The artist Nona Hendryx tells friend and photographer Carrie Mae Weems about her mixed reality installation, 'The Dream Machine Experience.'
As of yesterday, you can walk into the Lincoln Center and have a conversation with a humanoid robot named Bina48. Powered by AI, she is, at present, the only robot that draws input from the mind of an African0-American woman, Bina Rothblatt. “If all goes to hell and only BINA48 is left in existence, what would I want it to be?” asks the artist, the pair found themselves thinking deeply about futurism and their respective legacies.
HENDRYX: I have to say, that kind of performance is how I’ve come to know what it is that I’m now doing. It’s different with this one, because so much of it has to be prepared. But what I do know now is how much the term Afrofuturism can hold. I had a limited view before this project. It has expanded my view and what it means to share the work of the people who I have admired. And you are one of them. Your work is something that I can somehow take in and transform into another expression.
WEEMS: Yes. Tell me what you think about Afrofuturism’s ability to expand beyond national boundaries. HENDRYX: Yes and that is why you have put it on the table. That’s what I was saying about Afrofuturism, it has not been exploited like colonialism or like capitalism–HENDRYX: Yes. That’s why it is a wonderful lens to engage with AI, because it’s our new consciousness. Although, I do look at it as just us in another form, becauseHENDRYX: It’s so interesting that it’s called “artificial,” because it’s not artificial at all.
HENDRYX: Yes. It’s completely open and the audience is able to witness artists or scholars in conversation with AI. Some of the professors are focused on gender identity and what that means in racial profiling and gender profiling. Francesca Harper will create a choreography based on laminography, symbolic language that has been shared with Bina48, and has created a choreographed piece.HENDRYX: Yes.
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