In The Novel of the Future, Anaïs Nin calls for future novels to reflect how humans “oscillate, expand, contract, backtrack, arrest themselves, retrogress, mobilize, atrophy in part, proceed erratically according to experience and traumas” (Nin 84) and that “one could only find reality by discarding realism” (3). Eugene Lim’s novel Search History (2021), and a short reading of Jang Jung-Il’s When Adam Opens His Eyes (1990), refigures Nin’s key trope for representing this flux—the dream—into getting artificial intelligence to represent the inclusivity and difference of the world. The main way to get AI to do so is to get angry at it. Three non-angry relationships to AI are first shown. An AI dog takes on the form of those we grieve, showing how code can anticipate our needs rather than just reflect or create them. Then, the Avant Gardner video game, in which (explicitly based on David OReilly’s actual video game Everything) players can take on the identities of any object at any scale, is said to mirror the luminous mind of the Buddhist state of mind samadhi. And finally, an AI is being developed to write a prize-winning novel, although rather than using the standard approach of pattern recognition to do so, an ever-elusive general AI is posited, born from a sense of self, a consciousness, both inspired by and challenging Haraway’s motherless cyborg. Yet all three approaches are seen as lacking, since in order to live with AI, we have to treat it with anger, at least with the kind of anger developed here, meaning an openness to change. AI needs to be intervened in, not left to its own devices. An antagonistic relationship to AI, one that reflects Nin’s call for oscillation and fluctuation, is needed. One way this is done in Lim’s novel is through the insertion of the main character’s Korean American identity into the algorithm under discussion. Thus, one possible answer to representing this identity-flux is what is called antagonistic algorithmic intimacy with another. The crux of the novel is representing such an intimacy in order to model a better behavior toward the ever-pervasive AI.

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Get Angry at the Algorithm: Eugene Lim’s Search History

  • Brian Willems

摘要

In The Novel of the Future, Anaïs Nin calls for future novels to reflect how humans “oscillate, expand, contract, backtrack, arrest themselves, retrogress, mobilize, atrophy in part, proceed erratically according to experience and traumas” (Nin 84) and that “one could only find reality by discarding realism” (3). Eugene Lim’s novel Search History (2021), and a short reading of Jang Jung-Il’s When Adam Opens His Eyes (1990), refigures Nin’s key trope for representing this flux—the dream—into getting artificial intelligence to represent the inclusivity and difference of the world. The main way to get AI to do so is to get angry at it. Three non-angry relationships to AI are first shown. An AI dog takes on the form of those we grieve, showing how code can anticipate our needs rather than just reflect or create them. Then, the Avant Gardner video game, in which (explicitly based on David OReilly’s actual video game Everything) players can take on the identities of any object at any scale, is said to mirror the luminous mind of the Buddhist state of mind samadhi. And finally, an AI is being developed to write a prize-winning novel, although rather than using the standard approach of pattern recognition to do so, an ever-elusive general AI is posited, born from a sense of self, a consciousness, both inspired by and challenging Haraway’s motherless cyborg. Yet all three approaches are seen as lacking, since in order to live with AI, we have to treat it with anger, at least with the kind of anger developed here, meaning an openness to change. AI needs to be intervened in, not left to its own devices. An antagonistic relationship to AI, one that reflects Nin’s call for oscillation and fluctuation, is needed. One way this is done in Lim’s novel is through the insertion of the main character’s Korean American identity into the algorithm under discussion. Thus, one possible answer to representing this identity-flux is what is called antagonistic algorithmic intimacy with another. The crux of the novel is representing such an intimacy in order to model a better behavior toward the ever-pervasive AI.