rybn.org (FR 2018)
In 1998, with the victory of Deep Blue against Kasparov, humanity have felt the Promethean Shame prophetized by Günther Anders in “The Obsolescence of Man”. Machines have surpassed humans in realms that were supposed to be the exclusive privilege of human intelligence. Nevertheless, since the famous Mechanical Turk, a 1770 chess-playing automaton that revealed itself to be operated by a man, a seminal suspicion remains attached to artificial intelligent. The victory of Deep Blue itself is tainted with distrust, as Kasparov claimed several times that the program might have been operated by a human in the second game.
And even in the Silicon Valley, and despite their promises a world of full automation and smart services, many of the supposedly intelligent applications have been exposed as simulacra: numerous chatbots, virtual assistants, schedule-planners and even self-driving cars were in fact operated by an army of underpaid offshore workers. Rather than some isolated phenomena, the development of artificial Artificial Intelligence, or Pseudo-AI, underlines the nature of Artificial Intelligence in the framework of the disruption economy: rather than a scientific achievement, it is a new step forward in the cybernetic management of labor.
“AAI Chess” is an automated game of chess, fully operated by a Pseudo-AI, that illustrates the very nature of artificial intelligence.
“AAI Chess” has been produced with the support of PACT Zollverein, Walzwerk Null, PAMAL and with the contribution of Marie Lechner.
RYBN.ORG is an extra-disciplinary artistic research platform created in 1999. RYBN.ORG leads investigations within the realms of high-frequency economics and information technologies, writing kabbalistic algorithms, inserting suicidal trading machines into the financial markets, perverting neural networks during their training phase or hunting ghosts in the noise of data traffic. The works of RYBN.ORG have been shown in numerous contemporary art exhibitions such as Infosphäre (ZKM), Nervöse System (HKW), the Global Contemporary (ZKM), 2062 (la Gaîté lyrique), Stock Overflow (iMAL), El Processo Como Paradigma (LABoral), Gutes Böses Geld (Kunsthalle Baden-Baden), Requiem for a Bank (HMKV), and Media Mediums/ Haunted by Algorithms (Ygrec).