Artefacts endowed with AI and machine learning algorithms will be introduced as AI-reckoning/ human aesthetic judgment games with Arte(f)actor(s). Arte(f)act(or)s are built to show artificial creativity and to operate, compose, improvise, perform, co-act and co-embody with humans or their artefacts on stage. Inside the modern mechanistic operative imperative, I shift the focus from the idea of Kant and Schillers “free play” to dramaturgies of parasitic and noisy games we play with artefact(or)s. Could noise – and the parasite as in Michel Serres – rather than being reduced to a reductive information concept of calculative algorithmic rationality even be an aesthetic hacking practice of inconceptuality and unpredictability, glitch and leap, obfuscation, obliteration and camouflage while tempering with becoming an “Other” in technological, aesthetic-epistemological and political-ethical praxis?