It's a psychedelic reverie of patterns and colors.
這是由圖案和顏色組成的迷幻幻想。
An art installation in New York that unfolds in front of viewers in a daydream loop.
在紐約的一一個藝術裝置，在觀眾面前以一個白日夢循環的形式展開。
Rafik Anadal is the human artist behind machine hallucination,but his co-creators are algorithms developed by researchers at Nvidia.
拉菲克.阿納達爾是機器幻覺背後的人類藝術家，但他的合作者是Nvidia的研究人員開發的算法。
I'm heavily inspired from science fiction.
我深受科幻小說啟發。
And I'm speculating about our near future experiences,where AI,neuroscience and architecture collides.
我在推測我們不久的將來的經歷，人工智慧、神經科學和建築將產生火花。
In this project,the story is literally an AI goes online and downloads 113 million images of New York.
在這個項目中，故事講述了人工智慧在網上下載了1.13億張紐約的圖片。
Algorithms were programmed to gather publicly available images of New York landmarks from social media.
通過編程，算法可以從社交媒體上收集公開的紐約地標圖像。
So we focus on collective memory specifically,the buildings,the architecture,like look at the Flatiron,or we look at the Empire State.
所以，我們特別關注集體記憶、建築，比如熨鬥大廈,或者帝國大廈。
We are like a millions of images,looking the same building from multiple angles.
就像數以百萬計的圖像，我們從多個角度看同一棟建築。
The resulting set of images and memories is a window into what the artist calls a machine's mind.
由此產生的圖像和記憶是一扇窗，讓我們得以了解藝術;家所謂的機器思維。
Essentially, it's artificial intelligence.
本質上，它是人工智慧。
But Anadal wanted to explore whether this same machine mind had a consciousness.
但阿納達爾想要探索的是，這臺機器是否也有意識。
The machines now can learn,and of course it is not I'm asking like can they dream.
現在，機器可以學習，當然不是我在問他們能不能做夢的問題。
His studio developed additional software that was applied to the data set to generate a multi-dimensional dreamlike universe.
他的工作室開發了額外的軟體，應用於數據集，以產生一個多維度的夢幻般的宇宙。
That's ultimately rooted in real life images.
這最終植根於現實生活中的形象。
Anadal refers to the digital medium as latent cinema,cinema in an age of machine intelligence.
阿納達爾將數字媒體稱為潛電影，即機器智能時代的電影。
I'm heavily critical about how these technologies are evolving,and what they are actually saying to us.
對於這些技術是如何發展的，以及它們對我們的實際意義，我持強烈的批判態度。
So maybe this is a one way of understanding how the technology can really be used beyond just fearfully thinking.
因此，這也許是一種理解技術如何真正被使用的方式,而不僅僅是可怕的思考。
What else we can do with that is a very I think important question.
我們還能做什麼，我認為這是一個非常重要的問題。
For this artist,the virtual brush is being dipped into a machine's mind.
對這位藝術家來說，虛擬刷子正在侵入到機器的思維。
I feel like I have a tool that allowed me to make the invisible more visible.
我覺得自己有了一個工具，可以把看不見的東西變得可見。
Opening viewers eyes and imaginations.
打開觀眾的眼界和想像力。
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