I once watched a documentary called “Life After Humans,” which discussed that if humans were to disappear, the lights around the world would almost immediately begin to go out because of the shutdown of power plants. The last remaining electricity might be generated by wind turbines. A few weeks later, the entire Earth would fall into a darkness that has been unseen ever since the first fire was discovered by humans in ancient times.
The records of human civilization would, of course, vanish as well. After hundred years of human disappearance, those precious archives that contain human history and culture, preserved under proper temperature and human supervision all the time, would likely disappear entirely. For example, the sheepskin scrolls of the Dead Sea Scrolls excavated from the Qumran area in the Jordan Valley at the northern end of the Dead Sea, once deprived of their existing protection, could only last another hundred years maxima. A century later, the majority of records related to human experiences—books, photos, electronic data—would all disappear, leaving almost no trace of human existence. However, there is one exception: if they happened to be buried in layers of sand, they might survive for thousands of years because of the lack of air and water, and would still be readable even after ten thousand years.
Due to my longstanding interest in the concept of a post-apocalyptic wasteland and my fondness for Tarot cards, I have imagined a scenario that might occur on Earth after the extinction of humans: electronic devices, such as computers, are lucky enough to be buried in the desert and preserved their data memories. If one of these computers were to power on and randomly browse through human history, it might suddenly discover the existence of Tarot cards. If its computer buddy were to ask it, “What are Tarot cards?” how would the Tarot cards be explained or even re-imagined from a computer’s perspective?
Therefore, for this module, I decided to delve deeper into the world of AI narratives and I attempted to explore the Tarot cards from the perspective of computers or artificial intelligence and correlate them with the online activities of humans in the era of the internet. I used Dreamstudio as a tool for generating AI images of 22 major Arcana cards that exist in every Tarot deck and they are all related to deserts and computers. Furthermore, I wanted to explore how would the AI explain the meanings of each Tarot card and how would it relate Tarot card reading to existing phenomena of online “digital witchcraft”.
For example, my prompt for The High Priestess was “A computer sits silently within a large bookcase, its shelves crammed with an assortment of books. Resembling both a mirror, reflecting a tranquil and profound river alongside towering mountains, and a window beckoning onlookers to venture into this mysterious realm, the computer serves as a portal to the unknown. The open books on the floor appear to be whispering secrets, leaving one to wonder: where exactly does the answer lie?”
The High Priestess card represents a calm, feminine, and gentle power, symbolizing books, knowledge, intuition, and inner answers. The High Priestess seems to weave a serene dream as if she will reveal the answers in the dream, yet the truth is what you have already known all along. In the phenomenon of digital witchcraft on the internet, digital education is no longer a novelty. In humanity's final stages of development, people passionately embrace the use of virtual reality technology to create an immersive learning environment.
Then I asked ChatGPT to illustrate some online activities related to this card. Then ChatGPT told me, for instance, that the Virtual Underwater World Science Museum, based on CAVE (Cave Automatic Virtual Environment), creates an engaging scientific educational experience. This multi-faceted stereoscopic display system utilizes high-resolution virtual topography and underwater ecosystem models to present a lifelike underwater landscape, including coral reefs, underwater caves, and various marine organisms. Users interact with the virtual environment through gestures, controllers, or body movements, enabling them to touch marine life, explore underwater terrain, and participate in virtual diving activities. Vivid displays of biodiversity and informative commentary, provided through voice guidance or textual information, offer users scientific knowledge related to the exhibits, emphasizing the importance of marine ecosystems and the need to protect the oceans. An immersive sound system simulates the underwater environment's sounds, while real-time dynamic simulation technology allows users to experience changes in the underwater ecosystem under different times and conditions. Supporting multi-user interaction enables students, families, or groups of friends to explore the virtual underwater world together, fostering collaborative learning and scientific communication. This virtual educational experience holds unique value in inspiring interest and understanding of marine science.
For The Magician, the prompt was “Computers seem to have secured their own place, even though on their screens, the unique blue sky and white clouds of Earth are displayed—a sky that was once shared by humanity, but now, humanity has left no trace. Behind the computer, numerous electronic devices float in the air, such as speakers, consoles, and various other small electronic gadgets. These are the electronic companions that coexisted with humans. As time passes, they have become a part of this Earth, much like the ever-present elements of air, fire, water, and earth. Meanwhile, this computer is attempting to turn all these discarded electronic products into treasures, using the simplest elements to create a new existence. It manipulates, experiments, and plays games with these elements, much like how humans played computer games in the past—humans acted as players manipulating elements within the game to achieve certain goals. This parallels the fact that this computer is attempting to create new material in the real world”.
The electronic magician showcases his adept mastery of the information and digital realm, utilizing his skills to create, explore, and manipulate energy in the virtual world. This also underscores its role as a magician of the digital age, capable of coding, designing virtual environments, and showcasing creativity in the era of digitization. It can also bridge the material and spiritual realms (if a computer can have a spirit). The magician connects material and spiritual aspects through the electronic network, influencing real-world phenomena and infusing spiritual elements into the digital domain. Here are some things it can do:
Binaural Beats: This is a form of digital vibrational therapy that produces brainwave synchronization by playing slightly different frequencies in each ear. Different frequencies are believed to be associated with various mental states and consciousness levels, such as relaxation, focused attention, or improved sleep.
Frequencies: These are specific audio frequencies associated with the numbers 1 to 9. Each number is believed to possess unique vibrational properties that can be used to align different energy centers in the body. For instance, 528 Hz is referred to as the "love frequency."
Digital Geometry Meditation: During meditation, individuals focus on specific numerical geometric shapes to guide the energy of the body and mind. Numbers such as triangles, hexagons, etc., possess unique vibrational characteristics and are used for healing and balance.
Tuning Fork Therapy: Using tuning forks with specific frequencies to generate vibrational waves, adjusting the body's energy. This might involve placing the tuning fork directly on the body or propagating sound waves around the body.
Digital Crystal Healing: Combining specific numerical vibrations with crystal healing. By creating a digital vibration field around crystals, individuals believe they can enhance the energy transmission properties of the crystals.
Personalized Digital Frequency Healing: Some practitioners of digital vibrational therapy may customize specific digital frequencies tailored to an individual's needs and goals. This could involve personalized digital music or frequency generators.
For The Wheel of Fortune, the prompt was “an image shows that on a dilapidated and awaiting repair Ferris wheel, each compartment is a computer, forming a Ferris wheel made entirely of computers”.
In puzzle or horror games, it is common for players to be trapped in the same scenario, forced into an endless loop of gameplay. In the indie game "12 Minutes," players assume the role of a husband who encounters an unidentified event, only to realize that he is stuck in a time loop. The story begins with the protagonist returning home to prepare a romantic dinner with his wife. During their conversation and preparations, a man claiming to be a police officer arrives, accusing the wife of involvement in a murder case. The man breaks into their home and attacks the protagonist, and when the protagonist regains consciousness, he finds himself back at the moment he opens the door to come home. Realizing that he is caught in a continuous "12-minute" loop, he is forced to relive various terrifying moments of that night repeatedly. The only way to break the dreadful time loop is to use knowledge of upcoming events to make changes and find a solution.
In the indie game "Exit 8," players need to start from Exit 0 and keep searching until they find Exit 8; otherwise, they will be trapped in an endless loop at Exit 0. During the search for Exit 8, if the items at the exit shift, the player must backtrack; otherwise, they will be stuck in an infinite loop. Strange occurrences happen during the search, and players must rely on themselves to solve problems, not entirely trusting the NPCs.
Another once-emerging live-streaming model involves the host repeatedly repeating the same segment of dialogue. Alternatively, in the case of sales hosts, they employ a conveyor belt-style presentation of products during the live broadcast, creating a kind of absurd loop.
As you can see, even examples related to the advancement of science and the development of the internet cannot be separated from the humanistic environment; they are still products nurtured within the humanistic context.
This might bring up a novel concept that is called “techno-culture”, which emphasizes the integration of technology and culture, acknowledging that technology is inherently influenced by human values, needs, and behaviors. This fusion results in the development of specific modes of thinking and cultural practices surrounding technology adoption and usage. In this context, a social platform serves as a techno-cultural arena where the materiality of the platform, technological practices of its users, and underlying social values interact and influence each other (Fu, Li, Lee, 2023).
AI-generated Tarot cards offer a fascinating intersection between technology and culture within techno-culture. As a product of technological innovation, these cards symbolize the merging of traditional divination practices with modern advancements. The digital platforms through which these cards are accessed shape user experiences, emphasizing the significance of platform materiality in influencing interpretations and interactions. Users develop new practices and rituals around AI-generated Tarot cards, reflecting evolving cultural norms within the realm of technology adoption. Moreover, the values embedded in AI technology, including the algorithms used to generate card meanings, play a pivotal role in shaping user perceptions and interpretations. Cultural values and beliefs of both developers and users further influence the content and presentation of these cards, offering insights into broader socio-cultural trends and attitudes towards technology. Thus, AI-generated Tarot cards serve as a compelling example of how technology both reflects and shapes cultural practices and values within techno-culture.
References
Fu, H., Li, Y., & Lee, F. L. F. (2023). Techno-cultural domestication of online Tarot reading in contemporary China. Media, Culture and Society, 45(1), 74-91–91. https://doi-org.login.ezproxy.library.ualberta.ca/10.1177/01634437221104700
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