Since the launch of applications such as DALL-E, Midjourney, and Stable Diffusion, generative artificial intelligence has been controversial as a tool for creating artwork. While some have presented longtermist worries about these technologies as harbingers of fully automated futures to come, more pressing is the impact of generative AI on creative labour in the present. Already, business leaders have begun replacing human artistic labour with AI-generated images. In response, the artistic community has launched a protest movement, which argues that AI (...) image generation is a kind of theft. This paper analyzes, substantiates, and critiques these arguments, concluding that AI image generators involve an unethical kind of labour theft. If correct, many other AI applications also rely upon theft. (shrink)

AI’s new ability to create artworks is seen as a major challenge to today’s understanding of art. There is a strong tension between people who predict that AI will replace artists and critics who claim that AI art will never be art. Furthermore, recent studies have documented a negative bias towards AI art. This paper provides a philosophical explanation for this negative bias, based on our shared understanding of the ontological differences between objects. We argue that our perception of art (...) depends on our understanding of the context of its creation: human-made art is experienced as an interplay between the artist and nature. In AI-generated art, this interplay is either absent or minimised. We conclude that the displacement of the “human factor” in art will not lead to an evolution of art, but to the end of art. (shrink)

The recent swell of public interest in AI image generating software, such as Midjourney, DALL-E 2, and Stable Diffusion, has led to a great deal of consternation among conventional visual artists. Understanding that the process through which these machines generate images depends ultimately on a machine learning process that involves the use of copyrighted artworks, has led many artists to allege that AI art is theft. There has already been a substantive debate in the literature concerning whether this use of (...) copyrighted material by AI image generating software constitutes copyright infringement in the United States. However, the artists’ complaint appears to be a moral claim, rather than a legal one. In this paper, I will argue that these artists are essentially mistaken. Their copyrights should not protect them from this use of their art by AI image generating software. While I am sympathetic to the claims that this technology will harm visual artists, and that there should be some kind of protection afforded to artists against that harm, that harm is not caused by anything analogous to theft. (shrink)

In this reply to my reviewers, I touch upon Husserl’s notion of fantasy. Whereas Kant positions fantasy outside the scope of his own work, Husserl brings it back. The importance of this notion lies in freeing imagination from the tight link to images, as for Husserl imagination is an activity that functions as a “quasi perception.” Ihde and Stiegler enrich Husserl’s analysis of imagination with various aspects of technology: Ihde shows how changes in the technologies that mediate our imagination will (...) necessarily change our imagination; Stiegler broadens Husserl’s analysis of retention. The two theories can be combined into a new understanding of subjectivity that is modeled as layers. Some layers can be performed by AI. The second part deals with the question of whether AI can be imaginative. Traditionally, imaginative creativity is associated with art. Bioart and AI art are brought as examples of a new definition of art, according to which art is the arrangement of materials in a way that produces a meaning. This definition does not refer specifically to creativity. In both forms of art, the biological/artificial and the human cooperate so that the former arranges the materials and the latter produces the meaning, albeit this division of labor is not clear-cut. The result is a co-shaping process. My conclusion is that algorithms can be considered creative by human standards, but this entails a new mode of imagination that is co-shaped and co-shared by humans and algorithms. The layer paradigm explains how such co-shaping works in practice. (shrink)

This collection of quotes demonstrates the elegant simplicity of Ai Weiwei's thoughts on key aspects of his art, politics, and life. A master at communicating powerful ideas in astonishingly few words, Ai Weiwei is known for his innovative use of social media to disseminate his views. The book is organized into six categories: freedom of expression; art and activism; government, power, and moral choices; the digital world; history, the historical moment, and the future; and personal reflections. Together, these quotes span (...) some of the most revealing moments of Ai Weiwei's eventful career-from his risky investigation into student deaths in the 2008 Sichuan earthquake to his arbitrary arrest in 2011-providing a window into the mind of one of the world's most electrifying and courageous contemporary artists. Ai Weiwei is one of China's most influential and inspiring figures. Artist, architect, curator, and activist, he has been an outspoken critic of the Chinese government's stance on human rights and democracy. (shrink)

本书包括:最早的军事智慧之光及其衰落—中国古代近代军事思想;他山之玉和真理源头—外国军事思想;人类最伟大的军事战略—毛泽东军事思想;现代化、正规化革命军队的利器—邓小平新时期军队建设思想;新世纪富国强 兵的行动指南—江泽民国防和军队建设思想五章内容。.

In the treatise On the Spiritual in Art, Wassily Kandinsky divided the creation of art into three categories, the ultimate one of which is called Composition. In this article, I argue that Kandinsky’s classification is similar and comparable to the principle of semi-abstract Chinese freehand brushwork summarized by Zheng Xie in the Inscriptions on Painting - Bamboo. In an attempt to clarify the core of Kandinsky’s strategy of abstraction, i.e. the transformation from painting to writing, I then connect it with (...) the evolution of Chinese characters and the aesthetic theory of Chinese calligraphy, which is also in accord with Kandinsky’s idea of internal necessity and the spirit in art. Through this aesthetic dialogue across time and space, this article aims to bring a new dimension to the understanding of Western abstractionism from the perspective of the oriental philosophy of art. (shrink)

In the realm of man's culture, among the things created by man, art should be beautiful; its primary essential characteristic should be that it be able to evoke a sense of beauty in the person, that by its beauty it be able to provide for the person the pleasure of the sense of beauty. This is a fact that no one can deny outright. However, saying that art should be beautiful is not the same as saying that all art is (...) beautiful. In fact, there is art which is beautiful and art which is not beautiful; and this too is a fact that no one can deny. (shrink)

Time is a necessary element in understanding AI art. Firstly, time reveals the historical process by which art-theoretical predicates move from the unmarked to the marked, which can thus be utilized as a defense for arguing the legitimacy of AI art as art. Furthermore, AI art should be seen as a “new” art that is temporally ahead of the descriptive forms of art theory. Secondly, time provides a unique interpretation of AI artworks’ characteristics and aesthetic experience. The absence of experience, (...) the de-depth of AI artworks, and the “short experience/short memory” aesthetic mode of the masses are closely linked to the scarcity of time in an age of acceleration. Finally, time reflects the loss of “aura” and the new end of art that AI art may bring about. Time provides a defense and explanation of AI art, as well as a perspective for reflecting on the development of art in contemporary times. (shrink)

This paper explores the intersection of art history and AI technology. Special attention is paid to Generative Adversarial Networks (GANs), a machine learning technology widely used in AI art. This technology is particularly interesting to art history and the philosophy of art because it raises enduring questions about the creative process of artmaking, especially what constitutes a new and original work of art. While this is a relatively new area, it is possible to discern emerging directions where art and AI (...) intersect. One pressing issue concerns the use (or misuse) of algorithmically enabled technologies and datasets to perpetuate longstanding art-historical biases. The critical position adopted in this paper shares this concern. I examine a notable example of GAN technology that claims to create original art styles. While such experiments in computational creativity are technically interesting, their artistic aims can be questionable. I argue a mechanical model of artistic development based solely on the autonomy of style is problematic for at least two reasons: 1) it uncritically reinstates a formalist view of art history; 2) it recreates a narrow style-centric ‘historical modernism.’ However, despite voicing these reservations, I also discuss the potential of this technology to engage with topics of critical relevance to art history and the philosophy of art. (shrink)

This text analyses how generative AI systems are being employed in current artistic practice to question certain historical visual narratives, creating representations that challenge some conventional perceptions of the past and thus opening up new perspectives on the experience of temporality. In this regard, special emphasis will be placed on some artistic projects based on generative historical photography practices. These are works that develop new ways around ‘archival aesthetics’ (Sekula in October 39:3–64 1986; Buchloh in Deep storage. collecting, storing and (...) archiving in art [Exhibition catalog]. P.S.1, Nueva York, 1999; Guasch in Arte y archivo, 1920-2010. Genealogías, tipologías y discontinuidades. Akal, Madrid, 2015, etc.) by producing visual archives that do not exist or are alternatives to others. We will therefore analyse works that critically examine how these generative systems can contribute to a revision and re-evaluation of the past, as well as to the problematisation of the ways in which photography has been used for the historical record. These poetics invite subtle reflections on the role of the visual archive in the processes of shaping subjectivity and personal and communal identity. In the final part of the text, we will deal with the study of some artists who, through appropriationist strategies and remakes assisted by generative AI models, revise artistic works from the past, specifically from the photoconceptualism of the 1970s. In these strategies, the thematisation of the relations between photographic register and temporality also plays a leading role. (shrink)

Arthur C. Danto did not live to witness the proliferation of AI in artistic creation. However, his philosophy of art offers key ideas about art that can provide an interesting perspective on artwork generated by artificial intelligence (AI). In this article, I analyze how his ideas about contemporary art, intention, interpretation, and authorship could be applied to the ongoing debate about AI and artistic creation. At the same time, it is also interesting to consider whether the incorporation of AI into (...) artistic creation marks a new chapter in the narrative, which seems to have reached its end, or if it represents a significant rupture with past artistic traditions. (shrink)

For Viennese artist Florian Pumhösl »abstraction is a method«, not a category. Or rather, if abstraction is the defining category of modernism, the objective is to reproduce modernism's problems and limits and exploit relationships among its parts. Considering what Pumhösl calls the »textile complex« of modernism, this essay examines the artist's work in parallel with Charles Sanders Peirce's diagram concept and Gottfried Semper's use of textile diagrams throughout Style in the Technical and Tectonic Arts.

Que dire à des jeunes de vingt ans pour leur conduite dans ce monde qui part à la dérive? La civilisation s'effondre, les valeurs s'inversent, la culture se rétrécit comme une peau de chagrin, les livres comptent moins que les écrans, l'école n'apprend plus à penser mais à obéir au politiquement correct, la famille explosée, décomposée, recomposée se retrouve souvent composée d'ayants droit égotistes et narcissiques. De nouveaux repères surgissent, qui contredisent les anciens : le racisme revient sous forme de (...) racialisme, la phallocratie sous prétexte de néo-féminisme, l'antisémitisme sous couvert d'antisionisme, le fascisme sous des allures de progressisme, le nihilisme sous les atours de la modernité, l'antispécisme et le transhumanisme passent pour des humanismes alors que l'un et l'autre travaillent à la mort de l'homme, l'écologisme se pare des plumes anticapitalistes bien qu'il soit le navire amiral du capital--il y a de quoi perdre pied. J'ai rédigé une série de lettres à cette jeune génération pour lui raconter les racines culturelles de notre époque : elles ont pour sujet la moraline, le néo-féminisme, le décolonialisme, l'islamo-gauchisme, l'antifascisme, la déresponsabilisation, la créolisation, l'antisémitisme, l'écologisme, l'art contemporain, le transhumanisme, l'antispécisme. L'une d'elles explique en quoi consiste l'art d'être français : d'abord ne pas être dupe, ensuite porter haut l'héritage du libre examen de Montaigne, du rationalisme de Descartes, de l'hédonisme de Rabelais, de l'ironie de Voltaire, de l'esprit de finesse de Marivaux, de la politique de Hugo."--Back cover. (shrink)

This study proposed a children’s digital art ability training system with artificial intelligence-assisted learning, which was designed to achieve the goal of improving children’s drawing ability. AI technology was introduced for outline recognition, hue color matching, and color ratio calculation to machine train students’ cognition of chromatics, and smart glasses were used to view actual augmented reality paintings to enhance the effectiveness of improving elementary school students’ imagination and painting performance through the diversified stimulation of colors. This study adopted the (...) quasi-experimental research method and designs the pre-test and post-test for different groups. The research subjects are the Grade 4 students of an elementary school in Taitung City, Taiwan. The test tools included an imagination test and an evaluation of painting performance ability. The test results of a total of 30 students before and after the experiment included the experimental group that received the children’s digital art ability training system with AI-assisted learning and 30 students in the control group that had not received the teaching were analyzed by covariance. These results were supplemented by the description and interpretation of student feedback, teachers’ reflection notes, and other qualitative data to understand the performance of the students in the experimental group in terms of imagination and painting performance. (shrink)

This article critically examines the emergent phenomena of AI-generated and NFT art through the lens of Georg Lukács’ theory of reification and its existential implications. Lukács argued that under capitalism, social relations and human experiences are transformed into objective, quantifiable commodities, leading to a fragmented and alienated consciousness. Applying this framework to AI and NFT art, these technologies can be said to represent extreme examples of the reification of art and creativity in the digital age. AI art generators reduce artistic (...) production to abstract, computable properties divorced from lived experience, while NFTs transform digital art into speculative commodities, imposing the logic of private property and exchange value onto the previously open domain of online culture. The existential dimension of this reification is explored, raising questions about the nature of creativity, originality, and the value of art in an increasingly financialized and automated world. The article suggests that a Lukácsian critique must not only diagnose the reified character of these cultural forms but also identify their potential for resistance and transformation, pointing toward a re-humanized and emancipatory vision of art in the digital age. Contemporary theorists such as Tiziana Terranova, Nick Dyer-Witheford, and Benjamin Noys are invoked to further elucidate these issues. (shrink)

This paper investigates the transformative influence of generative AI on the arts, connecting it with Walter Benjamin's insights regarding the aura of art in the mechanical reproduction era. It scrutinizes how generative AI not only redefines art's traditional aura but also introduces a dynamic interplay between technological liberation and dependency. The analysis extends to the democratization of artistic expression and its broader societal impacts, highlighting a shift in art creation, perception, and interpretation in the digital age. This research encapsulates the (...) evolving nature of authenticity, creativity, and human–machine collaboration, marking a significant paradigm shift in art's conception and its role in society. (shrink)

After briefly discussing ekphrasis’s historical significance and function in the arts and its continued relevance as an effective artistic practice, this essay explores the concept of digital ekphrasis in the age of artificial intelligence and digital image generation. The discussion focuses on popular AI models readily available online, such as Midjourney, Dall-e, Stable Diffusion, and Firefly. By examining prominent examples of AI art or so-called popular “prompt art” – including Refik Anadol’s award-winning and mesmerizing AI project “Unsupervised” (MoMA, New York, (...) 2023) and the viral Midjourney prompt “The Pope wearing a Balencia-ga puffer jacket” (Spring 2023) – the author questions whether we can also speak of a computational ekphrasis in the age of artificial intelligence and AI models as our new co-creative collaborators. Therefore, the essay considers a praxeology of digital ekphrasis, exploring how efficient text instructions for AI models are now used to create compelling images in a new digital aesthetic that affects their global audience. (shrink)

The use of AI-generated videos centered on the face raises various concerns among professionals and audiences due to the difficulty of providing coherent descriptive tools of their cultural significance. At the same time, the focus of artists and their audiences shifts from the art as a text to the collaboration process between artificial intelligence (AI) and the involved social actors. This raises significant concerns between policymakers and other social actors looking for guidelines for the appropriate use of AI as a (...) tool, collaborator or substitute for creative workers, which can have immediate and long-term impacts on society and culture. Semiotics of culture provides descriptive tools for understanding and evaluating artistic texts and their role in semiotic space, the semiosphere. This article addresses how Lotman’s theory can contribute to the methodology for analyzing AI-generated texts as dynamic models. The theoretical framework developed by Lotman in his research on artistic text, dynamic systems and culture can be applied to the studies of current shifts related to AI-generated arts. This paper looks at the reception of AI-generated videos focused on face representations. In doing so, it analyses the dynamic processes in the creation process of AI-generated videos through their reception in related texts. The findings of this article highlight how Lotman’s theoretical framework can contribute to the methodology to analyze the cultural dynamics evoked by AI-generated artistic texts. (shrink)

From a Benjaminian point of view, AI-generated art is distinct from both ‘traditional’ art and technologically enabled reproduction, for example, photography and film. Instead of mere mechanical representation of the world as it is presented to a device, AI-generated art involves identification and inventive representation of data patterns. This specific mode of data-based generation exceeds mere surface-level mimicry and enables deeper meaning, namely, an insight into the collective unconscious of the society. In this way, AI-generated art is never detached from (...) society and the predominant social conditions while also reflecting the technology-induced transformations that today’s societies are undergoing. Thus, AI-generated art can be seen as capable of partly reversing the loss of auratic capacities that hand ensued with mechanical reproduction. Still, as a matter of continuity, AI-generated works enable the maximisation of exhibition value and capacity for audience enjoyment, rendering AI-generated art perfect for the age of increasing distraction. (shrink)

Walter Benjamin wrote his prophetic essay, “The Work of Art in the Age of Mechanical Reproduction,” almost a century ago, yet it is still pertinent today. Benjamin warned that as art becomes devoid of aura through reproduction, less attention is needed to engage with it. What role does aura play in AI-generated work? Despite recent advances in AI it produces “artwork” that for the most part operates as entertainment. It can’t produce work that has grown out of reckoning with culture (...) the way artists do in their efforts to provide space for grappling with deep questions that ultimately inform culture. Nevertheless, AI is potentially more disruptive to Art than to any other field. If AI becomes the dominant producer of art, this could lead to a sort of consensus trance with a generation of people consuming “art” that does not inspire questioning and new understandings of the world we live in. For centuries, the term “computer” referred to living, breathing humans. Today, no person can claim the title. Is this the fate of “artist”? By problematizing the ways we use AI, artists can help address the problem of how we as a culture should engage with it. (shrink)

This book discusses the work of four different kinds of artists from four different countries to examine how they create a space for politics in their work.

Artificial intelligence is now capable of generating sophisticated and compelling images from simple text prompts. In this paper, I focus specifically on how artists might make use of AI to create art. Most existing discourse analogizes AI to a tool or collaborator; this focuses our attention on AI’s contribution to the production of an artistically significant output. I propose an alternative approach, the exploration paradigm, which suggests that artists instead relate to AI as a participant: artists create a space for (...) interaction with the AI algorithm by way of their prompts, thereby allowing them to explore the way that the algorithm “sees” and “represents.” AI art practiced in this fashion bears a striking resemblance to contemporary conceptual and participatory art. Viewing AI art in this way has implications for the appreciation of style in AI art; concerns about novelty and originality; and the assignment of artistic credit and copyright. (shrink)

This article considers current advances in tattooing that are challenging community-held views of authorship and ownership, and the need to address this tension. The key challenge is from AI-generated artworks being used as tattoo designs, but the authorial role of the tattooist is also challenged by body art projects such as tattoo collection. Legal clarity for tattooing is lacking, and in addressing this, this article advocates for an open, community-based form of shared copyright ownership and authorship for projects as tattoo (...) collecting, drawing on Dusollier’s and Mendis’ work. This article contributes to both copyright and cultural heritage legal scholarship, and to tattooing scholarship and the tattooing community. AI-generated art being tattooed on people has not been explored in the literature to date, and this article fills this gap. Furthermore, this article contributes a pilot study of the tattoo community’s views on AI-generated tattoos, which is currently lacking from the scholarly debate on AI-generated art. This article argues that the debate within the tattoo community about AI-generated art being used in tattoos needs to be addressed within the community through agreed extra-legal norms, which may well depart from how copyright law decides to approach AI-generated art globally. This article also asserts that AI should _not_ be regarded as the “author” of tattoo works in the traditional copyright sense, as only a human tattooist can draw from a number of cultural, textual, audiovisual and visual, cultural folklore, history and mythical references in creating their tattoo designs, as well as drawing on the client’s personal stories. This article explores the following: (i) an understanding of tattooing as an artform; (ii) tattoos in UK copyright law; (iii) an exploration of the authorial role of the tattooist within tattooing; (iv) the authorial role of the tattooist within tattoo collecting; (v) AI-generated tattoos—perspectives from the tattoo community, through a pilot study of YouTube videos and viewer comments about this; and (vi) a consideration of whether copyright legal reform is the solution for the tattooing community. (shrink)

This book discusses the work of four different kinds of artists from four different countries to examine how they create a space for politics in their work.

This paper delves into the intricate relationship between Artificial Intelligence (AI) and the art ecosystem, emphasizing the need for a decolonizing approach in the face of AI's growing influence. It argues that the development of AI is not just a technological leap but also a significant cultural and societal moment, akin to the advent of moving images that Walter Benjamin famously analyzed. The paper examines how AI, particularly in its current oligarchical and corporate-driven form, perpetuates and magnifies the existing social (...) inequalities, thereby necessitating a critical and radical rethinking of its role in society and the arts. At the heart of the discussion is the concept of AI as a broad term encompassing various forms of machine intelligence, from natural language processing to computer vision. The paper criticizes the dominant anthropocentric view of intelligence and creativity, proposing a more inclusive approach that considers the diverse forms of intelligence present in other species and potentially in AI itself. It underscores the role of AI in shaping the art ecosystem, not just in the creative process but also in gatekeeping and decision-making. The paper proposes a framework for decolonizing AI in the art ecosystem, focusing on four key tasks: recognizing access as a form of power, understanding and addressing biases inherent in AI, assessing the impact of AI on marginalized communities, and challenging dominant narratives and epistemologies to create space for alternative voices and perspectives. It emphasizes the need for artists and the art community to engage actively with AI, shaping its development towards more equitable and just outcomes. In conclusion, the paper calls for a radical reimagination of AI's role in society and the arts, advocating for a future where AI is not just about technological advancement but also about fostering a more inclusive, equitable, and creatively diverse world. It invites artists, thinkers, and innovators to join in this journey of reimagining and reshaping the future of AI and the art ecosystem. (shrink)

The advent of AI calls for an existential self-redefinition of humanity. It necessitates the establishment of a pluralistic global humanist culture that enables us to coexist in the new world of active media and autopoietic technology. In this paper, related philosophical questions give rise to the proposal of a novel metaculture that elevates human heritages and cultural memories to the plane of a digital AI- based infrastructure. I argue for a balanced and holistic approach to human-to-human and human–AI interactions and (...) metaculture that can be developed in the form of combinatorial “metagames” that reflect the potential of human consciousness, transcend the boundaries between technology, human embodiment and biology, the arts, sciences and humanities, and philosophy, and, finally, include the element of meaningful coincidence and spontaneity “in the second potency.” Hermann Hesse’s final novel, The Glass Bead Game, offers a key to understanding this basic idea. His vision is extremely relevant today. Based on this, the concept of cultivating global cultural memories through innovative aesthetic-epistemic “Glass Bead Games 2.0” is discussed further from a systematic angle. To complement this, reference is also made to Hesse’s own source of inspiration: Novalis’s “encyclopedist” approach interlinks aesthetic and epistemic productivity in a way that could become a major starting point to create a new holistic metaculture in the Age of AI. (shrink)

In two experiments (total N=693) we explored whether people are willing to consider paintings made by AI-driven robots as art, and robots as artists. Across the two experiments, we manipulated three factors: (i) agent type (AI-driven robot v. human agent), (ii) behavior type (intentional creation of a painting v. accidental creation), and (iii) object type (abstract v. representational painting). We found that people judge robot paintings and human painting as art to roughly the same extent. However, people are much less (...) willing to consider robots as artists than humans, which is partially explained by the fact that they are less disposed to attribute artistic intentions to robots. (shrink)

Generative AI has seen significant advances, particularly in text-to-image, with the potential to revolutionize industries, especially in creative fields such as art and design. This innovation is especially important in architecture, where idea visualization is critical. Text-to-image tools, a form of generative AI, enable architects and designers to visually bring their concepts to life. The study explores the impact of prompt-based AI generation on architecture, asking whether it is enhancing efficiency, creativity, and sustainability or threatening to replace architects. To address (...) concerns about the role of AI in the profession, the research examines the perceptions of architecture professionals in Egypt. The authors conducted a survey and interviews with industry experts to assess the transformative impacts of AI on architecture. The findings reveal a strong awareness of AI's potential to enhance design quality and project outcomes, although some concerns about job prospects and control over AI outputs persist. Small firms view AI as vital for optimizing operations and attracting clients. Overall, AI shows promise in conceptualization and visualization, enhancing creativity and efficiency, with architects needing to adapt to AI as a tool for innovation rather than a competitor. Finally, the study proposes a roadmap for improving the use of AI in architecture. (shrink)

This paper explores the interplay between AI metrics and policymaking by examining the conceptual and methodological frameworks of global AI metrics and their alignment with National Artificial Intelligence Strategies (NAIS). Through topic modeling and qualitative content analysis, key thematic areas in NAIS are identified. The findings suggest a misalignment between the technical and economic focus of global AI metrics and the broader societal and ethical priorities emphasized in NAIS. This highlights the need to recalibrate AI evaluation frameworks to include ethical (...) and other social considerations, aligning AI advancements with the United Nations Sustainable Development Goals (SDGs) for an inclusive, ethical, and sustainable future. (shrink)

By mid-2019 there were more than 80 AI ethics guides available in the public domain. Despite this, 2020 saw numerous news stories break related to ethically questionable uses of AI. In part, this is because AI ethics theory remains highly abstract, and of limited practical applicability to those actually responsible for designing algorithms and AI systems. Our previous research sought to start closing this gap between the ‘what’ and the ‘how’ of AI ethics through the creation of a searchable typology (...) of tools and methods designed to translate between the five most common AI ethics principles and implementable design practices. Whilst a useful starting point, that research rested on the assumption that _all_ AI practitioners are aware of the ethical implications of AI, understand their importance, and are actively seeking to respond to them. In reality, it is unclear whether this is the case. It is this limitation that we seek to overcome here by conducting a mixed-methods qualitative analysis to answer the following four questions: what do AI practitioners understand about the need to translate ethical principles into practice? What motivates AI practitioners to embed ethical principles into design practices? What barriers do AI practitioners face when attempting to translate ethical principles into practice? And finally, what assistance do AI practitioners want and need when translating ethical principles into practice? (shrink)

The advent of Artificial Intelligence (AI) and other digital technologies is touted as ushering in the fourth industrial revolution (4IR). 4IR, also known as ‘Industry 4.0,’ pertains to the burning internet connectivity, sophisticated analytics and production, and automation’s transformative impacts on the world. The surge of change in the production arena started in the second half of 2010 and has continued to increase astronomically, with a remarkable probability of shaping the future of manufacturing and humanity. The 4IR is thus heralding (...) areas such as digitalisation, artificial intelligence, cloud computing, robotics, and 3D technologies amidst many other innovative digital technologies following the first, second and third industrial revolutions. The problem this paper addresses is the role of Arts and humanities (A&H) in the era of AI. Should A&H imbibe the empirical science methodology to stay relevant? How does A&H contribute to 4IR? Leveraging on philosophical tools of arguments and reconstruction of ideas, this paper argues for the significance of Kant’s thoughts in The Contest of the Faculties and that Arts and humanities are instrumental to humanising science and technology, helping to shape interdisciplinary collaboration and fostering understanding of the ethical, social and cultural dimensions of AI. (shrink)

AI for social good is a thriving research topic and a frequently declared goal of AI strategies and regulation. This article investigates the requirements necessary in order for AI to actually serve a public interest, and hence be socially good. The authors propose shifting the focus of the discourse towards democratic governance processes when developing and deploying AI systems. The article draws from the rich history of public interest theory in political philosophy and law, and develops a framework for ‘public (...) interest AI’. The framework consists of (1) public justification for the AI system, (2) an emphasis on equality, (3) deliberation/ co-design process, (4) technical safeguards, and (5) openness to validation. This framework is then applied to two case studies, namely SyRI, the Dutch welfare fraud detection project, and UNICEF’s Project Connect, that maps schools worldwide. Through the analysis of these cases, the authors conclude that public interest is a helpful and practical guide for the development and governance of AI for the people. (shrink)

The new wave of ‘foundation models’—general-purpose generative AI models, for production of text (e.g., ChatGPT) or images (e.g., MidJourney)—represent a dramatic advance in the state of the art for AI. But their use also introduces a range of new risks, which has prompted an ongoing conversation about possible regulatory mechanisms. Here we propose a specific principle that should be incorporated into legislation: that any organization developing a foundation model intended for public use must demonstrate a reliable detection mechanism for the (...) content it generates, as a condition of its public release. The detection mechanism should be made publicly available in a tool that allows users to query, for an arbitrary item of content, whether the item was generated (wholly or partly) by the model. In this paper, we argue that this requirement is technically feasible and would play an important role in reducing certain risks from new AI models in many domains. We also outline a number of options for the tool’s design, and summarize a number of points where further input from policymakers and researchers would be required. (shrink)

AI ethics is proposed, by the Big Tech companies which lead AI research and development, as the cure for diverse social problems posed by the commercialization of data-intensive technologies. It aims to reconcile capitalist AI production with ethics. However, AI ethics is itself now the subject of wide criticism; most notably, it is accused of being no more than “ethics washing” a cynical means of dissimulation for Big Tech, while it continues its business operations unchanged. This paper aims to critically (...) assess, and go beyond the ethics washing thesis. I argue that AI ethics is indeed ethics washing, but not only that. It has a more significant economic function for Big Tech. To make this argument I draw on the theory of intellectual monopoly capital. I argue that ethics washing is better understood as a subordinated innovation network: a dispersed network of contributors beyond Big Tech’s formal employment whose research is indirectly planned by Big Tech, which also appropriates its results. These results are not intended to render AI more ethical, but rather to advance the business processes of data-intensive capital. Because the parameters of AI ethics are indirectly set in advance by Big tech, the ostensible goal that AI ethics sets for itself—to resolve the contradiction between business and ethics—is in fact insoluble. I demonstrate this via an analysis of the latest trend in AI ethics: the operationalization of ethical principles. (shrink)

The promises and risks of Artificial Intelligence permeate current policy statements and have attracted much attention by AI governance research. However, most analyses focus exclusively on AI policy on the national and international level, overlooking existing federal governance structures. This is surprising because AI is connected to many policy areas, where the competences are already distributed between the national and subnational level, such as research or economic policy. Addressing this gap, this paper argues that more attention should be dedicated to (...) subnational efforts to shape AI and asks which themes are discussed in subnational AI policy documents with a case study of Germany’s 16 states. Our qualitative analysis of 34 AI policy documents issued on the subnational level demonstrates that subnational efforts focus on knowledge transfer between research and industry actors, the commercialization of AI, different economic identities of the German states, and the incorporation of ethical principles. Because federal states play an active role in AI policy, analysing AI as a policy issue on different levels of government is necessary and will contribute to a better understanding of the developments and implementations of AI strategies in different national contexts. (shrink)

Two leaders in the field offer a compelling analysis of the current state of the art and reveal the steps we must take to achieve a truly robust artificial intelligence. Despite the hype surrounding AI, creating an intelligence that rivals or exceeds human levels is far more complicated than we have been led to believe. Professors Gary Marcus and Ernest Davis have spent their careers at the forefront of AI research and have witnessed some of the greatest milestones in the (...) field, but they argue that a computer beating a human in Jeopardy! does not signal that we are on the doorstep of fully autonomous cars or superintelligent machines. The achievements in the field thus far have occurred in closed systems with fixed sets of rules, and these approaches are too narrow to achieve genuine intelligence. The real world, in contrast, is wildly complex and open-ended. How can we bridge this gap? What will the consequences be when we do? Taking inspiration from the human mind, Marcus and Davis explain what we need to advance AI to the next level, and suggest that if we are wise along the way, we won't need to worry about a future of machine overlords. If we focus on endowing machines with common sense and deep understanding, rather than simply focusing on statistical analysis and gatherine ever larger collections of data, we will be able to create an AI we can trust--in our homes, our cars, and our doctors' offices. Rebooting AI provides a lucid, clear-eyed assessment of the current science and offers an inspiring vision of how a new generation of AI can make our lives better. (shrink)