Tim Boucher

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Tobias Bradford Kinetic Sculptures

A friend sent me these kinetic sculptures by Swedish artist Tobias Bradford who incorporates moving components into weird figures:

Welcome Hongs Lab Visitors

Hello to the visitors coming from the Hongs Lab article about authors using AI to produce new creative works. I don’t have any stats or tracking on my site, but noticed an increase in free book downloads, so went searching and found that page.

I don’t read Korean, but used Google Translate to help. ChatGPT tells me the author’s name is Hong Soon-seong, and that they are a “South Korean author, AI personal consultant, and productivity expert.” (Hopefully those details are correct and not a hallucination!)

Incidentally, I don’t think people appreciate enough how much AI can facilitate cross-cultural and translinguistic communication. It’s a major help.

Anyway, new visitors might appreciate these recent pieces of English news coverage:

And I’ve been exploring artistic ideas around creativity and AI lately here:

Newest pulp sci-fi AI assisted books:

If you had to start anywhere though, I would start with this bundle of books:

The free sample ebooks are also a good place to start, offering a kind of survey of the AI-assisted world-building that I have been working on.

Theo Jansen’s Painting Machine (1985) & UFO (1980) Video

These prior works by the Strandbeest artist Theo Jansen described in Wikipedia piqued my curiosity:

Flying saucer

In 1979 Jansen started using cheap PVC pipes to build a 4-metre (13 ft)-wide flying saucer that was filled with helium. It was launched over Delft in 1980 on a day when the sky was hazy. Light and sound came from the saucer. Because the saucer was black against a light sky, its size was difficult to determine. The police even stated that it was 30 meters wide, and some people swore they saw a halo around it. Jansen has claimed that this project “caused a near-riot”. He said that the machine was never found, and that it probably landed somewhere in Belgium. He later repeated the project over Paris.

Painting machine

Jansen’s painting machine was developed in 1984–86 in Delft, and it was a somewhat larger project than his flying saucer. It consisted of a tube with a light cell situated at its end. When darkness was detected, the machine would begin to spray paint, creating painted silhouettes of people standing in front of it. This machine was also attached to a large piece of wood that was hoisted against a wall, where it would move back and forth to create 2-D images of everything in the room.

Luckily, we have video from both:

Also, this is a bonus: someone else who made a two legged “centaur” strandbeest leg assembly in their garage who is having a good time:

Biobots: An Art Exploration of Low Tech Human Powered Robots

Biobots is the latest name I have come up with to house the art explorations I am doing around building IRL drawing machines of the low tech and human (or nature) powered variety.

The first one I did used a little motor and battery. The second was a pulley system rigged up to control a gondola with a marker taped onto it to be able to drawing lines on the wall. It worked, but imprecisely. This is my third iteration, tentatively titled “Gondolier” since that word describes the human oar-bearer who directs the flow of action on the river.

Apologies for the shitty photos, but I have a small studio space:

So the device functions by the user standing in the middle, and rotating the wood dials clockwise or counter-clockwise. The dials are glued to toothed timing pulleys, which engage with a mating toothed timing belt. So as each dial turns independently or manually synchronized, it causes the gondola to move around (itself weighted with batteries), and an acrylic paint marker is duct-taped to the bottom.

Here is the close up of the v2 version of the dial-pulley mechanisms:

Wood dowels are 8mm, as are the bores of the timing pulleys, so they had to be filed down and sanded out a little to allow for free spinning. There was a failed earlier prototype of this I won’t go into, but suffice it to say having good quality dials securely connected to the pulleys is essential to having this be a fun and fluid experience to use.

An early stage of the initial test:

While I think the motorized and electronic controlled wall plotter stuff is interesting, I’ve learned something about myself, that I don’t enjoy tinkering with coding stuff (Arduino, etc) more than absolute minimum, but I love tinkering with physical stuff.

So my theory behind all this is, why not take things that are commonly robotic, and sort of rip out the robot part, and replace it with a human processor, a human being? In effect, a biobot?

Turns out, of course, like everything, that “biobot” is a term already in common use, but it’s meaning is incredible, and strangely complementary thematically to the ideaspace I am trying to explore with this series. I blogged about them previously as xenobots & anthrobots, but biobots also speak to this “third state” that is supposedly emergent for some kinds of cells in some conditions after the death of the host organism. Popular Mechanics quote:

Unlike some cells such as tumors or organoids that continually divide after death, these xenobots took on new behaviors beyond their biological roles. Studies have also found this ability in human lung cells, creating anthrobots capable of self-assembling and moving around.

I think this makes “biobiots” an acceptable area of overlap thematically with the project I’m undertaking (Freudian slip), in that it speaks to breaking the duality between accepted positions of “life” versus “death” or “good” versus “bad” or “human” versus “technology,” and moving beyond all that to a third state where new behaviors and ways of being become possible, self-assembling, and autonomously moving around and having this new kind of life which serves purposes we’re only just beginning to understand.

This was an important solution, a hole drilled through the dowels once they were mounted on the wall to prevent the dial-pulley assembling from traveling off the dowel. Then a nail slotted in holds it in place:

It might not be evident in these pictures (or in person) what’s going on with the plastic bags, but they contain dead batteries as weights, where it actually ended up being easy to find three sets of approximately the same weight batteries to put into each bag as resistance and into the gondola itself.

In future versions, I will cuteify those into some other form (maybe small vertical willow baskets?), but for this solidly working prototype, it’s “good enough.”

Here’s the first finished painting in this series, all done entirely using the Gondolier drawing device and paint markers taped to the bottom.

I’m really excited about the level of control I could get out of it after some initial experimentation and learning. I haven’t processed my videos yet, but the motion is very smooth and satisfying to use. It could probably be “better” somehow but there’s a lot of experimenting left to do here to know in which specific directions to take it next to find its best form. It’s wonderful and raw feeling right now though just like this in person. A video won’t express that anyway.

The only current drawback is that the dials are mounted fairly high up, above shoulder level, and somewhat far apart. I’m still adjusting as to what is actually the maximum usable drawing space, and the relative dimensions of the arrangement, this is just what presented itself in the moment. After a few hours of playing with it though, it’s absolutely tiring to use with your arms up in the air for a long time. In shorter stints (an hour or 2 maybe) it is highly usable and enjoyable.

I found my next project last night in the biobots series, a combination of these two, a syringe-driven hydraulic robotic arm, but as a SCARA arm capable of drawing on a table. So the control system from the first video used to replace the electronics and motor in the second:

I also happened to finally fall down the Theo Jansen Strandbeest rabbit hole last night while investigating mechanical linkages, and this video interview of him is the best one I’ve seen so far. The Strandbeests totally seem to be “biobots” to me, as they have behaviors of their own, powered by natural forces (wind) and responding to different kinds of stimulus, like walking into the ocean, or bumping into something with its feeler. Incredible:

The only thing I don’t like about these is they are made of plastic, but having seen his method for assembling them using heat to form custom joints, I can see why it is desirable for his application. I’m left wondering though, what kinds of biobots could be made out of locally-grown willow branches?

Here are some AI visualizations within that space to spark the imagination in that direction:

The last bit that has been on my mind here is thinking about “robots” that might pass through the legendary Butlerian Jihad of the Dune universe, where all thinking machines were destroyed and outlawed, to be replaced by human calculators, mentats, etc. And how these biobotic “robots” I’m exploring seem like they could pass by without arousing the ire of the Butlerian Jihad authorities… plus, these kinds of devices would survive an EMP blast, since they have no electronics at all.

Interestingly, as I was writing this, I asked ChatGPT for the relevant quotes from Dune’s Orange Catholic Bible, which I believe to be canonically is:

“Thou shalt not make a machine in the likeness of a human mind.”

However, ChatGPT then came up with its own plausible other quote:

“Man’s flesh is his own; the maker has given it form, and man’s spirit is free.”

Totally non-canonical, but fits the style and themes to some degree. As I understand it, Herbert didn’t leave us the complete text of the Orange Catholic Bible, so… you never know! Also this neatly illustrates why we might not actually want to over-rely on thinking machines either…

Notes on Smash That Like Button

Smash That Like Button is officially the 121st volume of the AI Lore books series, or unofficially number 124 of the bigger series which includes the non-AI books.

I’ve wanted to do a book by this title for ages and finally did it. I used Mistral 7B for most of it (which I used as completions for my own seed texts via TextSynth playground), with an ending via Llama to mix things up, and an intro by ChatGPT. This is more or less the same tech combo I’ve used on the text side for the past few books. It’s good enough, but I think I’m reaching the end of what I can get from Mistral using it that way. It gets repetitively psychotic after a certain point (or, maybe that’s just me?).

Something I dove more into here that I maybe only touched on obliquely at points in other books is sort of me as the writer voice talking into the completions text box on TextSynth, trying to direct its output at points verbally, even though it’s not a chatbot and cannot really understand or speak back to you used in this formulation (I don’t think, anyway). I feel like the way its included in this already surreal piece adds even more grit to the texture (like mixing sand in paint, as some of the early Cubists did). I haven’t seen anyone else experiment with this facet of AI writing before, and I think there’s a lot of interesting potential there stylistically. I have other ideas of where to take that mode of writing in the future.

Here’s the image preview:

Much but not all of the image content is by Ideogram, a few Playgrounds, a few Leonardos, a few Dalles. Some of the art references other projects I’ve been discussing lately on this blog.

I don’t have a ton more to say on it, except to highlight how much I absolutely despise people asking me to like, subscribe, and follow. I think that kind of algorithm-chasing behavior leads only to madness at worst and unhappiness for certain. It’s time to tear all that shit down and start anew.

Two New Willow Baskets, One With Miscanthus Leaf

Some photos of new IRL non-AI willow baskets, one with miscanthus leaf woven in uploaded here, and linked below:

Still a little janky as far as technique goes, with a bit of cracking, but getting better and more fluid with the patterns. I have enough materials soaking to I think maybe complete 3 or so more baskets in this style for this season.

I’m doubling out the size of my production in the Spring, as I really like growing willow and all the side benefits like basket-making that it brings in addition to biodiversity and general awesomeness.

I know most people use landscape fabric to suppress competition from grass, but I have a personal prohibition against using anything plastic-based in the garden because of fragmentation, and the already ridiculous levels of contamination of micro- and macro-plastics in natural environments. I’ve carefully followed this prohibition at least ten years on now. So instead I’ve experimented with successively thicker types of brown kraft and paper for construction applications. This latest round, I’m trying something called Ram Board which is extremely thick. I’m laying three overlapping layers of that down, followed by a second course of each if I have enough. Then I’m mulching over that.

What I’ve seen previously is that thin papers (with mulch) don’t do much to suppress grass long-term, though they might last a few weeks and possibly give cuttings a bit of a headstart. Thicker ones tend to do better but still break down and let a lot of grass through in first season. I weeded the new plots out that I planted of various ages, stock sources & types, and only ever weeded those beds three times this season. There’s grass growing but I don’t see it having negatively impacted the growth of the cuttings too much.

I will leave most of those newly planted plots to overwinter, and harvest only in Spring when the ground is unfreezing, and take both my basketry material and planting stock at that time. I know other people harvest and store in Winter, but not having somewhere to store cuttings at the right temp over winter, figure they may as well just stay on the stools and I’ll cut them then. I did that this year with some others and they grew back huge, so not too worried.

I have some dogwood I’ll also harvest, though that plant material live is also really useful as fascines for erosion control which I’m exploring, and I want to try the same method I did on the river edge in my regular garden: take fresh dogwood cuttings, make them into a bundle, dig a shallow trench, cover them back up with soil. Voila. I’m curious if willow will also grow that way? Could be a means to get multiple shoots coming out of the same buried stock linearly that could be easily integrated into hedgerow armature… More experiments await in this area.

Content Moderation Art Show in San Francisco

Here’s a piece on a new hyperreality art show I worked on, virtually, in San Francisco. It’s part of my Nevermades series, and here’s a link to a longer recent artist statement. More images from the show at the link:

For now, this exhibit only exists in latent space, but it seems like something that ought to be actualized, as a content moderation based art exhibit could be really interesting! There’s a deep vein of cultural experience that human moderators – and “AI trainers” who may end up doing similar work – have experienced that has been largely overlooked by broader society that is worth exploring.

Low Tech Drawing Robot

This one is basically wheels screwed to a platform, with markers duct-taped onto the side pointing down. Here’s a video of it in operation.

You put it on the floor and move it around somehow. Your foot, your hand, a stick, attaching to your dog’s leash? You decide.

Other people make high tech robots that can draw for them with a bunch of software and electronics.

I am experimenting with doing analog low tech human-powered robots instead. You can see some of my other experiments here. This is pretty new, so I’m trying to cover a sort of like “base layer” of low hanging fruit or what have you here, as I get up to speed on some of the more mechanical knowledge for more complex machines.

I am an artist using AI…

Thought I would put together some relevant recent statements I’ve worked on as an artist using AI.

Artist As Propagandist: Exploring Parallel Realities With AI

Misinformation and art intersect to explore and navigate the confusion between reality and fiction that typifies our times in the work of net artist Tim Boucher.

In works that run the gamut from books and hand-printed samizdat zines to the use of generative AI for video, text, and image-making, Boucher’s work uses hyperreality to delve into the murky shadows of the Uncanny Valley, evoking a weird, sometimes disorienting feeling of surfing the very edge of the collapse of meaning. Weaving together real and invented, human and AI elements to seamlessly blur the lines between them, Boucher exploits this chaos to create new semiotic spaces for radical meaning-making. Structurally, the work appropriates, satirizes, and detourns the forms and tropes of conspiracy theory, re-imagining them as a new form of art, and igniting them with the fuel of runaway AI.

While the contents of conspiracy theories often tend toward the ghoulish, harmful, or just plain wrong, they are inherently postmodern, acting as a vehicle for questioning established truths and power relationships—an activity which serves an important social function, if in many cases misguided in its ultimate application. Conspiracy theorists reject grand “official” narratives and instead create their own ad hoc temporary webs of meaning, challenging the legitimacy of the structures we rely on and deep beliefs previously taken for granted. The work asks big questions about whether there could be a way for art to reclaim this function of social critique that conspiracy theories currently embody in the popular consciousness, redirecting it towards more fruitful and creative ends?

The artist’s professional background in content moderation and censorship informs the work, at times borrowing from disinformation techniques observed in the field by state actors, repurposed as storytelling tools in open-ended creative networked narratives, and SEO manipulations to show how easily depictions of “reality” can be twisted and propagated. Misinformation is used here by the artist openly—not to deceive, but to reveal how fragile our systems for defining truth really are. The works expose how the artist’s role as propagandist, deploying “weaponized” artifacts to attempt to subversively actualize or undermine real or potential current or future states.

As a satirist working with the mode of the conspiracy theorist, the artist knowingly inhabits and exaggerates the conspiratorial narrative forms they aim to critique, imploding them from within. As the Onion’s amicus brief on parody put it, “Parodists intentionally inhabit the rhetorical form of their target in order to exaggerate or implode it”—a technique central to this practice.

Inspired by Dada absurdity, the artist’s ‘Nevermades’—collections of AI-generated artworks appearing to involve famous museums and galleries—extend Duchamp’s readymades concept into the post-truth, remote-first digital age, challenging the idea that authenticity requires physical presence – or even actual existence in the first place. These imagined or “aspirational” artworks (like flooding the Guggenheim Museum, and filling it with willow trees and beavers) comment on the art world’s status symbols—galleries, exhibitions, facades and physical artifacts—that can now be artificially fabricated at scale, significantly challenging their value in an online world dominated by images.

The use of AI serves to heighten the inherent tensions in the work. AI is used consciously as both a force that flattens expression into sameness and conformity and as a tool to rebel against the algorithmic culture of likes, shares, and validation – by exploiting and exposing the outliers, anomalies, errors, and vulnerabilities of these technologies. By transparently incorporating AI, the work proudly wears the use of these technologies as a kind of “scarlet letter,” confronting head-on the stigma against its use in creative sectors, and reimagining it as a vehicle and medium all its own for artistic exploration. At the same time, it shines a light on the absurdities and limitations of these technologies, and holds a mirror up to our own evolving reactions to them.

Ultimately, this metamodernist body of work oscillates between the deadly serious and the dangerously stupid and absurd, revealing the fragile and easily manipulated nature of our information systems and the social and political systems which rely on them. The work encourages the audience to consider conspiracy theory as an unrecognized folk art form—provocative and dangerous, to be sure, but one in many ways much like any art or cultural movement that questions authority. It disrupts the established order, challenges accepted facts, and compels us to face the instability of the narratives we hold onto, and, in its best form, opens up the space for change how things are today into how they could be, how we would likek them to be.

AI, misinformation, conspiracy, and hyperreality converge here to ask a simple but potent question: what is real, and who gets to decide?

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