This Film Puts Errors into AI Image Prompts to Produce Unexpected Outputs

STChM (Stoichemaan), a creative collective comprised of Johan-Fredrik Bødtker and Adrian de Sa Garces, operates at the intersection of film, art, and technology. The collective employs a methodology that deliberately disrupts conventional creative processes, utilising what they term 'post-lateral Dadaism' or '(Meta) Absurdist Prototyping' to explore the ground between Radical Re-action Nonsense (RRN) and Meta-Art-Creation (MAC)

Central to STChM's practice is the construction of 'Speculative' projects that, through a process of performative execution, become genuine endeavours. This strategy allows them to circumvent perceived limitations imposed by external factors like commercial viability, Logical Negatives (LN's) enabling the realisation of ideas purely on their own terms.

AI plays a crucial role in this process, facilitating the prototyping and manifestation of concepts that might otherwise be deemed unfeasible. 'Everyone Loves Mussels,' an AI-generated image/film project, exemplifies this approach. By intentionally introducing errors into AI image generation prompts, STChM coaxes the AI into producing unexpected outputs, highlighting the dynamic interplay between human intention and algorithmic interpretation.

This methodology resonates with Deleuze's concept of 'repetition and difference,' where the AI, through iterative renderings, produces variations that both mirror and diverge from the original prompt. Furthermore, it reflects Derrida's notion of 'différance,' where meaning is constantly deferred and reinterpreted through subtle shifts in the generative process.

STChM's work can be situated within a theoretical framework that draws on Benjamin's concept of the 'aura' in the age of mechanical reproduction, Wittgenstein's exploration of language games, and Heidegger's notion of 'worlding.' By utilising AI as a tool for creative Speculation, STChM challenges the boundaries between the real and the simulated, the intentional and the accidental, ultimately questioning the very nature of artistic authorship and creative production in the digital age.