{"id":9073,"date":"2024-12-02T04:19:26","date_gmt":"2024-12-02T04:19:26","guid":{"rendered":"https:\/\/master-cpo.parisnanterre.fr\/?p=9073"},"modified":"2024-12-09T09:19:56","modified_gmt":"2024-12-09T09:19:56","slug":"lintelligence-artificielle-fin-de-la-creativite-ou-renouveau-artistique","status":"publish","type":"post","link":"https:\/\/master-cpo.parisnanterre.fr\/index.php\/2024\/12\/02\/lintelligence-artificielle-fin-de-la-creativite-ou-renouveau-artistique\/","title":{"rendered":"L’Intelligence artificielle : fin de la cr\u00e9ativit\u00e9 ou renouveau artistique ?\u00a0"},"content":{"rendered":"\n
Read this article in english ! <\/summary>\n

Artificial intelligence: the end of creativity or an artistic renaissance?<\/h1>\n\n\n\n

The I-bridit\u00e9s<\/em> project, a play by Taiwanese students, explores how artificial intelligence, as a central player in the creative process, redefines the boundaries of art. He questions the place of humans in the face of a co-creative machine.<\/h2>\n\n\n\n
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A rhinoceros, symbol of dehumanisation in Eug\u00e8ne Ionesco’s play of the same name, under the hegemonic gaze of artificial intelligence.
\u00a9Valentin Gamerre<\/figcaption><\/figure>\n\n\n\n

It was at the National Center University<\/strong> (NCU Taiwan<\/a>) in Taiwan, located 40 km from Taipei in the city of Taoyuan, that Le songe d’une m\u00e9lang\u00e8re apprivois\u00e9e<\/strong><\/em> was born, a play that marks the beginning of an innovative collaboration between two professors from radically different disciplines (1. Le songe d’une M\u00e9lang\u00e8re apprivois\u00e9e – \u7280\u725b\u671b\u5922 – Part 1<\/a>). In June 2023, during the F\u00eate de la Musique, Chi Chang<\/strong>, a physics teacher<\/strong> and optics-photonics specialist, and Nicolas Drouet<\/strong>, a French teacher<\/strong>, meet during a song contest, an encounter that becomes the starting point for a bold project: Merging their respective expertise – the sciences and the arts – to create a groundbreaking educational initiative.<\/strong> The I-bridit\u00e9s project, the fruit of this collaboration, explores the question of artificial intelligence: Does artificial intelligence kill off human creativity or, on the contrary, does it become a catalyst for innovative artistic projects and tenfold creativity?<\/strong><\/em><\/p>\n\n\n\n

Art and technology<\/h3>\n\n\n\n

In this trilingual<\/strong> (Chinese, French and English) piece<\/strong>, artificial intelligence becomes a creative partner<\/strong>, redefining the boundaries between human and machine. The project questions its role, capable of guiding the creative process while at the same time risking limiting autonomy and creative freedom. I-bridit\u00e9s explores the impact of AI on contemporary creation, raising questions about the integrity of the work and the evolution of creative dynamics. Combining art and technology<\/strong>, the project highlights the tensions between the real and the virtual, inviting us to rethink the place of the human in a world where the machine becomes co-creator. Far from curbing creativity, AI could pave the way for revolutionary co-creation.<\/p>\n\n\n\n

To fully understand the issues raised by this innovative project<\/strong>, it is essential to take a look at the play I-bridit\u00e9s, which embodies this fusion between humans, art and artificial intelligence.<\/strong><\/p>\n\n\n\n

Artificial intelligence at the service of an educational and artistic process<\/strong><\/h3>\n\n\n\n

This project, supported by cutting-edge technological tools and in-depth reflection on the ethical issues surrounding artificial intelligence, has given rise to a theatre combining AI and language learning.<\/strong> Inspired by Eug\u00e8ne Ionesco’s<\/strong> Rhinoceros<\/strong><\/em>, the play offers a contemporary reinterpretation<\/strong>, exploring the impact of algorithms and AI on our modern societies. Through this hybrid work<\/strong>, AI becomes a creative actor in its own right, both subject and tool, questioning the place of humans in the face of machines capable of co-creation. The project is run by the interdisciplinary course Optical Art and Artificial Intelligence<\/strong>, which brings together 13 Taiwanese students and 5 members of the university’s Theater Together association<\/em>. It is supported by the Fonds Langue Fran\u00e7aise programme<\/em> (Institut Fran\u00e7ais) and the French Office in Taipei, and stands out for its educational, technological and creative dimensions<\/strong>. From the very first sessions, the students have been involved in workshops dedicated to writing, directing and digital creation. Far from being experts in their field, they were trained to use tools such as ChatGPT, Copilot <\/strong>and Pika<\/strong> to create images and videos to enhance the staging.<\/p>\n\n\n\n

After 16 sessions of lessons and rehearsals in three languages (Chinese, English and French), the students presented their play in a single performance at the University’s Black Box Theatre<\/strong> on 14 June 2024 <\/strong>in front of an audience of 80.<\/p>\n\n\n\n

The project was widely acclaimed by the university, its colleagues and the French Office in Taiwan, who recognised its innovative nature and its exploration of contemporary issues, particularly the relationship between young people and AI. For Chi Chang, this experience has shown the richness of hybridising creativity, technology and education. Although difficult, this collaboration demonstrates the importance of going beyond disciplinary boundaries to offer students an innovative, technical and cultural learning experience.<\/p>\n\n\n\n

This project has been particularly formative <\/strong>for the students, offering them the opportunity to acquire a variety of skills, from artificial intelligence to theatre and translation. Some took up the challenge of translating texts, designing sets or portraying characters in a modern and demanding style.<\/strong> For many students, the experience was a unique opportunity to experience a defining moment before leaving university, whether it was discovering the world of stage management, controlling lighting or creating digital visuals using AI. Some expressed their fascination with the richness of the subject, while others saw their language skills<\/strong> improve significantly. At the same time, the students reflected on the ethical and social issues surrounding technological development. One recurring question emerged:<\/p>\n\n\n\n

Could artificial intelligence one day equal or even surpass human intelligence? Should we fear that these machines, which we ourselves have created, will take control of our lives?<\/p>\n\n\n\n

The reign of the algorithm: object of invention or deadly agent?<\/h3>\n\n\n\n

These concerns seem to be at the very heart of the project in the light of the transhumanist push.<\/strong> Indeed, this ideology conceals an underlying paradox. Its aim is to use science and technology to improve the physical and mental condition of human beings, perhaps to the detriment of their own humanity.<\/p>\n\n\n\n

When we asked a student about the time and space in which the play was taking place, he replied \u2018now and anywhere on earth\u2019, suggesting that the influence of artificial intelligence is neither isolated nor free from reality. In a sense, the process of disarming man of his own conscience and free will has already begun. The play merely magnifies the features of the hegemonic phenomenon<\/strong> in the presence of algorithms.<\/strong><\/p>\n\n\n\n

However, while this play shows us what a human world inhabited by technology could be like, to the point of being dominated by it, the spectator’s initial fear is itself overcome by the warning it contains and wishes to convey. Indeed, alongside the cathartic dimension of the play, there are moral ambitions: \u00ab\u00a0What can we hope for ((Kant, Critique de la raison pure) in a society where human action is dispossessed of itself by its own creation?\u00a0\u00bb<\/em>. By questioning what remains of our humanity in the context of the fusion of man and machine, Le songe d’une m\u00e9lang\u00e8re apprivois\u00e9e<\/em> crosses the boundary between humanism and non-humanism and sounds the alarm bell of a future deprivation of existence.<\/p>\n\n\n\n

This dual process that the play highlights, both creative and destructive, allows artistic creation to be placed side by side with that which can fuel or negate it. Artificial intelligence serves as both an object of invention and a deadly agent, and can be used as a medium or allegory in the service of a moral, social or political work that denounces its uses or abuses. Like Eug\u00e8ne Lonesco’s play Rhinoc\u00e9ros<\/em>, Le songe d’une m\u00e9lang\u00e8re apprivois\u00e9e<\/em> seeks not only to send out a universal message, but also to criticise the loss of the individual who abandons his or her thoughts in the hands of a collective ideology, and more specifically in the hands of a master created by his or her own hand. It is clear that the movement of artistic creation that emanates from the play draws on technological creation and that, from these two creations, chaos or a world without men and without conscience can be born.<\/p>\n\n\n\n

The survival of artistic creation in the digital age<\/h3>\n\n\n\n

In a world increasingly dominated by digital technology, artificial intelligence is emerging as a major player in the redefinition of creative practices. Although it has long been seen as a mere tool for man, AI now occupies a central place in the creative industries, from music to cinema, via the visual arts and theatre. Le songe d’une m\u00e9lang\u00e8re apprivois\u00e9e<\/em> is careful not to admit the triumph of artificial intelligence over our lives. By staging this scenario, the play proves that we can still hope and more, that we can still create. It gives us back the very thing that makes us human: imagination and artistic creation.<\/p>\n\n\n\n

Mathilde de Castro, Anna Coupechoux and Julia Botineau, November, 2024<\/h5>\n\n\n\n
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