AI Hallucinations

The exhibition aims to explore the nuanced landscape of AI hallucinations, which disrupt conventional understanding of language and perception. By contemplating large language models through the lens of Gershom Scholem’s insights on lamentation as a linguistic form, the endeavor ventures into uncharted territories of AI inquiry. The exhibition scrutinizes the intricate facets of AI hallucinations, arising from factors such as insufficient training data, flawed model as-sumptions, and inherent biases within the data. Scholem’s contemplation of lamentation as a mode of language accentuates the intricacy of the investigation.

Comprising three video works, the exhibition invites viewers to ponder the complexities of AI hallucinations:

In John Miller’s video “Deus ex Machina,” the mannequin embodies a transcendent form — an ideational automaton to which individuals aspire, emulate, envy, and often despise. Its immutable facade remains aloof to the mundane trivialities upon which it imposes itself. It exists and yet does not, haunting imaginative realms. While humanity bears responsibility for its creation, the mannequin, in turn, reshapes humanity. Has its essence truly been glimpsed? Now it is no more. In “The Oracle” by Lou Cantor, a holographic projection presents talking lips symbolizing a future intelligence ruling the world. Visitors confront a reality where human intelligence is eclipsed. The oracle’s text, an amalgamation of cultural references, resonates with humanity’s collective consciousness.

The exhibition culminates with works by the collective ROBOT (John Miller and Takuji Kogo), surrealistic musical compositions accompanied by on-screen text. Drawn from contemporary philosophers, these pieces challenge viewers’ preconcep-tions of language and context.

As observers navigate the enigmatic realms of linguistic exploration, where AI hallucinations blur the boundaries between reality and illusion, they are invi-ted to decipher the echoes of human thought within language predictions.