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Successively displayed on methodically arranged monitors are “10-minute last words” collected via the Internet, while a keyboard on a table in the center of the exhibition automatically inputs the according text without human involvement. This work is based on the “TypeTrace” software that dividual.inc has been developing since 2006. The software can be used for recording and reproducing entire text input processes via a keyboard, including the timing of typing or erasing letters. The sizes of letters vary depending on the time intervals between the input of single words. Different from the uniformly sized letters one usually encounters in books or on displays, here the writing person's mindset, with aspects of momentum and hesitation, is vividly reflected in the resulting text. Just like authors’ handwritten drafts exhibited at museums for example, or correction marks added in the proofreading process provide information in addition to that of the respective text itself, this work makes the viewer aware of the existence of the writing subjects behind the texts. The experience of writing one’s last words is at once also an opportunity to rearrange one’s thoughts toward loved ones, and about one’s own past and future.
In our talk, we will present the recent installations of the work at JUT Museum (Taipei), and END exhibition (Tokyo) and discuss how the audience received it, in addition to its implications for conceiving how to design communication technology today.
在有條不紊的屏幕上呈現的是《十分鐘的遺書》，內容通過線上搜集而來，屏幕跟前的桌子上置放著一個鍵盤，在沒有人參與的情況下自動輸入相應的文字，藝術團隊dividual.inc自2006年開始開發的「輸入的痕跡」（TypeTrace）軟件作為此作品的基礎技術。該軟件可用於記錄和再現通過鍵盤的整個文本輸入過程，包括輸入的時間又或且是消除文字/字母的過程。文字/字母的大小會根據單字輸入的時間間隔而產生變化，與人們通常在書本或屏幕上看見的統一性文字排版不一樣。在這裡，書寫者的心態，包括其節奏與猶豫均會生動地映現在屏幕的文本之中。就似在博物館裡展出的作家手稿，當中或有在校對過程中的添加的修改標註，這提供了自文本本身以外的訊息，這件作品讓觀眾意識到在文本背後作為書寫主體的存在。書寫遺書的經驗讓一個人能回顧思考自己對過去與未來的想法， 也提供了一個機會重新思考對自己所愛的想法。
在是次演講中，團隊將介紹最近在台北忠泰美術館以及東京END展覽中展出的版本，並討論觀眾如何體會作品，以及它對構想如何設計當今傳訊科技的意義。
Speaker’s Bio 講者簡介
The startup, dividual inc. was launched in April 2008 by media artist Takumi Endo and information-science researcher Dominique Chen, later joined by creator Yamamoto Koichi in July of the same year. Based on their mantra, “People will always need people,” dividual has created works such as “TypeTrace”, which visualizes people's typing patterns, and has also released and managed various web services such as the mutual care taking online community “rigureto” (2008 - 2017), the private photo messenger app “PicSee” (the Best of the App Store, 2015) and the anonymous community app “Syncle” (the Best of the App Store, 2016). In January 2018, dividual inc. was acquired by SmartNews Inc.; the innovative company continues to operate and manage some of their pre-existing services, and to work on artistic projects.
初創公司dividual inc. 由媒體藝術家遠藤拓己與資訊科學研究員多明尼克‧陳共同於2008年4月創立，及後創作者山本興一於同年加入。他們相信「人終究是彼此需要的」，並且秉持這信念進行創作及研發，包括將人們打字模式視覺化的「輸入的痕跡」（TypeTrace）軟體，開發並營運幾項網路服務，例如相互關懷的線上社群「rigureto」（英文的regret（後悔）以日語口音發音）（2008 - 2017）、私人照片聊天室應用程式「PicSee」（皮克看見）（獲蘋果公司評選為2015年App Store年度最佳應用程式）、匿名社群應用程式「Syncle」（獲蘋果公司評選為2016年App Store年度最佳應用程式）。dividual inc.於2018年1月併入SmartNews股份有限公司後，除了持續營運管理至今曾推出的部分服務，也同步兼顧藝術計畫的創作與執行。
Ross Goodwin is not a poet. As a prominent Artificial Intelligence creator, he outfitted a Cadillac car with a surveillance camera, a GPS unit, a microphone and a clock, all connected to a portable AI writing machine that fed from these input data in real time.
Together, they traveled from New York to New Orleans, in an experimental automation of the American literary road trip. As they drove, a manuscript emerged line by line from the machine’s printer on long scrolls of receipt paper that filled the car’s rear seats over the course of their journey.
1 the Road offers the first real book written by an AI, which captures us from the first page, when the journey begins: “It was seven minutes to ten o’clock in the morning, and it was the only good thing that had happened.”
Rooted in the traditions of American literature, gonzo journalism, and the latest research in artificial neural networks, 1 the Road imposes a new reflection on the place and authority of the author in a new era of machines.
羅斯並非詩人，作為一位著名的人工智能創作者，他在一台凱迪拉克汔車上配上監控鏡頭、GPS裝置、麥克風以及時鐘，並將這些設備全都連結上一台便攜式人工智能機器，機器收取實時數據然後再進行寫作。
人機同路，一起從紐約到新奧爾良，進行了一次美國公路文學旅行實驗。驅車之時，機器「寫下」一字一句並列印在長長的收據紙上，在旅程中擠滿了整個後座。
公路小說《1 the Road》是第一本由人工智能撰寫的書，當旅程開始，它在第一頁上寫：「當時是早上九時五十三分，這是唯一發生過的好事。」
根據美國的文學傳統、新聞炒作文化以及近年有關人工神經網絡的研究，公路小說《1 the Road》對作者權威在新機器時代提供了一個新的思考角度。
Speaker’s Bio 講者簡介
Ross Goodwin is a data poet, an artist, creative technologist, hacker, gonzo data scientist, and a former White House ghostwriter. Goodwin employs machine learning, natural language processing (NLP) & generation (NLG), physical computing, and other technologies to realize new forms and interfaces for writing.
Goodwin’s projects and collaborations have earned international attention: from word.camera, a camera that expressively narrates its photographs in real time using artificial neural networks (web app + installations, 2015-present), to SUNSPRING, the world's first film created from an AI-written screenplay (2016 short film, directed by Oscar Sharp, starring Thomas Middleditch); from making London’s Trafalgar Square lions roar poetry (2018, Please Feed The Lions with Es Devlin), to writing a novel with a car (2017-2018, 1 the Road), to co-creating the lyrics for the Grammy-nominated album Chain Tripping by YACHT.
羅斯‧古德溫是一名數據詩人、藝術家、創意科技專才、駭客、剛左數據科學家以及前白宮幽靈寫手。他運用機器學習、自然語言處理NLP、自然語言生成 NLG、 物理運算以及其他各種科技去實踐新的寫作模式與介面。
古德溫的項目與協作獲得許多的國際關注，包括《word.camera》 (網路應用程式＋裝置，2015年創作發展至今) —— 透過運用人工紳經網絡，可實時敍述照片內容的相機裝置、全球首部由人工智能擔任編劇的電影短片《SUNSPRING》（2016年發佈，由Oscar Sharp執導、Thomas Middleditch主演）、倫敦的Trafalgar Square lions roar poetry（2018年，Es Devlin創作的互動裝置Please Feed The Lions）、人工智能公路小說《1 the Road》(2017-2018年)、透過人工智能為樂隊YACHT獲得格萊美提名的專輯《Chain Tripping》共同創作歌詞。
Researchers in natural language generation distinguish between text that is "written by computers" and text that is "written by humans." This distinction serves two purposes: first, it absolves those researchers of any responsibility for the writing that they produce through their systems; and second, it establishes a benchmark ("written by humans") by which to judge those systems. The underlying assumption of this distinction is that human-written text "makes sense," whereas computer-generated text tends, undesirably, toward "nonsense." Nonsense, of course, predates computation, and in fact is a genre of literature in itself, long exercised as a way of exploring the limits of language and literature. In this presentation, Professor Allison Parrish relates some of her recent work in using computers specifically for the purpose of generating "nonsense," focusing on language's material aspects (visual, auditory, physical). The goal of this work is to demonstrate that computation is need not be merely a tool for parroting conventional language back at us, but instead can be a means of twisting language toward novel and unexpected new meanings and pleasures.
自然語言生成方面的研究人員將文本區分為「由電腦編寫的」與「由人類編寫的」。這種區分有兩個目的：首先它免除了這些研究人員對他們通過其系統產生的文字的任何責任；其次就是它建立了一個基準 (由人類編寫的)並以此來判斷這些系統。這種區分的基本假設是，人寫的文本「有意義」，而由電腦編程所生成的文本傾向於「胡說八道」，是不可取的。當然，胡說八道在電腦計算/編程之前就存在了，事實上它本身就是一種文學體裁，是長期以來作為探索語言及文學極限的一個方式。在是次演說中，艾莉森‧柏里希教授會講述她近期特意使用電腦運算生成的「胡說八道」寫作研究工作，當中側重於語言的物質方面（視、聽、物理等）。這項工作的目的是要証明，電腦不需要僅僅是一個向我們復述傳統語言的工具，而是可以成為將語言曲轉成新， 甚至是產生意想不到的新意義與創造樂趣的手段。
Speaker’s Bio 講者簡介
Allison Parrish is a computer programmer, poet, and game designer whose teaching and practice address the unusual phenomena that blossom when language and computers meet. She is an Assistant Arts Professor at NYU's Interactive Telecommunications Program.
Allison was named "Best Maker of Poetry Bots" by the Village Voice in 2016, and her zine of computer-generated poems called "Compasses" received an honorary mention in the 2021 Prix Ars Electronica. Allison is the co-creator of the board game Rewordable (Clarkson Potter, 2017) and author of several books, including @Everyword: The Book (Instar, 2015) and Articulations (Counterpath, 2018). Her poetry has recently appeared in BOMB Magazine and Strange Horizons.
Allison is originally from West Bountiful, Utah and currently lives in Brooklyn.
詩人兼程式、遊戲設計師艾莉森‧柏里希的教學與實踐涉及語言和電腦相遇時綻放的不尋常現象，她現時是紐約大學互動電訊課程的助理藝術教授。
2016年艾莉森被《Village Voice》評為最佳詩歌機器人製作者，而她運用電腦編程生成的詩集《Compasses》則在2021年的Prix Ars Electronica電子藝術大奬中獲得榮譽奬。她亦是棋盤遊戲Rewordable (Clarkson Potter, 2017) 的共同創作者，並曾編寫數本書籍，包括 @Everyword: The Book (Instar, 2015) 以及Articulations (Counterpath, 2018)等，她的詩歌最近刊登在BOMB雜誌和Strange Horizons。
艾莉森來自猶他州的西布恩蒂爾，現居布魯克林。
Diane To is a Hong Kong journalist, who's spent a few years working in the media arts scene and a lifetime appreciating artworks that provoke critical thought and create necessary conversations about where humanity is going. She has a masters degree in ethics, which seems to have only made life more difficult.
杜若渝是一名香港記者，她在媒體藝術領域工作多年，一生都在欣賞那些能激發批判性思維幷就人類走向創造必要對話的藝術作品。她擁有倫理學碩士學位， 但這似乎只讓生活更加困難。