AI giving new meaning to artistic concepts and expressions

AI or artificial intelligence has become a powerful topic of discussion in the world today. Many people believe that artificial intelligence or AI, which has been technologically developed by man, will help man’s own comfort, enjoyment and efficient work.

Many deconstructionists say that artificial intelligence is more powerful than human intelligence. An example is the animation short film “The Gloaming” by Niko Nobrain, directed by Nobrain. This gives a good interpretation of the building and breaking of human history. At the end of this film, artificial intelligence reflects human control and accidental destruction. 

In the movie “Finch” released by Apple in 2021, how AI joins the human and how the artificial intelligence builds a relationship with Finch’s dog after Finch’s death is built in the cinema from a different perspective.

Artists using artificial intelligence

If you are a student of AI, you will have to interpret not only these films but also the concepts of artists who present works based on AI. Today, there are several artists in the world who are studying AI and using artificial intelligence in their artworks.

Among them, Kate Crawford, Trevor Paglen, and Refik Anadol have used new approaches to AI and machine learning algorithm artwork. One of the most powerful artists among them is Refik Anadol. His use of AI in his artworks, his use of art space and art criticism are top notch.

Multi-model AI algorithm

In the modern world, there is no doubt that you often hear the terms OpenAI, DALLE, DALLE-2, ChatGPT, Stable Diffusion, Mid Journey these days. All of these actually follow a very similar pattern and are also highly monitored.

Highly labeled, multi-modal AI algorithms allow us to interact with them. They are often used to classify, organize and generate realistic representations of the world. Conversely, it also explores fantasy, magic and irrationality.

Refik Anadol’s art exhibition “Unsupervised” is a multimedia installation that explores the potential of AI and machine learning (Machine Hallucinations) to generate new forms of artistic expression.

The work also uses data collected from a variety of sources, including historical archives, social media and surveillance cameras, to create a dynamic and constantly evolving visual and auditory experience.

He has specifically trained the DCGAN, PGAN, and StyleGAN algorithms on large datasets to uncover unrecognized layers of our external realities. Anadol and his team collect data for this from digital archives and publicly available resources. Machine learning classification models process these datasets.

Machine Hallucinations

As a masterfully crafted multi-channel experience, Machine Hallucinations brings audiences a self-regenerating element of surprise and a new kind of sensory autonomy through cybernetic serendipity.

Analyzing this from a post-colonialist perspective, “Unsupervised” can be interpreted as a commentary on the power dynamics and cultural hegemony underlying the production and distribution of knowledge. The work highlights the role of technology in shaping our understanding of the world and how this process is often mediated by Western visions and interests.

Use of historical archives

One way in which “Unsupervised” reflects this postcolonial critique is in its use of historical archives. The work draws on a vast collection of digital photographs and documents from the Museum of Modern Art archive, which includes artworks, photographs and other cultural artifacts from around the world.

Using these archives as a primary data source for the work, Anadolu focuses on how Western institutions have historically controlled the production and interpretation of cultural knowledge.

One criticism of the show “Unsupervised” is that it may be too cryptic for some viewers. While the use of technology and AI in art is an exciting concept, it is not accessible to everyone. Some may find installations too abstract or difficult to understand or detract from the overall experience.

Moreover, by using machine learning algorithms to analyze and interpret this data, “Unsupervised” raises questions about the objectivity and neutrality of artificial intelligence. As the work continuously generates new patterns and models based on the data it receives, these algorithms also highlight how they reflect the biases and assumptions of their creators and the datasets they are trained on.

Additionally, “Unsupervised” incorporates real-time surveillance footage (CCTV) around New York City, focusing on the extensive surveillance infrastructure operating within urban spaces.

By including this footage in the book, Anadolu highlights how surveillance technology (CCTV) is often used to monitor and control marginalized communities. The simple interpretation of this is that surveillance of marginalized communities and their activities through CCTV harms the communities’ identity. It further emphasizes the postcolonial critique of power dynamics and cultural hegemony.

Overall, “Unsupervised” can be seen as a postcolonial critique of the role of technology in shaping our understanding of the world and how this process is often mediated by Western visions and interests. This work raises important questions about the objectivity and neutrality of technology, and its relationship to power and control.

Accordingly, Refik Anadol’s exhibition “Unsupervised” is a unique and fascinating display of the interaction between technology and art. It’s a must-see for anyone interested in the turning points in these fields.
 “These are all potential AI dreams created by AI. It is truly a multidimensional imagination. It mixes past, present and future. It mixes several substances. It’s just the convergence of things we thought were independent.” raflik anadol interprets his artworks.

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