There is no story that remains stable use for too long. ‘How Artificial Intelligence artists to confront modern Anxieties

Agnieszka Kurant Low Manhattan studio is under a dispersion of cultural outpost that some of the recent efforts of the struggling vanguard represent our cultural moment. When I visited in late January, a gallery were two doors, a right-themed show with reproductive hosting works for listed companies in excess of $30,000. On other streets were four stories of windows New Museum acquired through a retrospective of the artist Hans Haacke, which included a demographic survey, a portrait of Ronald Reagan and a grassy mound of dirt. The seventh floor was a “pop up mixed reality,” busy sponsored by Ruinart champagne, in which visitors could wander into glasses of augmented reality. Watchdog asked politely unreservedly “step away from the experience.” Technology and late capitalism intersect similar to Kurant work, though perhaps with a higher level of self-confidence. A conceptual artist, explores contemporary issues about the data rights, exploitation of on-line work and the power of big corporations. With the growing public awareness of issues such as the commodification of “Big Data” and the growing power of artificial intelligence (AI), it is part of a new generation of artists and curators who are trying to represent the nature of these new technologies and possibilities as we turned from them. “To talk about any kind of new media and new technologies, it is sometimes better to use analog technology,” said Kurant, a photograph of a piece titled 2017 shows “AAI,” the name of a series of coined founder of Amazon Jeff Bezos base, “artificial artificial intelligence”, which describes the process of outsourcing work to freelancers digitally by human work distributed platforms such as Amazon Mechanical Turk. The work consists of a number of fluorescent termite mounds created by green, blue, purple, yellow or orange artificial sand. He worked with entomologists at the University of Florida to win the work of termites. “If you give them something else that is not sand … will not notice the difference, and you still hold to build,” said Kurant. We see companies like termites “dispersed factory” similar to the mechanism by which the major technology companies to collect large amounts of information about users in order to sophisticated algorithms advertising power. “We are all working in a very long time to express giant conveyor belt, our data or our feelings, so companies could capital,” he says. New digital enabled economies even more imaging Kurant directly in some other pieces. In his series “production line”, produced 2016-2017, she and co-author John Menick contracted hundreds of Amazon Mechanical Turk workers each draw a single line, which were then assembled algorithmically related drawings. If a picture is sold, the “Turkers” is given some of the profits. figures prominently in another community Kurant the series, “The end of the signing,” the computer algorithms used for hundreds of individual signatures coalesce in a single line in their unreadable. Another of his series “Conversions” (2019), focuses on the way transformed into the collective “social energy” in the form of tweets, posts and online searches for revenue streams. Composed covered by a copper plate with a liquid crystal colors and heat pumps controlled by the computer, the “painting” by changing composition fed in response to the analysis algorithmic feeling of tens of thousands of social media linked to the movements of protest, converting collective social anxiety continuous in physical thermal energy. “Somehow made the activities of the protest movements benefit businesses,” said Kurant to explain the context of the piece. “There is a price tag on social energies.” Other contemporary artists also struggle with the intersection of artificial intelligence, data and capitalism. In San Francisco de Young Museum, an exhibition titled “Uncanny Valley :. Being Human in the Age of AI” (February 22 to October 25, 2020) described its name from a phrase, such as artificial representations of us approach Comfort. According to Claudia Schmuckli curator, installation makes the case that the widespread use of AI in a fundamental change has brought with machine relationship in humans. “The modern uncanny valley is no longer occupied by the image of the car … but by the statistical data profiles of people who are created by algorithms designed to mine and analyze the behavior and Futures exchangeable or manageable project,” says Schmuckli. the data reflected profiles produced by our own life: He adds that the famous representations of AI pop culture, such as in 2001, the HAL and the Terminator Schwarzenegger has been replaced by something more troubling. The performance of uncanny resemblance prominent figure in another piece of the de Young, “Conversations with Bina48” artist Stephanie Dinkins talking to a humanoid robot Social has built a black woman to look like. “[I] wanted to see what would happen if I try to be friends,” said Dinkins TIME. He is interested in how communities of color in the form to create in the “New World” by companies to become more diverse combat. “There is a small part of the population … to create AI that for many ecosystems our lives will help,” he says. “What happens when ordinary people are not demanding part of the way of thinking and transparency?” Other artists use AI to take our time to decide unconventional approaches to uncertainty. In “BOB (Bag of Beliefs)” (2018-2019) to create, Ian Cheng artist combines neural networks with an intelligent simulation engine video game called Bob. The digital animal resembles a snake with many heads. As users interact with it via a smartphone app, Bob “beliefs” evolved over the world in which he lives, and his personality develops over a lifetime simulated. “Body BOB BOB BOB and personality and beliefs continue to grow,” said Cheng. “Bob is very special. At the end of each of these exhibitions dates” New technologies become for most of today’s collective malaise, but Cheng the same technology can also offers one of the best ways to come to terms with the times in which we live blame, “I have the feeling that what I’m looking at is alive, which is something that surprised me,” Cheng says his art artificial intelligence. “It reflects a bite so that life feels in this moment, in which everything is constantly changing – there is no history that remains stable over a long period of time.”
Image copyright Randy Dodson of San Francisco Museum of Art