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reflection Secondary Research unit 3

Hyperculture by Byung-Chul Han | Reflections

Byung-Chul Han’s work “Hyperculture” is an eye opening piece of literature published in 2005. The book contains a series of short articles discussing ideas of globalisation, the internet and our existence as humans in a post modern and hyperconnected reality. The text, written at a time when the ideas of globalisation were popular and just before the 2008 financial crisis was to arrive, weaves a dream of society as an unbound and unrestricted space through which people navigate as a connected tribe. Some ideas that held great promise, such as, an open and free international marketplace, global citizens and a decentralised internet, have lost takers over the years. We have seen a very different reality emerge since the publishing of this book. The rise of nationalism, regional protectionism and fall of the World trade organisation by the same nations that once championed it, has lead to a very different economic reality. On the Internet as well, intimate and independently created spaces have shrunk in favour of large social media sites that have created cookie cutter profiles of individuals. But I do not believe these to be evidence of the failure of the global experiment. 

Many aspects discussed, such as that of the global wanderer or hyper culture tourist, as discussed in the chapter ‘the eros of interconnectedness’ still hold true today. Han discusses how we live in an age where we are disconnected from the regional. The internet allows us to be global travellers and by interacting with other people’s lives, we become tourists looking at them. I would argue that this still largely hold true, it’s just different than what had been imagined. We are no longer truly venturing into the spaces and lives of other people from around the world, but are observing it through the lens of social media and its algorithms and layouts. In the later chapter “Hyperlogue”, there is an understanding of how this may come to pass. I wonder if Han knew how close to the truth he was stepping. The loss of the free internet in favour of a consumer driven model is recognised through the changing of language associated with it. Han points to the use of terminology and its changing nature over time. In the early days of the internet, we used the term ‘surfing the internet’ creating an image of nautical exploration and free movement. The more popular term now is ‘browsing the internet’, evoking images of a consumer act. He points throughout the book towards Microsoft, and its role in creating this language. Think ‘internet explorer’ and ‘windows’. Today however, most people do not have a digital footprint outside of social media.

The way we are interacting with AI today is also uncharted and exploratory. Outside of the boxed AI such as Chat GPT and Midjourney, there is a desire for more open source models. Humans, I believe will instinctually seek out the kind of freedom promised by hyperculturism and that is reflected in the novel users of AI technology. If my reading of this text tells me anything, it is that predictions and outcome are often very different. If history is a testament, the technology moving forward will be surrounded by those who desire to restrict or regionalise it.

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reflection unit 3

Reflections | Reconnecting with my research [part 2]

Originally written on 8th July 2024

As I am moving forward with my research, I would also like to see how it connects with the work I have done outside of it during my months at CSM. The main projects that come to mind are the ones I have posted on my blog.

Diary of Uncertainties: In my diary of uncertainties, I looked at 3 key uncertainties- play, cultural objects and viewership. I find that with such little information on my current research subject, I have no other way to investigate it outside of playing with it to see what outcomes are produced. There is also a sense that AI is a shared cultural phenomenon that people connect with, its relevance being a point of intrigue. Moving forward, my research is rather unpredictable and each step informs the next.

European Press Prize: When I was investigating stories, the adoption of AI powered editing softwares was what I looked into. Initially when I was looking into the phenomenon, it was a cause of concern for me. Since then however, there is a growing sense of a more complex story. Does it matter that these images have been altered? And is it necessarily a negative from the perspective of the user? While the current technology is basic and informed by societal expectations, the future of this technology can be much wider than we imagine now. I feel any comment on this phenomenon without testing is unlikely to be helpful. It is also strongly connected to my current project based on curating one’s identity.

Tales from Gehenna: My multimedia art project that was selected for the Art Business society’s exhibition at UAL, was an exploration of expressing difficult emotions through painting and sculpture. I was also looking at aspects on imagining the afterlife or at least the impressions of one through form, colour and spaces. Perhaps AI tools can be used to create alternate realities in the future. Could other emerging technologies such as augmented and virtual reality (AR and VR) be utilised alongside generative AI to create new and immersive worlds that reflect, free or even heal their visitors? Can AI create an afterlife or even make us immortal? These subjects are at the back of my mind even now, I hope I can create space to explore them.

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reflection unit 3

Reflections | Reconnecting with my research [part 1]

Originally written on 8th July 2024

As I look back at my research topic, I find much has changed from where I started. I have been reading ‘Hyperculture’ by Byung-Chul Han (originally published in 2005) and ‘Internet dreams: Archetypes, myths and metaphors’ by Mark Stefik (originally published in 1997). Both these books were published at the early stages of the Internet and globalisation and talk about the cultural impact it may have moving forward. Some of the text is dated and reflects on both the caution and optimism promised in the earlier years of the internet’s development. We have however since seen the world take a drastic and unexpected departure from the models we started out with. This is not to say that the underlying reality predicted has changed, rather manifested itself in unique and unexpected ways. I will be posting full reflections on these texts as I finish them in their entirety.

Moving back to where I come from, when I started researching this topic, my introduction was of the idea of technology corrupting and replacing human work and expression. Since then I have questioned how many people truly are being affected in this way. From what I can observe, the largest impact is on small digital artists, and while there is merit to their claims of large technology companies utilising their work without proper permissions, the argument has not stood legal ground. The current framework we see legally is that one cannot copyright images or text solely generated by AI. Different countries are still figuring out the limits of this argument. As for copyright infringement, copying someone’s style cannot be considered as theft as one cannot copyright “a style”. It has widely been accepted that AI is a tool and cannot generate art without the intervention of a human.

The AI craze has also been shown to be relatively hyped. Journalist and tech critic, Ed Zitron states some concerning points in his talk with Adam Conover on the rise of Gen AI. Some of the talking points they discuss in this podcast include, How will these systems be monetised? What, if any use is there beyond being interesting? How Intelligent really is AI? And How does the new technology differ from what we’ve seen before. There are some real questions on the viability and future of this “Silicon Valley” project. The ideas extend to discuss the point of diminishing returns on training models and how much improvement will we really be able to see in the future. Aside from the issues discussed, there is a general shared sense across the stakeholders – artists, scientists, investors and critics, that the technology is here to stay. It is also widely regarded more relevant compared to something like NFTs, which was essentially a speculative market based on blockchain technology. Though blockchain technology has been adopted in many aspects of digital security, its popularity with everyday users has fallen out of fashion. This scenario is unlikely as there are visible and tangible uses that seem obvious at first glance when it comes to generative AI.

Overall, there is merit to this technology but it’s future direction will be impossible to reliably predict at such an early stage, but that is what makes the subject so interesting to speculate and test.

Damien Hirst and Tracey Emin among thousands of British artists used to train AI software, Midjourney; by James Tapper for The Observer; Published on 21st January 2024; Accessed on 10th May 2024.

https://www.theguardian.com/technology/2024/jan/21/we-need-to-come-together-british-artists-team-up-to-fight-ai-image-generating-software

What is an “Author”? – Copyright Authorship of AI Art through a philosophical lens; by Mackenzie Caldwell for Houston Law Review; Vol. 61, Issue 2, 2023; Published on 11th December 2023; Accessed on 1st June 2024.

https://houstonlawreview.org/article/92132-what-is-an-author-copyright-authorship-of-ai-art-through-a-philosophical-lens

The AI bubble is bursting with Ed Zitron; by Adam Conover; Podcast; Published on Youtube on 3rd July 2024; accessed on 05th July 2024.

The rise and fall if NFTs: What went wrong?; by Patrick McGimpsey for Forbes; published on 31st January 2024; accessed on 05th July 2024.

https://www.forbes.com/advisor/au/investing/cryptocurrency/are-nfts-dead/

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Expert Intervention reflection unit 3

Tate | Yoko Ono and interventions

My journey to the Tate Modern in London was dedicated to see Yoko Ono’s exhibition: Music of the Mind. I often find museums and exhibition centres to be places of inspiration. My mum had had a chance to visit this exhibition and was moved by it. Aspects of the showcased works intrigued me to check it out for myself. What I realised was that Yoko Ono had a fairly interventionist approach to her art. But then again, one can argue that all art is interventionist in nature.

One of the works that inspired me was ADD COLOUR (REFUGEE BOAT). In an all white room lies and all white boat. Visitors are asked to take the blue, white or purple markers provided and write messages of hope on the white space. Visitors have slowly filled up the space turning it into shades of blue. It is meant for the participant to reflect on the plights of refugees braving the ocean to arrive into Europe, the urgent crisis of stateless people and the impact of collective action. I feel there is something poetic albeit sad about this. I couldn’t help but feel it was a metaphor for the many who are claimed by the sea when attempting this perilous journey, similar to the blue that claims the white space. Our writing and drawings, a prayer of hope to those that have failed to cross the vast waters.

On observing the piece, I could see that the most dense area of colours were those at hand and eye level, slowly tapering up and down. There was almost no marks above a certain height where no one could reach. The floor and boat also covered in ink. There was ink on top of ink as large spaces wore away. There were also spaces that no one could reach on the underside of the boat. Upon exiting, I could also observe the ink that has managed to escape the room through the shoes of some participants, in someways it is a metaphor for the art spilling out of its designated space and into the outside world.

The second large piece of work was – The personal is political: My mom is beautiful. Participants were asked to write messages and notes about the memory of their mothers, while a video played of Ono doing a hauntingly beautiful musical performance. This room too was filled to the brim with varied text in unique handwritings. Notes placed one on top of the others, high and low. I wonder what it would’ve looked like at the starting moments and how the very first notes have long been covered up.

I find the approach of these works to be extremely inspiring on how to approach the idea of imagination and engage audiences. My aim to utilise Yoko Ono’s work to inspire my approach towards intervention techniques as well, or at least give it a start point to diverge from.

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Intervention reflection unit 3

Challenging assumptions | Auto ethnographic Intervention

Originally written on 23rd June 2024

Playing with AI models (part 1)

I spent the last week playing with Tensor AI, a free image generating AI website. I was made aware of this through an AI artist whom I interviewed. They spoke on the subject of not having digital art skills but having the desire to create works of their favourite characters through the use of Gen AI tools. My earlier assumptions were that a generative model of AI required text input that were descriptive and would generate a close enough image to what is desired in a “generic” AI style. My experience this week has taught me that AI generated art is harder than it first appears, especially if you are trying to achieve a specific output. Tensor AI had a large number of base models that have been developed to cater to different styles and different characteristics models. It is a large part of model training that has been done by individuals or groups and can be used to build up from. To generate images, one has to build upon these models and spend time experimenting on how different text prompts translate into images and how different prompts interact with one another. I see this field of art evolving into a specialised field, similar to the use of digital design software’s such as Adobe or Corel. While it makes the creation of images faster, the training that is required for individual creators does take time, interest and engagement. It also requires research to create different styles of work. The same prompts may translate very differently on different models. If you spend a lot of time getting comfortable with the use of one, it may be difficult to shift to a new base model. I therefore, see artists specialising in a unique style that they have developed through the combination of the generative models that they have chosen and expertise with the use of prompts learnt through experience.

Playing with AI models (part 2)

This week has made me experience something new. I personally may not shift entirely to using generative AI tools for my creative practice, but I can see it’s appeal. I was able to create a vast amount of image option, even though they were not meant for any end use. The anticipation of each new image being generated; what was going to pop up? An entirely unique and new visual piece was exciting, almost titillating. There was a sense that this was not an image I found on the internet but created using a software and will not be seen by anyone else. A private work of art (using that term loosely) that was spat out by the technology god, only for my eyes. I can imagine that people who create AI images must be experiencing a similar sense of purpose as they sit for hours testing prompts and perfecting a range of images. Though works of art created by AI cannot be copyrighted, they must feel a sense of ownership over their work. Many of these creators may have felt that they missed the ship on the digital art movement, but now have their own little boat to ride upon behind it.

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reflection unit 3

Tutorial Feedback and moving forward [10th Jun 2024]

Originally written on 12th June 2024

This was the last tutorial before the self study period and it seemed important for me to discuss some changes I am planning to introduce to the research. First, I need to look closer at the assumptions I am making and observe the discourse around generative AI a bit deeper. It was suggested by my tutor that it would be interesting to not just look at safeguarding and curation against new technologies but also look at the utilisation of them for curation. Another aspect that could be interesting is to look into curation as a form of safeguarding. I admit that while I have intimately experienced the creative processes of traditional art and design through my experience of running a studio, I have less than adequate knowledge on the subject of AI. I would need to enter the space with an open mind. For a subject/technology that has only been present in the public eye for a few years, a lot of its influence is unwritten. Most of the discourse around AI art is in the social realm as debates and effect. It is also reflected through the lack of legal stands for or against it. We are seeing this change now, as interested parties – governments, corporations and individuals debate how to approach it. I have been attempting to get in touch with people who are directly affected by this technology but it has been hard. I suspect this may be because many do not wish to become activists for or against generative AI, overshadowing their careers to become a dominant voice in a movement. 

Moving forward I would like to explore using Image creators myself, though I had recently used it for the first time earlier this year, I’d like to know more about its functions and potentials. I am hoping to also get in touch with users of the technology and understand how they are looking at the discourse and the validity of the outrage surrounding it. I would also like to explore if the phenomenon truly is unprecedented. Finally, plan and execute interventions that clarify or evolve the way we look at the impact of this technology.

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Expert reflection unit 3

Reflections | Dragon’s Den

Originally written on 07th Jun 2024

The overall feedback from the dragons was positive. They affirmed this topic to be relevant and contemporary. The questions that arose were around the specific field that I was looking at. Initially I had intended to look at this subject from a legal and technology point of view, but upon reflection I believe that pivoting to the cultural impact of this technology would be far more productive for me. Understanding the impact of this technology and its surrounding legal debate would paint a clearer picture the direction in which creative society would head.

My reasons for selecting the cultural application is not arbitrary, it stems from my work and expertise in the field. Without a technology or legal background, I would not do those fields justice. Of course, all these fields intersect at points and influence one another, which is why in the larger story it is important to look at different aspects deeper. My intention moving forward is to pivot my research to understand the technology, it’s applications and limitations; possibly even it’s potential for the times to come. New technologies have been coming into existence since the prehistoric era, often facing initial backlash from those it seeks to assist or replace. More often than not it has been seen that over time, they are embraced through a changing social mindset. An example that comes to mind is the cotton Jenny, which in the late 18th century created fear amongst yarn spinners of increasing competition. In 1768, spinners also broke into the inventor’s house to destroy his machines to prevent what they perceived as the taking away of their work. Over time however, the Jenny created new avenues of work and expression as the increased productivity led to the drop in price of threads and yarn and allowing people to diversify their work. The invention took a long time to replace the truly “artisanal” spinners as quality continued to be an issue. This is just one story amongst many about emerging technologies, the threat they pose, the opportunities they bring and the cultural impact they create. The work on development of machine learning (Artificial intelligence systems) is unlikely to stop and it’s true impacts still far from certain at this point.

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Intervention reflection unit 3

incubator REFLECTION 19:05

written on 19th may 2024

Going into the incubator, I was unpacking a lot of information. I had to find an easy way to present it and engage the audience. Keeping it to comparing two popular platforms definitely helped with this process. My concern now coming out of it, is that presenting large chunks of legal data is not productive in changing minds or engaging the audience to introspection. A lot of these systems (social networks, media and ownership rights) have existed for some time and there are clearly more experienced minds working on both sides of the discourse. My engagement felt in that sense, a bit boring. As I proceed with this project I need to pull my subject of research out of the realm of data and security and into the realm of culture and application. I feel I need to make my interventions in the future more engaging and fun. This is something I will look into as I progress further. I don’t think it will be an excuse to say, this subject is new for everyone including myself and that it has little prior examples on how to be approached. Because of the contemporary nature of my subject, I need to search for directions and perspectives that are niche or yet unknown to create a more interesting way of generating interest.