Magical Simulacra and Simulating Magic

A Baudrillardian Perspective on the Recognizing and Creating Magic Using Generative Artificial Intelligence

Authors

  • Angélique Allaire Talan Group
  • Laurent Cervoni Director of Research and Innovation of the Talan Group

Keywords:

Magic, AI, Performing art, Baudrillard

Abstract

This essay focuses on the aesthetic experience of magical arts. The rise of artificial intelligence (AI) as a tool to decipher magic tricks or elaborate new tricks puts spectators and performers into question. While considering the current technical characteristics of neural networks and generative AI, we aim to show the impact of AI on magical arts using Jean Baudrillard’s hyperreality theory. Like any other technological innovation, AI poses new challenges to the magical arts.

Author Biography

  • Laurent Cervoni, Director of Research and Innovation of the Talan Group

    Laurent Cervoni is Director of Research and Innovation of the Talan Group. Engineer of the “École Supérieure d’Ingénieurs en Électronique et Électrotechnique” (ESIEE), PhD in Computer Science of the University of Rouen (Artificial Intelligence), Laurent Cervoni began his career in service companies before creating and running his own consulting firm. He was a ministerial adviser (State Secretariat for Victim Assistance) before being CEO of Docaposte Localeo (La Poste group). He is also a member of the Coordination of the Association of Doctors of France (ANDès) since 2015 and of the Board of Directors of the Regional Institute of Sports and Health Medicine in Normandy. He leads the Scientific Committee of ActuIA, a journal specializing in Artificial Intelligence. He is member of the French federation of magical arts (Fédération Française des Arts Magiques) and of the Robert-Houdin Magic Club of Normandy. He performs as an amateur in magic shows in France. His most recent publications include “Simultaneously teaching mathematics and prolog in school curricula: a mutual benefit” (Springer 2023), “A Novel Incremental Learning Strategy Based on Synthetic Data Generated from a Random Forest” (Springer 2023), “Engagement mechanisms for a sustainable employee engagement structure” (ideas.repec.org, 2022) and “Explainable artificial intelligence in response to the failures of musculoskeletal disorder rehabilitation” (AIME Slovenia 2023).

References

Anonymous. (1863). Le parfait escamoteur, le plus complet, contenant les tours d'escamotage, muscades, gobelets, gibecières, prestidigitation, adresses, subtilités les plus amusantes, pour s'amuser dans toutes les réunions et divertissements. Paris: Le Bailly.

Baudrillard, J. (1981). Simulacra and Simulation. Ann Arbor: University of Michigan Press.

Baudrillard, J..(1997). Illusion, désillusion esthétiques. Paris : Sens & Tonka.

Benjamin, W. (1935). The Work of Art in the Age of Mechanical Reproduction, 1936.

Boden, M. A. (1998). Creativity and Artificial Intelligence. Artificial Intelligence, 103, 347–356.

Crary, J. (1992), Techniques of the Observer. On Vision and Modernity in the Nineteenth Century, The MIT Press.

Debord, G. (1970). Society of the Spectacle, Black & Red.

Devant, D. (1936). Secrets of My Magic. Rancho Cordova: Penguin Magic.

Foucault, M. (1977). Discipline and Punish, New York: Random House.

Leddington, J. (2016). The Experience of Magic. The Journal of Aesthetics and Art Criticism, 74(3), 253-264.

Macknik, S., Martinez-Conde, S., & Blakeslee, S. (2010). Sleights of Mind: What the Neuroscience of Magic Reveals about our Everyday Deceptions. Henry Holt and Company.

McCarthy, J., Minsky, M. L., Rochester, N., & Shannon, C. E. (1955). A Proposal for the Dartmouth Summer Research Project on Artificial Intelligence: August 31, 1955.

Musa Giuliano, R. (2020). Echoes of Myth and Magic in the Language of Artificial Intelligence. AI & society, 35(4), 1009-1024.

Nath, T., Mathis, A., Chen, A. C., Patel, A., Bethge, M., & Mathis, M. W. (2019). Using DeepLabCut for 3D markerless pose estimation across species and behaviors. Nature Protocols, 14(7), 2152-2176.

Nietzsche, F., (1998) Beyond Good and Evil: Prelude to a Philosophy of the Future, Oxford: Oxford’s world classics.

Prevost, J., (1584). La première partie des plaisantes et subtiles inventions.

Rancière, J. (2007). The Emancipated Spectator. London: Verso Books.

Rensink, R. A., & Kuhn, G. (2014). A Framework for Using Magic to Study the Mind. Frontiers in Psychology, 5, 1508.

Scot, R., (1584). The Discoverie of Witchcraft.

Tigre Moura, F., Castrucci, C., & Hindley, C. (2023). Artificial Intelligence Creates Art? An Experimental Investigation of Value and Creativity Perceptions. The Journal of Creative Behavior.

Valéry, P. (1934). Pièces sur l’art. Paris: Gallimard.

Villiaume, L. (2015). La prestidigitation au XIXe siècle à Paris: Entre compréhension, domestication et détournement de la nature. Hypothèses, 18, 51-62.

Williams, H., & McOwan, P. W. (2014). Magic in the Machine: A Computational Magician’s Assistant. Frontiers in Psychology, 5, 1283.

Williams, H., & McOwan, P. W. (2016). Manufacturing Magic and Computational Creativity. Frontiers in Psychology, 7, 855.

Zaghi-Lara, R., Gea, M. Á., Camí, J., Martínez, L. M., & Gomez-Marin, A. (2019). Playing Magic Tricks to Deep Neural Networks Untangles Human Deception. arXiv preprint arXiv:1908.07446.

Downloads

Published

04-12-2023