La machine et l'instrument

Thinking of AI as an instrument recenters the focus on practice. Instruments require a performance that relies on technique—the horn makes the sound, but how and what you blow into it matters; the drum machine keeps time and plays the samples, but what you sample and how you swing on top of it becomes your signature.
Frank Chimero, Beyond the Machine: Creative agency in the AI landscape, https://frankchimero.com/blog/2025/beyond-the-machine/

À partir du dé/recentrement outil-instrument, le designer Frank Chimero analyse ce qu’impliquent les outils dits d’intelligence artificielle (agents conversationnels et LLMs). Que ce soit le concept (tout pété) de vibe coding, les (incroyables) possibilités créatives de la musique générative, l’approche de la reproduction (spawning) qui vient dépasser les logiques du sampling dans la musique, il s’agit de comprendre nos positionnements par rapport aux machines : au-dessus (diriger), à côté (collaborer), en dessous (servir). Frank Chimero nous emmène dans trois approches artistiques pour analyser ces trois positionnements. Loin d’être en accord avec les recommandations de Frank Chimero – notamment le fait qu’il faille donner des limites aux outils d’intelligence artificielle générative –, questionner nos rapports aux technologies me semble toujours nécessaire, et c’est ici réalisé avec beaucoup de talent.

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In other words, the push to join the AI rush comes from the sense that it’s the only game in town right now, and everyone else is already playing. The hype gets louder, and the bubble gets bigger.

All you need is a prompt, a dream, and some vibes. And, of course, we’ve chosen an individual to be the face of that.

So while vibe coding may be useful for short-term work, it’s not a suitable approach for anything intended to last longer than a tub of yogurt. Time saved is not strength gained, so I went looking for other examples about how to work with the machine.

The value of the machine’s output depends on how we see it, and our interpretation often has little to do with its technical perfection.

When the system is designed to respect artists, scale becomes a tool rather than a threat.

The people who could change things aren’t listening, and the incentives are too strong to keep the machine running.