共誤：互為勞動時代的藝術（新加坡）

作為第十屆網絡社會年會的延伸，同時參與新加坡管理大學（SMU）Web3 Week 活動，網絡社會研究所所長黃孫權教授攜手跨媒體藝術學院開放媒體系，推出了一檔「錯誤之旅」的展覽，向一百年前本雅明的《機械複製時代》致敬。

中文

近一個世紀前，本雅明在《機械複製時代的藝術品》中預見了一場深刻的轉變：藝術作品不再是獨一無二的聖物，而被納入大規模流通的體制；靈韻讓位於可複製性，藝術家的手也讓位於機械裝置。這種轉變之所以根本，是因為我們不只是用機器來複製作品，而是與機器共同生成作品本身。創作不再屬於單一作者，而是分散在人與算法、數據與注意力編織的巨大網絡之中。我們已進入「互為勞動」（Inter-Labor）的時代：人類訓練 AI，AI 亦在重塑人類的感知與創作方式。

本雅明隨後談及保羅·克利的《新天使》：天使凝視過去的廢墟，卻被一股名為「進步」的風不斷推向未來。此景象在今天更為切身——技術所謂的進步像一場暴風，將歷史撕裂為瓦礫，逼迫我們在無法回望的加速中前行。我們創造的 AI，像啓蒙之前人類依自身形象與思維模式創造的神祇：既出自我們，亦反過來塑造我們。其所以能如此，並非技術自證其命運，而是工業、戰爭、殖民與資本的長時段累積，已轉化為技術—金融資本的複合體，把注意力、語言與資料抽象化、資本化，披掛於算法之上，構成一種看似不可抗拒的表面。

「Shared Errors」（共誤）並非指責 AI 的缺陷，而是將錯誤視為關係的證據。當 AI 生成一隻怪誕的手、一段不合邏輯的文字、或一個似是而非的概念，這些「錯誤」恰恰揭示其本質：它由無數片段的人類判斷拼接而成。正是這些失準，使被自動化的平滑所吞沒的個體勞動、偶然性與具身經驗再次浮現。於是，錯誤成為抵抗的形式——抵抗完美自動化的幻覺，抵抗技術決定論，也鬆動「唯一作者」的神話。

本次展覽與中國美術學院跨媒體藝術學院開放媒體系合作，邀請十六組藝術家（包含一場視聽現場演出），介入數據、感知與算法的迴路，揭示技術如何構成我們感知與生產世界的方式。展場與現實並非分屬兩界，而是通過對數據、技術與感知的重新配置彼此呼應：藝術家讓「錯誤」「延遲」「重複」化為新的知識形式，神話退場，人的倒影得以浮現。藝術既不逃避也不膜拜技術，而是把技術視為理解當代社會經驗的關鍵媒介。

在這裏，錯誤不是失敗，而是我們與機器共同創造的痕跡。觀衆不僅是觀看者，也是互為勞動網絡中的一個節點——同時被那些訓練 AI 的無名勞動、被算法沉積的集體判斷、以及技術與身體交織而成的新感知方式所形塑。

English

Nearly a century ago, Walter Benjamin, in The Work of Art in the Age of Mechanical Reproduction, anticipated a profound transformation: the artwork would no longer remain a singular and cultic, but enter regimes of large-scale circulation; aura would yield to reproducibility, and the artist's hand to the machine apparatus. What makes this shift fundamental is not only that we use machines to reproduce works, but that we now co-generate the work with machines themselves. Creation no longer belongs to a single author; it is dispersed across vast networks woven from humans and algorithms, data and attention. We have entered an age of Inter-Labor: humans train AI, and AI, in turn, reshapes human perception and modes of making.

Benjamin later turned to Paul Klee's Angelus Novus: a figure who gazes upon the debris of the past yet is driven toward the future by a wind called "progress." That image feels even more immediate today — the so-called progress of technology gusts like a storm, rending history into rubble and compelling us forward in an acceleration that forecloses retrospection. The AI we have created resembles, in crucial ways, the deities fashioned before the Enlightenment in our own image and modes of thought: made by us, yet capable of remaking us. This is not destiny proven by technology itself; rather, the long accumulations of industry, war, Colonialism, and capital have crystallized into a techno–financial capitalist complex that abstracts and capitalizes attention, language, and data, draping them over algorithms to produce a seemingly irresistible surface.

Shared Errors does not indict AI for its shortcomings; it treats error as evidence of relation. When AI produces a distorted hand, an illogical sentence, or a concept that almost — but not quite — holds, these "errors" disclose its very constitution: a patchwork of innumerable fragments of human judgment. Precisely such misalignments allow what automated smoothness tends to swallow — the labor of individuals, contingency, and embodied experience — to reappear. Error thus becomes a mode of resistance: against the fantasy of perfect automation, against technological determinism, and against the myth of the single, sovereign author.

In collaboration with the Open Media Department, School of Intermedia Art, China Academy of Art, this exhibition invites sixteen artist groups (including one live audio-visual performance) to intervene in circuits of data, perception, and algorithm, but to reveal how it structures the ways we sense and produce the world. The exhibition and the real world are not two separate domains; through reconfigurations of data, technology, and perception, they echo one another. Artists here recast "error," "delay," and "repetition" as new epistemic forms: as myth recedes, the human reflection comes into view. Art neither evades nor venerates technology; it treats technology as a key medium for understanding contemporary social experience.

Here, error is not failure but the trace of our co-creation with machines. Visitors are not merely spectators; they are nodes within the inter-labor network — shaped by the anonymous labors that train AI, by the collective judgments sedimented in algorithms, and by new modes of perception braided between technology and the body.