AI 中文总结
本章结合20世纪先锋派运动与AI生成建筑案例，提出潜超现实主义概念，揭示AI媒体对象带来创意生产条件转变及创意领域的语言学转向。
AI 中文摘要
本章研究人工智能媒体对象——通过生成式人工智能以文本转X工具形式生成的创意与艺术作品——与20世纪三个先锋派运动（达达主义、超现实主义、观念艺术）的关联。本章借鉴刘易斯·卡罗尔的《镜中世界》作为这三个运动及反理性美学的早期先驱，并结合人工智能生成观念建筑的三个案例研究（马蒂亚斯·德尔·坎波的“Deep House”、哈桑·拉加卜的“后法老建筑”与“衰败状态”），提出了潜超现实主义的概念。潜超现实主义包含创意人工智能媒体对象固有的一系列美学与方法论条件，包括通过拼贴式过程重组的现成数据集的使用、机器幻觉所呈现的荒诞作为一种美学品质，以及技艺与艺术价值的脱钩。本章进一步指出，人工智能媒体对象代表了创意生产条件的转变：早期计算工具需要图形界面和编程知识，而自然语言如今成为操作媒介，这将提示词（作为基于语言的指令）重新置于创意过程的核心，与观念艺术的遗产一脉相承，并标志着使用人工智能媒体对象的创意领域发生了语言学转向。
英文摘要
This chapter examines AI-media objects - creative and artistic outputs generated through generative artificial intelligence in the form of text-to-X tools - in relation to three avant-garde movements of the twentieth century: Dadaism, Surrealism, and Conceptual Art. Drawing on Lewis Carroll's Through the Looking-Glass as an early precursor to these three movements and to anti-rationalist aesthetics, and on three case studies in AI-generated conceptual architecture - Matias del Campo's "Deep House" and Hassan Ragab's "Post-Pharaonic Architecture" and "A State of Decay" - the chapter develops the concept of latent-surrealism. Latent-surrealism includes a set of aesthetic and methodological conditions inherent to creative AI-media objects. These include the use of readymade datasets reassembled through collage-like processes, the absurd as an aesthetic quality of machine hallucinations, and the decoupling of craft from artistic value. The chapter further argues that AI-media objects represent a shift in the conditions of creative production: where earlier computational tools required graphical interfaces and programming literacy, natural language now functions as the operative medium. This repositions the prompt (as language-based instructions) in the center of the creative process, in continuity with the legacy of Conceptual Art, and signals a linguistic turn across creative fields that make (use of) AI-media objects.
