“Copy” is the result of Midjourney combined with ChatGPT, a way of saying futuristic elements seasoned with human instructions (for now), which provide the initial impetus and then carry out the artificial retouching. With some paradoxes. In fact, “if the two integrated systems are asked to create a fashion collection set in the near future of 2022 (the interview with the creator, director, and producer, Carl Alex Wahlstrom, is from August ’23), the AI (Artificial Intelligence) doesn't know what to do.” This is like a predictable and solvable case of presbyopia. Whereas there are many more elements available online to rework references to 1980s and 1990s fashion. Thus, on “Vogue”.
“Copy” is an original magazine in the sense that it contains no reproductions, as is the case with all fashion publications. It is a symbolic original, meaning it is one thing and also the other and holds a structural “contradiction” within itself; it doesn't intend to, but it could serve as a model for rewrites and reinterpretations, but its purpose is different. It wants to modestly bring out the synergistic potential of the interaction between human inventiveness and artificial intelligence.
It has to be acknowledged that everything that happens is founded by the human brain, which then the Midjourney software processes and then returns to the human brain to refine; therefore, artificial intelligence, yes, but still accompanied by a great deal of craftsmanship, in this case, editorial. Evidently, we are in the preliminaries of the preliminaries, when it is still necessary, in a rather hefty bundle of 333 pages (…in short, a book) and everything can be virtual, artificially birthed, even if seasoned with irony (?) provocation (?) questioning (?) in a directorial guise. The moral. The path is set and to navigate is necessary. But we must ensure that nothing slips out of our hands, and theoretically, we can always do so. This of today is not a victory for the feared post-human and it is not even a prophecy, but a demonstration of potentials, so to speak, of design, understood as a metaphysics of the real, of being a vocabulary, which in the future, can grow immeasurably, making our humanity grow too, much more, not less.
One more, which will never surpass human imagination (which is the author of everything and always will be) that has been able to confront complexity and challenge, the unpredictable, the heterogeneous, the irregular.
Certainly, everything is changing rapidly (but we've only just put it into first gear) and the way is increasingly dazzling, which will require revolutionary language models, and we will open our eyes to pi, to Fibonacci sequences, to quantum mechanics and spacetime; but none of our inventions will be able to surpass us, and we will make everything sayable and imaginable; a sayable and imaginable
always human, but with a humanity that, to put it in Bergson's terms, is a unfolding of creative evolution, capable of utilising the inputs of the virtual, the invisible, and the instantaneous, as well as today's manual, Leonardesque method. On the other hand, if Leonardo were here with us, he would tell us to project ourselves into the micro-macro.
KLESSIDRA | EDITED BY FRANCESCO GALLO MAZZEO
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