As we observe the evolution of artificial intelligence (AI) in our lives, it’s crucial to understand that it remains a statistical tool, despite the glowing rhetoric of major technology companies. The WE ARE THE AI RESYNTHESIZERS project, created for BETACAMP meetings with open source software, illustrates this idea by using AI to enrich and revisit 2K aesthetics and speculative discourses on nature.

In recent years, we have witnessed the birth and development of artificial intelligence in several aspects in our lives. Because of its value as a tool to emulate human behaviors, big tech companies have elaborated a self-serving discourse around them, which conceals what it really is: a tool based on statistical processes.

Due to the apparent quality of its results, it seems as if it could substitute processes which so far were exclusively human, as artistic creation. However, and keeping in mind it is a tool, it is worth remembering the human-machine (tool)- human cycle. Following this premise, we are still not only the generators of that creativity, but we also control other aspects such as being selectors and curators, which are amplified. Besides, A.I. models reveal other more nuanced aspects, such as knowing where we are repeating ourselves or not being original, especially from a global approach.

WE ARE THE AI RESYNTHESIZERS is an expression of this idea. This project was conceived as a space for the BETACAMP encounters, with an initial limitation to ensure full compatibility with different browsers, which implies a limitation in the amount of polygons available to create a virtual environment. In this context, artificial intelligence played a supportive role through text-to-image and image-to-image processes, so it was useful to research and revisit the 2K aesthetics (PS1, N64…), and to fuse them with other speculative discourses about nature which I am currently researching.

WE ARE THE AI RESYNTHESIZERS has been developed using open source software, such as Blender, GIMP, and Inkscape, alongside with other tools as Invoke, AFrame, and Stable Diffusion.

ABOUT THE ARTIST

Carlos Martorell is a Barcelona-based sound and visual artist known for his exploration of the intricate relationships between humans and technology, as well as the interplay between motion and sound. His diverse body of work encompasses a wide range of research topics, including instruments and interfaces, gesture and biometric data, biomusicology, videogames, and nature. 

One of Carlos’s notable achievements is the development of his own instruments, primarily utilizing motion sensors and non-traditional MIDI equipment. By incorporating these elements into his live shows, he adds a compelling physical dimension to his performances. In addition to his musical endeavors, Carlos’s visual work showcases his proficiency in experimenting with various media languages, game engines, and 3D acquisition techniques such as photogrammetry or scanning. Recently, he has also delved into the realms of immersive shows and artificial intelligence, further expanding his creative horizons.