Learning from the digitised past and present, and then acting, somehow, in response. This seems to be the mantra of the current AI compulsion, crossing industrial and now cultural fields. In art it translates into ‘reading’ big chunks of art history and producing something that ideally reflects and innovates on these (sadly sounding more ‘creative industry’ than art). Ben Snell, in his “Dio” let the machine see and ‘break down’ a certain amount of classic and modern sculptures, and then ‘dream’ a new one (perfectly sticking to the above AI narrative). But Snell goes a step further: once the sculpture is conceived and formalised, he grinds the computer to dust and builds the sculpture out if it. He freezes the computational clock in its most daring form, which will never be recalculated by the same machine again, but fully amalgamated in its own materiality.