This is a reminder, sent out once a month, about your ntlab.gr mailing
list memberships. It includes your subscription info and how to use
it to change it or unsubscribe from a list.
You can visit the URLs to change your membership status or
configuration, including unsubscribing, setting digest-style delivery
or disabling delivery altogether (e.g., for a vacation), and so on.
In addition to the URL interfaces, you can also use email to make such
changes. For more info, send a message to the '-request' address of
the list (for example, yasmin_discussions-request@ntlab.gr) containing
just the word 'help' in the message body, and an email message will be
sent to you with instructions.
If you have questions, problems, comments, etc, send them to
yasmin_discussions-owner@ntlab.gr. Thanks!
Passwords for semeiotica.yasminlistserve@blogger.com:
List Password // URL
---- --------
yasmin_discussions@ntlab.gr odivipaf
http://ntlab.gr/mailman/options/yasmin_discussions_ntlab.gr/semeiotica.yasminlistserve%40blogger.com
Wednesday, July 31, 2019
Yasmin_discussions Digest, Vol 13, Issue 2
Send Yasmin_discussions mailing list submissions to
yasmin_discussions@ntlab.gr
To subscribe or unsubscribe via the World Wide Web, visit
http://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
or, via email, send a message with subject or body 'help' to
yasmin_discussions-request@ntlab.gr
You can reach the person managing the list at
yasmin_discussions-owner@ntlab.gr
When replying, please edit your Subject line so it is more specific
than "Re: Contents of Yasmin_discussions digest..."
THIS IS THE YASMIN-DISCUSSIONS DIGEST
Today's Topics:
1. Re: Dangerous 'Art' and Roger Malina's portrait sketch
(YASMIN DISCUSSIONS)
----------------------------------------------------------------------
Message: 1
Date: Mon, 29 Jul 2019 19:43:01 +0200
From: YASMIN DISCUSSIONS <yasmin_discussions@ntlab.gr>
To: "yasmin_discussions@ntlab.gr" <yasmin_discussions@ntlab.gr>
Subject: Re: [Yasmin_discussions] Dangerous 'Art' and Roger Malina's
portrait sketch
Message-ID:
<mailman.0.1564516994.2835.yasmin_discussions_ntlab.gr@ntlab.gr>
Content-Type: text/plain; charset="utf-8"
Dear all, and Roger,
As much as I enjoy following the Yasmin discussions, I cannot help but to quickly reply, on the occasion of the Earth Overshoot Day, to Roger?s thoughts.
Firstly, nearly all that is considered to be contemporary art, by the leading few, ever closely followed by the general public, cannot possibly be considered contemporary art. This is self-evident if you take the time to think about it, but I can give a few pointers: post-Duchampian contemporary artists, can only really consider themselves artists, and indeed do art, if they firstly engage in the ever-higher ?meta? levels, otherwise their work is alienated, and subsumed by the curatorial stance of the private and public institutions funding, and hosting their work. The established star-artists we hear and read about, and sometimes meet out there, are at best, part of ?art history?, not contemporary art. Contemporary art can and is only being done by people not considered artists, and who most probably do not even consider themselves as artists. For AI to ?get? art, you need AI to ?get?, and laugh about a joke, which is something apparently AI cannot do (and quite a substantial part of the human population for that matter). Maybe AI would start to understand jokes, and contemporary art when the simulated neural network is embodied, and the body is simulated to be finite.
Secondly, and this too is self-evident: all real art is ?dangerous?, and quite frankly should not be ?curated?, neither by a machine or a human being. It is dangerous for the artist making it, and should definitely be dangerous for the people engaging with it. My latest documented interaction with Roger for instance is one example. There are many other examples out there. No matter how much you put your faith is science and technology to help human race escape its own looming finitude on this Earth, and most likely everywhere else, one cannot help but think, that humans disappearing altogether is indeed a good thing, what with all we?ve seen so far. Art is definitely becoming ever so dangerous, as it should be.
On a lighter note, and as and extended invitation to some of the scientists out there: I will be launching next year a drawing performance project with an Italian NGO to help fundraise for migrants and refugees coming to Europe: I shall be doing a 100 portraits a day for the better part of the year to reach 30000 portraits, and help generate half a million euros for the selected NGO, and I will be most likely be using an iPad pro to do the drawing, and would very much be interested in sharing the drawing data with anyone out there who would be able to us AI to study the dynamics of my drawings, and see if AI cannot reproduce similar types of drawings. Just for curiosity?s sake, and to basically the point I was making earlier. To find examples of my drawing style, here?s a link of the series of portraits I just did of Frank and Roger Malina https://photos.app.goo.gl/72jfrJGVdgc4JURm7
I am also more than happy to do the portraits of all the Yasminers out there who should wish to have their portraits done.
Best to all
G.H. Rabbath Ph.D.
From: yasmin_discussions-request@ntlab.gr
Sent: Monday, July 29, 2019 11:00 AM
To: yasmin_discussions@ntlab.gr
Subject: Yasmin_discussions Digest, Vol 13, Issue 1
Send Yasmin_discussions mailing list submissions to
yasmin_discussions@ntlab.gr
To subscribe or unsubscribe via the World Wide Web, visit
http://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
or, via email, send a message with subject or body 'help' to
yasmin_discussions-request@ntlab.gr
You can reach the person managing the list at
yasmin_discussions-owner@ntlab.gr
When replying, please edit your Subject line so it is more specific
than "Re: Contents of Yasmin_discussions digest..."
THIS IS THE YASMIN-DISCUSSIONS DIGEST
Today's Topics:
1. dangerous art: AI Curators (YASMIN DISCUSSIONS)
2. dangerous art; AI-beings (YASMIN DISCUSSIONS)
3. Re: Fwd: AI: dangerous art/dangerous science (YASMIN DISCUSSIONS)
----------------------------------------------------------------------
Message: 1
Date: Sat, 27 Jul 2019 13:18:25 -0500
From: YASMIN DISCUSSIONS <yasmin_discussions@ntlab.gr>
To: yasmin_discussions@ntlab.gr
Subject: [Yasmin_discussions] dangerous art: AI Curators
Message-ID:
<mailman.21.1564322514.35508.yasmin_discussions_ntlab.gr@ntlab.gr>
Content-Type: text/plain; charset="UTF-8"
yasminers
i am forwarding nina's post on the Call for papers: Digital
Collecting Practices: Artificial
Intelligence, Social Media and Ethics. 16 October, University of Leeds. se below
i would like to introduce another dangerous art idea: leading curators
are now beginning
to use AI to curate selection of art works for exhibitions.
There is now comprehensive data bases of all art sales ( eg artbase
https://www.artbase.com/ )
with the sales data you can use complex data analysis to find patterns
of artists who start on
the periphery of the artworld, and then are selected in the venice
biennale etc and become
famous later
you can use these models to predict future value of the artwork
using AI software you can select artists who are just emerging from
the periphery
but who will become famous later
would you still go to the Venice Biennale if it was curated by an AI-being ?
What are the ethical and legal issues we can predict if AI curating takes
over the curating of art ?
roger malina
From: <czegledy@interlog.com>
From: "Arran Rees [RPG]" <fhajr@LEEDS.AC.UK>
Subject: Call for papers: Digital Collecting Practices: Artificial
Intelligence, Social Media and Ethics. 16 October, University of Leeds.
Call for papers: Digital Collecting Practices: Artificial
Intelligence, Social Media and Ethics
16 October 2019. University of Leeds.
CFP deadline: 9 August 2019
Taking place at the University of Leeds on 16 October 2019, this
symposium is particularly focused on the use of artificial
intelligence (AI) and/or social media, and the ethical implications
and considerations of doing so in museums, archives and libraries.
The symposium is the culmination of a collaboration between the Centre
for Critical Studies in Museums, Galleries and
Heritage<http://www.ccsmgh.leeds.ac.uk/> at the University of Leeds
and Collecting Social Photo
<http://collectingsocialphoto.nordiskamuseet.se/> ? a three year
Nordic research project ? looking into the potential of image
recognition software in museum and archive cataloguing processes.
The event will begin with an introduction from the Collecting Social
Photo project and a presentation of the collaboration outcomes. The
rest of the day will provide opportunities for speakers to share their
insights on the ethical and practical implications of other cultural
collections projects that use AI and social media.
Please see the link below for the details of the CFP.
Deadline for submissions - 9 August 2019
https://ahc.leeds.ac.uk/fine-art/news/article/1348/call-for-papers-digital-collecting-practices-artificial-intelligence-social-media-and-ethics
[https://ahc.leeds.ac.uk/images/evolution_3778196_1920_Image_by_Gerd_Altmann_from_Pixabay.jpg]<https://ahc.leeds.ac.uk/fine-art/news/article/1348/call-for-papers-digital-collecting-practices-artificial-intelligence-social-media-and-ethics>
Call for papers ? Digital Collecting Practices: Artificial
Intelligence, Social Media and
Ethics<https://ahc.leeds.ac.uk/fine-art/news/article/1348/call-for-papers-digital-collecting-practices-artificial-intelligence-social-media-and-ethics>
This one-day symposium will examine emerging digital museum and
archive practices related to collecting and collections management.
ahc.leeds.ac.uk
Arran Rees
Doctoral Researcher
School of Fine Art, History of Art and Cultural Studies
University of Leeds
fhajr@leeds.ac.uk
<http://www.fine-art.leeds.ac.uk/people/arran-rees/>https://ahc.leeds.ac.uk/fine-art/pgr/1614/arran-rees
_______________________________________________
Yasmin_announcements mailing list
Yasmin_announcements@ntlab.gr
http://ntlab.gr/mailman/listinfo/yasmin_announcements_ntlab.gr
------------------------------
Message: 2
Date: Sat, 27 Jul 2019 13:35:10 -0500
From: YASMIN DISCUSSIONS <yasmin_discussions@ntlab.gr>
To: yasmin_discussions@ntlab.gr
Subject: [Yasmin_discussions] dangerous art; AI-beings
Message-ID:
<mailman.22.1564322636.35508.yasmin_discussions_ntlab.gr@ntlab.gr>
Content-Type: text/plain; charset="UTF-8"
glenn
i would like to pick up on your
"First, our current AI is not nearly as "intelligent" as the general
public believes it to be -- but at the same time, we perhaps do
not appreciate the enormous impact it's going to have on human
society. "
i agree- i first started thinking differently on this when bernard
stiegler started
discussing digital devices under the idea of 'organology'
eg your sell phone is not a tool but an organ- if your cell phone gets sick
you get sick ( eg people dont know how to navigate without gps access now)
AI software i think needs to be thought of organically as primitive and rapidly
evolving organisms-- i like to call them AI-Beings....already the AI
beings around
me are more annoying than mosquitoes and are clearly more intelligent than
mosquitoes in that there is no simple bug 'spray' that can get the ai-beings out
of my room when i am falling to sleep
roger malina
Roger is in dallas, then chicago end july, then paris aug 2
in london aug 6/7/8 then paris until aug 15-contact me if
you are available to meet
whatsapp, eechat , messenger+1-510-853-2007 and +33680459447 in
europe.This email address for leonardo related work,
rmalina@alum.mit.edu use roger.malina@utdallas.edu for UTD work
------------------------------
Message: 3
Date: Fri, 26 Jul 2019 14:53:37 -0400
From: YASMIN DISCUSSIONS <yasmin_discussions@ntlab.gr>
To: YASMIN DISCUSSIONS <yasmin_discussions@ntlab.gr>
Subject: Re: [Yasmin_discussions] Fwd: AI: dangerous art/dangerous
science
Message-ID:
<mailman.23.1564327272.35508.yasmin_discussions_ntlab.gr@ntlab.gr>
Content-Type: text/plain; charset=utf-8; format=flowed
Hello Yasminers,
I am responding to Marian Mazzone and Glenn Smith.
Marian writes "The good art is being made by human artists who are
knowledgeably using aspects of AI to complement or subvert their own
systems of creativity." and I think this is very important. In
connection with Glenn's comments, and coming back to the "dangerous"
AI/art, one interesting yet problematic aspect of these early days of
deep-learning art, is that there are very intimate connections between
very big corporations and art that uses deep learning. A very vivid
example is Deep Dream, an ingenious approach invented by Alexander
Mordvintsev. I would argue that because Deep Dream was developed inside
Google, it quickly became a trope evolving outside of the normal
circuits of art, and as thus became so deeply associated with Google
that it is now impossible to make anything using this technique without
it being associated with Google. I wish Deep Dream had been invented by
an independent artist, as it is such an interesting and potentially rich
approach to working with neural nets; and indeed I would be curious to
know whether there were other artists working with "inceptionism" before
Deep Dream. But the fact that Mordvintsev worked for Google when he
developed Deep Dream, is such a strong symbol of the hegemony of Google.
I guess media art history is full of such examples (eg. companies such
as Bell, IBM and Philips had a profound impact on the development of new
media art in the 1960s through the 1980s). One could also argue that
certain art forms (if not all) are inseparable from the corporations
that developed certain tools (such as Fender and Moog). But it occurs to
me that the situation is very different now, not so much because of the
technology itself, but because of the unprecedented power differentials
that exist.
The question of "truth" is also really important here and the question
that Marian Mazzone brings up is one of its many dimensions (I need to
think about it more). The question of truth is at the very core of AI:
it brings us back to the fundamental worldview behind artificial
intelligence, embodied in the Turing test, which posits that as long as
a machine can "fake" intelligence then it IS intelligent; and that it
does not matter "how" this is done, be it using a set of if-then-else
statements or a simulation of neural nets. However even the history of
AI itself has demonstrated that "how" a computer program works matter:
the fact that neural networks (simulations of biological processes) have
(at least for now) won the war against symbolic/rule-based AI indicates
that "faking it" is not enough, that even AI seems to work better when
it is closer to the "truth" of reproducing dynamical processes of
human/animal bodies.
Sofian Audry
On 2019-07-18 9:23 a.m., YASMIN DISCUSSIONS wrote:
> re-sending
>
>
>
> ---------- Forwarded message ---------
> From: Marian Mazzone <marian.mazzone@gmail.com>
> Date: Fri, Jul 12, 2019 at 10:34 AM
> Subject: AI: dangerous art/dangerous science
> To: <yasmin_discussions@ntlab.gr>
>
>
> Hello Yasmin listers,
>
>
>
> Marian Mazzone here, I?m an art historian who works as a member of the Art
> & AI Lab at Rutgers, and I teach the history of contemporary and new media
> art.
>
>
>
> Glad to see this discussion coming up, looking forward to hearing more from
> those of us doing this work. We need to speak out more, especially in
> response to the too simple and odd ideas about what AI is and what AI can
> do that are often found in the press and public. As an art historian, I?ve
> had to answer many questions from journalists and artists who?ve seen the
> work at the lab and are unclear and/or misinformed about what AI is capable
> of and its potential as a threat to human artists and art making.
>
>
>
> Sofian Audry rightly points out how relatively ?dumb? the current AI
> systems are, and how little they can actually do (versus data needed to
> train, etc.). The complexity and depth of what human artists do is light
> years beyond this; what AI can do is augment, work as a limited partner, be
> a tool to introduce chance operations or impose medium conditions, etc.
> Creation of visual images can happen, but at a comparatively low level and
> only after an immense amount of machine training. For me, the greater
> interest has become not arguing for the existence or quality of AI art but
> learning more about how machines learn, especially something as difficult
> as art. Being cognizant of how any level of creativity happens within AI is
> vital.
>
>
>
> The good art is being made by human artists who are knowledgeably using
> aspects of AI to complement or subvert their own systems of creativity.
> Like with the introduction of any new medium or means, experimentation and
> adaptation are proceeding since the 2nd half of the 20th century forward. A
> comparison with the development of photography as a medium can be helpful
> at this stage. It is still early days in the use of AI for art making?.
>
>
>
> I?ll end by returning to the idea of dangerous science, dangerous art. I
> was struck by the problem of not being able to validate or confirm
> scientific claims reached when AI is involved. Does it come down to a
> matter of truth/not truth, a strong (necessary) binary for scientific
> knowledge of the natural world? Art is not so directly black/white, but
> there still exists some notion of art being ?true? in its honest
> communication or expression of human experience.
>
>
>
> So, what happens now? Is AI potentially a third player, something that
> changes the binary of true/not true with the addition of a third entity
> that does not conform or respond to our means of query or testing, and
> makes decisions and creates on terms unknowable to human experience?
> Our *modern
> *ideas of truth have been based on human experience in/of the natural
> world, and AI is not that. The implications of this are profound, and we?ve
> barely begun to grapple with them. This may be why the use of AI in matters
> of human justice, human life and liberty are so troubling?.and are an
> argument for AI not to be involved in such things. Don?t know, I?m thinking
> out loud here?.
>
>
>
>
>
> ****************************************************************************
>
> Marian Mazzone is an associate professor in the Art & Architectural History
> Department at the College of Charleston, teaching courses on contemporary
> art and new media art. She is an affiliate of the Art & Artificial
> Intelligence Lab at Rutgers University and one of the co-founders of the
> Computing in the Arts major at the College of Charleston.
>
>
>
> http://arthistory.cofc.edu/about-the-department/faculty-and-staff/mazzone.php
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@ntlab.gr
> http://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
------------------------------
Subject: Digest Footer
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@ntlab.gr
http://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
------------------------------
End of Yasmin_discussions Digest, Vol 13, Issue 1
*************************************************
------------------------------
Subject: Digest Footer
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@ntlab.gr
http://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
------------------------------
End of Yasmin_discussions Digest, Vol 13, Issue 2
*************************************************
yasmin_discussions@ntlab.gr
To subscribe or unsubscribe via the World Wide Web, visit
http://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
or, via email, send a message with subject or body 'help' to
yasmin_discussions-request@ntlab.gr
You can reach the person managing the list at
yasmin_discussions-owner@ntlab.gr
When replying, please edit your Subject line so it is more specific
than "Re: Contents of Yasmin_discussions digest..."
THIS IS THE YASMIN-DISCUSSIONS DIGEST
Today's Topics:
1. Re: Dangerous 'Art' and Roger Malina's portrait sketch
(YASMIN DISCUSSIONS)
----------------------------------------------------------------------
Message: 1
Date: Mon, 29 Jul 2019 19:43:01 +0200
From: YASMIN DISCUSSIONS <yasmin_discussions@ntlab.gr>
To: "yasmin_discussions@ntlab.gr" <yasmin_discussions@ntlab.gr>
Subject: Re: [Yasmin_discussions] Dangerous 'Art' and Roger Malina's
portrait sketch
Message-ID:
<mailman.0.1564516994.2835.yasmin_discussions_ntlab.gr@ntlab.gr>
Content-Type: text/plain; charset="utf-8"
Dear all, and Roger,
As much as I enjoy following the Yasmin discussions, I cannot help but to quickly reply, on the occasion of the Earth Overshoot Day, to Roger?s thoughts.
Firstly, nearly all that is considered to be contemporary art, by the leading few, ever closely followed by the general public, cannot possibly be considered contemporary art. This is self-evident if you take the time to think about it, but I can give a few pointers: post-Duchampian contemporary artists, can only really consider themselves artists, and indeed do art, if they firstly engage in the ever-higher ?meta? levels, otherwise their work is alienated, and subsumed by the curatorial stance of the private and public institutions funding, and hosting their work. The established star-artists we hear and read about, and sometimes meet out there, are at best, part of ?art history?, not contemporary art. Contemporary art can and is only being done by people not considered artists, and who most probably do not even consider themselves as artists. For AI to ?get? art, you need AI to ?get?, and laugh about a joke, which is something apparently AI cannot do (and quite a substantial part of the human population for that matter). Maybe AI would start to understand jokes, and contemporary art when the simulated neural network is embodied, and the body is simulated to be finite.
Secondly, and this too is self-evident: all real art is ?dangerous?, and quite frankly should not be ?curated?, neither by a machine or a human being. It is dangerous for the artist making it, and should definitely be dangerous for the people engaging with it. My latest documented interaction with Roger for instance is one example. There are many other examples out there. No matter how much you put your faith is science and technology to help human race escape its own looming finitude on this Earth, and most likely everywhere else, one cannot help but think, that humans disappearing altogether is indeed a good thing, what with all we?ve seen so far. Art is definitely becoming ever so dangerous, as it should be.
On a lighter note, and as and extended invitation to some of the scientists out there: I will be launching next year a drawing performance project with an Italian NGO to help fundraise for migrants and refugees coming to Europe: I shall be doing a 100 portraits a day for the better part of the year to reach 30000 portraits, and help generate half a million euros for the selected NGO, and I will be most likely be using an iPad pro to do the drawing, and would very much be interested in sharing the drawing data with anyone out there who would be able to us AI to study the dynamics of my drawings, and see if AI cannot reproduce similar types of drawings. Just for curiosity?s sake, and to basically the point I was making earlier. To find examples of my drawing style, here?s a link of the series of portraits I just did of Frank and Roger Malina https://photos.app.goo.gl/72jfrJGVdgc4JURm7
I am also more than happy to do the portraits of all the Yasminers out there who should wish to have their portraits done.
Best to all
G.H. Rabbath Ph.D.
From: yasmin_discussions-request@ntlab.gr
Sent: Monday, July 29, 2019 11:00 AM
To: yasmin_discussions@ntlab.gr
Subject: Yasmin_discussions Digest, Vol 13, Issue 1
Send Yasmin_discussions mailing list submissions to
yasmin_discussions@ntlab.gr
To subscribe or unsubscribe via the World Wide Web, visit
http://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
or, via email, send a message with subject or body 'help' to
yasmin_discussions-request@ntlab.gr
You can reach the person managing the list at
yasmin_discussions-owner@ntlab.gr
When replying, please edit your Subject line so it is more specific
than "Re: Contents of Yasmin_discussions digest..."
THIS IS THE YASMIN-DISCUSSIONS DIGEST
Today's Topics:
1. dangerous art: AI Curators (YASMIN DISCUSSIONS)
2. dangerous art; AI-beings (YASMIN DISCUSSIONS)
3. Re: Fwd: AI: dangerous art/dangerous science (YASMIN DISCUSSIONS)
----------------------------------------------------------------------
Message: 1
Date: Sat, 27 Jul 2019 13:18:25 -0500
From: YASMIN DISCUSSIONS <yasmin_discussions@ntlab.gr>
To: yasmin_discussions@ntlab.gr
Subject: [Yasmin_discussions] dangerous art: AI Curators
Message-ID:
<mailman.21.1564322514.35508.yasmin_discussions_ntlab.gr@ntlab.gr>
Content-Type: text/plain; charset="UTF-8"
yasminers
i am forwarding nina's post on the Call for papers: Digital
Collecting Practices: Artificial
Intelligence, Social Media and Ethics. 16 October, University of Leeds. se below
i would like to introduce another dangerous art idea: leading curators
are now beginning
to use AI to curate selection of art works for exhibitions.
There is now comprehensive data bases of all art sales ( eg artbase
https://www.artbase.com/ )
with the sales data you can use complex data analysis to find patterns
of artists who start on
the periphery of the artworld, and then are selected in the venice
biennale etc and become
famous later
you can use these models to predict future value of the artwork
using AI software you can select artists who are just emerging from
the periphery
but who will become famous later
would you still go to the Venice Biennale if it was curated by an AI-being ?
What are the ethical and legal issues we can predict if AI curating takes
over the curating of art ?
roger malina
From: <czegledy@interlog.com>
From: "Arran Rees [RPG]" <fhajr@LEEDS.AC.UK>
Subject: Call for papers: Digital Collecting Practices: Artificial
Intelligence, Social Media and Ethics. 16 October, University of Leeds.
Call for papers: Digital Collecting Practices: Artificial
Intelligence, Social Media and Ethics
16 October 2019. University of Leeds.
CFP deadline: 9 August 2019
Taking place at the University of Leeds on 16 October 2019, this
symposium is particularly focused on the use of artificial
intelligence (AI) and/or social media, and the ethical implications
and considerations of doing so in museums, archives and libraries.
The symposium is the culmination of a collaboration between the Centre
for Critical Studies in Museums, Galleries and
Heritage<http://www.ccsmgh.leeds.ac.uk/> at the University of Leeds
and Collecting Social Photo
<http://collectingsocialphoto.nordiskamuseet.se/> ? a three year
Nordic research project ? looking into the potential of image
recognition software in museum and archive cataloguing processes.
The event will begin with an introduction from the Collecting Social
Photo project and a presentation of the collaboration outcomes. The
rest of the day will provide opportunities for speakers to share their
insights on the ethical and practical implications of other cultural
collections projects that use AI and social media.
Please see the link below for the details of the CFP.
Deadline for submissions - 9 August 2019
https://ahc.leeds.ac.uk/fine-art/news/article/1348/call-for-papers-digital-collecting-practices-artificial-intelligence-social-media-and-ethics
[https://ahc.leeds.ac.uk/images/evolution_3778196_1920_Image_by_Gerd_Altmann_from_Pixabay.jpg]<https://ahc.leeds.ac.uk/fine-art/news/article/1348/call-for-papers-digital-collecting-practices-artificial-intelligence-social-media-and-ethics>
Call for papers ? Digital Collecting Practices: Artificial
Intelligence, Social Media and
Ethics<https://ahc.leeds.ac.uk/fine-art/news/article/1348/call-for-papers-digital-collecting-practices-artificial-intelligence-social-media-and-ethics>
This one-day symposium will examine emerging digital museum and
archive practices related to collecting and collections management.
ahc.leeds.ac.uk
Arran Rees
Doctoral Researcher
School of Fine Art, History of Art and Cultural Studies
University of Leeds
fhajr@leeds.ac.uk
<http://www.fine-art.leeds.ac.uk/people/arran-rees/>https://ahc.leeds.ac.uk/fine-art/pgr/1614/arran-rees
_______________________________________________
Yasmin_announcements mailing list
Yasmin_announcements@ntlab.gr
http://ntlab.gr/mailman/listinfo/yasmin_announcements_ntlab.gr
------------------------------
Message: 2
Date: Sat, 27 Jul 2019 13:35:10 -0500
From: YASMIN DISCUSSIONS <yasmin_discussions@ntlab.gr>
To: yasmin_discussions@ntlab.gr
Subject: [Yasmin_discussions] dangerous art; AI-beings
Message-ID:
<mailman.22.1564322636.35508.yasmin_discussions_ntlab.gr@ntlab.gr>
Content-Type: text/plain; charset="UTF-8"
glenn
i would like to pick up on your
"First, our current AI is not nearly as "intelligent" as the general
public believes it to be -- but at the same time, we perhaps do
not appreciate the enormous impact it's going to have on human
society. "
i agree- i first started thinking differently on this when bernard
stiegler started
discussing digital devices under the idea of 'organology'
eg your sell phone is not a tool but an organ- if your cell phone gets sick
you get sick ( eg people dont know how to navigate without gps access now)
AI software i think needs to be thought of organically as primitive and rapidly
evolving organisms-- i like to call them AI-Beings....already the AI
beings around
me are more annoying than mosquitoes and are clearly more intelligent than
mosquitoes in that there is no simple bug 'spray' that can get the ai-beings out
of my room when i am falling to sleep
roger malina
Roger is in dallas, then chicago end july, then paris aug 2
in london aug 6/7/8 then paris until aug 15-contact me if
you are available to meet
whatsapp, eechat , messenger+1-510-853-2007 and +33680459447 in
europe.This email address for leonardo related work,
rmalina@alum.mit.edu use roger.malina@utdallas.edu for UTD work
------------------------------
Message: 3
Date: Fri, 26 Jul 2019 14:53:37 -0400
From: YASMIN DISCUSSIONS <yasmin_discussions@ntlab.gr>
To: YASMIN DISCUSSIONS <yasmin_discussions@ntlab.gr>
Subject: Re: [Yasmin_discussions] Fwd: AI: dangerous art/dangerous
science
Message-ID:
<mailman.23.1564327272.35508.yasmin_discussions_ntlab.gr@ntlab.gr>
Content-Type: text/plain; charset=utf-8; format=flowed
Hello Yasminers,
I am responding to Marian Mazzone and Glenn Smith.
Marian writes "The good art is being made by human artists who are
knowledgeably using aspects of AI to complement or subvert their own
systems of creativity." and I think this is very important. In
connection with Glenn's comments, and coming back to the "dangerous"
AI/art, one interesting yet problematic aspect of these early days of
deep-learning art, is that there are very intimate connections between
very big corporations and art that uses deep learning. A very vivid
example is Deep Dream, an ingenious approach invented by Alexander
Mordvintsev. I would argue that because Deep Dream was developed inside
Google, it quickly became a trope evolving outside of the normal
circuits of art, and as thus became so deeply associated with Google
that it is now impossible to make anything using this technique without
it being associated with Google. I wish Deep Dream had been invented by
an independent artist, as it is such an interesting and potentially rich
approach to working with neural nets; and indeed I would be curious to
know whether there were other artists working with "inceptionism" before
Deep Dream. But the fact that Mordvintsev worked for Google when he
developed Deep Dream, is such a strong symbol of the hegemony of Google.
I guess media art history is full of such examples (eg. companies such
as Bell, IBM and Philips had a profound impact on the development of new
media art in the 1960s through the 1980s). One could also argue that
certain art forms (if not all) are inseparable from the corporations
that developed certain tools (such as Fender and Moog). But it occurs to
me that the situation is very different now, not so much because of the
technology itself, but because of the unprecedented power differentials
that exist.
The question of "truth" is also really important here and the question
that Marian Mazzone brings up is one of its many dimensions (I need to
think about it more). The question of truth is at the very core of AI:
it brings us back to the fundamental worldview behind artificial
intelligence, embodied in the Turing test, which posits that as long as
a machine can "fake" intelligence then it IS intelligent; and that it
does not matter "how" this is done, be it using a set of if-then-else
statements or a simulation of neural nets. However even the history of
AI itself has demonstrated that "how" a computer program works matter:
the fact that neural networks (simulations of biological processes) have
(at least for now) won the war against symbolic/rule-based AI indicates
that "faking it" is not enough, that even AI seems to work better when
it is closer to the "truth" of reproducing dynamical processes of
human/animal bodies.
Sofian Audry
On 2019-07-18 9:23 a.m., YASMIN DISCUSSIONS wrote:
> re-sending
>
>
>
> ---------- Forwarded message ---------
> From: Marian Mazzone <marian.mazzone@gmail.com>
> Date: Fri, Jul 12, 2019 at 10:34 AM
> Subject: AI: dangerous art/dangerous science
> To: <yasmin_discussions@ntlab.gr>
>
>
> Hello Yasmin listers,
>
>
>
> Marian Mazzone here, I?m an art historian who works as a member of the Art
> & AI Lab at Rutgers, and I teach the history of contemporary and new media
> art.
>
>
>
> Glad to see this discussion coming up, looking forward to hearing more from
> those of us doing this work. We need to speak out more, especially in
> response to the too simple and odd ideas about what AI is and what AI can
> do that are often found in the press and public. As an art historian, I?ve
> had to answer many questions from journalists and artists who?ve seen the
> work at the lab and are unclear and/or misinformed about what AI is capable
> of and its potential as a threat to human artists and art making.
>
>
>
> Sofian Audry rightly points out how relatively ?dumb? the current AI
> systems are, and how little they can actually do (versus data needed to
> train, etc.). The complexity and depth of what human artists do is light
> years beyond this; what AI can do is augment, work as a limited partner, be
> a tool to introduce chance operations or impose medium conditions, etc.
> Creation of visual images can happen, but at a comparatively low level and
> only after an immense amount of machine training. For me, the greater
> interest has become not arguing for the existence or quality of AI art but
> learning more about how machines learn, especially something as difficult
> as art. Being cognizant of how any level of creativity happens within AI is
> vital.
>
>
>
> The good art is being made by human artists who are knowledgeably using
> aspects of AI to complement or subvert their own systems of creativity.
> Like with the introduction of any new medium or means, experimentation and
> adaptation are proceeding since the 2nd half of the 20th century forward. A
> comparison with the development of photography as a medium can be helpful
> at this stage. It is still early days in the use of AI for art making?.
>
>
>
> I?ll end by returning to the idea of dangerous science, dangerous art. I
> was struck by the problem of not being able to validate or confirm
> scientific claims reached when AI is involved. Does it come down to a
> matter of truth/not truth, a strong (necessary) binary for scientific
> knowledge of the natural world? Art is not so directly black/white, but
> there still exists some notion of art being ?true? in its honest
> communication or expression of human experience.
>
>
>
> So, what happens now? Is AI potentially a third player, something that
> changes the binary of true/not true with the addition of a third entity
> that does not conform or respond to our means of query or testing, and
> makes decisions and creates on terms unknowable to human experience?
> Our *modern
> *ideas of truth have been based on human experience in/of the natural
> world, and AI is not that. The implications of this are profound, and we?ve
> barely begun to grapple with them. This may be why the use of AI in matters
> of human justice, human life and liberty are so troubling?.and are an
> argument for AI not to be involved in such things. Don?t know, I?m thinking
> out loud here?.
>
>
>
>
>
> ****************************************************************************
>
> Marian Mazzone is an associate professor in the Art & Architectural History
> Department at the College of Charleston, teaching courses on contemporary
> art and new media art. She is an affiliate of the Art & Artificial
> Intelligence Lab at Rutgers University and one of the co-founders of the
> Computing in the Arts major at the College of Charleston.
>
>
>
> http://arthistory.cofc.edu/about-the-department/faculty-and-staff/mazzone.php
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@ntlab.gr
> http://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
------------------------------
Subject: Digest Footer
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@ntlab.gr
http://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
------------------------------
End of Yasmin_discussions Digest, Vol 13, Issue 1
*************************************************
------------------------------
Subject: Digest Footer
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@ntlab.gr
http://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
------------------------------
End of Yasmin_discussions Digest, Vol 13, Issue 2
*************************************************
Monday, July 29, 2019
Yasmin_discussions Digest, Vol 13, Issue 1
Send Yasmin_discussions mailing list submissions to
yasmin_discussions@ntlab.gr
To subscribe or unsubscribe via the World Wide Web, visit
http://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
or, via email, send a message with subject or body 'help' to
yasmin_discussions-request@ntlab.gr
You can reach the person managing the list at
yasmin_discussions-owner@ntlab.gr
When replying, please edit your Subject line so it is more specific
than "Re: Contents of Yasmin_discussions digest..."
THIS IS THE YASMIN-DISCUSSIONS DIGEST
Today's Topics:
1. dangerous art: AI Curators (YASMIN DISCUSSIONS)
2. dangerous art; AI-beings (YASMIN DISCUSSIONS)
3. Re: Fwd: AI: dangerous art/dangerous science (YASMIN DISCUSSIONS)
----------------------------------------------------------------------
Message: 1
Date: Sat, 27 Jul 2019 13:18:25 -0500
From: YASMIN DISCUSSIONS <yasmin_discussions@ntlab.gr>
To: yasmin_discussions@ntlab.gr
Subject: [Yasmin_discussions] dangerous art: AI Curators
Message-ID:
<mailman.21.1564322514.35508.yasmin_discussions_ntlab.gr@ntlab.gr>
Content-Type: text/plain; charset="UTF-8"
yasminers
i am forwarding nina's post on the Call for papers: Digital
Collecting Practices: Artificial
Intelligence, Social Media and Ethics. 16 October, University of Leeds. se below
i would like to introduce another dangerous art idea: leading curators
are now beginning
to use AI to curate selection of art works for exhibitions.
There is now comprehensive data bases of all art sales ( eg artbase
https://www.artbase.com/ )
with the sales data you can use complex data analysis to find patterns
of artists who start on
the periphery of the artworld, and then are selected in the venice
biennale etc and become
famous later
you can use these models to predict future value of the artwork
using AI software you can select artists who are just emerging from
the periphery
but who will become famous later
would you still go to the Venice Biennale if it was curated by an AI-being ?
What are the ethical and legal issues we can predict if AI curating takes
over the curating of art ?
roger malina
From: <czegledy@interlog.com>
From: "Arran Rees [RPG]" <fhajr@LEEDS.AC.UK>
Subject: Call for papers: Digital Collecting Practices: Artificial
Intelligence, Social Media and Ethics. 16 October, University of Leeds.
Call for papers: Digital Collecting Practices: Artificial
Intelligence, Social Media and Ethics
16 October 2019. University of Leeds.
CFP deadline: 9 August 2019
Taking place at the University of Leeds on 16 October 2019, this
symposium is particularly focused on the use of artificial
intelligence (AI) and/or social media, and the ethical implications
and considerations of doing so in museums, archives and libraries.
The symposium is the culmination of a collaboration between the Centre
for Critical Studies in Museums, Galleries and
Heritage<http://www.ccsmgh.leeds.ac.uk/> at the University of Leeds
and Collecting Social Photo
<http://collectingsocialphoto.nordiskamuseet.se/> ? a three year
Nordic research project ? looking into the potential of image
recognition software in museum and archive cataloguing processes.
The event will begin with an introduction from the Collecting Social
Photo project and a presentation of the collaboration outcomes. The
rest of the day will provide opportunities for speakers to share their
insights on the ethical and practical implications of other cultural
collections projects that use AI and social media.
Please see the link below for the details of the CFP.
Deadline for submissions - 9 August 2019
https://ahc.leeds.ac.uk/fine-art/news/article/1348/call-for-papers-digital-collecting-practices-artificial-intelligence-social-media-and-ethics
[https://ahc.leeds.ac.uk/images/evolution_3778196_1920_Image_by_Gerd_Altmann_from_Pixabay.jpg]<https://ahc.leeds.ac.uk/fine-art/news/article/1348/call-for-papers-digital-collecting-practices-artificial-intelligence-social-media-and-ethics>
Call for papers ? Digital Collecting Practices: Artificial
Intelligence, Social Media and
Ethics<https://ahc.leeds.ac.uk/fine-art/news/article/1348/call-for-papers-digital-collecting-practices-artificial-intelligence-social-media-and-ethics>
This one-day symposium will examine emerging digital museum and
archive practices related to collecting and collections management.
ahc.leeds.ac.uk
Arran Rees
Doctoral Researcher
School of Fine Art, History of Art and Cultural Studies
University of Leeds
fhajr@leeds.ac.uk
<http://www.fine-art.leeds.ac.uk/people/arran-rees/>https://ahc.leeds.ac.uk/fine-art/pgr/1614/arran-rees
_______________________________________________
Yasmin_announcements mailing list
Yasmin_announcements@ntlab.gr
http://ntlab.gr/mailman/listinfo/yasmin_announcements_ntlab.gr
------------------------------
Message: 2
Date: Sat, 27 Jul 2019 13:35:10 -0500
From: YASMIN DISCUSSIONS <yasmin_discussions@ntlab.gr>
To: yasmin_discussions@ntlab.gr
Subject: [Yasmin_discussions] dangerous art; AI-beings
Message-ID:
<mailman.22.1564322636.35508.yasmin_discussions_ntlab.gr@ntlab.gr>
Content-Type: text/plain; charset="UTF-8"
glenn
i would like to pick up on your
"First, our current AI is not nearly as "intelligent" as the general
public believes it to be -- but at the same time, we perhaps do
not appreciate the enormous impact it's going to have on human
society. "
i agree- i first started thinking differently on this when bernard
stiegler started
discussing digital devices under the idea of 'organology'
eg your sell phone is not a tool but an organ- if your cell phone gets sick
you get sick ( eg people dont know how to navigate without gps access now)
AI software i think needs to be thought of organically as primitive and rapidly
evolving organisms-- i like to call them AI-Beings....already the AI
beings around
me are more annoying than mosquitoes and are clearly more intelligent than
mosquitoes in that there is no simple bug 'spray' that can get the ai-beings out
of my room when i am falling to sleep
roger malina
Roger is in dallas, then chicago end july, then paris aug 2
in london aug 6/7/8 then paris until aug 15-contact me if
you are available to meet
whatsapp, eechat , messenger+1-510-853-2007 and +33680459447 in
europe.This email address for leonardo related work,
rmalina@alum.mit.edu use roger.malina@utdallas.edu for UTD work
------------------------------
Message: 3
Date: Fri, 26 Jul 2019 14:53:37 -0400
From: YASMIN DISCUSSIONS <yasmin_discussions@ntlab.gr>
To: YASMIN DISCUSSIONS <yasmin_discussions@ntlab.gr>
Subject: Re: [Yasmin_discussions] Fwd: AI: dangerous art/dangerous
science
Message-ID:
<mailman.23.1564327272.35508.yasmin_discussions_ntlab.gr@ntlab.gr>
Content-Type: text/plain; charset=utf-8; format=flowed
Hello Yasminers,
I am responding to Marian Mazzone and Glenn Smith.
Marian writes "The good art is being made by human artists who are
knowledgeably using aspects of AI to complement or subvert their own
systems of creativity." and I think this is very important. In
connection with Glenn's comments, and coming back to the "dangerous"
AI/art, one interesting yet problematic aspect of these early days of
deep-learning art, is that there are very intimate connections between
very big corporations and art that uses deep learning. A very vivid
example is Deep Dream, an ingenious approach invented by Alexander
Mordvintsev. I would argue that because Deep Dream was developed inside
Google, it quickly became a trope evolving outside of the normal
circuits of art, and as thus became so deeply associated with Google
that it is now impossible to make anything using this technique without
it being associated with Google. I wish Deep Dream had been invented by
an independent artist, as it is such an interesting and potentially rich
approach to working with neural nets; and indeed I would be curious to
know whether there were other artists working with "inceptionism" before
Deep Dream. But the fact that Mordvintsev worked for Google when he
developed Deep Dream, is such a strong symbol of the hegemony of Google.
I guess media art history is full of such examples (eg. companies such
as Bell, IBM and Philips had a profound impact on the development of new
media art in the 1960s through the 1980s). One could also argue that
certain art forms (if not all) are inseparable from the corporations
that developed certain tools (such as Fender and Moog). But it occurs to
me that the situation is very different now, not so much because of the
technology itself, but because of the unprecedented power differentials
that exist.
The question of "truth" is also really important here and the question
that Marian Mazzone brings up is one of its many dimensions (I need to
think about it more). The question of truth is at the very core of AI:
it brings us back to the fundamental worldview behind artificial
intelligence, embodied in the Turing test, which posits that as long as
a machine can "fake" intelligence then it IS intelligent; and that it
does not matter "how" this is done, be it using a set of if-then-else
statements or a simulation of neural nets. However even the history of
AI itself has demonstrated that "how" a computer program works matter:
the fact that neural networks (simulations of biological processes) have
(at least for now) won the war against symbolic/rule-based AI indicates
that "faking it" is not enough, that even AI seems to work better when
it is closer to the "truth" of reproducing dynamical processes of
human/animal bodies.
Sofian Audry
On 2019-07-18 9:23 a.m., YASMIN DISCUSSIONS wrote:
> re-sending
>
>
>
> ---------- Forwarded message ---------
> From: Marian Mazzone <marian.mazzone@gmail.com>
> Date: Fri, Jul 12, 2019 at 10:34 AM
> Subject: AI: dangerous art/dangerous science
> To: <yasmin_discussions@ntlab.gr>
>
>
> Hello Yasmin listers,
>
>
>
> Marian Mazzone here, I?m an art historian who works as a member of the Art
> & AI Lab at Rutgers, and I teach the history of contemporary and new media
> art.
>
>
>
> Glad to see this discussion coming up, looking forward to hearing more from
> those of us doing this work. We need to speak out more, especially in
> response to the too simple and odd ideas about what AI is and what AI can
> do that are often found in the press and public. As an art historian, I?ve
> had to answer many questions from journalists and artists who?ve seen the
> work at the lab and are unclear and/or misinformed about what AI is capable
> of and its potential as a threat to human artists and art making.
>
>
>
> Sofian Audry rightly points out how relatively ?dumb? the current AI
> systems are, and how little they can actually do (versus data needed to
> train, etc.). The complexity and depth of what human artists do is light
> years beyond this; what AI can do is augment, work as a limited partner, be
> a tool to introduce chance operations or impose medium conditions, etc.
> Creation of visual images can happen, but at a comparatively low level and
> only after an immense amount of machine training. For me, the greater
> interest has become not arguing for the existence or quality of AI art but
> learning more about how machines learn, especially something as difficult
> as art. Being cognizant of how any level of creativity happens within AI is
> vital.
>
>
>
> The good art is being made by human artists who are knowledgeably using
> aspects of AI to complement or subvert their own systems of creativity.
> Like with the introduction of any new medium or means, experimentation and
> adaptation are proceeding since the 2nd half of the 20th century forward. A
> comparison with the development of photography as a medium can be helpful
> at this stage. It is still early days in the use of AI for art making?.
>
>
>
> I?ll end by returning to the idea of dangerous science, dangerous art. I
> was struck by the problem of not being able to validate or confirm
> scientific claims reached when AI is involved. Does it come down to a
> matter of truth/not truth, a strong (necessary) binary for scientific
> knowledge of the natural world? Art is not so directly black/white, but
> there still exists some notion of art being ?true? in its honest
> communication or expression of human experience.
>
>
>
> So, what happens now? Is AI potentially a third player, something that
> changes the binary of true/not true with the addition of a third entity
> that does not conform or respond to our means of query or testing, and
> makes decisions and creates on terms unknowable to human experience?
> Our *modern
> *ideas of truth have been based on human experience in/of the natural
> world, and AI is not that. The implications of this are profound, and we?ve
> barely begun to grapple with them. This may be why the use of AI in matters
> of human justice, human life and liberty are so troubling?.and are an
> argument for AI not to be involved in such things. Don?t know, I?m thinking
> out loud here?.
>
>
>
>
>
> ****************************************************************************
>
> Marian Mazzone is an associate professor in the Art & Architectural History
> Department at the College of Charleston, teaching courses on contemporary
> art and new media art. She is an affiliate of the Art & Artificial
> Intelligence Lab at Rutgers University and one of the co-founders of the
> Computing in the Arts major at the College of Charleston.
>
>
>
> http://arthistory.cofc.edu/about-the-department/faculty-and-staff/mazzone.php
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@ntlab.gr
> http://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
------------------------------
Subject: Digest Footer
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@ntlab.gr
http://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
------------------------------
End of Yasmin_discussions Digest, Vol 13, Issue 1
*************************************************
yasmin_discussions@ntlab.gr
To subscribe or unsubscribe via the World Wide Web, visit
http://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
or, via email, send a message with subject or body 'help' to
yasmin_discussions-request@ntlab.gr
You can reach the person managing the list at
yasmin_discussions-owner@ntlab.gr
When replying, please edit your Subject line so it is more specific
than "Re: Contents of Yasmin_discussions digest..."
THIS IS THE YASMIN-DISCUSSIONS DIGEST
Today's Topics:
1. dangerous art: AI Curators (YASMIN DISCUSSIONS)
2. dangerous art; AI-beings (YASMIN DISCUSSIONS)
3. Re: Fwd: AI: dangerous art/dangerous science (YASMIN DISCUSSIONS)
----------------------------------------------------------------------
Message: 1
Date: Sat, 27 Jul 2019 13:18:25 -0500
From: YASMIN DISCUSSIONS <yasmin_discussions@ntlab.gr>
To: yasmin_discussions@ntlab.gr
Subject: [Yasmin_discussions] dangerous art: AI Curators
Message-ID:
<mailman.21.1564322514.35508.yasmin_discussions_ntlab.gr@ntlab.gr>
Content-Type: text/plain; charset="UTF-8"
yasminers
i am forwarding nina's post on the Call for papers: Digital
Collecting Practices: Artificial
Intelligence, Social Media and Ethics. 16 October, University of Leeds. se below
i would like to introduce another dangerous art idea: leading curators
are now beginning
to use AI to curate selection of art works for exhibitions.
There is now comprehensive data bases of all art sales ( eg artbase
https://www.artbase.com/ )
with the sales data you can use complex data analysis to find patterns
of artists who start on
the periphery of the artworld, and then are selected in the venice
biennale etc and become
famous later
you can use these models to predict future value of the artwork
using AI software you can select artists who are just emerging from
the periphery
but who will become famous later
would you still go to the Venice Biennale if it was curated by an AI-being ?
What are the ethical and legal issues we can predict if AI curating takes
over the curating of art ?
roger malina
From: <czegledy@interlog.com>
From: "Arran Rees [RPG]" <fhajr@LEEDS.AC.UK>
Subject: Call for papers: Digital Collecting Practices: Artificial
Intelligence, Social Media and Ethics. 16 October, University of Leeds.
Call for papers: Digital Collecting Practices: Artificial
Intelligence, Social Media and Ethics
16 October 2019. University of Leeds.
CFP deadline: 9 August 2019
Taking place at the University of Leeds on 16 October 2019, this
symposium is particularly focused on the use of artificial
intelligence (AI) and/or social media, and the ethical implications
and considerations of doing so in museums, archives and libraries.
The symposium is the culmination of a collaboration between the Centre
for Critical Studies in Museums, Galleries and
Heritage<http://www.ccsmgh.leeds.ac.uk/> at the University of Leeds
and Collecting Social Photo
<http://collectingsocialphoto.nordiskamuseet.se/> ? a three year
Nordic research project ? looking into the potential of image
recognition software in museum and archive cataloguing processes.
The event will begin with an introduction from the Collecting Social
Photo project and a presentation of the collaboration outcomes. The
rest of the day will provide opportunities for speakers to share their
insights on the ethical and practical implications of other cultural
collections projects that use AI and social media.
Please see the link below for the details of the CFP.
Deadline for submissions - 9 August 2019
https://ahc.leeds.ac.uk/fine-art/news/article/1348/call-for-papers-digital-collecting-practices-artificial-intelligence-social-media-and-ethics
[https://ahc.leeds.ac.uk/images/evolution_3778196_1920_Image_by_Gerd_Altmann_from_Pixabay.jpg]<https://ahc.leeds.ac.uk/fine-art/news/article/1348/call-for-papers-digital-collecting-practices-artificial-intelligence-social-media-and-ethics>
Call for papers ? Digital Collecting Practices: Artificial
Intelligence, Social Media and
Ethics<https://ahc.leeds.ac.uk/fine-art/news/article/1348/call-for-papers-digital-collecting-practices-artificial-intelligence-social-media-and-ethics>
This one-day symposium will examine emerging digital museum and
archive practices related to collecting and collections management.
ahc.leeds.ac.uk
Arran Rees
Doctoral Researcher
School of Fine Art, History of Art and Cultural Studies
University of Leeds
fhajr@leeds.ac.uk
<http://www.fine-art.leeds.ac.uk/people/arran-rees/>https://ahc.leeds.ac.uk/fine-art/pgr/1614/arran-rees
_______________________________________________
Yasmin_announcements mailing list
Yasmin_announcements@ntlab.gr
http://ntlab.gr/mailman/listinfo/yasmin_announcements_ntlab.gr
------------------------------
Message: 2
Date: Sat, 27 Jul 2019 13:35:10 -0500
From: YASMIN DISCUSSIONS <yasmin_discussions@ntlab.gr>
To: yasmin_discussions@ntlab.gr
Subject: [Yasmin_discussions] dangerous art; AI-beings
Message-ID:
<mailman.22.1564322636.35508.yasmin_discussions_ntlab.gr@ntlab.gr>
Content-Type: text/plain; charset="UTF-8"
glenn
i would like to pick up on your
"First, our current AI is not nearly as "intelligent" as the general
public believes it to be -- but at the same time, we perhaps do
not appreciate the enormous impact it's going to have on human
society. "
i agree- i first started thinking differently on this when bernard
stiegler started
discussing digital devices under the idea of 'organology'
eg your sell phone is not a tool but an organ- if your cell phone gets sick
you get sick ( eg people dont know how to navigate without gps access now)
AI software i think needs to be thought of organically as primitive and rapidly
evolving organisms-- i like to call them AI-Beings....already the AI
beings around
me are more annoying than mosquitoes and are clearly more intelligent than
mosquitoes in that there is no simple bug 'spray' that can get the ai-beings out
of my room when i am falling to sleep
roger malina
Roger is in dallas, then chicago end july, then paris aug 2
in london aug 6/7/8 then paris until aug 15-contact me if
you are available to meet
whatsapp, eechat , messenger+1-510-853-2007 and +33680459447 in
europe.This email address for leonardo related work,
rmalina@alum.mit.edu use roger.malina@utdallas.edu for UTD work
------------------------------
Message: 3
Date: Fri, 26 Jul 2019 14:53:37 -0400
From: YASMIN DISCUSSIONS <yasmin_discussions@ntlab.gr>
To: YASMIN DISCUSSIONS <yasmin_discussions@ntlab.gr>
Subject: Re: [Yasmin_discussions] Fwd: AI: dangerous art/dangerous
science
Message-ID:
<mailman.23.1564327272.35508.yasmin_discussions_ntlab.gr@ntlab.gr>
Content-Type: text/plain; charset=utf-8; format=flowed
Hello Yasminers,
I am responding to Marian Mazzone and Glenn Smith.
Marian writes "The good art is being made by human artists who are
knowledgeably using aspects of AI to complement or subvert their own
systems of creativity." and I think this is very important. In
connection with Glenn's comments, and coming back to the "dangerous"
AI/art, one interesting yet problematic aspect of these early days of
deep-learning art, is that there are very intimate connections between
very big corporations and art that uses deep learning. A very vivid
example is Deep Dream, an ingenious approach invented by Alexander
Mordvintsev. I would argue that because Deep Dream was developed inside
Google, it quickly became a trope evolving outside of the normal
circuits of art, and as thus became so deeply associated with Google
that it is now impossible to make anything using this technique without
it being associated with Google. I wish Deep Dream had been invented by
an independent artist, as it is such an interesting and potentially rich
approach to working with neural nets; and indeed I would be curious to
know whether there were other artists working with "inceptionism" before
Deep Dream. But the fact that Mordvintsev worked for Google when he
developed Deep Dream, is such a strong symbol of the hegemony of Google.
I guess media art history is full of such examples (eg. companies such
as Bell, IBM and Philips had a profound impact on the development of new
media art in the 1960s through the 1980s). One could also argue that
certain art forms (if not all) are inseparable from the corporations
that developed certain tools (such as Fender and Moog). But it occurs to
me that the situation is very different now, not so much because of the
technology itself, but because of the unprecedented power differentials
that exist.
The question of "truth" is also really important here and the question
that Marian Mazzone brings up is one of its many dimensions (I need to
think about it more). The question of truth is at the very core of AI:
it brings us back to the fundamental worldview behind artificial
intelligence, embodied in the Turing test, which posits that as long as
a machine can "fake" intelligence then it IS intelligent; and that it
does not matter "how" this is done, be it using a set of if-then-else
statements or a simulation of neural nets. However even the history of
AI itself has demonstrated that "how" a computer program works matter:
the fact that neural networks (simulations of biological processes) have
(at least for now) won the war against symbolic/rule-based AI indicates
that "faking it" is not enough, that even AI seems to work better when
it is closer to the "truth" of reproducing dynamical processes of
human/animal bodies.
Sofian Audry
On 2019-07-18 9:23 a.m., YASMIN DISCUSSIONS wrote:
> re-sending
>
>
>
> ---------- Forwarded message ---------
> From: Marian Mazzone <marian.mazzone@gmail.com>
> Date: Fri, Jul 12, 2019 at 10:34 AM
> Subject: AI: dangerous art/dangerous science
> To: <yasmin_discussions@ntlab.gr>
>
>
> Hello Yasmin listers,
>
>
>
> Marian Mazzone here, I?m an art historian who works as a member of the Art
> & AI Lab at Rutgers, and I teach the history of contemporary and new media
> art.
>
>
>
> Glad to see this discussion coming up, looking forward to hearing more from
> those of us doing this work. We need to speak out more, especially in
> response to the too simple and odd ideas about what AI is and what AI can
> do that are often found in the press and public. As an art historian, I?ve
> had to answer many questions from journalists and artists who?ve seen the
> work at the lab and are unclear and/or misinformed about what AI is capable
> of and its potential as a threat to human artists and art making.
>
>
>
> Sofian Audry rightly points out how relatively ?dumb? the current AI
> systems are, and how little they can actually do (versus data needed to
> train, etc.). The complexity and depth of what human artists do is light
> years beyond this; what AI can do is augment, work as a limited partner, be
> a tool to introduce chance operations or impose medium conditions, etc.
> Creation of visual images can happen, but at a comparatively low level and
> only after an immense amount of machine training. For me, the greater
> interest has become not arguing for the existence or quality of AI art but
> learning more about how machines learn, especially something as difficult
> as art. Being cognizant of how any level of creativity happens within AI is
> vital.
>
>
>
> The good art is being made by human artists who are knowledgeably using
> aspects of AI to complement or subvert their own systems of creativity.
> Like with the introduction of any new medium or means, experimentation and
> adaptation are proceeding since the 2nd half of the 20th century forward. A
> comparison with the development of photography as a medium can be helpful
> at this stage. It is still early days in the use of AI for art making?.
>
>
>
> I?ll end by returning to the idea of dangerous science, dangerous art. I
> was struck by the problem of not being able to validate or confirm
> scientific claims reached when AI is involved. Does it come down to a
> matter of truth/not truth, a strong (necessary) binary for scientific
> knowledge of the natural world? Art is not so directly black/white, but
> there still exists some notion of art being ?true? in its honest
> communication or expression of human experience.
>
>
>
> So, what happens now? Is AI potentially a third player, something that
> changes the binary of true/not true with the addition of a third entity
> that does not conform or respond to our means of query or testing, and
> makes decisions and creates on terms unknowable to human experience?
> Our *modern
> *ideas of truth have been based on human experience in/of the natural
> world, and AI is not that. The implications of this are profound, and we?ve
> barely begun to grapple with them. This may be why the use of AI in matters
> of human justice, human life and liberty are so troubling?.and are an
> argument for AI not to be involved in such things. Don?t know, I?m thinking
> out loud here?.
>
>
>
>
>
> ****************************************************************************
>
> Marian Mazzone is an associate professor in the Art & Architectural History
> Department at the College of Charleston, teaching courses on contemporary
> art and new media art. She is an affiliate of the Art & Artificial
> Intelligence Lab at Rutgers University and one of the co-founders of the
> Computing in the Arts major at the College of Charleston.
>
>
>
> http://arthistory.cofc.edu/about-the-department/faculty-and-staff/mazzone.php
> _______________________________________________
> Yasmin_discussions mailing list
> Yasmin_discussions@ntlab.gr
> http://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
------------------------------
Subject: Digest Footer
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@ntlab.gr
http://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
------------------------------
End of Yasmin_discussions Digest, Vol 13, Issue 1
*************************************************
Sunday, July 28, 2019
Yasmin_discussions Digest, Vol 12, Issue 3
Send Yasmin_discussions mailing list submissions to
yasmin_discussions@ntlab.gr
To subscribe or unsubscribe via the World Wide Web, visit
http://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
or, via email, send a message with subject or body 'help' to
yasmin_discussions-request@ntlab.gr
You can reach the person managing the list at
yasmin_discussions-owner@ntlab.gr
When replying, please edit your Subject line so it is more specific
than "Re: Contents of Yasmin_discussions digest..."
THIS IS THE YASMIN-DISCUSSIONS DIGEST
Today's Topics:
1. Re: Yasmin_discussions Digest, Vol 12, Issue 2
(YASMIN DISCUSSIONS)
----------------------------------------------------------------------
Message: 1
Date: Thu, 25 Jul 2019 15:47:19 +0000
From: YASMIN DISCUSSIONS <yasmin_discussions@ntlab.gr>
To: "yasmin_discussions@ntlab.gr" <yasmin_discussions@ntlab.gr>
Subject: Re: [Yasmin_discussions] Yasmin_discussions Digest, Vol 12,
Issue 2
Message-ID:
<mailman.20.1564250150.35508.yasmin_discussions_ntlab.gr@ntlab.gr>
Content-Type: text/plain; charset="utf-8"
I have to agree with Glenn, in that we do not need to attain true, fully sentient, thinking machines to realize the impact of what is currently being termed "AI" (though to be honest, I still have issues with using that term with respect to existing implementations - just me, I suppose).
We can learn from the past to see where this *may* be heading. Consider how past technologies have affected society. At one time, folks had to memorize vast quantities of information, and pass it along orally from teller to listener. Then we developed writing and, eventually, the printed book. No longer was a solid memory seen as a major benefit to being fully human. We could "offload" our information into books, and regain that knowledge whenever we needed it.
And at one time, walking was the prime mode of transportation. Then came the domestication of horses, camels and such, and eventually the automobile, train and air travel. This expanded the world of each individual beyond those who lived in their town. Our sense of personal space expanded to include places we could travel to in an acceptable amount of time. One could live in one community, and work in another.
Each of these technologies, like so many others, had an impact from their very early stages, long before they had matured. I believe the same can be stated for AI. Take for example intelligent news aggregators. Using simple rules, these applications "learn" our likes and dislikes with respect to news content, tailoring, over time, which stories they retrieve and present to us. Sites such as Amazon "learn" our buying habits and accordingly determine which items to suggest we *might* be interested in purchasing.
Neither of these *AI* uses is mind blowing, and the algorithms they are based on are fairly simple. However, they and so many others have had a significant impact on our lives. But do we want this? Do we want AI apps to "baby us," to become pseudo-caretakers, guiding our actions, or taking actions independently on our behalf?
Thoughts?
Bill Joel
------------------------------
Subject: Digest Footer
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@ntlab.gr
http://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
------------------------------
End of Yasmin_discussions Digest, Vol 12, Issue 3
*************************************************
yasmin_discussions@ntlab.gr
To subscribe or unsubscribe via the World Wide Web, visit
http://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
or, via email, send a message with subject or body 'help' to
yasmin_discussions-request@ntlab.gr
You can reach the person managing the list at
yasmin_discussions-owner@ntlab.gr
When replying, please edit your Subject line so it is more specific
than "Re: Contents of Yasmin_discussions digest..."
THIS IS THE YASMIN-DISCUSSIONS DIGEST
Today's Topics:
1. Re: Yasmin_discussions Digest, Vol 12, Issue 2
(YASMIN DISCUSSIONS)
----------------------------------------------------------------------
Message: 1
Date: Thu, 25 Jul 2019 15:47:19 +0000
From: YASMIN DISCUSSIONS <yasmin_discussions@ntlab.gr>
To: "yasmin_discussions@ntlab.gr" <yasmin_discussions@ntlab.gr>
Subject: Re: [Yasmin_discussions] Yasmin_discussions Digest, Vol 12,
Issue 2
Message-ID:
<mailman.20.1564250150.35508.yasmin_discussions_ntlab.gr@ntlab.gr>
Content-Type: text/plain; charset="utf-8"
I have to agree with Glenn, in that we do not need to attain true, fully sentient, thinking machines to realize the impact of what is currently being termed "AI" (though to be honest, I still have issues with using that term with respect to existing implementations - just me, I suppose).
We can learn from the past to see where this *may* be heading. Consider how past technologies have affected society. At one time, folks had to memorize vast quantities of information, and pass it along orally from teller to listener. Then we developed writing and, eventually, the printed book. No longer was a solid memory seen as a major benefit to being fully human. We could "offload" our information into books, and regain that knowledge whenever we needed it.
And at one time, walking was the prime mode of transportation. Then came the domestication of horses, camels and such, and eventually the automobile, train and air travel. This expanded the world of each individual beyond those who lived in their town. Our sense of personal space expanded to include places we could travel to in an acceptable amount of time. One could live in one community, and work in another.
Each of these technologies, like so many others, had an impact from their very early stages, long before they had matured. I believe the same can be stated for AI. Take for example intelligent news aggregators. Using simple rules, these applications "learn" our likes and dislikes with respect to news content, tailoring, over time, which stories they retrieve and present to us. Sites such as Amazon "learn" our buying habits and accordingly determine which items to suggest we *might* be interested in purchasing.
Neither of these *AI* uses is mind blowing, and the algorithms they are based on are fairly simple. However, they and so many others have had a significant impact on our lives. But do we want this? Do we want AI apps to "baby us," to become pseudo-caretakers, guiding our actions, or taking actions independently on our behalf?
Thoughts?
Bill Joel
------------------------------
Subject: Digest Footer
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@ntlab.gr
http://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
------------------------------
End of Yasmin_discussions Digest, Vol 12, Issue 3
*************************************************
Thursday, July 25, 2019
Yasmin_discussions Digest, Vol 12, Issue 2
Send Yasmin_discussions mailing list submissions to
yasmin_discussions@ntlab.gr
To subscribe or unsubscribe via the World Wide Web, visit
http://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
or, via email, send a message with subject or body 'help' to
yasmin_discussions-request@ntlab.gr
You can reach the person managing the list at
yasmin_discussions-owner@ntlab.gr
When replying, please edit your Subject line so it is more specific
than "Re: Contents of Yasmin_discussions digest..."
THIS IS THE YASMIN-DISCUSSIONS DIGEST
Today's Topics:
1. reinforcing Jon, Sofian, and Marian (YASMIN DISCUSSIONS)
2. Introductions (YASMIN DISCUSSIONS)
----------------------------------------------------------------------
Message: 1
Date: Sun, 21 Jul 2019 10:42:19 -0700
From: YASMIN DISCUSSIONS <yasmin_discussions@ntlab.gr>
To: yasmin_discussions@ntlab.gr
Subject: [Yasmin_discussions] reinforcing Jon, Sofian, and Marian
Message-ID:
<mailman.15.1564010439.35508.yasmin_discussions_ntlab.gr@ntlab.gr>
Content-Type: text/plain; charset="us-ascii"; format=flowed
Dear Fellow Yasminers,
I just wanted to add a little to what Jon Ippolito, Sofian Audry,
and Marian Mazzone have already said about AI, and on the
same two general themes:
First, our current AI is not nearly as "intelligent" as the general
public believes it to be -- but at the same time, we perhaps do
not appreciate the enormous impact it's going to have on human
society.
The situation, to me, is reminiscent of how Google was at first
underestimated: "It's only search," people would say -- but as
it turns out, search is pretty darn important! Not only the search
for the right dog food, but also the search for the right college
major; the right partner; the right philosophy of life -- and now
Google is one of the most influential companies on the planet.
Likewise, our current neural net-based AI is "only" pattern
recognition; but a) computers (after a slow start) have become
frighteningly proficient at it -- able, for example, to learn the
rules of chess only by watching games being played!, and
b) a very large percentage of even human behavior -- much
larger than we would like to admit! -- is nothing more than
pattern, as, for example, our patterns of verbal and facial
behavior in conversation. (And this perhaps the ultimate
import ( https://www.mdpi.com/2076-0752/8/2/69 ) of
Frieder Nake's expression, "the horrors of computability".)
And the second point I'd like to make in reinforcing Jon,
Sofian, and Marian is that art -- and not board games -- is
the arena in which we humans really have a chance to get
a grip on the evolving situation vis a vis our machines.
Regrads
Glenn
********************************************************************
G. W. ("Glenn") Smith is an English Lit major turned
software engineer turned kinetic sculptor; the author of the
BLAST (blocked asynchronous communication) data
communications protocol; and the holder of two patents
in the field of electro-mechanical display systems.
------------------------------
Message: 2
Date: Mon, 22 Jul 2019 00:37:34 +0000
From: YASMIN DISCUSSIONS <yasmin_discussions@ntlab.gr>
To: YASMIN DISCUSSIONS <yasmin_discussions@ntlab.gr>
Subject: [Yasmin_discussions] Introductions
Message-ID:
<mailman.16.1564010440.35508.yasmin_discussions_ntlab.gr@ntlab.gr>
Content-Type: text/plain; charset=WINDOWS-1252
Hello everyone,
I was recommended to this list by Vicky Sowry from the Australian Network for Art and Technology. I've been working on a book chapter/paper/report for this years publication of GISWatch<https://www.giswatch.org/> (Global Information Society Watch). This year GISWatch is focusing on AI. My paper, Skirting the Uncanny Valley, looks at the impact of AI on creative industries with an Australian focus on developments in policy. The first draft has been submitted to the editor.
I'm a filmmaker with a background in electronic arts and ICTs. After researching and writing this paper I've started to sketch up an idea for a film that takes a more philosophical look at AI and humanity. Broad brushstrokes at present, but keen to learn from everyone here, particularly if there are already films on said subject.
My latest film, Forged from Fire<https://forgedfromfirefilm.com/>, makes its Melbourne debut tonight at the Melbourne Documentary Film Festival. Other, more recent films, Ocean in a Drop<https://vimeo.com/249280522> and India's rural internet avantgard<https://vimeo.com/showcase/4602868>, have taken an ethnographic look at the impact ICTs have made on rural and tribal communities in India's north-east.
Looking forward what transpires here.
Andrew
Andrew Garton | Lecturer and Adjunct Industry Fellow
Media and Communication, Swinburne University
agarton@swin.edu.au<mailto:agarton@swin.edu.au> | +61409948280
andrewgarton.com<https://andrewgarton.com> | secessionfilms.com<https://secessionfilms.com>
------------------------------
Subject: Digest Footer
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@ntlab.gr
http://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
------------------------------
End of Yasmin_discussions Digest, Vol 12, Issue 2
*************************************************
yasmin_discussions@ntlab.gr
To subscribe or unsubscribe via the World Wide Web, visit
http://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
or, via email, send a message with subject or body 'help' to
yasmin_discussions-request@ntlab.gr
You can reach the person managing the list at
yasmin_discussions-owner@ntlab.gr
When replying, please edit your Subject line so it is more specific
than "Re: Contents of Yasmin_discussions digest..."
THIS IS THE YASMIN-DISCUSSIONS DIGEST
Today's Topics:
1. reinforcing Jon, Sofian, and Marian (YASMIN DISCUSSIONS)
2. Introductions (YASMIN DISCUSSIONS)
----------------------------------------------------------------------
Message: 1
Date: Sun, 21 Jul 2019 10:42:19 -0700
From: YASMIN DISCUSSIONS <yasmin_discussions@ntlab.gr>
To: yasmin_discussions@ntlab.gr
Subject: [Yasmin_discussions] reinforcing Jon, Sofian, and Marian
Message-ID:
<mailman.15.1564010439.35508.yasmin_discussions_ntlab.gr@ntlab.gr>
Content-Type: text/plain; charset="us-ascii"; format=flowed
Dear Fellow Yasminers,
I just wanted to add a little to what Jon Ippolito, Sofian Audry,
and Marian Mazzone have already said about AI, and on the
same two general themes:
First, our current AI is not nearly as "intelligent" as the general
public believes it to be -- but at the same time, we perhaps do
not appreciate the enormous impact it's going to have on human
society.
The situation, to me, is reminiscent of how Google was at first
underestimated: "It's only search," people would say -- but as
it turns out, search is pretty darn important! Not only the search
for the right dog food, but also the search for the right college
major; the right partner; the right philosophy of life -- and now
Google is one of the most influential companies on the planet.
Likewise, our current neural net-based AI is "only" pattern
recognition; but a) computers (after a slow start) have become
frighteningly proficient at it -- able, for example, to learn the
rules of chess only by watching games being played!, and
b) a very large percentage of even human behavior -- much
larger than we would like to admit! -- is nothing more than
pattern, as, for example, our patterns of verbal and facial
behavior in conversation. (And this perhaps the ultimate
import ( https://www.mdpi.com/2076-0752/8/2/69 ) of
Frieder Nake's expression, "the horrors of computability".)
And the second point I'd like to make in reinforcing Jon,
Sofian, and Marian is that art -- and not board games -- is
the arena in which we humans really have a chance to get
a grip on the evolving situation vis a vis our machines.
Regrads
Glenn
********************************************************************
G. W. ("Glenn") Smith is an English Lit major turned
software engineer turned kinetic sculptor; the author of the
BLAST (blocked asynchronous communication) data
communications protocol; and the holder of two patents
in the field of electro-mechanical display systems.
------------------------------
Message: 2
Date: Mon, 22 Jul 2019 00:37:34 +0000
From: YASMIN DISCUSSIONS <yasmin_discussions@ntlab.gr>
To: YASMIN DISCUSSIONS <yasmin_discussions@ntlab.gr>
Subject: [Yasmin_discussions] Introductions
Message-ID:
<mailman.16.1564010440.35508.yasmin_discussions_ntlab.gr@ntlab.gr>
Content-Type: text/plain; charset=WINDOWS-1252
Hello everyone,
I was recommended to this list by Vicky Sowry from the Australian Network for Art and Technology. I've been working on a book chapter/paper/report for this years publication of GISWatch<https://www.giswatch.org/> (Global Information Society Watch). This year GISWatch is focusing on AI. My paper, Skirting the Uncanny Valley, looks at the impact of AI on creative industries with an Australian focus on developments in policy. The first draft has been submitted to the editor.
I'm a filmmaker with a background in electronic arts and ICTs. After researching and writing this paper I've started to sketch up an idea for a film that takes a more philosophical look at AI and humanity. Broad brushstrokes at present, but keen to learn from everyone here, particularly if there are already films on said subject.
My latest film, Forged from Fire<https://forgedfromfirefilm.com/>, makes its Melbourne debut tonight at the Melbourne Documentary Film Festival. Other, more recent films, Ocean in a Drop<https://vimeo.com/249280522> and India's rural internet avantgard<https://vimeo.com/showcase/4602868>, have taken an ethnographic look at the impact ICTs have made on rural and tribal communities in India's north-east.
Looking forward what transpires here.
Andrew
Andrew Garton | Lecturer and Adjunct Industry Fellow
Media and Communication, Swinburne University
agarton@swin.edu.au<mailto:agarton@swin.edu.au> | +61409948280
andrewgarton.com<https://andrewgarton.com> | secessionfilms.com<https://secessionfilms.com>
------------------------------
Subject: Digest Footer
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@ntlab.gr
http://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
------------------------------
End of Yasmin_discussions Digest, Vol 12, Issue 2
*************************************************
Tuesday, July 23, 2019
INQUIRY FROM QATAR
Dear Sir;
my name is Mohammed Khalid from Kadergroup company located in Qatar am the purchasing Manager.
Our company has gone through your products, we offer great interest to do a purchase S/C agreement with your company.
can you supplying us constantly based on the quality of your products
with competitive prices.
On each product picture, please quote us price.
Also, kindly acknowledge the same by return email considering;
1). Best FOB Prices
2). Lead-time (? Days) for first generation samples.
3). Lead-Time (? Time) for mass production.
4). Minimum order quantity, Delivery Period / Mode and Payment Terms.
We await your soonest reply to send order.
waiting on your fast response asap
Description: cid:image005.gif@01D4241A.8EE74DA0
------------------------------------------------
Mohammed Khalid
Purchasing manager
Kadergroup ltd
P.O.BOX 17224,Doha 17382
Tel & fax 974 5391 6413
my name is Mohammed Khalid from Kadergroup company located in Qatar am the purchasing Manager.
Our company has gone through your products, we offer great interest to do a purchase S/C agreement with your company.
can you supplying us constantly based on the quality of your products
with competitive prices.
On each product picture, please quote us price.
Also, kindly acknowledge the same by return email considering;
1). Best FOB Prices
2). Lead-time (? Days) for first generation samples.
3). Lead-Time (? Time) for mass production.
4). Minimum order quantity, Delivery Period / Mode and Payment Terms.
We await your soonest reply to send order.
waiting on your fast response asap
Description: cid:image005.gif@01D4241A.8EE74DA0
------------------------------------------------
Mohammed Khalid
Purchasing manager
Kadergroup ltd
P.O.BOX 17224,Doha 17382
Tel & fax 974 5391 6413
Monday, July 22, 2019
Yasmin_discussions Digest, Vol 12, Issue 1
Send Yasmin_discussions mailing list submissions to
yasmin_discussions@ntlab.gr
To subscribe or unsubscribe via the World Wide Web, visit
http://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
or, via email, send a message with subject or body 'help' to
yasmin_discussions-request@ntlab.gr
You can reach the person managing the list at
yasmin_discussions-owner@ntlab.gr
When replying, please edit your Subject line so it is more specific
than "Re: Contents of Yasmin_discussions digest..."
THIS IS THE YASMIN-DISCUSSIONS DIGEST
Today's Topics:
1. dangerous art: ai and entanglement (YASMIN DISCUSSIONS)
----------------------------------------------------------------------
Message: 1
Date: Sun, 21 Jul 2019 11:48:55 -0500
From: YASMIN DISCUSSIONS <yasmin_discussions@ntlab.gr>
To: yasmin_discussions@ntlab.gr
Subject: [Yasmin_discussions] dangerous art: ai and entanglement
Message-ID:
<mailman.8.1563728588.35508.yasmin_discussions_ntlab.gr@ntlab.gr>
Content-Type: text/plain; charset="UTF-8"
yasminers
let me inject our discussion on AI as dangerous art this announcement
from bianka hoffman on art and quantum entanglement- the next wave of
AI will take advantage of quantum computing and its good to see our
network of villages address: Gain an understanding of the
fundamental questions raised by Quantum Technology, including an
overview of the critical technical & scientific applications and
services and the societal impacts.
roger malina
QUANTUM T R AV E L E R S ENTANGLEMENT ONGOING INJECTING QUANTUM
TECHNOLOGY INTO MAINSTREAM CULTURE Screening of the artwork Quantum
Logos followed by statements, discussion, and get together. JOIN US
FOR A NETWORKING EVENT AT THE ARS ELECTRONICA FESTIVAL 7 SEPTEMBER
2019 RSVP: INFO@QUANTUMTRAVELERS.ORG 7 SEPTEMBER 2019, SATURDAY 11:30
- 12:00 16:30 - 17:00 12:00 - 13:00 SCREENING + NETWORKING EVENT
SECOND SCREENING EVENT 8 SEPTEMBER 2019, SUNDAY Meet the artists,
project developer, and science communicators behind Quantum Logos.
Gain an understanding of the fundamental questions raised by Quantum
Technology, including an overview of the critical technical &
scientific applications and services and the societal impacts. Attain
deeper insights into the artists' vision of Quantum Logos and discuss
with us new pathways to making Quantum Technology accessible to the
public. Quantum Logos: Screening Entanglement Ongoing: Networking
event at the Sky Loft Festival Ars Electronica - Associated Program at
the Deep Space 8K Ars Electronica Center Tickets for screening to be
purchased at the entrance. Quantum Logos: Screening at the Deep Space
8K Ars Electronica Center Tickets for screening to be purchased at the
entrance. Ars Electronica Center 3rd floor, next to CUBUS restaurant.
RSVP: INFO@QUANTUMTRAVELERS.ORG TIME & DATE:
------------------------------
Subject: Digest Footer
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@ntlab.gr
http://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
------------------------------
End of Yasmin_discussions Digest, Vol 12, Issue 1
*************************************************
yasmin_discussions@ntlab.gr
To subscribe or unsubscribe via the World Wide Web, visit
http://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
or, via email, send a message with subject or body 'help' to
yasmin_discussions-request@ntlab.gr
You can reach the person managing the list at
yasmin_discussions-owner@ntlab.gr
When replying, please edit your Subject line so it is more specific
than "Re: Contents of Yasmin_discussions digest..."
THIS IS THE YASMIN-DISCUSSIONS DIGEST
Today's Topics:
1. dangerous art: ai and entanglement (YASMIN DISCUSSIONS)
----------------------------------------------------------------------
Message: 1
Date: Sun, 21 Jul 2019 11:48:55 -0500
From: YASMIN DISCUSSIONS <yasmin_discussions@ntlab.gr>
To: yasmin_discussions@ntlab.gr
Subject: [Yasmin_discussions] dangerous art: ai and entanglement
Message-ID:
<mailman.8.1563728588.35508.yasmin_discussions_ntlab.gr@ntlab.gr>
Content-Type: text/plain; charset="UTF-8"
yasminers
let me inject our discussion on AI as dangerous art this announcement
from bianka hoffman on art and quantum entanglement- the next wave of
AI will take advantage of quantum computing and its good to see our
network of villages address: Gain an understanding of the
fundamental questions raised by Quantum Technology, including an
overview of the critical technical & scientific applications and
services and the societal impacts.
roger malina
QUANTUM T R AV E L E R S ENTANGLEMENT ONGOING INJECTING QUANTUM
TECHNOLOGY INTO MAINSTREAM CULTURE Screening of the artwork Quantum
Logos followed by statements, discussion, and get together. JOIN US
FOR A NETWORKING EVENT AT THE ARS ELECTRONICA FESTIVAL 7 SEPTEMBER
2019 RSVP: INFO@QUANTUMTRAVELERS.ORG 7 SEPTEMBER 2019, SATURDAY 11:30
- 12:00 16:30 - 17:00 12:00 - 13:00 SCREENING + NETWORKING EVENT
SECOND SCREENING EVENT 8 SEPTEMBER 2019, SUNDAY Meet the artists,
project developer, and science communicators behind Quantum Logos.
Gain an understanding of the fundamental questions raised by Quantum
Technology, including an overview of the critical technical &
scientific applications and services and the societal impacts. Attain
deeper insights into the artists' vision of Quantum Logos and discuss
with us new pathways to making Quantum Technology accessible to the
public. Quantum Logos: Screening Entanglement Ongoing: Networking
event at the Sky Loft Festival Ars Electronica - Associated Program at
the Deep Space 8K Ars Electronica Center Tickets for screening to be
purchased at the entrance. Quantum Logos: Screening at the Deep Space
8K Ars Electronica Center Tickets for screening to be purchased at the
entrance. Ars Electronica Center 3rd floor, next to CUBUS restaurant.
RSVP: INFO@QUANTUMTRAVELERS.ORG TIME & DATE:
------------------------------
Subject: Digest Footer
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@ntlab.gr
http://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
------------------------------
End of Yasmin_discussions Digest, Vol 12, Issue 1
*************************************************
Sunday, July 21, 2019
Yasmin_discussions Digest, Vol 11, Issue 1
Send Yasmin_discussions mailing list submissions to
yasmin_discussions@ntlab.gr
To subscribe or unsubscribe via the World Wide Web, visit
http://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
or, via email, send a message with subject or body 'help' to
yasmin_discussions-request@ntlab.gr
You can reach the person managing the list at
yasmin_discussions-owner@ntlab.gr
When replying, please edit your Subject line so it is more specific
than "Re: Contents of Yasmin_discussions digest..."
THIS IS THE YASMIN-DISCUSSIONS DIGEST
Today's Topics:
1. Fwd: AI: dangerous art/dangerous science (YASMIN DISCUSSIONS)
----------------------------------------------------------------------
Message: 1
Date: Thu, 18 Jul 2019 09:23:31 -0400
From: YASMIN DISCUSSIONS <yasmin_discussions@ntlab.gr>
To: yasmin_discussions@ntlab.gr
Subject: [Yasmin_discussions] Fwd: AI: dangerous art/dangerous science
Message-ID:
<mailman.6.1563641257.35508.yasmin_discussions_ntlab.gr@ntlab.gr>
Content-Type: text/plain; charset="UTF-8"
re-sending
---------- Forwarded message ---------
From: Marian Mazzone <marian.mazzone@gmail.com>
Date: Fri, Jul 12, 2019 at 10:34 AM
Subject: AI: dangerous art/dangerous science
To: <yasmin_discussions@ntlab.gr>
Hello Yasmin listers,
Marian Mazzone here, I?m an art historian who works as a member of the Art
& AI Lab at Rutgers, and I teach the history of contemporary and new media
art.
Glad to see this discussion coming up, looking forward to hearing more from
those of us doing this work. We need to speak out more, especially in
response to the too simple and odd ideas about what AI is and what AI can
do that are often found in the press and public. As an art historian, I?ve
had to answer many questions from journalists and artists who?ve seen the
work at the lab and are unclear and/or misinformed about what AI is capable
of and its potential as a threat to human artists and art making.
Sofian Audry rightly points out how relatively ?dumb? the current AI
systems are, and how little they can actually do (versus data needed to
train, etc.). The complexity and depth of what human artists do is light
years beyond this; what AI can do is augment, work as a limited partner, be
a tool to introduce chance operations or impose medium conditions, etc.
Creation of visual images can happen, but at a comparatively low level and
only after an immense amount of machine training. For me, the greater
interest has become not arguing for the existence or quality of AI art but
learning more about how machines learn, especially something as difficult
as art. Being cognizant of how any level of creativity happens within AI is
vital.
The good art is being made by human artists who are knowledgeably using
aspects of AI to complement or subvert their own systems of creativity.
Like with the introduction of any new medium or means, experimentation and
adaptation are proceeding since the 2nd half of the 20th century forward. A
comparison with the development of photography as a medium can be helpful
at this stage. It is still early days in the use of AI for art making?.
I?ll end by returning to the idea of dangerous science, dangerous art. I
was struck by the problem of not being able to validate or confirm
scientific claims reached when AI is involved. Does it come down to a
matter of truth/not truth, a strong (necessary) binary for scientific
knowledge of the natural world? Art is not so directly black/white, but
there still exists some notion of art being ?true? in its honest
communication or expression of human experience.
So, what happens now? Is AI potentially a third player, something that
changes the binary of true/not true with the addition of a third entity
that does not conform or respond to our means of query or testing, and
makes decisions and creates on terms unknowable to human experience?
Our *modern
*ideas of truth have been based on human experience in/of the natural
world, and AI is not that. The implications of this are profound, and we?ve
barely begun to grapple with them. This may be why the use of AI in matters
of human justice, human life and liberty are so troubling?.and are an
argument for AI not to be involved in such things. Don?t know, I?m thinking
out loud here?.
****************************************************************************
Marian Mazzone is an associate professor in the Art & Architectural History
Department at the College of Charleston, teaching courses on contemporary
art and new media art. She is an affiliate of the Art & Artificial
Intelligence Lab at Rutgers University and one of the co-founders of the
Computing in the Arts major at the College of Charleston.
http://arthistory.cofc.edu/about-the-department/faculty-and-staff/mazzone.php
------------------------------
Subject: Digest Footer
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@ntlab.gr
http://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
------------------------------
End of Yasmin_discussions Digest, Vol 11, Issue 1
*************************************************
yasmin_discussions@ntlab.gr
To subscribe or unsubscribe via the World Wide Web, visit
http://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
or, via email, send a message with subject or body 'help' to
yasmin_discussions-request@ntlab.gr
You can reach the person managing the list at
yasmin_discussions-owner@ntlab.gr
When replying, please edit your Subject line so it is more specific
than "Re: Contents of Yasmin_discussions digest..."
THIS IS THE YASMIN-DISCUSSIONS DIGEST
Today's Topics:
1. Fwd: AI: dangerous art/dangerous science (YASMIN DISCUSSIONS)
----------------------------------------------------------------------
Message: 1
Date: Thu, 18 Jul 2019 09:23:31 -0400
From: YASMIN DISCUSSIONS <yasmin_discussions@ntlab.gr>
To: yasmin_discussions@ntlab.gr
Subject: [Yasmin_discussions] Fwd: AI: dangerous art/dangerous science
Message-ID:
<mailman.6.1563641257.35508.yasmin_discussions_ntlab.gr@ntlab.gr>
Content-Type: text/plain; charset="UTF-8"
re-sending
---------- Forwarded message ---------
From: Marian Mazzone <marian.mazzone@gmail.com>
Date: Fri, Jul 12, 2019 at 10:34 AM
Subject: AI: dangerous art/dangerous science
To: <yasmin_discussions@ntlab.gr>
Hello Yasmin listers,
Marian Mazzone here, I?m an art historian who works as a member of the Art
& AI Lab at Rutgers, and I teach the history of contemporary and new media
art.
Glad to see this discussion coming up, looking forward to hearing more from
those of us doing this work. We need to speak out more, especially in
response to the too simple and odd ideas about what AI is and what AI can
do that are often found in the press and public. As an art historian, I?ve
had to answer many questions from journalists and artists who?ve seen the
work at the lab and are unclear and/or misinformed about what AI is capable
of and its potential as a threat to human artists and art making.
Sofian Audry rightly points out how relatively ?dumb? the current AI
systems are, and how little they can actually do (versus data needed to
train, etc.). The complexity and depth of what human artists do is light
years beyond this; what AI can do is augment, work as a limited partner, be
a tool to introduce chance operations or impose medium conditions, etc.
Creation of visual images can happen, but at a comparatively low level and
only after an immense amount of machine training. For me, the greater
interest has become not arguing for the existence or quality of AI art but
learning more about how machines learn, especially something as difficult
as art. Being cognizant of how any level of creativity happens within AI is
vital.
The good art is being made by human artists who are knowledgeably using
aspects of AI to complement or subvert their own systems of creativity.
Like with the introduction of any new medium or means, experimentation and
adaptation are proceeding since the 2nd half of the 20th century forward. A
comparison with the development of photography as a medium can be helpful
at this stage. It is still early days in the use of AI for art making?.
I?ll end by returning to the idea of dangerous science, dangerous art. I
was struck by the problem of not being able to validate or confirm
scientific claims reached when AI is involved. Does it come down to a
matter of truth/not truth, a strong (necessary) binary for scientific
knowledge of the natural world? Art is not so directly black/white, but
there still exists some notion of art being ?true? in its honest
communication or expression of human experience.
So, what happens now? Is AI potentially a third player, something that
changes the binary of true/not true with the addition of a third entity
that does not conform or respond to our means of query or testing, and
makes decisions and creates on terms unknowable to human experience?
Our *modern
*ideas of truth have been based on human experience in/of the natural
world, and AI is not that. The implications of this are profound, and we?ve
barely begun to grapple with them. This may be why the use of AI in matters
of human justice, human life and liberty are so troubling?.and are an
argument for AI not to be involved in such things. Don?t know, I?m thinking
out loud here?.
****************************************************************************
Marian Mazzone is an associate professor in the Art & Architectural History
Department at the College of Charleston, teaching courses on contemporary
art and new media art. She is an affiliate of the Art & Artificial
Intelligence Lab at Rutgers University and one of the co-founders of the
Computing in the Arts major at the College of Charleston.
http://arthistory.cofc.edu/about-the-department/faculty-and-staff/mazzone.php
------------------------------
Subject: Digest Footer
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@ntlab.gr
http://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
------------------------------
End of Yasmin_discussions Digest, Vol 11, Issue 1
*************************************************
Tuesday, July 16, 2019
Buy Google Adwords Coupon Call +91–8586875020
Buy Google Adwords Coupon Call +91–8586875020
We have Google ads coupon for other countries also where you can use coupon. We have Coupons for below countries:-
- INDIA
- CANADA
- USA
- SINGAPORE
- UK
- UAE
- GERMANY
- ITALY
- SPAIN
- SWEDEN
- TURKEY
- GERMANY
- BELGIUM
- FRANCE
- New Zealand
- AUSTRALIA
- AUSTRIA
- RUSSIA
- JAPAN
- INDONESIA
Buy Adwords Coupon Google Ads Coupon Call / Whatsapp +91–8586875020
Google adwords is paid ads system of Google. Now it is called Google ads. Businesses pay to Google ads for advertising their business. You can explore business opportunity with Google ads. Pay per click is far better than organic Search engine optimization.
You can create new ad campaign and start your ads on Google ads.
It is really easy to setup your ad campaigns. It takes 5 to minutes.
You can use Google ads editor to load your existing campaigns and can import in accounts. If you manage multiple customers then you can create Manager account Called MCC my client center account and can manage all accounts at one place.
We also offer Bing Coupon code worth 100 USD for new ad accounts. No spending required. You can use one coupon per account. This coupon works worldwide in new ad accounts.
We also offer PPC management and offer adwords account new and old.
If you want to design website for your business and want to advertise on Google ads contact us, we can create website only in 3000 INR. We can create ecommerce website and business website also.
For more details call me at 8586875020 whatsapp 8586875020 skype id speakmeme
75 adwords voucher
75 google adwords voucher code
adwords $100 coupon codes
adwords $300 voucher
adwords £75 voucher uk
adwords 2000 rupees coupon for new account
adwords account voucher
adwords add coupon
adwords add coupon code
adwords add promo
adwords add promo code
adwords coupon
adwords coupon $150
adwords coupon $300
adwords coupon 75
adwords coupon 75 euro
adwords coupon ads
adwords coupon australia
adwords coupon blackhatworld
adwords coupon buy
adwords coupon canada
adwords coupon check
adwords coupon code
adwords coupon code 2019
adwords coupon code for india
adwords coupon code generator
adwords coupon codes
adwords coupon codes 2018
adwords coupon existing account
adwords coupon for existing accounts
adwords coupon for sale
adwords coupon generation trick
adwords coupon hack
adwords coupon india
adwords coupon indonesia
adwords coupon invullen
adwords coupon ireland
adwords coupon mexico
adwords coupon nederland
adwords coupon new account
adwords coupon october 2018
adwords coupon online
adwords coupon policy
adwords coupon setting
adwords coupon shopify
adwords coupon south africa
adwords coupon uk
adwords coupon use
adwords coupon vouchers
adwords coupons for existing accounts
adwords discount code 2018
adwords discount coupon code
adwords express coupon
adwords express coupon code
adwords express promo code
adwords express promo code 2018
adwords express promo code uk
adwords express promotional code
adwords express promotional code 2018
adwords for video coupon
adwords free coupon
adwords google coupon
adwords google promo code
adwords new advertiser coupon
adwords promo code
adwords promo code 100
adwords promo code 2018
adwords promo code australia
adwords promo code coupon
adwords promo code india
adwords promo code reddit
adwords promo code uk
adwords promo code uk 2018
adwords promo extensions
adwords promo kod
adwords promo uk
adwords promotional code
adwords promotional code 100
adwords promotional code 2018
adwords promotional code canada
adwords promotional code for existing accounts
adwords promotional code india
adwords promotional code india 2018
adwords promotional code status
adwords promotional code uk
adwords promotional codes
adwords promotional codes 2018
adwords r600 voucher
adwords remove coupon
adwords thailand voucher
adwords us coupon
adwords us promo code
adwords voucher
adwords voucher 2018
adwords voucher code
adwords voucher existing account
adwords voucher free
adwords voucher uk
adwords vouchers fiverr
adwords-coupon.html
bing adwords coupon
bluehost adwords coupon
buy adwords vouchers
buy google ads credit
buy google adwords coupon codes
coupon adwords 200 euro
coupon code in adwords
coupon di adwords
coupon for google ads
coupon in adwords
coupon reduction adwords
credit for google ads
facebook adwords coupon
fiverr adwords coupon
free adwords coupon code
free adwords voucher uk
free google ads credit uk
free google adwords coupon 2018
free google adwords coupon code
free google adwords promotional code
get free google ads credit
get google ads coupon
get google ads credit
godaddy adwords coupon
godaddy adwords voucher
google ads 150 credit
google ads 2000 credit
google ads 75 credit
google ads charge on credit card
google ads coupon
google ads coupon 2018
google ads coupon australia
google ads coupon code
google ads coupon code 2019
google ads coupon free
google ads coupon india
google ads coupon may 2019
google ads coupon portugal
google ads coupon september 2018
google ads coupon shopify
google ads coupon uae
google ads coupon uk
google ads coupons 2019
google ads credit
google ads credit canada
google ads credit card
google ads credit card charge
google ads credit code
google ads credit free
google ads credit india
google ads credit line
google ads credit panel
google ads credit refund
google ads credit shopify
google ads credit uk
google ads credito
google ads free credit uk
google ads promotional coupon
google ads without credit card
google adwords 75 coupon free
google adwords add coupon code
google adwords coupon $150
google adwords coupon $250
google adwords coupon $300
google adwords coupon 2018
google adwords coupon 2018 uk
google adwords coupon 75
google adwords coupon 75 eur
google adwords coupon 75 euro
google adwords coupon 75 euro 2018
google adwords coupon advertising voucher
google adwords coupon australia
google adwords coupon buy
google adwords coupon code
google adwords coupon code 2018
google adwords coupon code advertising voucher
google adwords coupon code canada
google adwords coupon code for existing customers
google adwords coupon code generator
google adwords coupon code uk
google adwords coupon codes 2018
google adwords coupon egypt
google adwords coupon for existing account
google adwords coupon for new accounts
google adwords coupon free
google adwords coupon generator
google adwords coupon gratuit
google adwords coupon hack
google adwords coupon india
google adwords coupon india 2018
google adwords coupon ireland
google adwords coupon login
google adwords coupon malaysia
google adwords coupon south africa
google adwords coupon uk
google adwords coupon usa
google adwords coupon vouchers
google adwords coupons for existing accounts
google adwords discount coupon
google adwords exam voucher
google adwords express coupon
google adwords express voucher
google adwords first time coupon
google adwords free coupon code
google adwords gratis coupon
google adwords promo code 2018
google adwords promo code 2018 canada
google adwords promo code 2018 uk
google adwords promo code canada 2018
google adwords promo code for existing accounts 2018
google adwords promo code new account
google adwords promo code usa
google adwords promotional code
google adwords promotional code 2018
google adwords promotional code 2019
google adwords promotional code for existing accounts
google adwords promotional code india
google adwords promotional code india 2017
google adwords promotional code india 2018
google adwords promotional code south africa
google adwords promotional code uae
google adwords promotional code uk
google adwords voucher
google adwords voucher £120
google adwords voucher £75
google adwords voucher £75 uk
google adwords voucher 2017 uk
google adwords voucher 2018 uk
google adwords voucher buy
google adwords voucher code
google adwords voucher code generator
google adwords voucher code uk
google adwords voucher for sale
google adwords voucher ireland
google adwords voucher south africa
google adwords voucher uk
google adwords voucher uk 2018
google adwords voucher wix
hostgator adwords coupon
hostgator adwords voucher
how to get adwords promotional code
how to get google ads coupon
how to get google ads credit
how to redeem google ads credit
how to use adwords promotional code
how to use google ads credit
promo adwords account
promotional code for adwords
promotional code of adwords
redeem google ads credit
shopify adwords voucher
squarespace google ads credit
using adwords voucher
view adwords voucher
voucher adwords indonesia
weebly google ads credit
what is google ads credit
wix adwords voucher
Buy Google Adwords Coupon Call +91–8586875020
Buy Google Adwords Coupon Call +91–8586875020
We have Google ads coupon for other countries also where you can use coupon. We have Coupons for below countries:-
- INDIA
- CANADA
- USA
- SINGAPORE
- UK
- UAE
- GERMANY
- ITALY
- SPAIN
- SWEDEN
- TURKEY
- GERMANY
- BELGIUM
- FRANCE
- New Zealand
- AUSTRALIA
- AUSTRIA
- RUSSIA
- JAPAN
- INDONESIA
Buy Adwords Coupon Google Ads Coupon Call / Whatsapp +91–8586875020
Google adwords is paid ads system of Google. Now it is called Google ads. Businesses pay to Google ads for advertising their business. You can explore business opportunity with Google ads. Pay per click is far better than organic Search engine optimization.
You can create new ad campaign and start your ads on Google ads.
It is really easy to setup your ad campaigns. It takes 5 to minutes.
You can use Google ads editor to load your existing campaigns and can import in accounts. If you manage multiple customers then you can create Manager account Called MCC my client center account and can manage all accounts at one place.
We also offer Bing Coupon code worth 100 USD for new ad accounts. No spending required. You can use one coupon per account. This coupon works worldwide in new ad accounts.
We also offer PPC management and offer adwords account new and old.
If you want to design website for your business and want to advertise on Google ads contact us, we can create website only in 3000 INR. We can create ecommerce website and business website also.
For more details call me at 8586875020 whatsapp 8586875020 skype id speakmeme
75 adwords voucher
75 google adwords voucher code
adwords $100 coupon codes
adwords $300 voucher
adwords £75 voucher uk
adwords 2000 rupees coupon for new account
adwords account voucher
adwords add coupon
adwords add coupon code
adwords add promo
adwords add promo code
adwords coupon
adwords coupon $150
adwords coupon $300
adwords coupon 75
adwords coupon 75 euro
adwords coupon ads
adwords coupon australia
adwords coupon blackhatworld
adwords coupon buy
adwords coupon canada
adwords coupon check
adwords coupon code
adwords coupon code 2019
adwords coupon code for india
adwords coupon code generator
adwords coupon codes
adwords coupon codes 2018
adwords coupon existing account
adwords coupon for existing accounts
adwords coupon for sale
adwords coupon generation trick
adwords coupon hack
adwords coupon india
adwords coupon indonesia
adwords coupon invullen
adwords coupon ireland
adwords coupon mexico
adwords coupon nederland
adwords coupon new account
adwords coupon october 2018
adwords coupon online
adwords coupon policy
adwords coupon setting
adwords coupon shopify
adwords coupon south africa
adwords coupon uk
adwords coupon use
adwords coupon vouchers
adwords coupons for existing accounts
adwords discount code 2018
adwords discount coupon code
adwords express coupon
adwords express coupon code
adwords express promo code
adwords express promo code 2018
adwords express promo code uk
adwords express promotional code
adwords express promotional code 2018
adwords for video coupon
adwords free coupon
adwords google coupon
adwords google promo code
adwords new advertiser coupon
adwords promo code
adwords promo code 100
adwords promo code 2018
adwords promo code australia
adwords promo code coupon
adwords promo code india
adwords promo code reddit
adwords promo code uk
adwords promo code uk 2018
adwords promo extensions
adwords promo kod
adwords promo uk
adwords promotional code
adwords promotional code 100
adwords promotional code 2018
adwords promotional code canada
adwords promotional code for existing accounts
adwords promotional code india
adwords promotional code india 2018
adwords promotional code status
adwords promotional code uk
adwords promotional codes
adwords promotional codes 2018
adwords r600 voucher
adwords remove coupon
adwords thailand voucher
adwords us coupon
adwords us promo code
adwords voucher
adwords voucher 2018
adwords voucher code
adwords voucher existing account
adwords voucher free
adwords voucher uk
adwords vouchers fiverr
adwords-coupon.html
bing adwords coupon
bluehost adwords coupon
buy adwords vouchers
buy google ads credit
buy google adwords coupon codes
coupon adwords 200 euro
coupon code in adwords
coupon di adwords
coupon for google ads
coupon in adwords
coupon reduction adwords
credit for google ads
facebook adwords coupon
fiverr adwords coupon
free adwords coupon code
free adwords voucher uk
free google ads credit uk
free google adwords coupon 2018
free google adwords coupon code
free google adwords promotional code
get free google ads credit
get google ads coupon
get google ads credit
godaddy adwords coupon
godaddy adwords voucher
google ads 150 credit
google ads 2000 credit
google ads 75 credit
google ads charge on credit card
google ads coupon
google ads coupon 2018
google ads coupon australia
google ads coupon code
google ads coupon code 2019
google ads coupon free
google ads coupon india
google ads coupon may 2019
google ads coupon portugal
google ads coupon september 2018
google ads coupon shopify
google ads coupon uae
google ads coupon uk
google ads coupons 2019
google ads credit
google ads credit canada
google ads credit card
google ads credit card charge
google ads credit code
google ads credit free
google ads credit india
google ads credit line
google ads credit panel
google ads credit refund
google ads credit shopify
google ads credit uk
google ads credito
google ads free credit uk
google ads promotional coupon
google ads without credit card
google adwords 75 coupon free
google adwords add coupon code
google adwords coupon $150
google adwords coupon $250
google adwords coupon $300
google adwords coupon 2018
google adwords coupon 2018 uk
google adwords coupon 75
google adwords coupon 75 eur
google adwords coupon 75 euro
google adwords coupon 75 euro 2018
google adwords coupon advertising voucher
google adwords coupon australia
google adwords coupon buy
google adwords coupon code
google adwords coupon code 2018
google adwords coupon code advertising voucher
google adwords coupon code canada
google adwords coupon code for existing customers
google adwords coupon code generator
google adwords coupon code uk
google adwords coupon codes 2018
google adwords coupon egypt
google adwords coupon for existing account
google adwords coupon for new accounts
google adwords coupon free
google adwords coupon generator
google adwords coupon gratuit
google adwords coupon hack
google adwords coupon india
google adwords coupon india 2018
google adwords coupon ireland
google adwords coupon login
google adwords coupon malaysia
google adwords coupon south africa
google adwords coupon uk
google adwords coupon usa
google adwords coupon vouchers
google adwords coupons for existing accounts
google adwords discount coupon
google adwords exam voucher
google adwords express coupon
google adwords express voucher
google adwords first time coupon
google adwords free coupon code
google adwords gratis coupon
google adwords promo code 2018
google adwords promo code 2018 canada
google adwords promo code 2018 uk
google adwords promo code canada 2018
google adwords promo code for existing accounts 2018
google adwords promo code new account
google adwords promo code usa
google adwords promotional code
google adwords promotional code 2018
google adwords promotional code 2019
google adwords promotional code for existing accounts
google adwords promotional code india
google adwords promotional code india 2017
google adwords promotional code india 2018
google adwords promotional code south africa
google adwords promotional code uae
google adwords promotional code uk
google adwords voucher
google adwords voucher £120
google adwords voucher £75
google adwords voucher £75 uk
google adwords voucher 2017 uk
google adwords voucher 2018 uk
google adwords voucher buy
google adwords voucher code
google adwords voucher code generator
google adwords voucher code uk
google adwords voucher for sale
google adwords voucher ireland
google adwords voucher south africa
google adwords voucher uk
google adwords voucher uk 2018
google adwords voucher wix
hostgator adwords coupon
hostgator adwords voucher
how to get adwords promotional code
how to get google ads coupon
how to get google ads credit
how to redeem google ads credit
how to use adwords promotional code
how to use google ads credit
promo adwords account
promotional code for adwords
promotional code of adwords
redeem google ads credit
shopify adwords voucher
squarespace google ads credit
using adwords voucher
view adwords voucher
voucher adwords indonesia
weebly google ads credit
what is google ads credit
wix adwords voucher
Friday, July 12, 2019
Yasmin_discussions Digest, Vol 10, Issue 3
Send Yasmin_discussions mailing list submissions to
yasmin_discussions@ntlab.gr
To subscribe or unsubscribe via the World Wide Web, visit
https://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
or, via email, send a message with subject or body 'help' to
yasmin_discussions-request@ntlab.gr
You can reach the person managing the list at
yasmin_discussions-owner@ntlab.gr
When replying, please edit your Subject line so it is more specific
than "Re: Contents of Yasmin_discussions digest..."
THIS IS THE YASMIN-DISCUSSIONS DIGEST
Today's Topics:
1. Re: dangerous art and dangerous science (YASMIN DISCUSSIONS)
----------------------------------------------------------------------
Message: 1
Date: Thu, 11 Jul 2019 12:13:54 -0400
From: YASMIN DISCUSSIONS <yasmin_discussions@ntlab.gr>
To: Jon Ippolito <jippolito@maine.edu>, yasmin_discussions@ntlab.gr
Subject: Re: [Yasmin_discussions] dangerous art and dangerous science
Message-ID:
<mailman.17.1562867705.33654.yasmin_discussions_ntlab.gr@ntlab.gr>
Content-Type: text/plain; charset=utf-8; format=flowed
Hello everyone,
Before joining in the? discussion, I would like to introduce myself. My
name is Sofian Audry (https://sofianaudry.com/), I am an artist and
researcher working at the crossroad of artificial intelligence art and
computer art. I am Assistant Professor of New Media at the University of
Maine where I teach creative programming and AI for art and design and
where I run the Art + Artificial Agents laboratory (http://a3-lab.com/).
Over the past decade I have been working at the crossroad between
machine learning and art through research-creation / art practice. I am
in the process of writing a book on machine learning and art which
explores how artists have (and haven't been) working with machine
learning since the 1950s, and the significance of art practice as an
alternative approach to machine learning (and more generally to AI).
One of the dangers of AI I would like to point out is the degree of
confusion which seems to surround AI at the moment, presumably in large
parts because most of the content is being generated by the media (who
don't really care about understanding science) or by the
communciation/marketing departments of GAFAM and other corporations that
sell AI (who care about the social acceptability and marketability of
their product). AI is a very wide field and a highly ambiguous term. I
think the discussion becomes most interesting if we are able to
contextualize our reflections around what is specifically new with
current-day AI, and how does this novely specifically affect art,
science, society, etc. in different ways than previous iterations of AI.
I think it's important first to mention that the reason we are talking
so much about AI today is closely related to a specific sub-sub-branch
of AI which used to be called "connectionism" or "neural nets" --
rebranded as "deep learning". To make a long story short, in the
mid-2000s, this field (which was present since the 1940s but had been
largely abandonned by most of the AI community) made a come-back thanks
to a series of breakthroughs where researchers were able to train big,
multi-layered neural nets in ways previously not possible. They also
showed that these new systems were scalable to huge databases (ie. the
more the data, the more they can learn). This was timely because (1)
these findings were immediately applicable to *many* problems, not only
in computer vision, but also bioinformatics, speech, language, finance,
etc. (2) the commercialization of the internet created big databases
that companies could suddenly monetize in unprecedented ways. In
summary: after five decades, AI finally became (highly) profitable and
companies were ready to ripe the benefits.
Another thing I need to mention is that as profitable these new
algorithms are, they are also extremely limited and kind of "dumb". [1]
The kind of "intelligence" they have is really basic, they still need a
lot of data to learn even simple things (much more than humans and
animals do) and when they perform well they can usually do so only in
one very specific task (eg. driving a car, recognizing faces, composing
music that sounds like Chopin, etc) we are thus very far from animal,
let alone human-level cognition.
So if machine learning and in particular "deep learning" is driving the
current "AI hype" what does this mean for the arts?
I agree with Jon that contemporary AI is not so much in a rupture with
earlier algorithmic approaches such as stochastics/chance, complexity
and symoblic AI (eg. expert systems) -- at least, not in the way that
the media portray them (ie. smart magical "black boxes" that can learn
anything and will soon surpass humans in all cognitive tasks). Yet it is
true that deep learning is also very different in essence than more
traditional approaches within AI.
There are three broad areas where artists can work with ML which
correspond to the components that make up a machine learning system: (1)
the learning process (2) the model/machine (3) the data. Most artists
are working on the side of data, using "readymade" algorithms trained on
datasets. The most interesting works are those in which the artists
create their own dataset. For example, to create her work "Mosaic Virus"
UK artist Ana Ridler photographed 10,000 tulips which she acquired in
the Netherlands. She then trained a type of neural net known as a GAN
(Generative Adversarial Network) which is then able to generate new
images of tulips. Ridler also exhibits the dataset itself as a separate
artwork. She reflects on the expensive, repetitive, tiring, long process
required to create the dataset for the algorithm to digest, which is
very akin to craft.
Some artists explore the learning process itself for its aesthetic
potential. This was especially present in pre-2000s artworks, for
example in Karl Sims' Galapagos where the audience could participate to
an evolutive process of artificial lifeforms (which is a form of machine
learning), or in Nicolas Baginsky's The Three Sirens, a robotic improv
jazz band where the robots learned in real time using simple neural
nets. Baginsky describes the evolution of the robot performance through
time, starting with very random music, stabilizing into lively yet more
organized music and eventually becoming too conservative and a bit boring.
The model (ie. the algorithmic structure that is being trained by the
learning procedure on the dataset) plays an important role in a machine
learning system. Different types of models afford different aesthetic
effects, and often involve profoundly different approaches in terms of
practice. As a result, specific artistic movements and genres have
attached themselves to specific kinds of models, for example
evolutionary art concerns mostly parametric functions, whereas the
emerging ?neuro-aesthetics? movances largely concerns itself with the
aesthetic and conceptual potential of generative deep learning neural
networks.
In terms of practice, machine learning is in many ways very different
from traditional computing practice where one has to program all the
rules of the system. Computer programming is more akin to an engineering
approach, where one needs to build a software architecture for what one
has in mind, trying to turn one's ideas into code. With machine
learning, the user (eg. the artist or the data scientist) will instead
provide direct examples to the machine learning system, but let the
system make its own decisions. Hence, this practice is closer to one of
experimental science, where one chooses parameters, runs the experiment,
sees the results, makes adjustements, and build the work through this
iterative process of trials and errors.
Machine learning opens new forms of generative art that interface with
the world [2]. Artist Memo Akten talks about how generative deep neural
nets reveal aspects of our collective consciousness (which are,
nowadays, owned by huge multinational corporations and ironically stored
"in the cloud") [3]. About his project Everything that Happens will
Happen Today, where a generative neural network was trained on a dataset
of GPS paths taken by anonymous participants in NYC, the artist Brian
House writes: "The intelligence of AI is not spontaneous, but
socialized. It is uncanny not because it acts as if it were human, but
because it is humans, plural." [4]
Sofian Audry, PhD, MA, MSc
Assistant Professor of New Media
School of Computing and Information Science
5711 Boardman Hall #238 | +1 207 581-2951
http://sofianaudry.com
University of Maine | Orono, ME 04469
http://umainenewmedia.org | http://imrccenter.com | http://umaine.edu
[1] Yoshua Bengio (one of the most prominent scientists of the field)
has once compared them to "toasters".
[2] This was suggested to me in an interview with Dutch artists
Driessens and Verstappen, who have been working with generative
algorithms since the 1990s. They mentioned that deep learning allowed
them to connect generative systems to the world -- rather than
generative "from scratch" using algorithmic processes.
[3]
https://utvilsm.blogspot.com/2019/06/keeper-of-our-collective-consciousness.html
[4] https://brianhouse.net/works/everything_that_happens_will_happen_today/
On 2019-07-10 1:37 p.m., Jon Ippolito wrote:
> Hi Roger,
>
> You raise fascinating questions about the ethics of AI science to go
> with the questions I raised about AI art. Accountability is a huge
> question for machine learning in general, since the inscrutability of
> evolved neural networks prevents us from auditing them for the machine
> equivalent of mental illness or bigotry. I?m curious if other legal
> scholars may have thought about the gnarly questions that emerge from
> AI-mediated evidence in courtrooms.
>
> I suppose it?s possible that physicists will come up with new laws to
> govern new evolutionary paradigms, as you suggest in your previous
> email. Earlier this week Nobel-winning physicist Frank Wilczek
> reviewed three books on the "end of physics" in the Wall Street
> Journal [paywalled]:
>
> https://www.wsj.com/articles/have-we-come-to-the-end-of-physics-11562334798
>
> The Stuart Kauffman book you liked wasn't among them, but Wilczek
> cited Sabine Hossenfelder ("Lost in Math"), Richard Dawid ("String
> Theory and the Scientific Method") and John Horgan ("The End of
> Science"). Spoiler: Wilczek thinks physics is fine. He?s not worried
> that it has plateaued because physicists can use that foundation to
> make new instruments to look deeper--presumably including AI assistants.
>
> For my part, I?m skeptical that new instruments or theories built upon
> them will clear up the remaining mysteries of the physical world. In
> the 1960s and 70s scientists like Kaufman already helped usher a
> sea-change in accounting for systems far from equilibrium?what we now
> call complexity science. Its insights are bewitching, especially for
> artists: we can emulate the sound of rain from random noise, or make
> realistic-looking scenery with fractals, or just get lost in the
> vertiginous Mandelbrot Set. Complexity science even helps us predict
> the weather?but only to a degree, and nothing like the precise
> clockwork of ballistics. And it seems to me that the technologies our
> mastery of physics have made possible, from algo trading to fracking
> to DDOS attacks, are making the world less predictable rather than
> more so.
>
> Speaking of unpredictability, Bill Joel asked how today?s AI differs
> from John Cage?s use of the I Ching in his compositions. Bill is right
> that algorithmic art has a long history. Chance-based music goes back
> at least to Europe in the 1700s?including a game attributed to
> Mozart?and certainly embodies a similar inscrutability to today?s
> machine learning. (Not much point in cross-examining a pair of dice to
> find out why it rolled snake eyes.)
>
> That said, the unpredictability of today?s machine learning derives
> not from a simple chance operation, nor from an expert system. It can
> be "trained" on many types of data and contexts, but that training is
> an organic process that results in a mess of spaghetti code that works
> but is difficult to tease apart.
>
> I?ll defer to my colleague Sofian Audry to chart the various types of
> AI and how artists have employed them. Till then, as Roger suggests
> I?ll append a brief bio below and look forward to learning from others
> on this list!
>
> jon
> ________________
> Jon Ippolito is Professor of New Media and Director of the Digital
> Curation program at the University of Maine. His current
> projects--including the Variable Media Network, ThoughtMesh, and his
> co-authored books At the Edge of Art and Re-collection--aim to expand
> the art world beyond its traditional preoccupations.
>
>> On Jul 10, 2019, at 5:00 AM, yasmin_discussions-request@ntlab.gr wrote:
>>
>> Send Yasmin_discussions mailing list submissions to
>> yasmin_discussions@ntlab.gr
>>
>> To subscribe or unsubscribe via the World Wide Web, visit
>> https://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
>> or, via email, send a message with subject or body 'help' to
>> yasmin_discussions-request@ntlab.gr
>>
>> You can reach the person managing the list at
>> yasmin_discussions-owner@ntlab.gr
>>
>> When replying, please edit your Subject line so it is more specific
>> than "Re: Contents of Yasmin_discussions digest..."
>>
>>
>> THIS IS THE YASMIN-DISCUSSIONS DIGEST
>>
>>
>> Today's Topics:
>>
>> 1. dangerous art and dangerous science (YASMIN DISCUSSIONS)
>>
>>
>> ----------------------------------------------------------------------
>>
>> Message: 1
>> Date: Wed, 10 Jul 2019 09:50:59 +0200
>> From: YASMIN DISCUSSIONS <yasmin_discussions@ntlab.gr>
>> To: yasmin_discussions@ntlab.gr
>> Subject: [Yasmin_discussions] dangerous art and dangerous science
>> Message-ID:
>> <mailman.8.1562745214.33654.yasmin_discussions_ntlab.gr@ntlab.gr>
>> Content-Type: text/plain; charset="UTF-8"
>>
>> yasminers
>>
>> we have a few new members who have joined the yasmin art/sci/tech village
>> let me encourage all new members to send in a short email introducing
>> themselves
>> and their interests. In a healthy village when you meet a new person
>> on the street, you do this!
>>
>>
>> Meanwhile - i hope other members will join in the discussion on ai and
>> ethics/dangerous art
>> I would like to add to the discussion soup that AI is indeed
>> potentially dangerous but in terry irwin
>> 's language we have not done deep transition design- and expected,
>> predictable, negative aspects are being
>> addressed too late- major instutions are only now setting up programs
>> on AI and ethics (eg MIT), when this should have been started 25 years
>> ago at least.
>>
>> As an astrophysist i am aware of the growing impact on the way that
>> science is done, with the use of AI beings actually being the ones
>> making the discovery and not the human being. In the 'normal' way of
>> doing science one can talk to the scientist and ask probing questions
>> about the methodology, validity of the verification, implicit biaises.
>> Unfortunately scientists now admit that the discovery is made by the
>> AI, but its impossible to interrogate the AI scientist rigorously. At
>> what point does the AI scientist become an actual co author. And when
>> the work done by the AI is found to be erroneous, then the AI
>> scientist retracts the paper and the university dismisses the AI
>> scientist for academic fraud ? I have been using this line of argument
>> to push that we start transition redesigning of science so we can
>> anticipate and mitigate the predictable 'dangerous science' that will
>> result when we accept as fact scientific results and the humans cannot
>> validate or confirm the result. How can you replicate a scientific
>> experiment or analysis when the AI being is unable to explain what
>> they did. Judge John Marshall of Dallas Texas, who worked on the early
>> apollo program, has been trying to argue that the same problem is now
>> arising frequently in legal cases where AI is being used to analyse
>> the evidence and recommend a verdict, but it is impossible to
>> cross-examine the witness as is normal in court. These are all
>> anticipatable dangers.
>>
>> Similarly we now see videos of artificial beings that are
>> indistinguishable on video from the real persons activity that has
>> been edited using ai techniques. Such as the videos now circulating of
>> famous people saying things they never said themselves , but the AI
>> being, an animated X, is totally believable. These techniques were
>> developed by members of the art and technology village. Dangerous art
>> indeed.
>>
>> Maybe the yasmin villagers have some suggestions of how we go forward
>> in the age of dangerous art and dangerous science.
>>
>>
>> Roger is in Paris
>>
>>
>>
>> ------------------------------
>>
>> Subject: Digest Footer
>>
>> _______________________________________________
>> Yasmin_discussions mailing list
>> Yasmin_discussions@ntlab.gr
>> https://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
>>
>>
>> ------------------------------
>>
>> End of Yasmin_discussions Digest, Vol 10, Issue 1
>> *************************************************
------------------------------
Subject: Digest Footer
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@ntlab.gr
https://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
------------------------------
End of Yasmin_discussions Digest, Vol 10, Issue 3
*************************************************
yasmin_discussions@ntlab.gr
To subscribe or unsubscribe via the World Wide Web, visit
https://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
or, via email, send a message with subject or body 'help' to
yasmin_discussions-request@ntlab.gr
You can reach the person managing the list at
yasmin_discussions-owner@ntlab.gr
When replying, please edit your Subject line so it is more specific
than "Re: Contents of Yasmin_discussions digest..."
THIS IS THE YASMIN-DISCUSSIONS DIGEST
Today's Topics:
1. Re: dangerous art and dangerous science (YASMIN DISCUSSIONS)
----------------------------------------------------------------------
Message: 1
Date: Thu, 11 Jul 2019 12:13:54 -0400
From: YASMIN DISCUSSIONS <yasmin_discussions@ntlab.gr>
To: Jon Ippolito <jippolito@maine.edu>, yasmin_discussions@ntlab.gr
Subject: Re: [Yasmin_discussions] dangerous art and dangerous science
Message-ID:
<mailman.17.1562867705.33654.yasmin_discussions_ntlab.gr@ntlab.gr>
Content-Type: text/plain; charset=utf-8; format=flowed
Hello everyone,
Before joining in the? discussion, I would like to introduce myself. My
name is Sofian Audry (https://sofianaudry.com/), I am an artist and
researcher working at the crossroad of artificial intelligence art and
computer art. I am Assistant Professor of New Media at the University of
Maine where I teach creative programming and AI for art and design and
where I run the Art + Artificial Agents laboratory (http://a3-lab.com/).
Over the past decade I have been working at the crossroad between
machine learning and art through research-creation / art practice. I am
in the process of writing a book on machine learning and art which
explores how artists have (and haven't been) working with machine
learning since the 1950s, and the significance of art practice as an
alternative approach to machine learning (and more generally to AI).
One of the dangers of AI I would like to point out is the degree of
confusion which seems to surround AI at the moment, presumably in large
parts because most of the content is being generated by the media (who
don't really care about understanding science) or by the
communciation/marketing departments of GAFAM and other corporations that
sell AI (who care about the social acceptability and marketability of
their product). AI is a very wide field and a highly ambiguous term. I
think the discussion becomes most interesting if we are able to
contextualize our reflections around what is specifically new with
current-day AI, and how does this novely specifically affect art,
science, society, etc. in different ways than previous iterations of AI.
I think it's important first to mention that the reason we are talking
so much about AI today is closely related to a specific sub-sub-branch
of AI which used to be called "connectionism" or "neural nets" --
rebranded as "deep learning". To make a long story short, in the
mid-2000s, this field (which was present since the 1940s but had been
largely abandonned by most of the AI community) made a come-back thanks
to a series of breakthroughs where researchers were able to train big,
multi-layered neural nets in ways previously not possible. They also
showed that these new systems were scalable to huge databases (ie. the
more the data, the more they can learn). This was timely because (1)
these findings were immediately applicable to *many* problems, not only
in computer vision, but also bioinformatics, speech, language, finance,
etc. (2) the commercialization of the internet created big databases
that companies could suddenly monetize in unprecedented ways. In
summary: after five decades, AI finally became (highly) profitable and
companies were ready to ripe the benefits.
Another thing I need to mention is that as profitable these new
algorithms are, they are also extremely limited and kind of "dumb". [1]
The kind of "intelligence" they have is really basic, they still need a
lot of data to learn even simple things (much more than humans and
animals do) and when they perform well they can usually do so only in
one very specific task (eg. driving a car, recognizing faces, composing
music that sounds like Chopin, etc) we are thus very far from animal,
let alone human-level cognition.
So if machine learning and in particular "deep learning" is driving the
current "AI hype" what does this mean for the arts?
I agree with Jon that contemporary AI is not so much in a rupture with
earlier algorithmic approaches such as stochastics/chance, complexity
and symoblic AI (eg. expert systems) -- at least, not in the way that
the media portray them (ie. smart magical "black boxes" that can learn
anything and will soon surpass humans in all cognitive tasks). Yet it is
true that deep learning is also very different in essence than more
traditional approaches within AI.
There are three broad areas where artists can work with ML which
correspond to the components that make up a machine learning system: (1)
the learning process (2) the model/machine (3) the data. Most artists
are working on the side of data, using "readymade" algorithms trained on
datasets. The most interesting works are those in which the artists
create their own dataset. For example, to create her work "Mosaic Virus"
UK artist Ana Ridler photographed 10,000 tulips which she acquired in
the Netherlands. She then trained a type of neural net known as a GAN
(Generative Adversarial Network) which is then able to generate new
images of tulips. Ridler also exhibits the dataset itself as a separate
artwork. She reflects on the expensive, repetitive, tiring, long process
required to create the dataset for the algorithm to digest, which is
very akin to craft.
Some artists explore the learning process itself for its aesthetic
potential. This was especially present in pre-2000s artworks, for
example in Karl Sims' Galapagos where the audience could participate to
an evolutive process of artificial lifeforms (which is a form of machine
learning), or in Nicolas Baginsky's The Three Sirens, a robotic improv
jazz band where the robots learned in real time using simple neural
nets. Baginsky describes the evolution of the robot performance through
time, starting with very random music, stabilizing into lively yet more
organized music and eventually becoming too conservative and a bit boring.
The model (ie. the algorithmic structure that is being trained by the
learning procedure on the dataset) plays an important role in a machine
learning system. Different types of models afford different aesthetic
effects, and often involve profoundly different approaches in terms of
practice. As a result, specific artistic movements and genres have
attached themselves to specific kinds of models, for example
evolutionary art concerns mostly parametric functions, whereas the
emerging ?neuro-aesthetics? movances largely concerns itself with the
aesthetic and conceptual potential of generative deep learning neural
networks.
In terms of practice, machine learning is in many ways very different
from traditional computing practice where one has to program all the
rules of the system. Computer programming is more akin to an engineering
approach, where one needs to build a software architecture for what one
has in mind, trying to turn one's ideas into code. With machine
learning, the user (eg. the artist or the data scientist) will instead
provide direct examples to the machine learning system, but let the
system make its own decisions. Hence, this practice is closer to one of
experimental science, where one chooses parameters, runs the experiment,
sees the results, makes adjustements, and build the work through this
iterative process of trials and errors.
Machine learning opens new forms of generative art that interface with
the world [2]. Artist Memo Akten talks about how generative deep neural
nets reveal aspects of our collective consciousness (which are,
nowadays, owned by huge multinational corporations and ironically stored
"in the cloud") [3]. About his project Everything that Happens will
Happen Today, where a generative neural network was trained on a dataset
of GPS paths taken by anonymous participants in NYC, the artist Brian
House writes: "The intelligence of AI is not spontaneous, but
socialized. It is uncanny not because it acts as if it were human, but
because it is humans, plural." [4]
Sofian Audry, PhD, MA, MSc
Assistant Professor of New Media
School of Computing and Information Science
5711 Boardman Hall #238 | +1 207 581-2951
http://sofianaudry.com
University of Maine | Orono, ME 04469
http://umainenewmedia.org | http://imrccenter.com | http://umaine.edu
[1] Yoshua Bengio (one of the most prominent scientists of the field)
has once compared them to "toasters".
[2] This was suggested to me in an interview with Dutch artists
Driessens and Verstappen, who have been working with generative
algorithms since the 1990s. They mentioned that deep learning allowed
them to connect generative systems to the world -- rather than
generative "from scratch" using algorithmic processes.
[3]
https://utvilsm.blogspot.com/2019/06/keeper-of-our-collective-consciousness.html
[4] https://brianhouse.net/works/everything_that_happens_will_happen_today/
On 2019-07-10 1:37 p.m., Jon Ippolito wrote:
> Hi Roger,
>
> You raise fascinating questions about the ethics of AI science to go
> with the questions I raised about AI art. Accountability is a huge
> question for machine learning in general, since the inscrutability of
> evolved neural networks prevents us from auditing them for the machine
> equivalent of mental illness or bigotry. I?m curious if other legal
> scholars may have thought about the gnarly questions that emerge from
> AI-mediated evidence in courtrooms.
>
> I suppose it?s possible that physicists will come up with new laws to
> govern new evolutionary paradigms, as you suggest in your previous
> email. Earlier this week Nobel-winning physicist Frank Wilczek
> reviewed three books on the "end of physics" in the Wall Street
> Journal [paywalled]:
>
> https://www.wsj.com/articles/have-we-come-to-the-end-of-physics-11562334798
>
> The Stuart Kauffman book you liked wasn't among them, but Wilczek
> cited Sabine Hossenfelder ("Lost in Math"), Richard Dawid ("String
> Theory and the Scientific Method") and John Horgan ("The End of
> Science"). Spoiler: Wilczek thinks physics is fine. He?s not worried
> that it has plateaued because physicists can use that foundation to
> make new instruments to look deeper--presumably including AI assistants.
>
> For my part, I?m skeptical that new instruments or theories built upon
> them will clear up the remaining mysteries of the physical world. In
> the 1960s and 70s scientists like Kaufman already helped usher a
> sea-change in accounting for systems far from equilibrium?what we now
> call complexity science. Its insights are bewitching, especially for
> artists: we can emulate the sound of rain from random noise, or make
> realistic-looking scenery with fractals, or just get lost in the
> vertiginous Mandelbrot Set. Complexity science even helps us predict
> the weather?but only to a degree, and nothing like the precise
> clockwork of ballistics. And it seems to me that the technologies our
> mastery of physics have made possible, from algo trading to fracking
> to DDOS attacks, are making the world less predictable rather than
> more so.
>
> Speaking of unpredictability, Bill Joel asked how today?s AI differs
> from John Cage?s use of the I Ching in his compositions. Bill is right
> that algorithmic art has a long history. Chance-based music goes back
> at least to Europe in the 1700s?including a game attributed to
> Mozart?and certainly embodies a similar inscrutability to today?s
> machine learning. (Not much point in cross-examining a pair of dice to
> find out why it rolled snake eyes.)
>
> That said, the unpredictability of today?s machine learning derives
> not from a simple chance operation, nor from an expert system. It can
> be "trained" on many types of data and contexts, but that training is
> an organic process that results in a mess of spaghetti code that works
> but is difficult to tease apart.
>
> I?ll defer to my colleague Sofian Audry to chart the various types of
> AI and how artists have employed them. Till then, as Roger suggests
> I?ll append a brief bio below and look forward to learning from others
> on this list!
>
> jon
> ________________
> Jon Ippolito is Professor of New Media and Director of the Digital
> Curation program at the University of Maine. His current
> projects--including the Variable Media Network, ThoughtMesh, and his
> co-authored books At the Edge of Art and Re-collection--aim to expand
> the art world beyond its traditional preoccupations.
>
>> On Jul 10, 2019, at 5:00 AM, yasmin_discussions-request@ntlab.gr wrote:
>>
>> Send Yasmin_discussions mailing list submissions to
>> yasmin_discussions@ntlab.gr
>>
>> To subscribe or unsubscribe via the World Wide Web, visit
>> https://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
>> or, via email, send a message with subject or body 'help' to
>> yasmin_discussions-request@ntlab.gr
>>
>> You can reach the person managing the list at
>> yasmin_discussions-owner@ntlab.gr
>>
>> When replying, please edit your Subject line so it is more specific
>> than "Re: Contents of Yasmin_discussions digest..."
>>
>>
>> THIS IS THE YASMIN-DISCUSSIONS DIGEST
>>
>>
>> Today's Topics:
>>
>> 1. dangerous art and dangerous science (YASMIN DISCUSSIONS)
>>
>>
>> ----------------------------------------------------------------------
>>
>> Message: 1
>> Date: Wed, 10 Jul 2019 09:50:59 +0200
>> From: YASMIN DISCUSSIONS <yasmin_discussions@ntlab.gr>
>> To: yasmin_discussions@ntlab.gr
>> Subject: [Yasmin_discussions] dangerous art and dangerous science
>> Message-ID:
>> <mailman.8.1562745214.33654.yasmin_discussions_ntlab.gr@ntlab.gr>
>> Content-Type: text/plain; charset="UTF-8"
>>
>> yasminers
>>
>> we have a few new members who have joined the yasmin art/sci/tech village
>> let me encourage all new members to send in a short email introducing
>> themselves
>> and their interests. In a healthy village when you meet a new person
>> on the street, you do this!
>>
>>
>> Meanwhile - i hope other members will join in the discussion on ai and
>> ethics/dangerous art
>> I would like to add to the discussion soup that AI is indeed
>> potentially dangerous but in terry irwin
>> 's language we have not done deep transition design- and expected,
>> predictable, negative aspects are being
>> addressed too late- major instutions are only now setting up programs
>> on AI and ethics (eg MIT), when this should have been started 25 years
>> ago at least.
>>
>> As an astrophysist i am aware of the growing impact on the way that
>> science is done, with the use of AI beings actually being the ones
>> making the discovery and not the human being. In the 'normal' way of
>> doing science one can talk to the scientist and ask probing questions
>> about the methodology, validity of the verification, implicit biaises.
>> Unfortunately scientists now admit that the discovery is made by the
>> AI, but its impossible to interrogate the AI scientist rigorously. At
>> what point does the AI scientist become an actual co author. And when
>> the work done by the AI is found to be erroneous, then the AI
>> scientist retracts the paper and the university dismisses the AI
>> scientist for academic fraud ? I have been using this line of argument
>> to push that we start transition redesigning of science so we can
>> anticipate and mitigate the predictable 'dangerous science' that will
>> result when we accept as fact scientific results and the humans cannot
>> validate or confirm the result. How can you replicate a scientific
>> experiment or analysis when the AI being is unable to explain what
>> they did. Judge John Marshall of Dallas Texas, who worked on the early
>> apollo program, has been trying to argue that the same problem is now
>> arising frequently in legal cases where AI is being used to analyse
>> the evidence and recommend a verdict, but it is impossible to
>> cross-examine the witness as is normal in court. These are all
>> anticipatable dangers.
>>
>> Similarly we now see videos of artificial beings that are
>> indistinguishable on video from the real persons activity that has
>> been edited using ai techniques. Such as the videos now circulating of
>> famous people saying things they never said themselves , but the AI
>> being, an animated X, is totally believable. These techniques were
>> developed by members of the art and technology village. Dangerous art
>> indeed.
>>
>> Maybe the yasmin villagers have some suggestions of how we go forward
>> in the age of dangerous art and dangerous science.
>>
>>
>> Roger is in Paris
>>
>>
>>
>> ------------------------------
>>
>> Subject: Digest Footer
>>
>> _______________________________________________
>> Yasmin_discussions mailing list
>> Yasmin_discussions@ntlab.gr
>> https://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
>>
>>
>> ------------------------------
>>
>> End of Yasmin_discussions Digest, Vol 10, Issue 1
>> *************************************************
------------------------------
Subject: Digest Footer
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@ntlab.gr
https://ntlab.gr/mailman/listinfo/yasmin_discussions_ntlab.gr
------------------------------
End of Yasmin_discussions Digest, Vol 10, Issue 3
*************************************************
Subscribe to:
Posts (Atom)