Avatares de IA de herança cultural

Auteurs

DOI :

https://doi.org/10.34619/rdjh-ltod

Mots-clés :

eternismo, herança cultural, tecnologia de IA, avatares de ascendentes

Résumé

A relação entre os seres humanos e o seu passado, incluindo os seus antepassados e ícones culturais, molda a nossa memória colectiva e identidade cultural. No entanto, o aparecimento de avatares de IA levanta questões sobre a forma como estas ligações ao passado estão a evoluir. Esta mudança é, em primeiro lugar, exemplificada por uma mãe na Coreia do Sul que utilizou a tecnologia de RV para interagir com um avatar da sua filha falecida. Em seguida, o presente documento presta atenção ao Avatar de Inteligência Artificial de Lutero apresentado em 2023 pela igreja protestante de Renânia no dia da reforma, 31 de outubro. Esta experiência sem precedentes de figuras do património e da cultura que, enquanto avatares, interagem connosco através da tecnologia de IA, levanta questões complexas sobre a intersecção entre tecnologia, memória e cultura. A utilização de avatares do património da IA para estabelecer ligações com os falecidos e com as figuras do nosso património apresenta oportunidades e dilemas na forma como lidamos com a presença alargada (Gumbrecht) e a relação com o eternismo (Tanner), bem como a relação entre a linguagem e a imortalidade (Gil). O potencial dos avatares de IA para alterar a nossa relação com a história, a temporalidade, a mediação, o testemunho, a memória colectiva e a identidade social e religiosa é vasto e justifica uma exploração cuidadosa, mas sobretudo crítica. Este é apenas um início preliminar da filosofia dos media dos Avatares da Herança cultural da IA.

 

Biographie de l'auteur

Alexander Gerner, Lusófona University, CICANT, Portugal

Alexander Gerner is a theater-maker, curator, dramaturg and since 12/2023, Adjunct Professor and researcher at Universidade Lusófona/FilmEU University. In 1998, he received the city council of Munich “Dance¬ and Theatre-prize” for his multimedia & interdisciplinary (Internet/TV/ theater) play “zap through my life (Ztml)” and the Prize of the Authors Days for his theatre play “Trance”(1997). Gerner holds a PhD in History and Philosophy of Science on “Philosophical Investigations of Attention”(ULisboa 05/2012). He works on a critique of algorithmic rationality (hacking humans), affectivity, and simulation of social encounters and their mediation and digital substitution relations. As part of a dramaturgic philosophy of technology and media he adopts an interdisciplinary approach that focuses on the arts and the concepts of interplay of (programmed) sociality, human technology, ethics, and aesthetic foundations & hacking as cultural method.
He envisions (post-) digital media, gestures and artifacts, art-as-research, epistemologies of aesthetics & media archaeologies and praxeologies. He hacks into AI aesthetics, AI Avatars, dialogues modes and dramaturgies of AI assistants, gamified XR/AI companions, and generative and personalized media. He explores scenic methods (e.g. Climate Theatre) as well as arte(f)actors, artefacts that mimic to be actors, e.g. in language dramaturgies/masks/roles of LLMs cross-modal creative applications in arts and cultural industries.

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Publiée

2024-11-29

Comment citer

Gerner, A. (2024). Avatares de IA de herança cultural. Revista De Comunicação E Linguagens, (60), 18–45. https://doi.org/10.34619/rdjh-ltod