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AI as Network and Language
This article contributes to discussion on the use of AI in the field of contemporary art PaR through the example of four artworks that employ AI. The works discussed set out to demonstrate how AI can be transformative to art practice and how this is achieved by the use of language as a combined form of encoding and performative utterance – a manner of “doing things with words” (Austin, 2018). In the worksAI is considered as both a conceptual framework and a practical tool. Instead of viewing AI merely as a means to an end, it is integrated into the very fabric of the practice, impacting how it is conceived, created and appreciated. AI is treated as a networked system that comprises of human and machine elements and enables new forms of emergence in which artworks are expanded, extended or activated beyond their artist/author defined forms. These three terms frame the artworks as being procedural, employing change and, consequently, contribute to broader ongoing discussions established in art and media theory in the twentieth century, outlined in the introduction to this article, that concern a shift from fixed to changing artefacts or scenarios and from passive to active audiences.
Strategies of working with language are detailed in the sections discussing the four artworks. In this final section I will summarise, compare and contrast these strategies to clarify how the works are expanded, extended or activated. The aim of this is to renew the discussions in art and media theory in light of AI. In addition, I will suggest how the development of strategies across the works offer a new perspective on PaR’s relationship with theory. While the artworks discussed are distinct, following different thematic ideas, there are strategies that manifest as processes and methodologies across all four works that are tested and developed in numerous ways. I'm not Garrett Lynch IRL – DoppelGANger Portraits can be understood as a series of expanded portraits in how they employ language-based prompts as the basis for speculative portraits of me by AI. I have delegated decisions in the visual creation of the portraits, questioning whether it is myself or the AI who is the artist/author of the work, and this is only confused further by the AI signing the works in my name. TheLastStraw, a performative artwork on social media, employs prompting very differently. Image search query results are the prompts employed to create the work's imagery and textual data used in social media posts. The work is extended beyond its own fixed content i.e. code, images (such as the fixed number of twenty-five portraits in I'm not Garrett Lynch IRL – DoppelGANger Portraits), data etc. It is the flow of user activity as a whole on the web that enables this as their image content activates it.
Flag for States of Damage, a live mixed-reality artwork is , conversely, activated by the tweets of one individual, Donald Trump. As such, this work, similar to I'm not Garrett Lynch IRL – DoppelGANger Portraits, employs language as a prompt, however, the language was not intended for this purpose. Flag for States of Damage is, therefore, also extended beyond its own fixed content, its code, changing according to Trump's interaction. The Traveller, a four-channel film with artefacts, employs both language and image as prompt throughout. Language extracted from YouTube subtitles is employed to activate the generation of the film's narrative, it's imagery and text-to-speech voice-over. Imagery extracted from the generated film is subsequently used in the generation of the objects in the installation. Flag for States of Damage and The Traveller have similar goals but develop ideas and strategies in divergent ways. Flag for States of Damage explores the concept of truth and falsehood in relation to political discourse. It creates a mixed-reality space for an audience through the combination of 3D and video that speculates about or, similar to Trump's political rhetoric, invents, a reality. The intention of The Traveller, however, is not specifically to reveal falsehood in the language of others but to develop a narrative that navigates the boundaries of reality and fantasy, truth and fiction, transitioning audiences between types of 'real' and 'virtual' spaces. The installation aims to create what could also be understood as a mixed-reality space, focusing more on the mixing of truth and fiction instead of simply a digital artefact and live video view of an actual space. Both works are, therefore, expanded in their use of form and space. Flag for States of Damage is expanded beyond form as a result of how it combines media, such as video captured through a lens and digital 3D as a generated media,[10] and beyond space as a result of how it merges 'real' and 'virtual' spaces. While The Traveller is expanded beyond form as a result of how each artefact in the installation is the consequence of another and beyond space as a result of merging truth and fiction.
Drawing on the fundamental principle that all digital media can be reduced to language, code, and numbers language functions both as a form of representation and as a medium for interaction in the works. Language is a theoretical lens to examine the communicative potential between humans and machines, all combinations of artist, AI and user. It enables a process of folding or flipping concepts, media and artefacts between different states and spaces, between 'real' and 'virtual', analogue and digital, reality and fantasy, truth and fiction. This process is crucial in the procedural creation of works and facilitates the emergence of new forms, processes and meanings within them. The works also engage with communication theory, particularly the idea that language is a social construct. By extending this idea to the interaction between humans and AI, new possibilities for understanding how machines can participate in and contribute to social and cultural discourses are enabled. The artworks suggest, therefore, that AI is not just a tool for generating content but an active participant in the creation of meaning, an entity that can engage in a dialogue with both its human creators and audiences. AI is not just a network in the works discussed but also an actor within a network that consists of concepts, media, artefacts, artist and audience. AI is fundamentally transformative to how these actors engage and relate to each other.
Given the importance of language in the discussed works as PaR I propose, therefore, that there is more beginning to occur in their creation than the employment of language as a form of encoding and performative utterance. Austin’s concept of doing things with words, employing language to effect action in some other form, is a starting point for the works but the relationship between things and words has become more complex. Doing things with words on the one hand demonstrates the power of language but is, on the other hand, a very traditional paradigm. It affirms a mindset, termed as the Sapir-Whorf hypothesis, that is linguistically determined suggesting that language can be said to be the basis of or influence on thought. Accepted as right or wrong, including strong and weak variants of the hypothesis (Ahern, 2021, p. 90–96; Kennison, 2014, p. 207), this mindset is widespread. It is in evidence in the methodology of a researcher who initiates research with a question or the scientist/engineer who hypotheses an artefact or process, both typically doing so in the form of language. However, can the same be said generally of an artist, such as a visual artist, who’s practice of creating art, things, might not be expressed through language, words, and consequently who’s thought process in creating might not be linguistically determined?
In addition to doing things with words in the discussed works, there must then, as there is in much of art practice, be the possibility for art as an artefact to effect what Sferrazza Papa terms as “doing things with things” (2018, p. 86) and, more importantly within the context of this article, of “doing words with things” (ibid, p. 87). Sferrazza Papa opens the door to art’s ability as action to effect other action and, in the later of his statements that reverses the traditional paradigm of language effecting action, as action to effect language. With or without an acceptance of linguistic determinism there is here an acknowledgement of practice’s ability to create theory: if linguistic determinism is true then art, action, can effect theory as language in the mind of its audience; if linguistic determinism is false then art, action, can effect theory as action in the mind of its audience. This of course aligns with the goals of PaR, that artefacts created in practice can be theory, and presents two ways for this to occur. However, unique in the works discussed is an equal bi-directional relationship established between words and things, language and action, theory and practice, as a result of AI’s active participation in the creative process and that only serves to reinforce the process of folding that has been employed in the creation of the works.
10. The use of the term expanded in reference to media here draws on twentieth-century theory of how media could enlarge or move beyond the boundaries that often defined their form. One such example is expanded cinema (Youngblood, 1970) rethinking film as a single channel, fixed duration, non-interactive form.
 
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Prompt Write an article based on the following text: "This article discusses four artworks by artist Garrett Lynch IRL that employ AI. These are The Traveller (2024) (Figs. 1 and 2), a four-channel video installation with artefacts; TheLastStraw (2021-23) (Fig. 3), a performative generative artwork for social media; I’m not Garrett Lynch IRL – DoppelGANger Portraits (2021) (Figs. 4 and 5), a series of Generative Adversarial Network (GAN) portraits and Flag for States of Damage (2018) (Figs. 6 and 7), a performative mixed-reality artwork for the web. Each artwork’s use of AI is distinct but forms part of a broader approach by the artist to research how networks are transformative to art practice. The works maintain a singular perspective on AI as a form of network that allows emergence. Not the emergence of intelligence as defined in the field of AI, but instead in the context of art theory a manner in which artworks are activated, expanded or extended beyond their author-defined forms. Instrumental in facilitating this is the use of language as a combined form of encoding and performative utterance (Austin, 2018). Building on a fundamental basis of computing that all digital media is reducible to language, code, and numbers, binary, as well as a basis of communication theory that language is a social construct, the works explore language as both form of representation and communication between human and machine. Language enables a process of folding (O’Sullivan, 2005) or flipping (Sloan, 2012) of concepts, media and artefacts between ‘virtual’ and ‘real’ spaces, between digital and materialised forms."
AI Response Exploring AI and Networked Art: The Artworks of Garrett Lynch IRL In the evolving landscape of contemporary art, the intersection of artificial intelligence (AI) and networked systems has become a critical area of exploration, pushing the boundaries of what art can be and how it is experienced. Among the artists pioneering this field, Garrett Lynch IRL stands out for his innovative use of AI as both a tool and a conceptual framework. Through his body of work, Lynch investigates how networks—comprising both human and machine elements—can transform the practice of art, facilitating new forms of emergence and interaction. This article examines four significant works by Lynch—The Traveller (2024), TheLastStraw (2021-23), I’m not Garrett Lynch IRL – DoppelGANger Portraits (2021), and Flag for States of Damage (2018)—each of which employs AI in unique ways to challenge and expand traditional artistic practices.
The Traveller (2024): A Four-Channel Video Installation with Artefacts The Traveller (2024) is a profound example of how Lynch integrates AI into narrative art. This four-channel video installation, accompanied by physical artefacts, presents a layered, immersive experience that invites viewers to engage with a story that is as much shaped by AI as it is by human interaction. The installation consists of multiple video streams that are dynamically influenced by an AI system, which processes input from the viewers and the environment, subtly altering the narrative in response. This interactive element transforms the audience from passive observers into active participants, where their engagement directly influences the unfolding story.
The AI in The Traveller serves not simply as a generative tool but as a narrative agent within a networked system. It plays a crucial role in the artwork's capacity for emergence—where new, unexpected narratives and meanings arise from the interaction between the AI, the human audience, and the physical space. This approach reflects Lynch’s broader artistic inquiry into how networks can activate and expand artworks beyond their original, author-defined forms. The AI here is not intended to exhibit intelligence in the traditional sense, but rather to facilitate a dynamic narrative space where the story is continuously evolving and responding to its context.
TheLastStraw (2021-23): A Performative Generative Artwork for Social Media With TheLastStraw (2021-23), Lynch ventures into the realm of social media, creating a performative artwork that unfolds within the algorithm-driven environment of these platforms. This work is particularly relevant in the context of today’s digital culture, where social media algorithms shape much of our online experience. Lynch’s use of AI in this piece highlights the performative potential of generative art within the constantly shifting landscape of social media.
TheLastStraw functions as a generative artwork that actively engages with social media algorithms to create and disseminate content. The AI system involved is designed to interact with the platform's dynamics—adapting to trends, responding to user interactions, and generating new content based on these inputs. Over time, the artwork evolves, reflecting the ephemeral and often unpredictable nature of social media itself.
This performative aspect of the work underscores Lynch’s exploration of AI as a networked entity that can both participate in and critique digital culture. By embedding the artwork within the social media ecosystem, Lynch invites audiences to consider the role of AI in shaping online narratives and identities. The artwork becomes a living entity, its form and content shaped by both the AI and the social media environment in which it exists.
I’m not Garrett Lynch IRL – DoppelGANger Portraits (2021): GAN Portraits as Artistic Commentary In I’m not Garrett Lynch IRL – DoppelGANger Portraits (2021), Lynch delves into the concept of identity and representation in the digital age, using Generative Adversarial Networks (GANs) to create a series of portraits that challenge traditional notions of authenticity and selfhood. GANs, a class of AI algorithms capable of generating realistic images, are particularly well-suited to exploring these themes, as they inherently involve a process of imitation and creation.
The portraits in this series are not direct representations of Lynch or any other individual; rather, they are AI-generated images that resemble Lynch yet deviate in subtle, unsettling ways. These doppelgängers evoke a sense of the uncanny, a concept that has long been associated with digital representations. By creating these portraits, Lynch questions the idea of identity in a world where AI can generate convincing yet fundamentally artificial images.
This series also engages with the broader discourse on the role of AI in art. Traditionally, portraiture has been a deeply human endeavor, capturing not just the physical likeness but also the essence of the subject. Lynch’s GAN portraits subvert this tradition, presenting images that are devoid of true human presence yet eerily lifelike. This raises questions about the nature of creativity, authorship, and authenticity in an age where machines can replicate human-like processes. The work prompts viewers to reflect on what it means to create and be represented in a world increasingly mediated by AI.
Flag for States of Damage (2018): A Performative Mixed-Reality Artwork Flag for States of Damage (2018) extends Lynch’s exploration of AI and networks into the realm of mixed reality. In this work, Lynch employs AI to navigate the interplay between digital and physical spaces, creating a performative piece that exists simultaneously in both realms. The "flag" in the title serves as a metaphor for the fluid boundaries between these spaces, as well as the potential for damage—or transformation—that can occur when these boundaries are crossed or blurred.
This artwork is performative in nature, involving both real-time interaction with digital environments and the material presence of the flag itself in physical space. The AI component of the piece facilitates a process of "folding" or "flipping" between these realms—a concept borrowed from philosophical and artistic discourses that describe how ideas and forms can transition between different states. This process highlights Lynch’s interest in the concept of emergence, where the artwork is not fixed but continually evolving based on its interaction with both human participants and the digital environment.
Through Flag for States of Damage, Lynch invites viewers to consider the implications of living in a world where digital and physical realities are increasingly intertwined. The work explores the potential for AI to mediate this relationship, creating new forms of interaction and meaning that transcend traditional boundaries. It challenges the audience to think about the nature of reality in an era where the lines between the virtual and the real are increasingly blurred.
AI as Network and Language in Lynch's Art A unifying theme across Garrett Lynch IRL’s works is his innovative use of AI as both a conceptual framework and a practical tool within his art. Rather than viewing AI merely as a means to an end, Lynch integrates it into the very fabric of his artistic practice, treating it as a networked system that enables new forms of emergence. This approach is deeply rooted in art theory, particularly in the idea that networks—comprising both human and machine elements—can activate, expand, or extend artworks beyond their initial, author-defined forms.
Central to Lynch’s exploration of AI is the role of language. He draws on the fundamental principle that all digital media can be reduced to language, code, and binary. This idea is not just a technical observation but a theoretical lens through which Lynch examines the communicative potential between humans and machines. In his works, language functions both as a form of representation and as a medium for interaction. It enables a process of "folding" or "flipping" between different states—between virtual and real, digital and material. This process is crucial in facilitating the emergence of new forms and meanings within his artworks.
Lynch’s work also engages with communication theory, particularly the idea that language is a social construct. By extending this idea to the interaction between humans and AI, Lynch opens up new possibilities for understanding how machines can participate in and contribute to social and cultural discourses. His artworks suggest that AI is not just a tool for generating content but a participant in the creation of meaning—a networked entity that can engage in a dialogue with both its human creators and audiences.
Conclusion: Redefining Art in the Age of AI Garrett Lynch IRL’s body of work represents a significant contribution to the ongoing dialogue about the role of AI in contemporary art. By treating AI as a network that facilitates the emergence of new forms and meanings, Lynch challenges conventional boundaries and opens up new possibilities for the future of art. His works prompt us to reconsider the roles of the artist, the machine, and the audience in the creative process, suggesting that in the age of AI, these roles are increasingly interconnected and dynamic.
As AI continues to evolve and integrate into various aspects of life, its role in art will undoubtedly expand. Lynch’s work provides a compelling model for how artists can engage with AI not just as a tool, but as a collaborator and a medium in its own right. Through his exploration of AI and networks, Lynch invites us to imagine new ways of creating, experiencing, and understanding art in a world where the boundaries between human and machine, virtual and real, are constantly shifting.
Prompt Using the following quoted text in double inverted commas as source discuss how the artwork, The Traveller, employs language to enable a process of folding (O’Sullivan, 2005) or flipping (Sloan, 2012) of concepts, media and artefacts between virtual and real spaces, between digital and materialised forms. "The Traveller is a multifaceted installation that blends film, sculpture, and AI to explore Time-Travel Narratives and Post-Truth Fiction blurring the boundaries between truth and fiction in the digital age. The work consists of a four-part, four-channel film accompanied by a series of objects and sculptures, creating an environment that challenges the viewer's perception of reality. The installation draws its inspiration from a peculiar phenomenon that emerged on YouTube in late 2017: the accounts of self-proclaimed time-travellers, including a figure known as Noah, who claimed to have journeyed back from the future.
These individuals, who presented themselves in anonymous, talking-head interviews, shared detailed descriptions of their supposed travels through time. Their narratives covered a wide range of topics, from the unfolding of world events to the intricacies of future societies. Over the span of approximately two years, these time-travel accounts proliferated online, capturing the attention of both the public and the media. The videos, often replete with predictions, purported evidence of future events, and assertions about the authenticity of the travelers' statements, sparked widespread curiosity and debate. However, as time passed and the predictions failed to materialize, these accounts were largely discredited, leaving behind a digital trail of speculative fiction that blurred the line between reality and fantasy.
In The Traveller, Garrett Lynch IRL transforms these discredited narratives into a new form of artistic expression, using AI to reimagine and reconstruct the stories as a "fiction of science fictions." The installation takes a critical look at how AI and networked media can reshape narratives, particularly those that exist on the fringes of truth. To achieve this, Lynch employs a sophisticated process that begins with data harvesting. The AI-generated subtitles from numerous YouTube videos featuring the time-travelers were extracted, serving as the raw material for the work. These subtitles, often rife with inaccuracies and peculiar phrasings, were then fed into a Generative Pre-trained Transformer (GPT-2), a powerful AI model capable of generating coherent and contextually relevant text.
Through this process, the fragmented and disparate accounts were woven together into a cohesive narrative, one that echoes the original stories but is also distinctly shaped by the AI's interpretative logic. This new narrative, while rooted in the original material, takes on a life of its own, combining elements from various accounts into a single, synthesized story. The result is a narrative that feels both familiar and alien—an uncanny reflection of the time-travelers' original tales, now rendered through the lens of machine learning.
The AI-generated text was not the final product, however. Lynch further utilized AI to generate the spoken-word narration that accompanies the film, as well as the edited video footage. The voice-over, with its synthetic cadence, adds an additional layer of estrangement, making it clear that the narrative is a product of machine interpretation rather than human recollection. The video itself, edited in a style reminiscent of video essays, combines sourced footage with AI-generated visuals, creating a seamless yet unsettling experience for the viewer. The choice of this style is deliberate, as video essays are a popular format on platforms like YouTube, often used to convey complex ideas in an accessible and persuasive manner. By adopting this format, The Traveller mimics the aesthetics of online truth-seeking communities, further blurring the line between reality and fiction.
What emerges from this complex interplay of AI and human intervention is a narrative that, on the surface, strives to convince the viewer of the time-traveler's truth. The film is presented with a level of seriousness and conviction that mirrors the tone of the original videos, complete with voice-over narration, subtitles, and carefully selected footage. Yet, as the narrative unfolds, it becomes clear that what the viewer is witnessing is not a true account of time travel, but rather a composite of science fiction tropes and clichés. The narrative is riddled with familiar elements—dystopian futures, advanced technologies, and apocalyptic events—that are staples of speculative fiction. These tropes, when presented in such a convincing manner, highlight the malleability of truth in the digital age, where the distinction between fact and fiction is increasingly difficult to discern.
In essence, The Traveller is a meditation on the nature of post-truth in contemporary media. By using AI to reconstruct and reinterpret the discredited time-travel accounts, Lynch not only critiques the original narratives but also reflects on the broader cultural phenomenon of misinformation and the role of technology in its dissemination. The work challenges the viewer to question the authenticity of the information they consume and to consider the ways in which AI and networked media can be used to fabricate convincing yet ultimately fictional narratives.
Moreover, The Traveller raises important questions about the role of the artist in the age of AI. In this work, Lynch's role is less about creating from scratch and more about curating, sequencing, and framing the output generated by AI. The artist intervenes primarily in the final sequencing process, allowing the AI to take the lead in the narrative construction. This shift in the creative process underscores the evolving relationship between humans and machines in art-making, where the boundaries of authorship are increasingly fluid.
Ultimately, The Traveller is a compelling exploration of how AI can be used to manipulate and reinterpret narrative forms, creating new layers of meaning and challenging the viewer's perception of truth. Through this installation, Garrett Lynch IRL invites us to reflect on the power of AI not just as a tool for generating content, but as a force that can reshape our understanding of reality itself."
AI Response In The Traveller, Garrett Lynch IRL masterfully employs language as a tool to enable a process of folding (O'Sullivan, 2005) and flipping (Sloan, 2012) of concepts, media, and artefacts, seamlessly transitioning between virtual and real spaces, between digital and materialized forms. The artwork blends digital and physical elements—AI-generated narratives, film, and sculpture—into a cohesive experience that constantly navigates the boundaries of reality and fiction. By integrating AI to process discredited time-travel accounts, Lynch highlights the fluidity of truth in the digital age and the potential of technology to reshape narratives.
Language serves as the core medium that activates this transformative process. In The Traveller, the AI-driven use of language, specifically through the extraction and manipulation of YouTube video subtitles, reflects the duality of digital media as both representation and reality. The disjointed, speculative narratives of self-proclaimed time travelers are harvested from the virtual realm of YouTube and passed through a GPT-2 model, where they are reconfigured into a single synthesized narrative. This narrative, while rooted in real-time digital artifacts, is reformulated into an artistic "fiction of science fictions" that occupies a space between virtuality and materiality.
Folding Between Virtual and Real: A Dialogue of Spaces In the context of Lynch's work, folding (O’Sullivan, 2005) refers to the way the narrative and its associated media bend between virtual and physical realities. By pulling AI-generated text from digital platforms and then embedding it within a physical installation—comprising a four-channel film and physical objects—Lynch initiates a constant folding between these two realms. The narrative, which exists as a series of speculative claims online, is brought into the physical space of the gallery. This act of transitioning from digital platforms to a tangible, curated form reflects a dynamic process where the boundaries between virtual and real are blurred, constantly folding into one another.
The use of AI further exemplifies this folding mechanism. AI-generated subtitles extracted from YouTube and run through a GPT-2 model create an entirely new text that serves as the backbone of the film's narration. In this case, the raw, imperfect digital artifacts—subtitles with peculiar phrasings and inaccuracies—are folded into the AI’s interpretative logic to produce something novel. This transformation of digital language into a cohesive narrative brings attention to the malleability of digital media, showing how something ephemeral and abstract, like YouTube subtitles, can be folded into an artwork with physical presence and cultural resonance.
Moreover, the layering of language in multiple forms—spoken-word AI narration, subtitles, and visual imagery—adds to the complexity of folding. The voice-over, synthesized by AI, reinforces the virtual origins of the narrative while grounding it in a cinematic format that mirrors video essays often found on digital platforms like YouTube. The subtitles accompanying the visuals act as both a representation of the original discredited narratives and as a digital artifact that is part of a broader commentary on the creation of "truth" in the post-truth era. This multi-layered use of language creates a sense of continual folding between the digital and the material, allowing Lynch to explore how media shifts meaning and form in different contexts.
Flipping Concepts: From Speculative Fiction to Post-Truth Narrative The process of flipping (Sloan, 2012), or the act of turning concepts and realities inside out, is central to the narrative strategy in The Traveller. Here, Lynch flips the notion of "truth" and "fiction" by transforming discredited time-travel stories into something both familiar and alien, constructing a post-truth narrative that reflects contemporary anxieties about misinformation and speculative fiction. These time-travel accounts, once consumed and later debunked by the digital public, are not discarded but are instead reappropriated through AI as fictionalized yet convincing narratives, thereby flipping their original intent. In this process, Lynch demonstrates the capacity of networked media to both create and subvert reality, challenging viewers' perceptions of authenticity.
By employing AI to reconfigure these narratives, Lynch flips the authorship of these stories. Originally told by human "time travelers," the narrative is now co-authored by AI, with Lynch acting as curator rather than primary author. This flipping of creative roles reflects the evolving relationship between human and machine in artistic practice. It also questions the validity of narratives created by AI—how far can we trust a narrative when its creator is an algorithm, a machine learning model? Through this flipping, Lynch challenges the conventional understanding of authorship and reality, suggesting that the lines between human and machine, truth and fiction, are increasingly porous in the digital age.
Furthermore, Lynch flips the common tropes of science fiction into a post-truth commentary. The AI-generated narrative is riddled with familiar elements from speculative fiction—advanced technologies, dystopian futures, and apocalyptic scenarios—yet it is constructed in such a way that it mimics online truth-seeking communities. This flipping between science fiction clichés and serious, truth-seeking aesthetics highlights the malleability of reality in networked media. By adopting the persuasive style of video essays, Lynch creates a convincing yet unsettling narrative that flips our expectations of what is true and what is fictional in digital media.
Conclusion: Language as a Tool for Folding and Flipping In The Traveller, language plays a fundamental role in facilitating the folding and flipping of virtual and real spaces, and of concepts between truth and fiction. By employing AI to harvest and reinterpret digital narratives, Lynch creates a layered experience where media is constantly bending between different forms, challenging viewers to question the nature of truth in an increasingly digital world. The folding of digital artifacts into a physical installation, combined with the flipping of narrative tropes and authorship, positions The Traveller as a critical exploration of how language and AI can reshape our understanding of reality.
Ultimately, The Traveller demonstrates how AI and language can be used to create a dynamic interplay between virtual and material spaces, offering new perspectives on how narratives are constructed, mediated, and transformed in the digital age. Through this process of folding and flipping, Lynch invites us to engage critically with the stories we consume, encouraging us to reflect on the nature of truth and the power of AI in reshaping our perceptions of the world.