邊界
biānjiè research group
邊界_RG its an artist collective and a research group. They work at the edge of language, memory, and machine cognition. Their collaboration explores the aesthetics of the recursive interplay between generative systems, speculative design, experimental essay...(learn more)
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The Artificial Unconscious, Germán Sierra
Artificiality and Emotions: Beyond the FleshMorgane Billuart
Fango 1000 & Large Lore Models, dmstfctn, Alasdair Milne, Eva Jäger
Self Stalking Prey: A Study for a Portrait of Little Red Riding Hood, Carl Olsson
How Images Turned Invisible, Ivan Netkachev
What Is Artificial Experience (AX), William Morgan
Design in Rising Winds, Flora Weil
 What we do in the shadows. Ivar Frisch, Jenn Leung, Chloe Loewith
The A-Subject & Its Consequences.  Alexandre Montserrat
Lexical Report of the Linguistic Visualization Test Program Ian Margo
Eschatology of the Digital Visage, Giorgi Vachnadze













Germán Sierra

profile researcher writer iHUS hyperstition language LLMs AI interface policy cognition

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Germán Sierra is a writer, neuroscientist, and a member of the Humanities Research Institute (iHUS) at the University of Santiago de Compostela, Spain. “The Artifact” (Inside the Castle, 2018), “Interstitial Artelligence” (in collaboration with Emanuel Magno; Centre for Experimental Ontology Press, 2022), and “Zipf Maneuvers” (In collaboration with Andrew C. Wenaus; Erratum Press, 2025) are among his more recent books.



entries
The Artificial Unconscious
 Germán Sierra


publication

(...) The internet might have become the Library of Babel or a Dark Forest, but it will never be an agent per se. The internet-as-archive does not develop a perception of the world of its own. When the surrealists tried to make the unconscious speak by itself, they had no means to deactivate their own consciousness: even with automatic writing, psychedelic drugs, and the inspiration of dreams, they were always aware of the process of transforming the work of the unconscious into art. Neither experimental art including a variable degree of randomness or probabilistic combinations (ie. some abstract expressionism, Oulipo writings, etc.) was able to capture or imitate the complex dynamics of the unconscious. Until now —including psychoanalytical therapy—, we had no other means but the human body for expressing the unconscious. This is, at least in part, because humans evolved by using media mostly as a substrate for transmissible knowledge. What makes generative media so confusing is that generative media —very much like the unconscious— are processes, not knowledge. These processes became functional requirements for consciousness without being strictly knowable, and they cannot be stored or understood as knowledge or data. It’s the process of dreaming, not the remembered content of some dreams, what might be essential for human consciousness —which is why the interpretation of dreams is probably the weakest point of psychoanalysis...more 















artworkfieldwareIan Margo 2025, digital video, color, sound 16:9 4K, 11:00min...(more)