{"id":15306,"date":"2023-11-12T22:43:42","date_gmt":"2023-11-12T20:43:42","guid":{"rendered":"http:\/\/dance.lt\/new\/?p=15306"},"modified":"2023-11-13T17:06:47","modified_gmt":"2023-11-13T15:06:47","slug":"matchinti-dirbtini-intelekta","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/2023\/11\/12\/matchinti-dirbtini-intelekta\/","title":{"rendered":"Match\u2019inti dirbtin\u012f intelekt\u0105"},"content":{"rendered":"

Ar esate kada nors galvoj\u0119 apie Samuel\u012f Beckett\u0105 kaip apie choreograf\u0105? Pabandykit: \u201eNot I\u201c (Samuel Beckett)<\/em><\/a>. \u0160is jo k\u016brinys, \u012f 15 minu\u010di\u0173 sutraukta tragi\u0161ka moters istorija, o tuo pa\u010diu ir \u017emonijos s\u0105mon\u0117s srautas, tiesiogiai siejamas su Tristano Cara dadaistine k\u016bryba. O dadaizmas yra ka\u017ekas, link ko nukeliauja mano mintis, bandydama analizuoti Vilmos Pitrinait\u0117s darbus. \u0160\u012f kart\u0105 \u2013 naujausi\u0105 jos trilogijos dal\u012f \u201eMATCH 3\u201c.<\/p>\n

\"\"<\/a>Ilm\u0117s Vy\u0161niauskait\u0117s nuotraukos<\/em><\/p>\n

Apra\u0161yme atsispirdama nuo minties apie dirbtinio intelekto ir \u017emogaus kov\u0105, suprie\u0161inim\u0105, scenoje su dailinink\u0117s R\u016btos Kyguolyt\u0117s pagalba choreograf\u0117 baltoje erdv\u0117je \u012frengia ma\u017e\u0105 gryb\u0173 tinkl\u0105, kuris, kaip jau \u017einome, yra gamtos interneto atitikmuo. \u0160alia jo \u2013 dvi plok\u0161t\u0117s, naudojamos Kristijono Dirs\u0117s kurtoms vizualizacijoms projektuoti. Pastarosios taip pat kinta nuo gamtos vaizd\u0173 iki saus\u0173 skaitmen\u0173.<\/p>\n

Plok\u0161t\u0117s kartu spektakl\u012f steb\u0117jusiai kolegei primin\u0117 Amerikos valstij\u0173 kont\u016brus. Ta proga, u\u017esikabinusi u\u017e jos minties sp\u0117lio\u010diau, kad viena i\u0161 j\u0173 tur\u0117t\u0173 b\u016bti Teksasas, o kita \u2013 Masa\u010diusetsas, kuriose \u012fsik\u016brusios vienos pagrindini\u0173 technologijos vystytoj\u0173 kompanijos. Viena j\u0173 net pavadinta spektaklio program\u0117l\u0117je minimo Alano Tiuringo pavarde.<\/p>\n

Tiuringo i\u0161radim\u0173 d\u0117ka \u0161iandien vystomos dirbtinio intelekto svarbos \/ baim\u0117s \/ pritaikymo temos mene \u2013 gausios. Kaip bepa\u017evelgtum, technologijos, \u201eu\u017ekariaujan\u010dios \u017emog\u0173\u201c, iriasi vis tolyn ir galime arba jas priimti ir s\u0105moningai vartoti, arba (kas b\u016bdingiau \u017emonijai), perleisti jas tik naudos ir dominavimo siekiantiems individams, taip paver\u010diant technik\u0105 \u017eudymo \u012frankiu ir artinant mus prie i\u0161nykimo (a\u0161 \u2013 ne i\u0161 optimist\u0173). Menamose svarstykl\u0117se tarp gamtos prigimties bei \u017emogaus kuriamo technologijos \u0161al\u010dio veikia \u0161ok\u0117j\u0173 trijul\u0117: Oksana Griaznova, Sigita Jura\u0161kait\u0117 ir Agniet\u0117 Lisi\u010dkinait\u0117. Lyg trys Siri aplikacijos moter\u0173 k\u016bnuose.<\/p>\n

\"\"<\/a><\/p>\n

Ir nors vizualiuose \u017eenkluose kaip ir Povilo Laurinai\u010dio parinktose konkre\u010diose, \u0161altose, \u012f emocijas nesik\u0117sinan\u010diose \u0161viesose, gausu min\u0117t\u0173 technologij\u0173 atspind\u017ei\u0173, viskas palikta veikti lyg skirting\u0173 med\u017eiag\u0173 d\u0117lion\u0117je. Ir tai tikrai primena dadaistin\u012f kolia\u017e\u0105, da\u017enai b\u016bding\u0105 Pitrinait\u0117s k\u016brybai. Steb\u0117dama k\u016br\u0117jos spektaklius, visuomet jau\u010diu, kad tik ji viena gal\u0117t\u0173 nuosekliai papasakoti savojo spektaklio logik\u0105, sujungdama visas dalis. Ar tai sunkina jos k\u016brini\u0173 steb\u0117jim\u0105? Neb\u016btinai. Tik tokiu atveju, min\u010diai \u0161okin\u0117jant (kartais tolim\u0173) s\u0105saj\u0173 principu, ne\u017einia kuo galima u\u017epildyti matom\u0105 turin\u012f.<\/p>\n

Pavyzd\u017eiui did\u017ei\u0105j\u0105 spektaklio dal\u012f u\u017etrunkanti trijul\u0117s choreografija paremta (ne)der\u0117jimo, konkurencijos, lenktyni\u0173 principu, tas ry\u0161ku ir kitose triptiko dalyse. Socialin\u0119 kritik\u0105 m\u0117gstanti Pitrinait\u0117 tris \u0161ok\u0117jas pristato ir kaip konkuruojan\u010dias moteris, ir besilydan\u010dius \u012f vien\u0105 mas\u0119 individus, atsisakan\u010dius savo skirtybi\u0173. Matyt \u010dia tur\u0117tume pam\u0105styti apie \u0161iandienin\u012f vis\u0173 supana\u0161\u0117jim\u0105, kur\u012f labai spartina technologijos, pradedant nuo vienodos informacijos \u201e\u012fdiegimo\u201c, baigiant identi\u0161kai veidus formuojan\u010diais kamer\u0173 filtrais.<\/p>\n

\"\"<\/a><\/p>\n

Kita vertus, tik sujungusios savo j\u0117gas, \u0161ok\u0117jos \u012fprasmina ir \u012fsimintiniausiu momentu spektaklyje paver\u010dia gyvus atsakymus publikai. Juose \u012f \u010dia ir dabar u\u017eduotus klausimus jos atsakin\u0117ja improvizuotu unisonu, taip lyg v\u0117l gr\u0105\u017eindamos prie minties apie gamtos, o kartu ir joje u\u017egimusio \u017emogaus, \u201etinklin\u0119\u201c prigimt\u012f. Visi mes galime susijungti ir b\u016bti kartu, b\u016bti stipresni, k\u016brybi\u0161kesni, dr\u0105sesni ir gyvi kaip grybai. \u010cia prisimenu ir paradoks\u0105, kad \u017emogus labiausiai bijo savo paties k\u016brini\u0173 – ginkl\u0173, bomb\u0173, technologij\u0173. Visa tai buvo sukurta pirmiausia ie\u0161kant m\u016bs\u0173 pa\u010di\u0173 m\u0105stymo rib\u0173, bandant jas pl\u0117sti, pa\u017einti ir mokytis, o finale atsisuko prie\u0161 mus pa\u010dius. Ir tai kalba apie \u017emogaus (savi)destruktyvum\u0105.<\/p>\n

Bet apie tai spektaklio metu a\u0161 tikrai nem\u0105s\u010diau. Intensyvaus \u0161okio etapais d\u0117mes\u012f pirmiausiai kaust\u0117 Dominyko Digimo muzika. Sukurta, beje, ne be kompiuterio pagalbos. Fizi\u0161kai sud\u0117tingoms ir alinan\u010dioms choreografin\u0117ms kombinacijoms jis parinko ypatingai energingus muzikinius takelius, kuri\u0173 ritmai labiau nei steb\u0117ti ir m\u0105styti kviet\u0117 jud\u0117ti ir galvoti apie j\u0173 skambes\u012f vakar\u0117lio metu. Matyti, kad jie pad\u0117jo prie\u0161 nuovarg\u012f atsilaikyti ir \u0161ok\u0117joms.<\/p>\n

\"\"<\/a><\/p>\n

Ne\u017einau, ar labiau choreografijos, ar muzikos nulemtose aplinkyb\u0117se pama\u010diau sau pa\u010diai netik\u0117tai suder\u0117jus\u012f duet\u0105. \u017dinoma, visos trys \u0161ok\u0117jos labai logi\u0161kai veikia visumoje, kurioje Jura\u0161kait\u0117s \u0161velnesn\u0117 prigimtis labai taikliai atsveria Griaznovos ir Lisi\u010dkinait\u0117s kartais net agresyvi\u0105 energij\u0105. Ir vis d\u0117lto j\u0173dviej\u0173 rai\u0161kus \u201esusimatchinimas\u201c \u0161iame spektaklyje nuskamb\u0117jo kaip tonas, u\u017eduodantis galim\u0105 tolimesn\u012f duet\u0105.<\/p>\n

Taip m\u0105stydama a\u0161 ir nutolau nuo spektaklio. Ar tai rei\u0161kia, jog buvo netinkamai parinktos \u0161ok\u0117jos? Nemanau. Grei\u010diau saky\u010diau, jog nebuvo iki galo i\u0161naudotas kiekvienos j\u0173 atskirai ir kartu sukuriamas vidinis potencialas ir galimas ind\u0117lis \u012f spektakl\u012f. Min\u0117toje trumpoje j\u0173 bendr\u0173 atsakym\u0173 scenoje pasijaut\u0117 ta gyvoji energija, kuri\u0105 gali pasi\u016blyti visos trys \u0161ok\u0117jos. Tokia energija, kurios, beje, pilni b\u016bna pa\u010dios Pitrinait\u0117s atliekami spektakliai.<\/p>\n

\"\"<\/a><\/p>\n

Kaip galima pasteb\u0117ti, ankstesn\u0117se triptiko dalyse naudojamas tekstas kaip nelogi\u0161kai-logi\u0161ka seka. Tekstas kaip kintanti mas\u0117 burnoje skamba ir \u201eMATCH 3\u201c, tik \u010dia, program\u0117l\u0117s apra\u0161o vedamas, j\u012f bandai susieti su dirbtiniu intelektu ir \u012fvairiomis technologij\u0173 funkcijomis kaip nusp\u0117jamas teksto si\u016blymas ar automatinis jo taisymas. \u0160iuo momentu ka\u017ekokie laideliai susijungia ir mano asmeniniame internete, i\u0161mesdami atsakym\u0105 \u012f vis\u0105 \u201ePitrinait\u0117s\u201c u\u017eklaus\u0105. Ima atrodyti, kad ir kiek aktuali, socialin\u0119 kritik\u0105 transliuojanti jos k\u016bryba beb\u016bt\u0173, kartais susidaro \u012fsp\u016bdis, jog b\u016bdama nuolatin\u0117je mai\u0161to b\u016bsenoje, k\u016br\u0117ja ne visuomet iki galo i\u0161nagrin\u0117ja tai, prie\u0161 k\u0105 mai\u0161tauja. Tokiu b\u016bdu jau min\u0117tas dekonstruoto ar deformuoto teksto panaudojimas skamba ar\u010diau dvide\u0161imtojo am\u017eiaus meninink\u0173 ie\u0161kojim\u0173 nei komentaro apie DI. Kyla ir kitas klausimas: ar DI buvo naudotas kuriant tekstus ar dramaturgij\u0105?<\/p>\n

Kad ir kiek bijotume technologij\u0173, kol kas internetas pilnas labai ai\u0161ki\u0173 pavyzd\u017ei\u0173, \u012frodan\u010di\u0173, kad dauguma program\u0173 dar tikrai nepakeis gyvo \u017emogaus darbo. Pirmiausia d\u0117l to, kad kompiuteris turi gauti labai tikslias u\u017eklausas, labai konkre\u010diai suformuluotas u\u017eduotis tiksliam darbui \u012fvykdyti. Na, o ai\u0161ki ir sausa artikuliacija, nepaliekant erdv\u0117s empatijai ir emociniam jautrumui, tikrai n\u0117ra \u017emogaus stiprioji pus\u0117. Ypatingai ne gryb\u0173 u\u017ekandus.<\/p>\n

—<\/p>\n

\"\"<\/a><\/p>\n

 <\/p>\n

Projekt\u0105 \u201e\u0160okio aktualijos, analiz\u0117 ir proces\u0173 refleksija\u201c dalinai finansuoja Spaudos, radijo ir televizijos r\u0117mimo fondas.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Ar esate kada nors galvoj\u0119 apie Samuel\u012f Beckett\u0105 kaip apie choreograf\u0105? Pabandykit: \u201eNot I\u201c (Samuel Beckett). \u0160is jo k\u016brinys, \u012f …<\/p>\n","protected":false},"author":2,"featured_media":15309,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[9],"tags":[],"yoast_head":"\nMatch\u2019inti dirbtin\u012f intelekt\u0105 - Lithuanian Dance Centre<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/dance.lt\/new\/2023\/11\/12\/matchinti-dirbtini-intelekta\/\" \/>\n<meta property=\"og:locale\" content=\"lt_LT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Match\u2019inti dirbtin\u012f intelekt\u0105 - Lithuanian Dance Centre\" \/>\n<meta property=\"og:description\" content=\"Ar esate kada nors galvoj\u0119 apie Samuel\u012f Beckett\u0105 kaip apie choreograf\u0105? 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