ABSTRACT
As recent news has announced that AI is sentient, debates about the algorithmic performance of sounds, images, spaces, languages, return to open the question of: What counts as art in the aftermath of computational thinking? In other words, what is the relation between algorithmic performance, programming, and aesthetics? How can machines meet the creative dimension of aesthetic production without simply intensifying the pre-programmed trends of cognitive capital? And to what extent is it possible to argue for a machine aesthetics that escapes the modern cosmogony of Man (Wynter 2002), the colonial and patriarchal epistemologies granting the authority of the Homo sapience? This chapter is an invitation to suspend the Promethean biomythosis (Wynter) of modern epistemology that invents the prototype of the slave-machine in order to justify the emancipation of the human. It is the paradox of modern cosmogony, where machines are instrumentalized as gendered and racialized instruments sustaining the freedom of Homo bioeconomicus (Wynter), that continues to haunt algorithmic aesthetics.
