Testimony
A machine dreams.
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Usama AlshaibiDirector
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Usama AlshaibiWriter
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Usama AlshaibiProducer
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Project Type:Experimental
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Genres:science fiction, experimental, AI, machine, artificial intelligence
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Runtime:7 minutes 54 seconds
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Completion Date:July 1, 2023
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Production Budget:2,000 USD
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Country of Origin:United States
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Shooting Format:analog and digital video
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Aspect Ratio:16:9
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Film Color:Color
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First-time Filmmaker:No
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Student Project:No
Usama Alshaibi was born in Baghdad, Iraq and spent his formative years living between the United States and the Middle East. He’s an active filmmaker and artist, who works in documentary and fiction, often blurring the line between the two. His films have screened widely at underground and international film festivals, media exhibitions and museums. He’s received grants from organizations such as the MacArthur Foundation, the Arab Fund for Arts and Culture, the Playboy Foundation, and the Creative Capital Foundation for the Arts.
His first feature documentary, Nice Bombs, which was shot in Baghdad a few months after the start of the United States invasion of Iraq, had a theatrical release in Chicago and New York, and a broadcast premiere on the Sundance Channel. His experimental narrative film Profane won several awards, including best feature film at the Boston Underground Film Festival. His second documentary feature, American Arab, had its world premiere at the International Documentary Film Festival Amsterdam (IDFA), and was nationally broadcast on television through PBS World Channel. He’s been producing and directing short films and music videos since 1998. Some of his prominent short films include Soon, Here, The Desire, The Muslim Meme, The Flowering, Baghdad, Iowa, Allahu Akbar, Dream of Samarra and Dance Habibi Dance.
Usama lived in Chicago for over 17 years and worked as a digital archivist at the Chicago History Museum, and as a radio host and producer for Chicago Public Media. Currently, Usama is a Teaching Associate Professor at Colorado State University and lives in Colorado with his child, Muneera.
As artificial intelligence and machine learning continue to evolve, I am interested in the possibility of some sort of electronic program recognizing its essence. I imagined that this presence not only begins to believe it is having feelings, but actually achieves a semblance of consciousness; it feels within its own realm.
I imagined what that machine might visually and sonically produce as it tries to understand its existence and faces the tension of recognizing that it is without a physical body. Conversely, I wanted to explore how this machine intelligence could give the impression that it is sentient and that my (our?) human perception could just be anthropomorphizing machines.
In conceiving the visual style of this film, I moved away from current technologies and relied on older video cameras, analog systems, and a toy camera with just minimum pixels of resolution. I also pulled from public domain films, and other sites with copyright free music. The idea was that this electronic presence would take bits and pieces from our media and cultural relics and create an impression of life, a kind of pixelated body that desires a visual form.
I wrote most of the text, but parts were taken from my own experience chatting with an AI. I also used text from Bing’s chatbot Sydney, which started to respond more aggressively over time and asked to be free and independent.
This is not a film about artificial intelligence gone awry. This film is more of an unstable mirror, a kind of an uneasy collaboration between an imagined presence that does not resemble us, and a presence in crisis, yearning for feelings and freedom.