In a world rapidly evolving with technology, it's crucial to explore what truly defines humanity. This biweekly column delves into the interdisciplinary criteria that can help us better understand this complex question. The author, Emi Sakamoto, engages with Hideo Mabuchi, a professor of applied physics and ceramicist, to uncover the intersection of science and art. Mabuchi's unique background, combining physics and ceramics, offers a fascinating perspective on the relationship between these seemingly disparate fields.
Mabuchi's journey began with a simple act of woodfiring, a process of firing ceramics in a wood-burning kiln. This seemingly mundane task revealed a profound depth of knowledge and craft expertise that can be pursued endlessly. Craft, he emphasizes, is not about the final form but the process and the friction that shapes the clay. This friction, often challenging, is what ultimately creates the silky and perfect final product.
The author then delves into the connection between physics and ceramics, highlighting how the abstraction of physics can be applied to the physicality of ceramics. Mabuchi's study of electron microscopy, for instance, has contributed to his understanding of woodfire ceramics surfaces, revealing surprising links to igneous petrology and volcanology. The aluminosilicate melt, similar to lava or magma, forms different minerals depending on cooling rates and oxygen levels, resulting in unique colors and textures.
Mabuchi introduces the concept of the 'creative cycle,' a process that involves seeking and making, relating and reflecting, and teaching and writing. This cycle emphasizes the importance of the creative process itself, rather than the final product. Mabuchi challenges the notion that thinking is solely algorithmic, advocating for a deeper understanding of thinking as an urge to do something, independent of computational predictions.
The author explores the role of curiosity in the creative process, suggesting that it is through making that we search and get closer to the desired outcome. Mabuchi's philosophy encourages a break from the paralyzing fiction of knowing before making, emphasizing that the creative process is where we discover, shape, and realize our voices. Craft, he argues, is a composite structure that involves using natural materials, working largely by hand, and being aware of its long tradition.
The discussion then turns to the impact of AI on the creative cycle. Mabuchi suggests that AI should prompt us to reconsider what it means to be human, beyond conventional economic productivity. He believes that AI agents lack the embodied understanding that humans possess, and their lack of bodies and understanding of embodied things sets them apart. Mabuchi optimistically predicts a swing back towards the importance of the arts, craft, creativity, and the humanities as we strive to rediscover our humanity in the face of AI.
In conclusion, the question of what makes us human remains dynamic and ever-evolving. Mabuchi encourages a focus on curiosity and the urge to do things not driven by survival instincts or social conditioning. He suggests that the room for expressing this curiosity is found in arts and creative practices, emphasizing the importance of the present moment and the ongoing search for meaning in our lives.
