Tag Archive for: GenAI

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GenAI & Creative Practices: Past, Present and Future, Day 2

a hand holding a guitar pick

Fishbowl 3.1: When “open” isn’t: open-washing and the politics of openness in the age of Generative AI. Anna-Maria Sichani, Marina Markellou, Douglas McCarthy

Open Source has demonstrated that massive benefits accrue to everyone after removing the barriers to learning, using, sharing and improving software systems. These benefits are the result of using licenses that adhere to the Open Source Definition. For AI, society needs at least the same essential freedoms of Open Source to enable AI developers, deployers and end users to enjoy those same benefits: autonomy, transparency, frictionless reuse and collaborative improvement.

Research & Education

Claudia Montanaro – What ‘Meaning’ Means in LLMs’ Research: An Interdisciplinary Conceptual Map

  • LLMs outputs meaningful ideas
  • Can LLMs make sense? Can they represent meaning? Noam Chomsky interview and his answer is “It’s like asking whether submarines swim”
  • Hemran Cappelen – it can make language make sense
  • Difficulty in borrowing terms. Key terms are borrowed from human cognition and are ill-defined
  • Method: dataset of academic articles , used ATLAS.ti
  • Identified six clusters
  • Three main themes: meaning is measurable, meaning as emergent property, meaning as something to be understood
  • Meaning and understanding in LLMs is
  • The call for scholars from a rnage of fields ot understna

Q: Can you explain the terms a litter further? unpack the network map how does that relate to the table?


Maede Mirsonbol – Learning with GenAI Images: Supporting Higher Education Students’ Reflection on Inclusive Education

  • AI literacy in in higher education, we need different frameworks to introduce to students
  • Relational Pedagogy – Concept and Contest Teacher <-> Learner <-> Content
  • Where to place AI?
  • Leaning on UNESCO guideline on AI and Education
  • Student <-> Teacher <-> Text <-> AI, Student learning model
  • Two case studies, Lancaster University, England, and University of Tartu, Esrtonia
  • Groups learning using a semiosis-based method to learn with images
  • 5 Steps of inclusive as diversity education: exploration (what is AI education?), co-creation (groups prompting),
  • Then they create images of inclusivity (race, gender, access/communication)

Q: what is the take up of this research like in higher ed? Did participants understand diversity within the four categories demographic, communication, species, nature/material/place?

Berk Alkoç – Generative AI in Design Bootcamps: A Critical Inquiry into Pedagogy, Dependency, and Creative Practice

  • Figma and Make Design, prompt with an idea and it will make an app, borrowing the Apple version/platform/tool
  • Bootcamp and education – Careerfoundary UX Design bootcamp
  • Discourse analysis of marketing and and advertising of a number (10?) UX design bootcamp – a determinism built in of ‘if you don’t know AI, you won’t get a job”
  • How to create a persona in 5 minutes – this demonstrates a ‘frictionless’ process, where the process is more important than the outcome
  • Are they training designers or AI operators?
  • Reference to Hooked
  • Design fixation – pre-existing solution and restricts creative thinking
  • PLatform deactivation very similar to the API reliability of platforms
  • Should we go backwards and ignore the algorithm? (can we though? we’ve ‘drunk the Koolaide’)

Q: what does the industry want/what does the environment look like? Is this quick turnaround what is needed as we build design expertise? what does a co-designer model look like?

Panel 5.8: Creative Work

Nirvi Maru, Vivian H. H. Chen – A Human-AI collaboration approach to creative workflow

  • A GenAI inflection point – democratisation vs. diminishment (erosion of human agency, homogenization), to be understood not as a binary
  • Literature approaches this as a discrete problem to be solved
  • scoping review – 216 papers
  • Conceptual fragmentation – collaboration, teaming, autonomy, etc.
  • Trust-calibration
  • Erosion of human agency – skill degradation,
  • task collaboration misalignment – poor fit between AI capabilities and workflow
  • Reframing Human-AI Creative Collaboration (HAIC): interdependence, hidden costs, navigation tensions
  • Agency Automation Tension – tension needs to be managed not solved
  • Principle 1 – ROle Design as Creative Act: we negotiate the ‘role’ within HAIC
  • Principle 2 & 3: Transparency and Human Experience. As a creative uses more AI, they trade off the critical aspects of design. Human experience should be centred.

Yunus Emre Öztaş – How Creative Workers Make Do with GenAI in Visual Media Production

  • Critical creative labour studies, mostly in cultural and creative industries – high value in autonomy within an environment of augmentation-replacement binary
  • A spectrum of GenAI use model (in iterative development): Human Creative Agency Dominant (task related use) <-> Machine agency dominated (task-agnostic use)
  • Modes of use are embedded in agency

Tolulope Oke, Robert Prey, Femke de Rijk – Beyond the Global North: Generative AI and the Future of Musicians’ Work in Nigeria

  • Based in Nigeria Music Market, growing rapidly (three times larger than the rest of the world’s music industry)
  • There is a talented yet unstructured market (copyright and infrastructures are lacking)
  • Futures of the industry which is usually dominatd by the Global North, where GenAI becomes a crucial infrastructure
  • Africanfuturism – visions of the future, not concerned with what could have been but what is possible/what is the future
  • Decolonial AI: extends beyond data colonialism and into all material aspects of data generation (check this)
  • Future reference about Phillips Olajide, First African trained AI music generator
  • Korin AI – social-technical artefact that reflects and shapes how Nigerians imagine and navigate AI Futures
  • Jamai Fabuyi and legal contracts in Africa – interview here
  • Conclusions: opportunity to restructure global industries. It’s not about if it’s changing it’s about how it’s changing.

Closing Panel with invited speakers – Pei Sze Chow, Maximilian Schich, Naureen Mahmood

Pei Sze Chow

  • Specificity & pluralism across the variety of talks across the past few days. Contractual obligations and the sorts of creative work and their ecologies.
  • Skills. De-skilling. Up-skilling. the ways in which creatives are adopting new skills, retool a skill-set, etc.
  • (my thought – can we stop with the ‘democratisation’ as waves of media technologies emerge. We saw this in Web 2.0, social media, and in some respect through platformisation, and we know this is never the case)

Naureen Mahmood

  • Meshcapade (swing this to Rangi and see what he thinks)
  • Job displacement – everytime a technology revolution, it’s never a loss but a change. “how we let that happen is up to us”
  • Fear around AI and how others are using it (i.e. Governments especially). This community has a lot to offer in terms of understanding what it actually is and the kinds of applications that are possible.

Maximilian Schich

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GenAI & Creative Practices: Past, Present and Future – Day 1

black and white abstract painting

Keynote Session 1 – Baptiste Caramiaux. ‘Steering the Unknown’

  • What can an artist control and what can they not control during the creative practice?
  • Vera Molnár as an example to opne the discussion
  • Induction – a system to infer behaviour. Example of ocean scenes and how AI uses LLM to find a similar structure (an abstract space – model or manifold). Output to latent space (abstract dimension). Form the model, one can pick a point and have a generated version based on teh original input.
  • The abstract (output) becomes a new form of expression
  • Inductive practice: gesturing as a menas of creativiity based on LLMs
  • Using LLMs to create movement in work – Anna Ridler, ‘Tulips’, crafting the output but also creating the model that the artwork was trained on. THis is an important aspect of ‘Induction’
  • Mario Klingemann – moving image artist mixing modalities
  • Terence Broad, exploring the concept of the gaze
  • Forms of agency – new design material, new modalities, “induction enables many practices, generation is only one of them”
  • Drifting Agencies – Ai expands the unknown much faster than our ability to steer it
  • Sean Michaels – “Do you remember being born?”
  • Documenting the undocumented? New narraives, new meanings – integrating AI with people to understand our histories. Could this push our agency (Lenny Martinez undertakgin PhD here)
  • Disempowerment: Reducing agency, most of the practice is through platforms- we cannot change them, we cannot train them, we may be able to calibrate them. Normative behaviours, the ways in which stories are represented. Narratives how the scale impacts the ways in whcih we understand the creativity aspect of AI.
  • Induction as a design material – this is the tool or the skill of GenAI, not simply the application of the existing models (bigger is not better).
  • Creative AI is a power structure – think through moral, cultural and structural dimensions. W way to understand the agency and centralisation of labor. Narrative representation. Norms and identities, accountability, authorship.
  • The Future is Collective – creative agency is through collective organisation (this is increasingly difficult in our current political and economic ecologies).

Parallel Session 1 – Deepfakes, Clones & Imposters

Creative Violence in the Age of AI: Deepfakes, Misogyny, and Community-Based Response in Mexico, Payal Arora,

Ana Miranda Mora

  • Increased mysogonistic content, mostly porn, in AI spaces – this project partnered with Google to examine
  • NCII – (Non-consensual intimate image) also known as Image-based Sexual Abuse (IBSA),
  • Mapping the system, working on the language that is used
  • Reputational harm, financial harm, mental health harms
  • A social way to connect with these activities is through the language used, revenge or sextortion gains traction, whereas NCII does not
  • Deepfake porn in Mexico is not used, it is digital violence and intensifies sexual harassment, 10 million women in the last year have experienced this
  • 13 in depth interviews, survivor sample young women between 20 and 4, middle class, educated in urban areas,
  • Face-swap technologies, AI-generated nudes
  • Community based responses: Olimpia Red de apoyd digital.

Deepfakes under Strict Government Regulation: The Role of Social Influence and Perceived Playfulness on Chinese Centennials’ Intention to Use AI-Generated Media – John Maina Karanja

  • Missing in action

Roundtable 2.2: Global Perspectives on GenAI & Cultural Production

Thomas Poell, Neha Bhatia, Godwin Simon, Lorena Caminhas, Tom Divon

Thomas Poell:

  • The project has begun, but it is very much rooted in Western languages/concepts. The mission of today is to expand on this to better understand from a post-colonial perspective
  • Much of the non-Western literature emerges from China, which is demonstrable of the ways in which the ‘theory follows the money’ – can we provincialise the field of cultural production

Godwin Simon

  • Field production in Nigeria: how it works, & precarity
  • Cultural competence in cultural production: ways to express through co-creation that reflects the authenticity of the industry

Neha Bhatia

  • GenAI in Indian production and background: creativity, precarity and experiences of GenAI production
  • Dispute around if GenAI is at all original – however, GenAI is trained and produces something novel
  • What is creativity and how is it undertaken? (New, novel and somethimg surprising)
  • The value of creativity is decreasing because it is rapid and fast-turnaround

Sin Melata

  • GenAI is used as a tool within the cultural production process
  • Ethical and moral issues emerge when the timeframe of the production cycle becomes tight
  • ChatGPT being used as a writing tool within India

Lorena Caminhas

  • Brazilian influencer industry
  • Deeply shaped by platform logics – not a new thing, an extension of this type of cultural production
  • It’s creativity and brand identity that creates authenticity
  • The takeaway is that users can be seen as more authentic through the use of AI
  • AI in Brazil is enabling greater creativity – this is presenting an opportunity to make a living in the content creation space, but this doesn’t change the impact of the influencer industry (brand deals, management etc.)

Tom Divon

  • Recalling a pre conference from Brazil that brings to the fore things like regulation, labour, and restructing of systems
  • Conditions under which creativity takes place, GenAI in the process, and then the political economy that enables/inhibits, this is where the decision making point sits
  • Imaginaries as a way to understand the whole system together
  • Resistance is often not through refusal, but rather renegotiating, positioning – these are systems that users cannot just move out of.

Thomas’ latest article here.

Q: data sovereignty: what about a third way and how that might integrate with the other countries in this project? Align with Vietnam

Thought process/book idea: Induction sovereignty – can cultural production be possible without induction sovereignty? If we are using GenAI as a production tool, we are already using a model that has been designed, trained and learned through a LLM training process. At best, it can only be calibrated to include localised nuances. Is this where PSM values become important?

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