As a communication channel, body movements have been widely explored in behavioral studies and kinesics. Performing and visual arts share the same interests but focus on documenting and representing human body movements, such as for dance notation and visual work creation. This paper investigates body movements in oriental calligraphy and how to apply calligraphy principles to stimulate and archive body movements.

Through an artwork(Wushu), the authors experiment with an interactive and generative approach to engage the audience’s bodily participation and archive the body movements as a compendium of generated calligraphy. The audience assumes the role of both writers and readers; creating (“writing”) and appreciating (“reading”) the generated calligraphy becomes a cyclical process within this infinite “Book,” which can motivate further attention and discussions concerning Chinese characters and calligraphy.

Divination denotes practices of mediation that aim to reveal hidden knowledge and sketch out speculative fu-tures before they come into being. Often employing crea-tive and playful methods, divinatory speculations wield ominous power, even when inaccurate. Today, this power is becoming concentrated within neoliberal coordinates following the professionalization of divination, most markedly through artificial intelligence (AI). Reviewing the literature of past and present divinatory practices to interrogate its methods from games to AI, this paper of-fers four key contributions: (1) it establishes divination as a media arts practice; (2) it traces transnational histories of this practice; (3) it unpacks the limitations and issues arising from AI divination, and (4) it presents strategies and tactics to confront them. Mapping the shifting power-relations and speculative practices of prediction, this paper reveals and critiques the unannounced spiritual mysticism surrounding contemporary AI and its increas-ing embrace within late-capitalist future forecasting.

This paper explores how artists can engage Tarot as a lens for engaging and disrupting faith in machine learning ca-pabilities. Considering the increased casual adoption of ML systems, especially as embedded into social media platforms like Discord and TikTok, it explores how predic-tion as a form of knowledge production is engaged and naturalised via interaction. Tarot reading, as another form of knowledge production, was selected due to its produc-tive similarities and differences, which are used by the artist to unearth and examine faith in prediction. This is achieved via the creation and discussion of the creative project, “Practices of Prediction” (2023), an interactive installation in which audience members are encouraged to reach out into the unknown, turning to the ML system for guidance and advice, receiving in return a new generated Tarot card and reading. The paper explores three practice-based avenues for revealing and disrupting faith in prediction: manipulating prompt weighting, exploring the dynamics of 'flipping and seeking', and contrasting the concealment and revelation of predictive processes . The final section of the paper offers reflective insights on the implications of using Tarot as a creative lens, both for the artist and the audience. In this, it calls to the forefront what it means to collectively generate visions of the future with ML systems.