Can Robots Make Art? Del’S Sacrosanct ‘Laws’, Along with Genetic Determinism
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COMMENT BOOKS & ARTS modulating their activity over multiple generations. That can be seen in eighteenth-century taxonomist Carl Linnaeus’s ‘monstrous’ peloria, a toadflax (Linaria vulgaris) with unusual, trumpet- shaped flowers — “no less remarkable than if a cow were to give birth to a calf with a wolf’s head”, as he put it. Zimmer completes his tour with chap- ters on the microbiome (some of which is as heritable as anxiety, and partly accounts for the inheritance of traits including weight), and cultural inheritance. Genes are expressed in a human-altered environ- ment, Zimmer notes, and their effects are as plastic as the culture that shapes their selection, right down to social inequali- ties. Our inherited environ ment governs our future more rigidly than our genes. In this encompassing view of heredity, we get a correspondingly nuanced vision of what, for example, germline editing using CRISPR will really mean. By acknowledging the ambiguous way Untitled 2018, one of Peter Kogler’s installations of computer-assisted art. in which genes actually work, and by embracing all these other factors that TECHNOLOGY shape our lives, we make CRISPR less threatening because it is less definitive. Zimmer deconstructs the idea of the body as a genetic temple, built on Men- Can robots make art? del’s sacrosanct ‘laws’, along with genetic determinism. Instead, he calls for a view Laura Spinney encounters a Paris exhibition that that includes “culture, epigenetic marks, probes the concept of algorithmic creativity. hitchhiking microbes, or channels we don’t even know about yet”. His argument is balanced and fair, comprehensive and isiting the exhibition Artists and Artists and Robots And the third — opti- bang up to date. Whatever your views on Robots at the Grand Palais in Paris, I Grand Palais, Paris. mistically entitled ‘The the power of genes versus other forms of happened on the artist ORLAN, best Until 9 July 2018. robot emancipates heredity, you will be in for a few surprises. Vknown for her work involving body modi- itself’ — explores their There are some weaknesses. Zimmer fication. She was standing close to her 2017 present status and looks to the future. makes no real attempt to explain how work ORLAN and the ORLANOID, in which When robots were all jointed arms and Mendel’s laws arose in our single-celled her video presence interrogates a lookalike motors, they executed an artist’s vision chan- ancestors, and offers rather cursory robot on matters of life and death. Having nelled by their own capacities as machines. descriptions of early evolution. And his borrowed the robot’s lensless glasses for a Modern French artist Patrick Tresset’s ironic sympathy for the underdog can go too far. photo shoot, she needed her own back. I was spin on this relationship features in the His portrait of crystallographer Rosalind struck by the robot’s lack of reaction as she first section of the show. In the installation 2018 RMN-GRAND PALAIS FOR ALDO PAREDES Franklin, for example, seemed to me too made the swap. It underscored my answer to Human Study #2, three sets of robot arms and partial. You would never imagine, from the question posed by this exhibition: can a cameras — the ‘hand’ and ‘eye’ — repeatedly Zimmer’s depiction of her meticulous robot create a work of visual art? draw a set of objects including a stuffed fox science, that Franklin had circulated an My feeling is no, for the simple reason that and a human skull. They are programmed to obituary of the DNA helix nine months it can’t see. I recom- copy both the objects and Tresset’s drawing before Francis Crick and James Watson’s mend the show, “Artificial technique, while introducing small variations paper on the double helix appeared in nonetheless. It imagination that he characterizes as artistic, expressive Nature. But these are quibbles. forced me to exam- has yet to get and obsessional. It’s through such serendipi- In She Has Her Mother’s Laugh, Zimmer ine what I mean by off the starting tous additions and mistakes, the artist seems has built a subtle, multifaceted and deep seeing or — more blocks.” to suggest, that the greats became great. understanding of heredity, grounded in broadly — sensing The digital revolution ushered in software revelatory insights from genome sequenc- the world, and hence what I mean by art. and algorithms as artists’ tools or assistants, ing. And he shows that we will need it to Artists and Robots showcases robots and and the possibilities exploded. We see this in face our uncertain future. ■ their output in roughly chronological sec- stunning works in the second section, from tions. The first recounts how, starting in the conceptual artist Joan Fontcuberta’s self- Nick Lane is professor of evolutionary 1950s, visionary artists such as Jean Tinguely described “hallucinatory” landscapes to lab- biochemistry at University College and Nicolas Schöffer built robots — to begin yrinthine wallpaper from multimedia whizz London, and author of four books on with, no more than collections of mobile parts Peter Kogler. This covers an entire room, so evolution, most recently The Vital driven by motors — to create kinetic art. The that we seem enclosed in an optical illusion. Question: Why is Life the Way it Is? second tracks that impulse forward from For me, the works’ technical sophistication e-mail: [email protected] the digital revolution, starting in the 1970s. seems only to accentuate their soullessness, 490 | NATURE | VOL 557 | 24 MAY ©20182018 Mac millan Publishers Li mited, part of Spri nger Nature. All ri ghts reserved. ©2018 Mac millan Publishers Li mited, part of Spri nger Nature. All ri ghts reserved. BOOKS & ARTS COMMENT and never more so than when they show up the fallibility of human perception. In 2003–04 paintings from his Orogenesis Books in brief series, for example, Fontcuberta takes algo- rithms that create 3D landscapes from 2D Tesla: Inventor of the Modern map coordinates, and forces them to re-inter- Richard Munson W. W. NORTON (2018) pret the landscape paintings of artists such as Around the turn of the twentieth century, Serbian-born visionary J. M. W. Turner and Paul Cézanne. The results Nikola Tesla authored transformative inventions from the alternating- are highly naturalistic, but they reminded me current system to remote control, drones and (arguably) radio. He of Swiss writer Charles-Ferdinand Ramuz’s even foresaw radar, mobile phones and the Internet. Yet, as Richard idea that once the human element is banished Munson reveals in this penetrating biography, Tesla’s lack of business from a place, it becomes a non-place. sense allowed others to prevail. Munson makes vivid the genius’s Likewise Michael Hansmeyer’s 2017 eventful life, from his mother’s inspirational labour-saving inventions Astana Columns. These architectural forms, to his psychological complexity — and his estimable belief that created by an algorithm that applies evolu- “technology should transcend the marketplace”. tionary principles to repeatedly subdivide a Doric column, were assembled from laser- cut cardboard and other materials. They Chernobyl: The History of a Nuclear Catastrophe provoke awe through their sheer complex- Serhii Plokhy BASIC (2018) ity, but in the way that a termite mound does: Soon after midnight on 26 April 1986, a turbine test at Ukraine’s what’s impressive is not that they were imag- Chernobyl nuclear power plant went stupendously wrong. The ined, but that they were unimagined. explosion released 14 exabecquerels of radiation; the fallout By the time I reached the future-facing contaminated 20% of neighbouring Belarus and crossed more than section, where I bumped into ORLAN, I half of Europe. Historian Serhii Plokhy’s deft, richly detailed account had concluded that, notwithstanding the draws on newly opened archives and weaves in stories of players section’s title, the robot had not emanci- such as Chernobyl director Viktor Briukhanov. The disaster’s roots, pated itself. Pascal Haudressy’s 2009 anima- he asserts, were a toxic tangle of shoddy construction, human error, tion Brain, for example, evolves thanks to flawed governance and complacency in the Soviet nuclear industry. glitches the artist introduced into the gov- erning algorithm, that force the computer to continuously recalculate the coordinates The Digital Ape of each pixel. Ultimately, however, it is less Nigel Shadbolt and Roger Hampson SCRIBE (2018) impressive than animations of the actual Numbed by dire warnings of technological Armageddon? Computer evolution of the human brain. scientist Nigel Shadbolt and economist Roger Hampson dispel the Although artificial intelligence has miasma with this superb survey of the landscape we “digital apes” advanced in leaps and bounds since the have wrought. Humanity’s tool use, spanning everything from hand- 1950s, artificial imagination has yet to get off axes to CRISPR, has spawned marvels such as a hyper-networked the starting blocks. As curators Laurence Ber- society, “social machines” like Wikipedia and artificial intelligence. trand Dorléac and Jérôme Neutres suggest in But to avoid succumbing to the inherent dangers, Shadbolt and an explanatory video, these are artists’ robots Hampson urge wise choices: to hold Silicon Valley to account, ensure rather than robot artists. But if Artists and transparent algorithmic decision-making and own our own data. Robots doesn’t tell you what art is, it does ven- ture into fascinating new territory to tell you what it’s not: random copying errors might be How to Change Your Mind necessary, but they are also insufficient. Michael Pollan PENGUIN PRESS (2018) That said, perhaps robot imaginations Journalist Michael Pollan explored psychoactive plants in The Botany have already liberated themselves outside of Desire (2001). In this bold, intriguing study, he delves further, the confines of human artists’ studios, and homing in on psychedelic compounds currently under study, such as their art is radically different from ours; so psilocybin.