Finally, the death of the author! A ‘detournement’ strategy for decolonizing the artistic venue

In the famous ‘Fragment on Machines’ of the ‘Grundrisse’, Marx points out how social or collective knowledge (the ‘general intellect’) has become a ‘direct force of production’ through its embodiment into technical devices. The rhetorical wording ‘artificial intelligence’, with its own misleading anthropomorphic connotations, looks, from a Marxist perspective, the apex of this process in which knowledge becomes the core of the fixed capital that ideally must be re-appropriated by the workers. In this context, AI Art appears as one of the many expressions of the commodification of the collective knowledge in which, for using the expression of Guy Debord, ‘all that was once lived has moved into representation for being commodified’. However, the progressive availability of AI tools for generating art also opens the doors to a ‘detournement’ strategy by allowing a decolonization of the artistic scenario in which each of us becomes the ‘author’ without being the author. Maybe in future, rather than asking ‘who is the author?’ we will find ourselves asking ‘what is the author?’. A move of this kind achieves automatically the ‘death of the author’, with the corresponding subversion of the notions of artistic intention, authorship, and genius, while disrupting the present commodification process behind the artistic ecosystem, in a fashion beyond the best intentions of Walter Benjamin’s ‘Art in the age of mechanical reproduction’. This move is ultimately disruptive from a metaphysical point of view as well to the extent that the human centrality is dispossessed by the recognition of forms of creativity different from our own creativity.