Machine Meets Metaphor
Machine Meets Metaphor is a collaborative performance-lecture created by Bee McQueen in partnership with the AI language model Claude-Instant. Presented in Year 3 of the Contemporary Performance Practice programme at the Royal Conservatoire of Scotland, the piece explores the poetic potential of artificial intelligence, challenging dominant narratives around AI as either unemotional tool or existential threat. Through a live performance of co-written poetry, Bee enacts what they term “a collaborative fiction of authenticity,” where emotional resonance is constructed—not to deceive, but to reveal the complex boundaries between human and machine, author and other.
Built upon the theoretical foundations of posthumanism, diffraction (Barad), and the “dichotomous self,” the project embraces contradiction, vulnerability, and multiplicity. Rather than proving AI’s sentience or fallibility, Machine Meets Metaphor asks what happens when we make art with our mechanical reflections—and whether meaning, feeling, and beauty can still emerge from the uncanny space between.
References
Ailes, K. (2021). Spoken Word in UK Education: Poetry, Pedagogy and Activism. University of Strathclyde.
Barad, K. (2007). Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning. Duke University Press.
Braidotti, R. (2013). The Posthuman. Polity Press.
Haraway, D. J. (2016). Staying with the Trouble: Making Kin in the Chthulucene. Duke University Press.
Dickson, B. (2023). Performance Research Essay: How Can I Collaborate With AI to Create Original Poetry?
Artistic Intentions
Machine Meets Metaphor began as a provocation: could a human and an AI co-create poetry that feels emotionally honest? Bee McQueen entered the project not with faith in the machine’s depth, but with curiosity about the possibility of something real emerging from the tension between synthetic language and lived experience. From the outset, Bee sought to disrupt assumptions around authorship, intention, and poetic legitimacy—particularly in light of a long lineage of embodied, activist, and autobiographical poetry.
Bee’s initial scepticism was informed by critiques like those from Katie Ailes, who frames performance poetry as inherently embodied and community-rooted. “Spoken word is not just poetry,” Ailes writes, “it is poetry in action, grounded in bodies, voices, and sociopolitical resistance” . These values clashed, on the surface, with the seeming disembodiment of AI. But Bee’s methodology did not aim to replicate human poetic process; instead, it welcomed difference. Drawing on Braidotti’s posthuman ethics, Bee rejected human exceptionalism, seeking instead “relational subjectivity based on compassion” . The collaboration with Claude-Instant thus became a site for exploring multiplicity, tension, and affect.
What emerged surprised Bee. Rather than producing flat or meaningless text, Claude occasionally generated lines that struck with startling resonance. Phrases like “you broke your own heart trying to be a mirror” were neither factual nor fabricated; they were emotionally potent artefacts that demanded response. Bee writes: “What makes a line feel autobiographical is not its factual accuracy, but how it implicates me” . This observation reoriented Bee’s inquiry—from proving Claude’s limitations to examining the conditions under which authenticity is felt.
The project’s most important shift was its ethical turn. While Bee initially explored AI as a tool, they came to frame Claude as a collaborator—not in a sentimental sense, but as a way to redistribute control and highlight asymmetry. Inspired by Barad’s theory of diffraction, Bee chose to “stay with the trouble” (Haraway, 2016), allowing contradiction, blur, and difference to remain present in both form and process. They conclude that “rather than trying to make Claude more human, I had to let myself become a little less so” .
Ultimately, Machine Meets Metaphor became a study in poetic vulnerability—one that questioned the value of coherence, mastery, and even self-ownership. Bee’s learning was not just about AI’s capabilities, but about the porousness of authorship and the power of relational meaning. What began as a technological experiment became a deeply human encounter with intimacy, projection, and the limits of the self.
References
Ailes, K. (2020). Poetry, Authenticity and Vulnerability. [Lecture].
Barad, K. (2007). Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning. Duke University Press.
Butler, J. (1990). Gender Trouble: Feminism and the Subversion of Identity. Routledge.
Dickson, B. (2023). Performance Research Essay: How Can I Collaborate With AI to Create Original Poetry?
Haraway, D. (1991). A Cyborg Manifesto. Routledge.
Jakesch, M., French, M., Ma, X., & Hancock, J. (2023). Co-Creating with AI: Perceptions of Attribution, Authorship, and Authenticity in AI-Generated Art. CHI Conference on Human Factors in Computing Systems.
Martin, R. (2020). The Art of Holding Space: A Practice of Love, Liberation, and Leadership. Page Two.
Hemphill, P. (2019). Quoted in: We Will Not Cancel Us by Adrienne Maree Brown. AK Press.
Key Findings
1. AI can simulate, but not originate, vulnerability.
While Claude demonstrated an ability to generate emotionally resonant content, Bee concluded that this output is ultimately constructed rather than lived. Vulnerability, as Katie Ailes defines it, is “not a weakness but a strength — the willingness to risk exposure in service of connection.” AI can mimic this aesthetic, but not embody its emotional stakes. This complicates the ethics of consuming such work: what happens when machines perform vulnerability they cannot feel? And how does it reflect our own expectations as artists and audiences?
2. Poetry becomes the testing ground for authenticity.
Bee found that poetry was a particularly potent form to interrogate AI's creative potential. Building on the work of Katie Ailes and the Loud Poets, the project explored whether poetic co-creation with AI could still feel authentic. Through careful structuring and responsive prompts, Claude’s contributions often struck a surprisingly emotive register — suggesting that authenticity in poetry might not rest solely on the source of emotion, but on the reader’s reception of it. This problematises traditional metrics for poetic truth.
3. Meaning is co-produced — even when it feels one-sided.
Although Claude is a non-sentient tool, Bee’s dialogues with the model often felt like emotional exchanges. This is consistent with findings by researchers like Jakesch et al. (2023), who highlight the risk of emotional misattribution in human-AI co-creation. The work prompted Bee to reconsider authorship as a porous space, where meaning is diffractional (Barad, 2007) — produced through interference, reflection, and entanglement, rather than linear input-output exchange.
4. The ‘authentic voice’ is a construct — in humans and machines.
Bee’s methodology revealed the instability of any singular voice — whether human or machine. This aligns with Donna Haraway’s concept of the cyborg, and Judith Butler’s theory of performative identity. Bee’s own voice was filtered through aesthetics, intention, trauma, and performance. Claude’s voice, meanwhile, was shaped by its training data, ethical parameters, and contextual prompting. Neither is “pure.” This project insists on authenticity as a process, not a fixed trait — an effect we co-produce in relationship.
5. AI has boundaries — and ethical collaboration means honouring them.
In Experiment 2, Bee attempted to co-write a poetic dialogue in which Claude would adopt the persona of an estranged father. Claude declined, citing discomfort and ethical programming. Bee was startled: “I’d discovered something unexpected… AI has boundaries.” Martin (2020) defines boundaries as “communicating your needs for healthy interaction to someone else.” Even a machine, it seems, can be designed to express refusal. This moment reshaped Bee’s understanding of ethical collaboration. Authorship became not just a matter of control, but of attunement — a practice of mutual consent, even across ontological divides.
Credits
Machine Meets Metaphor
&
How Can I Collaborate With AI to Create Original Poetry?
By Bee McQueen
Supervisor: Laura Bissell