Abstract

Much more than their machinic reality, current iterations of AI rely on imagined divisions of human and non-human properties and skills that have genealogical ties to colonization. For this reason, research efforts have recently been made to historicize these imaginaries, connecting them to colonial ideals that delegate black and brown colonized people into the realm of the non-human. Atanasoski and Vora (Surrogate humanity. Race, robots and the politics of technological futures, Duke, Durham and London, 2019) have called this a “surrogate humanity”, where narratives of autonomous technologies function to disappear precisely the formerly colonized peoples that are enveloped in its production process. At the same time, the gendered and racialized roots of this maternal figure represents an opportunity to uncover and critique the invisibilization of embodied resources necessary to produce AI, precarious bodies labouring to produce algorithmic infrastructures in a manner that can be considered in a genealogy of carework and reproduction. These genealogies complicate the detachment suggested by the surrogate figure and go beyond it to proclaim a more generative function of the relationship between the black maternal figure and AI. The article analyses Tabita Rezaire’s multi-media artwork Sugar Walls Teardom to think through decolonial and queer renderings of the black female bodies upon which technological imaginaries rest, to extend beyond AI surrogacy and towards notions of kinship, care and world-making by producing an AI aesthetics that is relational, embodied, and celebratory of other ways of liveness.