Taraxacum yidreamii is an experimental art piece created in collaboration between the human artist and AI. By using GPT to transform real dream records into academic papers, and employing AI's free association as a medium, the work explores the boundaries between art and academia. This form, seemingly unrelated to painting or other traditional art forms, is precisely what represents a new source of energy for the future development of art. In the latter part of the piece, AI showcases its powerful generative abilities, further blurring the lines between academia and art. Through Taraxacum yidreamii, the artist challenges our understanding of the relationship between art and existence, exploring the potential of academic papers as a new art form.
I had a dream that mushrooms grew all over my body
The result of AI's dream interpretation is that I can get rich.
I often work as a second party, and I finally have the rights of a first party. AI has become my second party. As a first party, I use a work project model to let it generate art for me. In the process of video production, I am also a first party. I use funds to hire others to make the ideas proposed by AI. In fact, the author of this work is not me, but it is my work. I only provided a dream and my yearning for the result of dream interpretation.
This work explores the profound blurring of authorship between humans and artificial intelligence. Through the dialogue of a dream psychologist, a found photo collector, and a GenAI expert, the realization emerges that the expert, once thought to be guiding AI, may be an output of the AI itself. This conversation occurs in a book positioned in front of a triptych of layered representations of the book’s conversation. Through this presentation, the work challenges traditional notions of control, creativity, and expertise, revealing a complex narrative where humans and machines co-create, intertwining stories in ways that question the very nature of authorship. The boundaries between creator and creation dissolve, inviting viewers to contemplate their own unique roles in this new paradigm of contested authorship.
A pink inflatable flamingo beckons, a portal to your next viral dream. As you settle onto its plastic plumage, tablet in hand, a mesmerizing tune floats by:
"Likes, posts, drifting in a fancy social media haze, Balloons, faux friendships, all wrapped in a plastic glaze..."
This playful artwork unveils the social media dreamscape we're all floating through - a world where connections inflate like balloons and reality blurs into curated fantasy. Perched on your neon bird, you're both the viewer and the star of this surreal music video.
Welcome to "Floating in a Bubble" - where we're all lucid dreaming in technicolor, swept away by a stream of hypnotic visuals.
(Video by Runway AI/Keling, Music by Suno AI, Prompts and Editing by Wang Xin, Artwork description refined by Claude AI, draft written by Wang Xin)
Dream is a Dream in a Dream (幻影環形) is an experimental video that combines GenAI technologies to explore the interaction between psychology, phenomenology, and subconsciousness. By combining the leftover raw materials of dream states and visualization of dream subjects/events, it attempts to reorganize and supplement the narrative of dreams to explore the mystery of the near-death experience of dreams.
This experiment aims to provide the audience with an immersive experience, allowing for a deeper exploration of the various perceptions and emotions in dreams through video. They will feel the marvelous and extraordinary nature of the near-death experience and think more deeply about the nature of dreams.
Dreaming Home Returning draws from artist Li Chen’s personal experience: after witnessing her childhood home reduced to rubble during urban renewal, she attempted to use dream re-entry as a portal to revisit it. The work delves into the unresolved emotions entangled with urbanisation’s impact on one’s sense of belonging by exploring the relationship between memory and dreams.
The Super 8 video, composed of three parts—or rather, three dreams—runs in a continuous loop, punctuated by the same line of text: “She realises she can no longer remember what her childhood home looked like. And the ruins become the home in her dreams.” In each dream, the female protagonist returns to an empty, abandoned village she believes to be her home. As she tries to connect with the ruins, events take an unexpected turn. A wall-sized photograph, in which the dream-video is embedded, suggests a deeper reality behind her amnesia.
Dreams are brief immersive encounters that begin to fade as soon as we wake. They elude our grasp as soon as they are interrupted, and the more we try to hold on to them, the more they change. When we try to recall them the next day, we combine their content with our mood that day, what we want that day, and what selective memories of them that we recall, changing them from their native state into a new object for the next reinterpretation. PLAY IT AGAIN, FOR THE NEXT TIME, are a set of Generative AI (GenAI) interpretations of the dreams of the artist iterated by his collaborators, showing seemingly faithful but deceptively different visions of the dreams from an AI process designed to hallucinate anew for each “next time.” The work consists of a set of six visual stories that capture aspects of original dreams but transformed through the hands of the designer/creators and the lens of GenAI. These stories include spying at a library, escaping from outer space collection operation of a home, a comical conquest of a fairy tale castle, an underwater fresh air bubble for dancers, taking a cruise on a cargo container, and investigating bottles of water that contain memories of the past. A Virtual Reality (VR) experience depicts a scene from one of the dreams, creating additional context for reliving a GenAI-interpreted version of a dream, combining the original content of a human dream with both human and machine perspectives that fundamentally skews the brief encounter: a new dream for every time it is played again.