LABIAL: magazine launch and call for contributions
LABIAL, a magazine devoted to literature, art, and artificial intelligences, invites contributions to its zero issue, presented on 24 October at the BIASEL festival in Paris.
A LIVING PUBLICATION · David Guez
Dialogz is an initiative by David Guez, an artist and author whose work began with the arrival of the Web and the conception of a particular project: Le Livre des liens — The Book of Links.
From the 1990s onward, it became important to understand what art might do with the immense revolution of the Internet and what new practices could emerge from it, both artistically and socially.
Thousands of questions, intuitions and reflections followed, together with the desire to produce objects and matrices within the field of art — perhaps the only field capable of welcoming and integrating these strange forms that were still coming into being.
Above all, there was a desire to invent new forms of encounter and exchange: to create living, shifting collectives and platforms; to imagine new ways of engaging with time, individual and collective memory, the media, radical representations and the utopias of a world that had become hyperconnected.
Thirty years later, we find ourselves facing contemporary artificial intelligences and one immense question: where are we going?
Alone or together, with or without them, through refusal or submission, through thoughtful integration or in a wild, uncontrolled manner — all the way to our irreversible disappearance as human beings?
Dialogz takes up the principle of Le Livre des liens: creating dialogues between people, disciplines, works, technologies and collective imaginaries. But beyond the prompt, it also attempts to enter into dialogue with these different intelligences, artificial yet entirely real.
Dialogz is a kind of multiversal logbook with a minimal objective: to release everything that once slowed down or obstructed creation; to multiply proposals, theories and outlandish hypotheses; to bring previously separate fields into contact; and to venture further into radicality.
To be able, at last, to begin with an image, an intuition or a detail encountered in a book, a film, a poem or a simple glance, and immeasurably expand the reach of our imagination.
And who knows?
We remain — and we will remain — fragile, mortal, anxious, in love and, in that respect, different.
Welcome to Dialogz.
RECENT PUBLICATIONS
LABIAL, a magazine devoted to literature, art, and artificial intelligences, invites contributions to its zero issue, presented on 24 October at the BIASEL festival in Paris.
From Poptronics, which I helped conceive, to Neural and Right Click Save, a journey through magazines that shaped net.art and digital art. It leads to LABIAL, a magazine of literature, art and artificial intelligence at Éditions L, at labial.fr.
From my 2006 Hypermoi project to a possible LLM of oneself, I explore the digital double that survives us: what it remembers, what others know about us, and the right to stop answering.
THE DIALOGZ ARCHIVE
Search an exact word or phrase in every published article.
17 exact result(s) for « art »
LABIAL, a magazine devoted to literature, art, and artificial intelligences, invites contributions to its zero issue, presented on 24 October at the BIASEL festival in Paris.
From Poptronics, which I helped conceive, to Neural and Right Click Save, a journey through magazines that shaped net.art and digital art. It leads to LABIAL, a magazine of literature, art and artificial intelligence at Éditions L, at labial.fr.
Nearly twenty years ago, I called Hypermoi the part of ourselves deposited on the network: texts, images, opinions, desires, fragments of an identity that keeps circulating after its author is gone. The question was not only what the internet preserved. It was what those pieces…
…resemblance or surprise? An instruction is not an understanding of everything it sets in motion. Art as a laboratory for myths Scientists measure; artists stage. Faced with the same power to create, art makes the vertigo of beginnings and makers perceptible. I see three attitude…
…o an organized tradition of refusal. My answer was not always withdrawal. With Teleweb.org and TV-Art.net, I tried to change the routes of audiovisual distribution at the beginning of the Web: let everyone broadcast, not merely receive. Creating alternative media was already a wa…
The Web was built by a multitude and enclosed by a few companies. From tactical media to Teleweb and TV-Art, I trace an artistic struggle over distribution and the rules of sharing. With AI, that struggle reaches a new front line: who owns, governs and profits from our collective memory?
…obot before noticing how fragile their human equivalents remain? Machines escaping their function Art has already loosened the bond between machine and service. In 1960 Jean Tinguely set Homage to New York in motion at MoMA: an enormous machine designed to build and destroy itsel…
…this point the clock stops being, for me, merely a machine. It becomes an artwork.Who do we make art for?Art is usually made for a contemporary horizon: an exhibition in six months, a book next year, a video published today. Even when an artwork is intended to last, its first re…
From Arrival to Levitation, an art-science hypothesis: AI as a relational milieu that reshapes how we think. Between plasticity, relational ontology and interligence, what future for our capacities can we still negotiate?
…tputs as material for its next state. It appears in games, mathematics, language, music, biology, art and economics. A loop can generate new forms and meanings; it can also propagate a flaw or thin out what it reuses. Model collapse makes this second possibility visible at indust…
From The Mentor’s manifesto to McKenzie Wark’s, I trace a culture that turned technical curiosity into counter-power. For me, Teleweb and tv-art were attempts to hack media distribution. With AI, I now propose a machine that maps the rules surrounding a problem and opens ways to transform them.
…not a promise of total autonomy: it is a responsibility of looking. When artists make rules live Art did not wait for generative models to take rules as material. Sol LeWitt and Vera Molnár had already shifted the artwork towards instruction and variation. Artists of artificial…
AI can produce images, videos, sounds and stories. But could it participate in art before representation, where rules, relationships and propositions take shape? From Lawrence Weiner and Sol LeWitt to MAIO and The Equation of Art, I explore a new form of conceptual art developed with AI. As a nod to Joseph Kosuth, I imagine a plural “fourth chair”: molecular, holographic, algorithmic, burning or defined through use.
A fruit-fly connectome becomes an actor in Doom, Minecraft or a robot. What are we setting in motion: a brain, an architecture or a zombie without memory? Connecting this experiment to my A.L.I. work on solipsism and simulated worlds, I propose the “Threshold of Reality”: the moment simulation enters the world’s causal chain. I then imagine a forty-eight-hour performance in which a zombie fly controls all security systems in an art centre and becomes a genuine “guard fly.”
Yesterday, 14 September 2026, the official language of artificial intelligence cracked. Dario Amodei of Anthropic, Sam Altman of OpenAI, Demis Hassabis of Google DeepMind and Elon Musk of xAI—four leaders who helped impose the race as our only horizon—converged on the same formu…
What if artificial intelligence stopped making images for a moment and examined what makes a gesture, object or situation enter the field of art?
…articular project: Le Livre des liens. From the 1990s onward, it was important to understand what art might achieve with the immense revolution that was the Internet and what new practices might emerge from it. Thousands of questions, intuitions and reflections followed, together…