Categories
reflection unit 3

A workshop in London

9th September 2024

Traditional Indigo tie-n-dye workshop practiced by the Bai minority of china.

Workshop at Yi Craft, London with Yiran, for Chengyi Lin.

I was invited to participate in an interactive workshop by Lin on the 9th of September. The workshop was organised by Yiran of YiCraft in NW London and consisted of a brief history of the traditional indigo tie-dye craft of the Bai minority followed by a practical demonstration. Yiran explained that she was a part of this ethnic minority in China. The workshop was set in her beautiful studio, adorned with many examples of Chinese ethnic crafts and prominently featured indigo dyed textiles using multiple traditional techniques including batik and screen print. Large panels of indigo dyed textile floated above our heads and draped the walls. Traditional costumes of the Bai tribe decorated the mannequins scattered around the periphery of the room and soft Tibetan chant music played at an ambient volume. We sipped some freshly brewed tea as Yiran told us the history and relevance of the Bai tribe traditions and how it was related to other textile traditions ranging from Japan, South-east and South Asia and into parts of Africa. These regions shared some practices but had their own history and traditions when it came to colour and design. It was a fascinating peek into an ancient tradition that we were today going to participate in. The history and story telling was a large part of appreciating the workshop. As we sipped our tea, it was evident that this was not going to be a simple tie-dye workshop, but one where we intimately connected with Yiran’s culture. It was clear that she had a deep connection and love for where she came from. Her understanding of the history made us look at the humble blue dye with fresh eyes. She had succeeded in not just sharing her heritage with us, but inviting us into the region of China that the Bai tribe inhabited. To me, I felt a profound connection with the people who lived across the border of my country of India. We had been divided politically for over 70 years, by the borders of the modern nation states of India and China, but we shared a unique link for thousands of years before that. A link that was as ancient as human trade in textile knowledge and as deep blue as the stains of indigo that we were about to oppress on our pieces of cloth.

As we sat and meticulously put needle to thread, to squeeze, scrunch and tie our plain white pieces of fabric together into distorted yet promising forms, the Tibetan chants played in the background. The Tibetan plateau lay to her west, and to my north. A sense of meditative calm had overcome us all. With this practice of sharing of tradition, I felt a bond that on a casual day would have gone completely unseen. Here, ten thousand miles away from our home countries, on a small island off the coast of a different continent, neighbours found themselves. I felt a deep appreciation for the preservation work Yiran is doing here in London. The stories of a people, the land they come from and the beauty that inspires them, their hopes and dreams from centuries ago, preserved and shared so graciously with me. As we sat there, Yiran shared pictures of the mountains in her village, the water that reflected the gentle blue sky in the early morning, a picture that almost seemed dyed by indigo itself. To say this experience was anything less than spiritual, would be an understatement. 

Categories
Expert reflection Secondary Research unit 3

Further correspondence | Experts

As I share my intervention outcomes, my collaboration with Marta Abba saw an introduction from Italian AI artist Francesco D’Isa. His work explores AI data, errors and kitsch. Following is an except from my response to his email on the nature of misinformations and it’s association with vested interest and power:

As I discuss some of my findings on past images and AI, I’d like to put forward some examples I found on this subject, so as to build on the discussion-

Radio: 

The infamous 1938 incident of a halloween special on the book ‘War of the worlds’ preformed by Orson Welles created a mass panic in America. This was a radio show and the public had taken the portrayal of the fictional radio show to be an actual news broadcast. The public had not expected the radio, the main source of information at the time to be broadcasting a fictional show. Today, it is unlikely anyone would it so seriously. Despite many such shows being produced and broadcast, eg. Dragons : Fantasy made real (2004) on the Discovery channel and Doomsday 2012 (2007) on the History channel, it has not cause a similar reaction or panic.

Article documenting the 1938 incident:

https://www.smithsonianmag.com/history/infamous-war-worlds-radio-broadcast-was-magnificent-fluke-180955180/

VFX and CGI:

Visual effects in films have seen a steady increase in usage and technical expertise, but so has the discernment of the audience. Visual effects considered exceptional a few years ago, now are seen as cringe or clearly unbelievable. The exposure and increase of VFX usage has led to a more discerning audience that now distinguishes between good and bad visual effects.

On the flip side, we have CGI, or computer generated graphics. At one point, CGI struggled to fully generate believable worlds. There was a term that was described this challenge for a long time- the uncanny valley. As recently as 2019, we had debated on the subject with the lion king remake garnering much criticism for its depiction of photorealistic animals juxtaposed with human speech and mouth movement. But there have been examples of pushing past this with movies such as Alita: Battle Angel’s protagonist and Gollum from Peter Jackson’s Lord of the rings being complete CGI characters created through motion capture to great acclaim.

Photoshop:

I found many articles and disclaimers dated back to 2011 with a very similar tone (as being used for AI images today) towards photoshopped images. Allow me to attach two such below- one from the guardian on their policy and the second, a student project (by Stephanie Coffaney) at the California Polytechnic state University. This can be taken as evidence that this was a relevant and serious discussion around the late 2000’s and early 2010’s.

https://www.theguardian.com/commentisfree/2011/sep/04/picture-manipulation-news-imagery-photoshop

https://core.ac.uk/download/pdf/19153916.pdf

Specificity and Historical images:

Currently, AI struggles to generate believable outputs for individual people. My work on recreating past memories of artists (as a form of curating Identity) points to this shortcoming. Outside of famous celebrities and world leaders, it is very hard for AI to easily produce a specific person. The training data is also very limited for spaces and concepts that may be nuanced or regional to the individual. What is easy to produce for AI, are images of generic with well documented concepts. The details are what it really struggles with. Despite this, generative AI is producing photorealistic images of the past, and this is made easier due to the nature of old photographs. The images being in black and white, blurred in areas and having damage accumulated over time can make it incredibly difficult for a common person to distinguish them. Here, the nature of what is expected is being used in the favour of AI’s limitations. It would be a lot harder for AI to generate a believable image in colour with realistic detail from today’s era. But if asked to generate a picture in an old and damaged style of a past time, it plays to the strength of AI’s randomisation.

The problem with historical images is that they can also be difficult to fact check. Many stories and their related images are lost to time, or buried so deep in the archives that it would be a difficult and time consuming task to resurrect it. Many images have never been published and put away in boxes and corners, yet to discovered. Authenticating such images would be hard if only a digital copy is available. This make the possibility of historical images’ authentication lie in a grey area. Some AI generated images may be falsely flagged as real due to close similarities with other archived images, while some genuine images may be flagged as fake if there is no other evidence to corroborate its authenticity.

Refelctions of digital colourist, Marina Amaral on AI images:

https://marinaamaral.substack.com/p/ai-is-creating-fake-historical-photos#:~:text=And%20trust%20me%2C%20these%20generated,indistinguishable%20from%20the%20real%20ones.

Categories
Intervention reflection unit 3

Wall of Memories | Reflections

How was the experience for participants remembering a fond memory?

All the participants of my intervention respond with a sense of nostalgia. The process of remembering a “fond” memory seemed challenging for them. The responses show that it was a challenging task that took time for them to complete. This shows that perhaps the real challenge for visual artists curating their personal identities is digging deep and finding pivotal points that shaped their lives and practice. This is a new aspect I had not considered completely. I hope to find a way to prompt a better way of finding what defines each individual and if there can be a process that can help better develop this “recall”.

How did participants feel seeing their individual memories as images?

The participants seemed divided on the enhancing effects I had expected this process to have. Which each of them rightly pointed out that the image was not a perfect replica of their memories, there was some understanding that when working with generative AI, it is more about providing physical descriptions rather than the mood a memory may evoke. While this was something I had explained to the participants, it is a learning that emotions cannot be infused in an AI image.

The image wall had me using LoRas that matched the participants as I tried to enhance their original memories as prompts. The wall included two images – an initial image and a final image. While two participant responses show their disappointment with the final images, i.e. not close enough or below expectations, there were others that stated that aspects of their memories became more vivid in their mind as they saw the generated image. There is evidence from these interactions that some people can build up an old memory using iterated images over time. In some sense, this also lets me think that there may be a possibility to bring forth the past and look at it again.

How did participants feel about their memories being one amongst many?

From the feedback, it appears that seeing other people’s memories along side their own, the participants were drawn into a community mindset. One participant attests to going back and reading other people’s notes. Despite a variety of emotions reported- overwhelming, joy, nostalgia, connection, surprise, etc. the common theme is can gather is that doing such an exercise with more people has a positive impact on the participants. This may be because they are on in the centre of the stage, but sharing it with others. Connection between all these different age groups and media users is also an unexpected outcome. Participants aged 39 and 24 feeling connected over a wall of AI generated images is a unique outcome and demonstrates a unique ability of this technology to bring together different generations.

Did AI images change the way any of the participants remembered their life?

All participants reported no change in the way they remembered their individual memories. These are clearly important parts of their lives and so are remembered strongly. I would like to be able to do justice and help a few of the participants develop more on the possibility of truly bringing the image closer to what is being seen in the eye of their minds.

Did any participants change the way they view AI application?

Participants did not find the outcome convincing enough to instigate a change in their already held views on generative AI. This is due to many factors, some of which include the participants already being supportive of generative AI technology, and other participants viewing it as a tool. For those who had negative associations of generative AI, the outcome may have reinforced their views.

Reflections from participants and possible changes moving forward.

The feedback strongly indicates that the participants were engaged with the idea of generative AI recreating memory. The feedback evidenced there to exist genuine curiosity and thinking on the part of different participants on the defining of themselves and the future role of this technology. I was certain that this would be far from a perfect intervention when working with such a difficult topic. I was however, hoping to gauge the interest and curiosity artists would feel when interacting with my intervention. In this case, while much was lacking in terms of presenting the “perfect” replica of the participant’s memories or identity, there was success in garnering genuine curiosity and expectation from a technology that until a few months ago, I thought was the enemy of visual artists.

Moving forward, I would like to expand this into a process rather than a simple installation. The back and forth on feedback and recollection, I find, is an important part of curating one’s personal identity. The task is not as simple as putting in text prompts into a magic machine, but is learning how to utilise a new tool for reflecting the personal. Understanding, what is the personal and how memories, artefacts and other aspects play into shaping it. Through the last few months, I have unlearnt many biases, uncovered many questions and reflected on many possibilities for my project. I feel the answers lie beyond the horizon, and may never be truly absolute, but a framework is beginning to appear close.

Categories
Intervention unit 3

Wall of Memories | Feedback

The Wall of Memories intervention saw its conclusion in early September. Following is the intervention feedback gathered as well as the project interactions at a glance.

Categories
Intervention unit 3

Wall of Memories | Interactions

Out of the 9 participants, 7 responded by posting a cherished memory of theirs. Below are the memories shared.

Below is the wall, before and after the generation of images to depict these memories.

Following this process, I have sent out a questionnaire (feedback form) to the participants. The participants will be sent the before and after and have to answer a few questions on the process. The questions I have posed are:

1. How did you feel having to share an old cherished memory?

2. Does seeing the generated images, alter or affect how you remember the event?

3. How does it feel to see your image amongst many who have shared fond memories?

4. Do you feel any difference when seeing the before and after of the wall?

5. Do the images make you curious to read other people’s shared memories?

6. How do you feel about AI being used as a tool to create moments from your past?

7. Is your opinion on generative AI changed in anyway through this process?

8. Any other feedback?

Categories
Secondary Research unit 3

Analysis | No One is ready for this

Original Article (accessed 26th August 2024)

No One is ready for this

By Sarah Jeong

For The Verge

https://www.theverge.com/2024/8/22/24225972/ai-photo-era-what-is-reality-google-pixel-9

I came across this article through Marta. I felt the need to analyse this article because of it’s proximity to my European press prize submission. The author discusses the new google pixel 9 and it’s AI enabled editing features. The article also touches on the larger cultural context of photography and the cultural impact of AI technologies being integrated into it. While the article is a good example of some the concerns we may have around the emergence of generative AI, it makes some bold assumptions. I’d like to discuss some of the merits and concerns I have with this.

Photographs, like text and ideas are and have always been subjective accounts produced by humans. Photography, since it’s invention has indeed been heralded as an account of “the truth”, however as I discussed in my EPP presentation, it has always been subject to context and framing. What a photograph, even from the early 20th century depicts, can be subject to propagandist intentions. The way it is framed, what is included and what is left out and the social context in which it is published, all affect the reception and interpretation of the image. The use of photography as a propaganda tool to promote colonialism and racism within the home countries has ample evidence. In their article, “Photography as a Tool of Power and Subjugation: How the Camera was Used to Justify Black Racial Inferiority”, Zaha Chouddhary explores the many facets of the early use of photography for generating and reinforcing racial superiority by European powers. 

The biases in early photography aren’t simply due to the user, in fact the very technology behind the camera film can be seen to have racial bias. It wasn’t till the 1990’s that the film technology was corrected to more accurately capture skin tones other than white. An in-depth exploration of this is done in the article “Color film was built for white people. Here’s what it did to dark skin.” By Estelle Caswell for Vox. In some sense, the assumption that, for any moment in history photography had been a standard for objective truth, is wrong. Such notions largely depend on who is being asked the question. A good example of this subjectivity lies in the topic of police brutality in the US, used in the original Verge article to demonstrate the use of film and photography to challenge the official/dominant view of the state. But this too, is entirely subjective. For most privileged communities in America, the idea that personal recordings disprove what the police are saying is understandable. However, given the long history of racial tension and police brutality in the US, most working class and coloured individual would navigate the world in a less naive way. Photos are not required to prove that the police are lying. As individuals in society, we navigate the world in a complex and multi faceted way, photo evidence being only one part of it. Social expectations, urban legends, neighbours, word of mouth and community history all play a part in how we see reality.

In the coming age, photography and videography may be seen with greater suspicion, however we have been on this journey for some time now. Before we had “fake images” we have had “fake news articles”. In fact, this idea of fake information may go as far back as we can information itself. We are lucky that we are more aware now than ever before, about not directly trusting what we see online. If our growing concern around manipulated images and videos is founded on being able to distinguish them, it would be more productive to educate the public on how to verify images based on metadata. Even so, the legitimacy of any media can and has never been a 100% reliable.

Photography as a Tool of Power and Subjugation: How the Camera was Used to Justify Black Racial Inferiority, by Zara Choudhary:

https://sacredfootsteps.com/2020/06/08/photography-as-a-tool-of-power-and-subjugation-how-the-camera-was-used-to-justify-black-racial-inferiority/

Color film was built for white people. Here’s what it did to dark skin, by Estelle Caswell for Vox:

Categories
Expert unit 3

Engaging with Expert | Marta Abbà

Originally written on 18th August 2024.

On August 6th, I was introduced to Marta Abba, an Italian researcher and journalist. She is an environmental physicist investigating how scientific research, technologies and human decisions impact biodiversity and human rights. She has written articles for publications such as Wired Italia, Soiel International and Seed science amongst many more.

This meeting came about through my project on “The future of Memory” proposal for the European Press Prize. Following a week long correspondence, we decided to have a video meeting on the 16th of august and I was offered an opportunity to incorporate my research into AI as a tool for visual artists, used to curate their personal identity and recreate images from their past and future into a larger project; AI photos and people: past and future. We have begun to share noted and ideas on the subject. I shared my blog and my approach towards the subject through action research. Moving forward, we will be setting up a system to collaborate overseas and incorporate other experts and creatives working on the subject. This includes AI photographers who are looking at the future of image, new art styles developed through the use of machine learning technologies and those who are participating in my intervention. Our hope is that this research culminates in some form of publishing to add new knowledge to the world of creativity, human experience and technology.

Linked In of Marta:

https://www.linkedin.com/in/marta-abbà-99b7a918/?locale=it_IT

European Press Prize proposal:

Categories
Intervention unit 3

Wall of Memories | Response

For this intervention, I was able to engage 9 individuals that practice visual arts in some capacity.

These individuals range in age from 22 years to 39 years. 

2 participants identify as Female, 

3 as Non-Binary and 

4 participants identify as some degree of Gender non-conforming.

2 participants are engaged in full time employment in visual arts , 

3 make supplementary income through visual arts, and 

4 participants engage in it as a hobby. 

Below is a break down of the forms of art identified in their practice.

I further enquired if they had ever used or engaged with generative AI. Out of the 9 respondents, 5 had engaged in the use of generative AI in some capacity. 

Further, I wanted to understand their views on the technology before I moved to the next stage of the intervention. As such, I think they were unaware that the intervention had already started.

Below are the responses to the question: Please tell us a bit about your current views on generative AI.

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unit 3

A Short note | Other developments

Outside of my research, I have volunteered to work on the MA Applied imagination Festival as part of the class committee. The festival will be taking place in the beginning of December 2024 and will showcase the work of our cohort. I am excited to participate and will have some of my time divided between the two projects. 

I also attended my cousin’s wedding in India this July. This was the first marriage in my immediate family and it gave me to opportunity to travel to my state in India, which I had not visited since childhood. The trip was marked by celebration, but also took me back to where I come from. It was truly humbling as I recounted my journey from Bihar/Jharkhand to Delhi, Mumbai and now London. They seem like worlds apart, not only because of the physical distance between them, but also the stark difference between the development of a major global city in the west and a rural town in one of the poorest states of India. This has been a great opportunity for me to reflect on my journey so far, and my individual voice in the larger world. I found a great many visual and cultural artefacts that I realised have shaped my aesthetics and world view. These were perhaps locked away somewhere in my mind, till I saw them again and could make the connection.

Finally, my tenancy at the student accommodation at UAL halls is also coming to an end in august and I will have to find alternative accommodation. This will surely be time consuming, as it is my first time house hunting in London, but I am hoping it goes by smoothly.

Back to work ^_^

Categories
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.