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)

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)

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)

The purpose of this report is to systematize the role of artificial intelligence for the teaching of anatomy in medicine. Experience of teachers in using new technologies (Google Classroom, 3D atlases, WordPress, Facebook, Virtual Reality, etc.) in teaching human anatomy to students of various health specialties for the last 4 years is described. Currently available tools such as ChatGPT 4, Google Gemini, Microsoft Bing Copilot, are not designed for this purpose and fail to generate anatomically correct training images. This situation (...) attends professional attention as well as needs some philosophical remarks on the problem. Popular directions for the development of AI technologies are video generators and editors, image and art generators, painting and drawing tools, writing tools and text generators, music and audio generators, face generators, avatar generators. The benefits and drawbacks of the introduction of artificial intelligence in the teaching of anatomy are discussed and the conclusion that there is a benefit and necessity of its practical inclusion in the pedagogical tools is substantiated. (shrink)

In the 1960s, there were efforts to move broadcast television in the direction of the experimental video art by altering television's conventional format. Fred Barzyk, in his role as a producer and director at WGBH-TV in Boston, was uniquely positioned to act as a link between television and experimental video artists who normally would not have had access to the technology available at a major broadcast facility. As the leading innovator in the beginnings of video art, the (...) Korean American Nam June Paik (1932-2006) deserves special mention. His work bridges the worlds of art, video technology, and television. The video works of Nan June Paik, Amy Greenfield, Peter Campus, Feng Meng Bo, Elizabeth Sussman and other video artists are considered in this essay as key contributors to the development of video art. The selection is based on my experience with the artists cited. Despite video art's growing popularity among contemporary artists in the 1970s and beyond, the museums were slow to acknowledge this development. One of the problems was deciding where, among the existing museum collections, to locate video art. In its 50 some years of history, video art has enjoyed a remarkable success in its artistic innovations while undergoing changes in formats virtually at the speed of rapid advances in electronic visual technology. Ironically, the legacy of creative television set in motion by Barzyk and his generation has been largely coopted by the television broadcasting industry, which mainly serves as a platform for mass media advertising. (shrink)

A survey conducted in 2023 surveyed 3,017 high school and college students. It found that almost one-third of them confessed to using ChatGPT for assistance with their homework. The rise of Large Language Models (LLMs) such as ChatGPT and Gemini has led to a surge in academic misconduct. Students can now complete their assignments and exams just by asking an LLM for solutions to the given problem, without putting in the effort required for learning. And, what is more worrying, educators (...) do not have the proper tools to detect it. The more advanced AI tools become, the more human-like text they generate, and the more difficult they are to detect. Additionally, some educators find it difficult to adapt their teaching and assessment methods to avoid plagiarism. This paper is focused on how LLMs and AI-Generated Content (AIGC) have affected education. It first shows the relationship between LLMs and academic dishonesty. Then, it reviews state-of-the-art solutions for preventing academic plagiarism in detail, including a survey of the main datasets, algorithms, tools, and evasion strategies for plagiarism detection. Lastly, it identifies gaps in existing solutions and presents potential long-term solutions based on AI tools and educational approaches to address plagiarism in an ever-changing world. (shrink)

In artificial-intelligence (AI) and computer-vision research, photographic images are typically referred to as natural images. This means that images used or produced in this context are conceptualized within a binary as either natural or synthetic. Recent advances in creative AI technology, particularly generative adversarial networks and diffusion models, have afforded the ability to create photographic-seeming images, that is, synthetic images that appear natural, based on learnings from vast databases of digital photographs. Contemporary discussions of these images have thus far revolved (...) around the political and social implications of producing convincing fake photographs. However, these images are of theoretical interest for the fields of art history and visual studies for additional reasons. AI-generated photographic images resonate with many of the classic themes in photography: nature and the real, the unconscious and the uncanny, and discourses of power. This article therefore seeks to answer the question: Can photorealistic AI-generated images be defined as photographs? I argue that AI-generated photographs do indeed belong within in the wider discourse of photography, given their form and interpretation. (shrink)

Until now, the mass spread of fake news and its negative consequences have implied mainly textual content towards a loss of citizens' trust in institutions. Recently, a new type of machine learning framework has arisen, Generative Adversarial Networks (GANs) – a class of deep neural network models capable of creating multimedia content (photos, videos, audio) that simulate accurate content with extreme precision. While there are several areas of worthwhile application of GANs – e.g., in the field of audio-visual production, human-computer (...) interactions, satire, and artistic creativity – their deceptive uses, at least as currently foreseeable, are just as numerous and worrying. The main concern is linked to the so-called “deepfakes”, fake images or videos that simulate real events with extreme precision. When trained on a human face, GANs can make the face assume hyper-realistic movements, expressions and (verbal and non-verbal) communication abilities. This technology poses an urgent threat to the governance of democratic processes concerning the production of public opinions and political discourses, with significant potential for reality-altering and disinformation. After a short introduction of their current technical state-of-the-art, in this paper we want to enquire the GANs` socio-technical system alongside different and intertwined philosophical accounts. Firstly, we will argue about the conditions that make perceived a GANs-generated content as trustworthy, arguing also about the general effects GANs might have on the perceived trustworthiness of individuals. Thereafter, we will discuss about the inadequacy to approach GANs only as perception-altering technology. Against this backdrop, we will propose a theoretical turn that considers the human-machine relationships of trustworthiness as elements of a broader hybrid socio-technical systems. This turn come up with political repercussions that we will discuss in the last part of the paper. (shrink)

Social media has witnessed different eating practices, including food mukbang. Food mukbang is a type of video presentation where hosts consume large quantities of food while interacting with viewers. This study is situated on the social eating theory, which explains how people connect their individual interests with society. Though this practice has been on social media platforms for a while now, little is known about its health impact on a wide range of audiences. Unhealthy eating practices are associated with (...) obesity and other chronic diseases, which are the leading causes of death in the world today. Given that there are unhealthy eating practices in food mukbang videos on social media, we collected thirty (30) food mukbang creative common license YouTube videos, and we extracted 2297 comments from these videos to study the trends. In view of this, we found that there is a collection of more unhealthy foods eaten to entertain viewers, different unhealthy eating behaviors such as eating quickly, talking while eating, and putting too much food in the mouth. In addition, we found that the viewers’ sentiments were positive, and they loved watching these videos. Hence, in its best practice, we propose an AI-driven persuasive intervention because AI technologies are capable of detecting unhealthy eating patterns and persuasive interventions can promote a change in behavior (healthy eating behavior). Based on our findings, we present three design recommendations for YouTube and other social media designers to consider in future: (1) using artificial intelligence-related technologies for predicting videos, (2) using natural language processing to prompt feedback, and (3) auto-generating disclaimers at the beginning and end of the video. (shrink)

Everyday life is increasingly restructured by algorithms that participate, not only as medium, but also as partners, co-creators, mentors, and figures of authority, in our affective and creative experiences. Their agentic capacity is enabled by big data capitalism as well as through the newly acquired ability to generate meaning (text) and visuals (images, videos, holograms). AI technology engages with aspects of existence that constitute the core of what it means to be human. Promising transcendence of existential givens it induces an (...) illusory sense of safety, as it brings us even closer to a confrontation with constitutive ontological complexities. For instance, AI technology commits to a transcendence of mortality, luring humans to envision the possibility of “digital resurrection” and of acquiring immortality via a merger with machines. Seduced by the seeming omnipotence manufactured for us in the digital world, which molds itself to our wishes, we end up questioning not only our agency and freedom but the very fact of being alive. In addition, in the current epidemic of loneliness, in which inter-human connections are thinning out and our reliance on chatbots for friendship, care, and romance increases, humanity is confronted with the state of fundamental isolation and the desire for intimacy and community. This article meditates on AI technology’s tendency to colonize aspects of life that are at the core of humanity, namely meaning, freedom, death, and intimacy, as well as on the societal risks associated with fundamentally altering our understanding of these matters. (shrink)

This study identifies alternative models for the production of AI-generated images to those currently used by mainstream AI platforms. Based on primitive computational art processes, these systems allow designers to gain greater control over the final visual result while avoiding potential issues with intellectual property theft and breach of privacy. The article starts by analysing the level of artificiality that might be effectively attributed to each part of the creative process involved in the development of AI-generated images. It (...) then moves on to discuss the extent to which individual actors intervene in each of these stages, with the aim of untangling the different subjectivities that would ultimately shape the meaning of AI-generated photographs, and identifying existing AI models that are able to offer practical solutions for every designer to retain creative autonomy over their AI creations. (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)

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)

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)

Filmmaking with Artificial Intelligence Image Generation Models In just about one year, OpenAI’s release of ChatGPT 4 has caused panic in our daily lives. After a year, OpenAI introduced Sora, a moving image-generating model from text, similar to DALL-E for still images. Even though Sora is not yet available to the public, the very potential itself has raised issues in film production from the perspectives of producers and studios, as well as directors, actors, writers, and editors. In this chapter, the (...) role and expected impact of AI video generation technologies, such as OpenAI Sora and Stable Diffusion 3, will be considered in regard to filmmaking. To discuss these issues, it is necessary to further analyze the concept of artificial intelligence, what it means, and how it is misunderstood by the general public. These misunderstandings also lead to sci-fi fantasy and doomsday talk, adding nothing valuable to the debate. Once this concept is defined, the argument of why an artificial general intelligence akin to a human being is unlikely will be set, mostly referring to Hubert Dreyfus and David Chalmers. However, even though the good old-fashioned AI seems impossible, the AI tools we have now seem to be enough to cause many of the problems that the thought of a complete artificial intelligence also brings forth. It is important to treat these tools as tools and not entities in their current forms to focus on the more practical problems regarding human labor, interaction, and experience in the world. In this regard, it is important to look back in history to see how technology has shifted ways of making films. When thought of as such, it becomes clearer that these tools will likely not end human involvement in the practice of creating art but transform the methods and aesthetics of film production, challenging conventions in both artistic and commercial works in some ways and exaggerating them in others. Furthermore, the chapter will consist of the investigation of the impact of various AI tools on human creativity. Regarding human creativity, commercial films will most likely go through a paradigm shift. Production companies will most likely regard this shift as a way of improving performance and production. However, this advancement poses dire questions in the field and pursuit of creating art. AI tools help automate and accelerate the filmmaking process at the cost of filmmaking as an art form. The discussion will address why commercial filmmaking will see a paradigm shift and loss of some human labor, but in an optimistic world of philosophical thought, film as fine art will gain much in return. This is because AI tools in their current and foreseeable state are not capable of willing to make art due to their limitations regarding embodied cognition, experience, unconsciousness, and intuition. These things make us what we are more than we think. There is no better way to explain why human beings make art than to show how tools do not matter but the ideas and the will to do it. -/- . (shrink)

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)

Arts, Real-Time Video and Interactivity for Sustainability is an ongoing collaborative research project investigating how real-time video, DIY surveillance technologies and sensor data can be used as a tool for environmental awareness, activism and artistic explorations. The project consists of a series of digital contexts for aesthetic contemplation of nature and civic engagement, aiming to foster awareness and empowerment of local populations through DIY surveillance. At the core of the ARTIVIS efforts are a series of interactive installations, that (...) make use of surveillance technologies and real-time video as raw material to promote environmental awareness through the emotion generated by real-time connections with nature. Throughout the project development, the surveillance concept has been shifting from the use of surveillance technology in a centralized platform, to the idea of veillance with distributed peer-to-peer networks that can be used for science and environmental monitoring. In this paper we present the history of the ARTiVIS project, related and inspiring work, describe ongoing research work and explore the present and future challenges of appropriating surveillance technology for artistic, educational and civic engagement purposes. (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)

The use of cross-media and transmedia-based art installation has generated new ways for the audience to appreciate, understand and experience art. Transmedia, the integration of multiple media forms to augment a single narrative, has not only been largely used in commercial films, but has also been used by artists to communicate their message more effectively. In this article, we explore some remarkable multi-channel video installations and transmedia artworks to highlight how this technology has shaped new uses of technology (...) as a new medium to express artistic concepts. We discuss one artwork, an experimental collaboration between artists and scientists, entitled Reefs on the Edge, which communicates valuable information about climate change to a general audience. (shrink)

Recent develops in AI technology have led to increasingly sophisticated forms of video manipulation. One such form has been the advent of deepfakes. Deepfakes are AI-generated videos that typically depict people doing and saying things they never did. In this paper, I demonstrate that there is a close structural relationship between deepfakes and more traditional fake barn cases in epistemology. Specifically, I argue that deepfakes generate an analogous degree of epistemic risk to that which is found in traditional (...) cases. Given that barn cases have posed a long-standing challenge for virtue-theoretic accounts of knowledge, I consider whether a similar challenge extends to deepfakes. In doing so, I consider how Duncan Pritchard’s recent anti-risk virtue epistemology meets the challenge. While Pritchard’s account avoids problems in traditional barn cases, I claim that it leads to local scepticism about knowledge from online videos in the case of deepfakes. I end by considering how two alternative virtue-theoretic approaches might vindicate our epistemic dependence on videos in an increasingly digital world. (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)

Narrative generation is growing in importance for data utilization, particularly in the context of co-creation with artificial intelligence (AI) agents. Narratives can, for example, bridge theoretical objects with social understanding and promote human actions. Furthermore, clarifying the narrative generation mechanism is essential for constructing effective relationships between humans and AI agents. However, the narrative generation mechanism in data utilization processes has not been fully elucidated. In this study, we developed a framework called the hierarchical narrative representation (HieNaR) to systematize the (...) structure of narrative generation in data utilization processes. HieNaR comprises twelve levels, ranging from the set of texts down to the particle level (e.g., text, sentence, word, character, and stroke), allowing for a comprehensive analysis of narrative structures. We evaluated the usefulness of HieNaR through case studies, examining both individual user experiences and collaborative work between humans and an AI agent. The results demonstrated that the data utilization process interprets data by inquiring whether it satisfies higher-level expectations. In collaboration, AI agents can be understood as co-creative partners in data utilization, possessing their own worldviews. Through these findings, this study not only elucidates the mechanism of narrative generation in data utilization processes but also provides a foundation for improving human–AI collaboration. (shrink)

It is a matter of fact that Europe is facing more and more crucial challenges regarding health and social care due to the demographic change and the current economic context. The recent COVID-19 pandemic has stressed this situation even further, thus highlighting the need for taking action. Active and Assisted Living technologies come as a viable approach to help facing these challenges, thanks to the high potential they have in enabling remote care and support. Broadly speaking, AAL can be referred (...) to as the use of innovative and advanced Information and Communication Technologies to create supportive, inclusive and empowering applications and environments that enable older, impaired or frail people to live independently and stay active longer in society. AAL capitalizes on the growing pervasiveness and effectiveness of sensing and computing facilities to supply the persons in need with smart assistance, by responding to their necessities of autonomy, independence, comfort, security and safety. The application scenarios addressed by AAL are complex, due to the inherent heterogeneity of the end-user population, their living arrangements, and their physical conditions or impairment. Despite aiming at diverse goals, AAL systems should share some common characteristics. They are designed to provide support in daily life in an invisible, unobtrusive and user-friendly manner. Moreover, they are conceived to be intelligent, to be able to learn and adapt to the requirements and requests of the assisted people, and to synchronise with their specific needs. Nevertheless, to ensure the uptake of AAL in society, potential users must be willing to use AAL applications and to integrate them in their daily environments and lives. In this respect, video- and audio-based AAL applications have several advantages, in terms of unobtrusiveness and information richness. Indeed, cameras and microphones are far less obtrusive with respect to the hindrance other wearable sensors may cause to one’s activities. In addition, a single camera placed in a room can record most of the activities performed in the room, thus replacing many other non-visual sensors. Currently, video-based applications are effective in recognising and monitoring the activities, the movements, and the overall conditions of the assisted individuals as well as to assess their vital parameters. Similarly, audio sensors have the potential to become one of the most important modalities for interaction with AAL systems, as they can have a large range of sensing, do not require physical presence at a particular location and are physically intangible. Moreover, relevant information about individuals’ activities and health status can derive from processing audio signals. Nevertheless, as the other side of the coin, cameras and microphones are often perceived as the most intrusive technologies from the viewpoint of the privacy of the monitored individuals. This is due to the richness of the information these technologies convey and the intimate setting where they may be deployed. Solutions able to ensure privacy preservation by context and by design, as well as to ensure high legal and ethical standards are in high demand. After the review of the current state of play and the discussion in GoodBrother, we may claim that the first solutions in this direction are starting to appear in the literature. A multidisciplinary debate among experts and stakeholders is paving the way towards AAL ensuring ergonomics, usability, acceptance and privacy preservation. The DIANA, PAAL, and VisuAAL projects are examples of this fresh approach. This report provides the reader with a review of the most recent advances in audio- and video-based monitoring technologies for AAL. It has been drafted as a collective effort of WG3 to supply an introduction to AAL, its evolution over time and its main functional and technological underpinnings. In this respect, the report contributes to the field with the outline of a new generation of ethical-aware AAL technologies and a proposal for a novel comprehensive taxonomy of AAL systems and applications. Moreover, the report allows non-technical readers to gather an overview of the main components of an AAL system and how these function and interact with the end-users. The report illustrates the state of the art of the most successful AAL applications and functions based on audio and video data, namely lifelogging and self-monitoring, remote monitoring of vital signs, emotional state recognition, food intake monitoring, activity and behaviour recognition, activity and personal assistance, gesture recognition, fall detection and prevention, mobility assessment and frailty recognition, and cognitive and motor rehabilitation. For these application scenarios, the report illustrates the state of play in terms of scientific advances, available products and research project. The open challenges are also highlighted. The report ends with an overview of the challenges, the hindrances and the opportunities posed by the uptake in real world settings of AAL technologies. In this respect, the report illustrates the current procedural and technological approaches to cope with acceptability, usability and trust in the AAL technology, by surveying strategies and approaches to co-design, to privacy preservation in video and audio data, to transparency and explainability in data processing, and to data transmission and communication. User acceptance and ethical considerations are also debated. Finally, the potentials coming from the silver economy are overviewed. (shrink)

This study investigates the intricate process of visualizing the concept of paradise through the lens of Artificial Intelligence (AI), employing neural networks to craft intricate visual depictions of utopian realms. The project scrutinizes the prevalent themes associated with paradisiacal imagery, dissecting the intricate weave of religious doctrines, mythologies, and the intrinsic nature of paradise – be it a tangible realm or a metaphysical state. This inquiry critically assesses the role of AI-generated art, derived from complex algebraic formulations, in mirroring (...) conventional iconography and exposing inherent biases. Such revelations underscore the cultural resonance of diverse traditions and the potential presence of subconscious prejudices. Employing AI algorithms capable of transforming textual prompts into vivid illustrations, this research unveils insights into the nexus of AI and cultural portrayals of utopia, thereby provoking profound philosophical deliberations. Central to these contemplations is the extent of human dominion over conceptualized ideals and the prospect of AI-crafted art inadvertently molding our paradisiacal perceptions, with implications ranging from reinforcement of stereotypes to shaping intrinsic cognitive schemas. (shrink)

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 study investigates how patterns of media use and exposure to media messages are related to attitudes about artificial intelligence (AI) image generators. In doing so, it builds on theoretical accounts of media framing and public opinion about science and technology topics, including AI. The analyses draw on data from a survey of the US public (N = 1,035) that included an experimental manipulation of exposure to tweets framing AI image generators in terms of real art, artists’ concerns, artists’ outrage, (...) or competing interpretations. The results show that technology news use and science fiction viewing predicted support for AI art but also predicted belief that AI image generators will take jobs and steal art styles from human artists. In addition, the experimental results demonstrate that exposure to specific media messages can influence these responses. The findings carry implications for understanding the future adoption, use, and regulation of AI image generators. (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)

The emergence of complex deep-learning models capable of producing novel images on a practically innumerable number of subjects and in an equally wide variety of artistic styles is beginning to highlight serious inadequacies in the ethical, aesthetic, epistemological and legal frameworks we have so far used to categorise art. To begin tackling these issues and identifying a role for AI in the production and protection of human artwork, it is necessary to take a multidisciplinary approach which considers current legal precedents, (...) the practice of software engineering, historical attitudes towards technological innovation and a sustained technical analysis of the models themselves. This paper queries the location and nature of substantive artistic work in the developmental stages of an AI-generated image, offering critiques of existing assumptions and posing questions for future research. The emergence of convincing AI creative output, artistic or literary, has significant long-term implications for the humanities, including the need for re-appraisal of foundational ideas about authorship and creativity in general. The effects of artificial intelligence, whether generalised or task-specific, cannot be ignored or displaced now that easy-access, scalable image and text production is a reality. (shrink)

This paper presents an emerging aspect of intentionality through recent Artificial Intelligence (AI) developments in art and design. Our main thesis is that, if we focus just on the outcome of the artistic process, the intentionality of the artist does not have any relevance. Intention is measured as a result of actions regardless of whether they are human-based or not as long as there is an esthetical value intersubjectively acknowledged. In other words, what matters is the ‘intentio’ embedded in the (...) work of art (the output) rather than the ‘intendere’ (the process). By considering the former aspect, intentionality becomes free of human intervention, therefore 'unintentional'. This thesis is supported through a range of examples related to AI in general and AI art in particular. However, in the case of a self-driving vehicle, the macro-goal of the system is fixed by humans, even though the AI system itself will take care of decomposing the macro-goal into a set of micro-goals and take the corresponding decisions. In the case of art, the system does not need to have any exterior goal to the extent that art is pure freedom of expression, as many philosophers have acknowledged. In this sense, the decisions of any AI system generating art or design are independent of humans and must be judged only on the ground of the final outcome. A work of art will be judged ‘artistic’ to the extent that humans will recognize an artistic intent in the work itself. In particular, the introduction of random processes makes an AI-generated artwork fully independent of human creativity. (shrink)

Are there opportunities to use the plural to express the first person (“I”) of “the same person” in English? It means that the self is an entity that guarantees uniqueness and is at the core of identity. Recently, radical and rapid innovations in AI technologies have made it possible to alter our existential fundamentals. Principally, we are now interacting with “virtual personalities” generated by generative AI. Thus, there is an inevitability to explore the relationship between AI and society, and (...) the problem domain of phenomenological sociology related to the “virtuality” of personalities and the world. Encountering and interacting with “others without subject” artificially generated by generative AI based on individual big data and attribute data is a situation that mankind has never experienced before from the perspective of sociology and phenomenological sociology related to the ego. The virtual personalities can be perceived as if it were interacting with existing humans in the form of video and audio, and it is also possible to arbitrarily change their attributes (e.g., gender, race, age, physical characteristics) and other settings, as well as to virtually create deceased persons or great figures from the past. Such technological innovation is, so to speak, a virtualization of human existential identity, and advanced technologies such as AI will transform not only the boundary between self and others but also the aspect of human existence itself (Shibuya in Digital transformation of identity in the age of artificial intelligence. Springer, Belrin, 2020). In addition, from a phenomenological viewpoint, the boundary between reality and virtuality is blurring due to technological innovation in the living world itself, and there is a concern that this will lead to an artificial state of detachment. Actually, the use of advanced technologies such as AI, VR in virtual worlds and cyberspace will not only cause people to lose their reality and actuality but will also endanger the very foundations of their existential identity. Therefore, we must ask what it means for us as existences to interact with virtual personalities in a virtually generated world, and what is the nature of the intersubjectivity formation and semantic understanding as well as the modes of existence, facts, and worlds, and what are their evidential natures. In line with what Husserl, the founder of phenomenology, once declared at the beginning of his “Cartesianische Meditationen” (Husserl in Cartesianische Meditationen, e-artnow, 2018), that “we need to begin philosophy radically anew”, as also phenomenological sociology, it can now state that “we need to begin phenomenological sociology radically anew”. Then, this paper reviews and discusses the following issues based on technological trends. (shrink)

While artificial intelligence has the potential to process vast amounts of data, generate new insights, and unlock greater productivity, its widespread adoption may entail unforeseen consequences. We identify conditions under which AI, by reducing the cost of access to certain modes of knowledge, can paradoxically harm public understanding. While large language models are trained on vast amounts of diverse data, they naturally generate output towards the ‘center’ of the distribution. This is generally useful, but widespread reliance on recursive AI systems (...) could lead to a process we define as “knowledge collapse”, and argue this could harm innovation and the richness of human understanding and culture. However, unlike AI models that cannot choose what data they are trained on, humans may strategically seek out diverse forms of knowledge if they perceive them to be worthwhile. To investigate this, we provide a simple model in which a community of learners or innovators choose to use traditional methods or to rely on a discounted AI-assisted process and identify conditions under which knowledge collapse occurs. In our default model, a 20% discount on AI-generated content generates public beliefs 2.3 times further from the truth than when there is no discount. An empirical approach to measuring the distribution of LLM outputs is provided in theoretical terms and illustrated through a specific example comparing the diversity of outputs across different models and prompting styles. Finally, we consider further research directions to counteract harmful outcomes. (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)

The epidemic outbreak of the coronavirus has meant a sudden, temporary ceasing of activities as we knew them. The health crisis has led to a social and economic crisis, and these circumstances have revealed solidarity on a global scale. In moments of separation, when culture has brought us closer together, the global phenomenon of charity songs has emerged, generating financial aid for scientific research and care for the most vulnerable people. This work focuses on a charity song turned into a (...) hymn, a narrative poem in the first person that tells everyone's common story, “Aves enjauladas” by the Spanish singer-songwriter Rozalén. This paper carries out a linguistic, stylistic and audiovisual analysis of this multimodal event, which has been transmitted through a ‘lyric video’ and spread in a vertiginous way on digital platforms and social networks, reaching millions of views. Ultimately, the paper analyses the spiritual and material impact, the body and soul of this living poem, taking a still photograph of the artistic recreations and musical, visual, pictorial and pedagogical ‘echoicities’ of this work, as well as appreciating its material socio-economic repercussions in the real lives of families at risk of exclusion. (shrink)

There is a history of thinking that photographs provide a special kind of access to the objects depicted in them, beyond the access that would be provided by a painting or drawing. What is included in the photograph does not depend on the photographer’s beliefs about what is in front of the camera. This feature leads Kendall Walton to argue that photographs literally allow us to see the objects which appear in them. Current generative algorithms produce images in response to (...) users’ text prompts. Depending on the parameters, the output can resemble specific people or things which are named in the prompt. This resemblance does not depend on the user’s beliefs, so generated images are in this sense like photographs. Given this parallel, how should we think about AI-generated images? (shrink)

AI is becoming increasingly prevalent in creative fields that were thought to be exclusively human. Thus, it is non-surprising that a negative bias toward AI-generated artwork has been proclaimed. However, results are mixed. Studies that have presented AI-generated and human-created images simultaneously have detected a bias, but most studies in which participants saw either AI-generated or human-created images have not. Therefore, we propose that the bias arises foremost in a competitive situation between AI and humans. In a (...) sample of N = 952 participants, we show that different evaluations emerge only when AI-generated and human-created pieces of art are presented simultaneously. Importantly, we demonstrate that AI art is not devalued, but rather, human art is upvalued, indicating the existence of a positive bias toward humans, rather than a negative bias. Further, we show that attitudes toward AI and empathy partially explain the different valuations of AI and human art in competitive situations. (shrink)

While debate is heating up regarding the development of AI and its perceived impacts on human society, policymaking is struggling to catch up with the demand to exercise some regulatory control over its rapid advancement. This paper aims to introduce the concept of entangled AI that emerged from participatory backcasting research with an AI expert panel. The concept of entanglement has been adapted from quantum physics to effectively capture the envisioned form of artificial intelligence in which a strong interconnectedness between (...) AI, humans, society, and nature is reflected. Entanglement assumes that AI should serve nature, social well-being, justice, and the resilience of this intertwined network simultaneously and promote a dynamic balance among these factors. This approach allows us to understand the pervasive role of this technology and the scope of human agency in its development. The study shows how such concepts seem to transcend the dominant discourses related to expectations, technological determinism, and humanism. An additional aim of this paper is to demonstrate how backcasting can contribute to generating useful understandings of the future of AI and fruitful insights for policymaking. (shrink)

The increasing use of Generative AI raises many ethical, philosophical, and legal issues. A key issue here is uncertainties about how different degrees of Generative AI assistance in the production of text impacts assessments of the human authorship of that text. To explore this issue, we developed an experimental mixed methods survey study (N = 602) asking participants to reflect on a scenario of a human author receiving assistance to write a short novel as part of a 3 (high, medium, (...) or low degrees of assistance) X 2 (human or AI assistant) factorial design. We found that, for a human author, the degree of assistance they receive matters for our assessments of their level of authorship, creatorship, and responsibility, but not what or who rendered that assistance, although it was more important to disclose human rather than AI assistance. However, in our assessments of the assisting agent, human assistants were viewed as warranting higher rates of authorship, creatorship, and responsibility, compared to AI assistants rendering the same level of support. These results help us to better understand emerging norms around collaborative human-AI generated text, with implications for other types of collaborative content creation. (shrink)

This article critically examines the paradigm shift from the attention economy to the intimacy economy—a market system where personal and emotional data are exchanged for customized experiences that cater to individual emotional and psychological needs. It explores how AI transforms these personal and emotional inputs into services, thereby raising essential questions about the authenticity of digital interactions and the potential commodification of intimate experiences. The study delineates the roles of human–computer interaction and AI in deepening personal connections, significantly impacting emotional (...) dynamics, and underscores AI’s role in various applications, from healthcare to grief tech, highlighting both enhancements in emotional connections and potential disruptions to genuine human interactions. An AI-mediated framework (AMIE) is introduced to assess how AI reshapes these connections and the overall digital society through personalized interactions. This framework explores the interplay between human emotions and AI-generated responses within the new Avatar Sphere, emphasizing the necessity for regulatory measures to safeguard digital identities, recognize emotional data as intellectual property, and maintain system transparency. It highlights the critical need for maintaining genuine human interactions and advocates for context-aware consent, continuous monitoring, and cross-cultural considerations to foster ethical AI practices. Leveraging blockchain technology and decentralized autonomous organizations, the framework proposes methods to enhance individual control over emotional data, mitigating the commodification risks. The findings contribute to ongoing discussions on AI ethics, digital privacy, and the future of human-AI interactions, providing valuable insights for cultivating a responsible intimacy economy. (shrink)

continent. 1.2 (2011): 125-128. What is the nature of sound? What is the nature of volume? William James, in attempting to address these simple questions wrote, “ The voluminousness of the feeling seems to bear very little relation to the size of the ocean that yields it . The ear and eye are comparatively minute organs, yet they give us feelings of great volume” (203-­4, itals. original). This subtle extensivity of sensation finds its peer in the subtle yet significant influence (...) of habituated action upon our lives. This expansive quality of habit­making is what Craig Dongoski's bodies of work enable us to appreciate. Nearly ten years ago Dongoski had a habit of turning on his audio recorder every day at three o'clock for three minutes. No matter what the setting, what the activity, Dongoski recorded the ambient sounds in his environment at that moment. As it happened, one day he was teaching a drawing class and he recorded the sounds of their pencils scratching across their respective surfaces. This was a critical moment for him. Later he would place a contact mic onto a drawing surface and record the sound of his signature. Signatures change over time, they respond to the conditions in which they are performed. Signatures speak volumes about the author, but a practice of attunement is required for the volume to be audible. To hear all that a signature can tell about its author, the listener must tune into the frequency at which this information is being broadcast. Dongoski's drawings and video works draw­out the peculiar artifact that habit makes of living: habits establish a tempo of living and it seems that one's habitus is the signature of habitual living. I sat down with Craig in an attempt to sound­out some of the depths of thought in his practice. What follows is selected from our conversation. Paul Boshears (PB): Clearly your work is dealing with time: from the painstaking action of rendering the drawing to the free­form approach of launching a microphone into a body of water and waiting to see what's recorded. Craig Dongoski (CD): Are we talking about the films or the drawings? PB: Well, it's a bit of both in my mind. I know the drawings on first glance seem to be these flows of lines without concern but I realize that there is this painstaking action involved. CD: I'm interested in time because I'm interested in forms outside of control, outside of politics, and outside of economics. I think that art, when it's alive, does go beyond those. I'm interested in duality and paradox—a stream of contradiction, I suppose. For instance, scale and size. There is a tendency to think that these are the same thing. But really you can have something small that has a lot of scale—look at Goya's drawings, Los Caprichos , they're very small but they have a lot of scale. Likewise things that are spontaneous don't necessarily mean that they take only two or three seconds to do. This latter distinction is what I'm most interested in. Having that appearance of spontaneity. The image has rhythm, you can latch onto it; but the reality is that it took many hours—and many months in some cases—to arrive at. And this is in keeping with geological time. I like to insert this series of thoughts into my work sometimes as an attempt to make some of this stuff comprehensible. There are all these distractions inundating us throughout our days now. Time gets tweaked by all these technologies that we interact with daily. There's more than just digital time or the mechanical time of your watch. There's biological time, that time in which you're growing. PB: I'm reminded of McLuhan here: he made his career by making that strong claim that the humans of today are not the same humans of three generations ago because technology has fundamentally changed us. Are we not the same human beings as a hundred years ago? CD: I mean, I don't think we're the same human beings that we were when he was around! It's my understanding that before painting a flower, monks would meditate for hours on that flower and then they would complete the painting of that flower in less than a minute. That's what I want to point out about our world today, we have all this information, but how much of it are we metabolizing? PB: Is there a message you're looking for? Or that you're trying to share? CD: These drawings set­up the circumstances for me to continue them forever. I'm only about six years into it, but with more time, things can unfold. You know? If you take this cup of coffee and vow to restrict your work to only this material and medium for seven years—you'll make interesting work. The problem is that most people can't hold on to things or they give up or they get distracted. They don't trust that anything is possible; anything is potential material. Staying with this cup of coffee example, we can get enveloped in the history of the recycling logo, or the process for harvesting coffee and so on. The same is true for my work as it has lead me into places like graphical music scores. I had, of course, known about John Cage's notations and I'd always been interested in sound itself, but this drawing practice made it feasible to explore the intersections in a meaningful way. I think that if you trust your instincts and your curiosities and your abilities, then the bus drives itself. Look at Roman Opalka, he's kind of the patron saint of time painting. The claim is that no one can count to a billion in a lifetime so he's set­out to paint to seven sevens (7,777,777). He began with white numbers on a black field but over the years he has gradually reduced the black field to ever­lightening grays. His plan is to paint these seven sevens on what ostensibly will be white on white. PB: It occurs to me that I've never thought of the actual, literal, meaning of “microphone” in relation to “microscope.” The mic has made everything loud, the world's not allowed to be quiet anymore. Maybe we should call them “macrophones” since telephone's already taken... CD: Well, a microscope is a lens. What got me interested in sound was that a microphone acts like a lens. There are wide angle lenses, or a lens that gets your eye up close to something far away, or at a tiny level. The same is true of the microphone. You can use a parabolic mic to hear what the coach is saying on a sports field or a mic that picks­up the sound from the entire cathedral. There's this whole gamut... I'm kind of playing with the words here. I'm into the minuteness of the sound, but I'm interested in the minuteness of the mark itself. PB: I guess it's a Deluezean, generative, statement, then? It's not a metaphor, it's an actual thing with which we can work. CD : That's right. PB: While doing some background work on you I found myself at interesting places on the internet. For example, Konstantin Raudive and a brief jog into Electronic Voice Phenomena (EVP); perhaps this was just synchronicity. But, it's a happy coincidence nonetheless because the them of this issue of continent. is “the moraine” and one of the nuances of this term is “what remains.” Is there a metaphysical or epistemological problem that you're sorting­out here? CD: Think about fossils: fossils are the first recording device, you know? It's the first, natural, recording device. It's in this way that I think my works are fossilized time. Artifacts of that process. Van Gogh is a strong source for me in this regard: it's not what he's painting it's how. You're seeing his nervous system at work. The what is so incidental, the chairs, the flowers, etc. It's funny: when I first started doing this, before I started drawing voices, I was doing these things in cemeteries. I was doing automatic drawings. And when I took this experiment to its maximum I was taking hydrophones and burying them in abandoned graves. I was thinking about the mic rig as the south coordinate and I'd use a shortwave radio as the north coordinate. Usually it was just white noise, but on the east and west I'd station a writer and a drawer. So I'd have these things going on simultaneously and I'd be mixing them at the same time. PB: How'd it come out? CD: Well, just like you'd expect. It was a lot of white noise. But I think that Raudive was on to something. Burroughs used to say something similar when he'd talk about being in a foreign country where he didn't know the language and then he'd start to hear things. At the base, what I'm doing is pattern recognition. I do have a writing component to the drawings. I haven't exploited it in a while but... I use a vocoder, which was developed to encrypt spy signals during one of the World Wars. The mechanism takes two channels, one being the spy's signal combined with noise and then the other channel is a sine wave so that the intended recipient can pick out the words. So I did something like this with Beowulf. I tried combining the spoken word with other television and radio sources, but that didn't work because a book on tape is usually read in a very steady clip and the result was too garbled. So the second try, instead of drawing I was writing, trying to articulate the sounds that I could hear in this garbled transmission of Beowulf. You start to think you hear something, so you start to write what you think you're hearing. But what you're hearing is just being triggered by this articulating action. When the sound of the drawing lines up with the sound of the word you get something. But it's not ever what you're really hearing. You start writing and you're trying to keep up with what you think you're hearing and it is truly, in the most true sense of the phrase, automatic writing. You can contrive and go into a “spirit trance” or whatever, but... PB: It's uninteresting to you? CD: Well, it's unbelievable. It's just listening to sounds and following along. The magic is out there, there are no tricks or anything. You do this exercise with twenty people and you will get twenty totally different writings. But, you're creating the sound and you're creating the writing as an interpretation. That's the thing with EVP, it's homophonic translation. PB: Do you trust a straight line? I know you start with these meticulous lines at the beginning of the drawings but they do change over time. CD: I'm trying to show that there are these imperfections in structures and that over the reiterations of these structures these imperfections become amplified. But you can see them in tree formation as well. The rings alter their shape as the trees grow. PB: Is that your transmission then? You're not just receiving these sounds but you're broadcasting this message as well? CD: Things exist because of their opposites. These drawings are really about nothing. It's the first body of work I've had where people project so much of stuff onto the works. So there you go, things existing because of their opposites. It's kind of like with Mike Kelley: the work was about a critique of commodity culture and commodifying emotions. Using toys this was a critique of production. But then suddenly people were saying it was about abuse and the abuse that Mike Kelley had suffered. And it wasn't but he heard that and said, “I'll go with it,” and so he did. I think that's the nature of communication: I send this but you receive that instead and this makes me think about what I sent in a different way. (shrink)

This essay offers a comprehensive review of the transformative role of Artificial Intelligence (AI) in music composition and soundscape generation, providing both a historical overview and a critical analysis of its impact. Tracing AI’s evolution from its early applications in the mid-20th century to its sophisticated use in contemporary auditory arts, the paper explores how AI has reshaped creative processes, blurred traditional boundaries between music and soundscapes, and catalyzed the emergence of new genres. Additionally, it critically examines the ethical, cultural, (...) and aesthetic challenges posed by AI’s integration, addressing concerns such as creativity, authenticity, and the potential homogenization of musical outputs. By balancing both positive and critical dimensions, the essay aims to deepen understanding of AI’s dual role in transforming not only creative methodologies but also the conceptual frameworks of the auditory arts. (shrink)

In this article, we analyse the role that artificial intelligence (AI) could play, and is playing, to combat global climate change. We identify two crucial opportunities that AI offers in this domain: it can help improve and expand current understanding of climate change, and it can contribute to combatting the climate crisis effectively. However, the development of AI also raises two sets of problems when considering climate change: the possible exacerbation of social and ethical challenges already associated with AI, and (...) the contribution to climate change of the greenhouse gases emitted by training data and computation-intensive AI systems. We assess the carbon footprint of AI research, and the factors that influence AI’s greenhouse gas (GHG) emissions in this domain. We find that the carbon footprint of AI research may be significant and highlight the need for more evidence concerning the trade-off between the GHG emissions generated by AI research and the energy and resource efficiency gains that AI can offer. In light of our analysis, we argue that leveraging the opportunities offered by AI for global climate change whilst limiting its risks is a gambit which requires responsive, evidence-based, and effective governance to become a winning strategy. We conclude by identifying the European Union as being especially well-placed to play a leading role in this policy response and provide 13 recommendations that are designed to identify and harness the opportunities of AI for combatting climate change, while reducing its impact on the environment. (shrink)

The study explores the future of AI-driven media and info-communication as envisioned by experts from all world regions, defining relevant terminology and expectations for 2050. Participants engaged in a 4-week series of surveys, questioning their definitions and projections about AI for the field of media and communication. Their expectations predict universal access to democratically available, automated, personalized and unbiased information determined by trusted narratives, recolonization of information technology and the demystification of the media process. These experts, as technology ambassadors, advocate (...) AI-to-AI solutions to mitigate technology-driven misuse and misinformation. The optimistic scenarios shift responsibility to future generations, relying on AI-driven solutions and finding inspiration in nature. Their present-based forecasts could be construed as being indicative of professional near-sightedness and cognitive dissonance. Visualizing our findings into a Glasses Model of AI Trust, the study contributes to key debates regarding AI policy, developmental trajectories, and academic research in media and info-communication fields. (shrink)

Artificial intelligence (AI) is rapidly changing the way that art is created and consumed, allowing artists to create unique, engaging works with high computing power that can supplement their creative process. This manuscript explores the creative process of using AI technology in digital art to create paintings and evaluates creativity based on the aesthetic value and components of works created by AI. This research seeks to understand how AI technology influences the art world through a practice-led methodology with a descriptive (...) qualitative approach and observational methodology. Pioneering artwork such as Edmond de Belamy, created by French collective obvious using generative adversarial networks (GANs), has raised questions among the creative fields concerning originality, creativity, and authorship. Through analyses of AI-generated artwork and comparison with traditional artwork, the research investigates potential opportunities and challenges that AI presents to the art world. Ultimately, AI technology can provide a creative spark for human artists who, with an appropriate understanding of the limitations of AI algorithms, can create incredible pieces of art that embrace the contributions of both humans and machines. This research seeks to fill in the gaps left by earlier works and provide a more multi-faceted look at the changing landscape of AI in art, gaining a better understanding of the ways AI is impacting the art world and what the future may look like in the coming years. (shrink)

This paper investigates the responses of GPT-4, a state-of-the-art AI language model, to ten prominent philosophical paradoxes, and evaluates its capacity to reason and make decisions in complex and uncertain situations. In addition to analyzing GPT-4's solutions to the paradoxes, this paper assesses the model's Theory of Mind (ToM) capabilities by testing its understanding of mental states, intentions, and beliefs in scenarios ranging from classic ToM tests to complex, real-world simulations. Through these tests, we gain insight into AI's potential for (...) social reasoning and its capacity for more sophisticated forms of human-AI interaction. The paper also explores the limitations and biases of AI-generated reasoning and its implications for our comprehension of complex philosophical problems. (shrink)

This paper presents a general education course offered at The Pennsylvania State University that integrates AI ethics within a creative arts context. The course emphasizes AI literacy and the ethical use of AI tools through the creation and critique of AI-generated art, literature, and music. Since its inception, the course has evolved to accommodate increasing enrollments and diverse student demographics while maintaining a focus on hands-on activities and ethical discussions. Student feedback indicates high engagement with the course’s ethical content, (...) prompting considerations for future course revisions. The authors argue that AI literacy, particularly ethical considerations, is essential for all students and advocate for the creation of similar courses across educational institutions to better prepare students for the ethical challenges of emerging AI technologies. (shrink)