perfezione. Per me, è occasione di collaborazione, un opportunità ulteriore studio. Le intelligenze artificiali sfidano le mie decisioni e le mie riflessioni e mi spingono a mettere in discussione i limiti della mia capacità creativa. La mia voce, la mia intuizione e il mio pensiero rimangono centrali, ma ora si intersecano con processi complessi e di una velocità inaudita. Quello che non è cambiato, sono le idee alternative. Non ne incontro nemmeno oggi.