1,720,960 research outputs found
Decentring Ethics: AI Art as Method [Introduction]
No full textThis book was developed both on Wurundjeri and Bidjigal country in the place we now call Australia, and across many online networks around the world. Australia’s economy is dependent on mining. For decades, mining corporations have ravaged Indigenous land and ancestral sites in the name of mineral resource extraction and profit (Povinelli 2016; Puutu Kunti Kurrama People and Pinikura People 2020). We want to open the book by acknowledging this context as a deeply conflicted and yet generative position from which to start discussion of AI ethics. In doing so, we acknowledge the traditional owners of lands on which we work and live, and the important community of First Nations scholars who are leading debates in Indigenous AI internationally
Decentring Ethics: AI Art as Method
No full textArtists and cultural institutions are a vital force in the construction of a relational, collectively held ethics of human-machine assemblages. Technological change always out-paces ethical governance, producing an uncertain zone between what machines can do, and what is upheld as ethical by diverse publics. Working in ways that are often speculative and provocative, artists trace ethical tensions as they are emerging in public consciousness.
AI ethics developed by big tech has been critiqued for its performativity and lack of equity. Working in the gaps left unfilled by recent developments in national and international policy, this volume explores artists’ and curators’ radical visions for who or what requires ethical protection. This volume pushes past regulatory obligations and towards ethics as a way of being in the world.
The book advances a decentred approach to ethics. It draws on non-Western, ecocritical and feminist worldviews, and acknowledges the more-than-human as an agent with the capacity to act. We position AI art as 'method' – a process of working with, or in response to, the contemporary computational era. This expands the normative definition of AI art as art created with relative autonomy by computers. AI art as method frames ethics as situated, embodied and improvisational, whereby artists work with emergent ethical questions while challenging the more conservative frameworks of the cultural institutions they operate within. While AI art often utilises the materiality or software of machine learning, this is not a pre-requisite for AI art as method.
The book contains commissioned essays, in conversation pieces and artistic interventions, compiled by Vanessa Bartlett, Jasmin Pfefferkorn and Emilie K Sunde. Contributions by Dani Admiss, Aarati Akkapeddi, Pita Arreola-Burns, Nora Al-Badri, Vanessa Bartlett, Elliott Burns, Gabby Bush, Sean Cubitt, Xanthe Dobbie, Solange Glasser, Beverley Hood, Libby Heaney, Ryan Kelly, Helen Knowles, Ben Loveridge, Margaret Osborne, Jasmin Pfefferkorn, Iyad Rahwan, Kamya Ramachandran, Lucy Sparrow, Emilie K. Sunde, Tyne Daile Sumner, and Amanda Wasielewski
Decentred Ethics: a collective statement
No full textAs a collective, we strive to make things that are generous, demanding, complicated, and critical, while acknowledging that our work emerges from systems steeped in colonial, patriarchal, and classist histories
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Computational Intimacies, from Prompting to Prose: Jasmin Pfefferkorn in conversation with Beverley Hood
No full textBeverley Hood is an artist and academic who has been exploring the relationship between technology and human experience since the 1990s. Her works integrate sculpture, performance, digital media, and writing. Hood’s practice is simultaneously deeply personal and highly collaborative, intersecting with medical professionals, scientists, actors, and dancers, as well as technologists and technology itself. In the following conversation, she discusses the crucial roles of relational thinking, intimacy, and embodiment in her practice, with a focus on her recent work Mother (2024)
Re-cognition: A Decentred Ethics for AI in Art Museums
No full textArtificial intelligence is entering the art museum both as a tool in operations, and as a part of artworks being exhibited. This chapter focuses on the latter, working from the premise that AI art entering the museum engages a system of relations that is primed for affective resonances, encounters, and opportunities for learning. Described above are just three of many examples of AI art in the museum. Each places a point of emphasis on a crucial question for a decentring of ethics: How do we understand ecological processes outside of human perception and intervention? How do we practice inclusive care in the contemporary technological era? How do we live in collaboration and entanglement with technological entities? This chapter positions the art museum as a site of translation between AI, as a cultural and technological entity, and the public(s). It focuses on how the exhibition of art with an AI component develops a set of relations between the human and the more than-human that can lay the foundation for a decentred ethics with AI. [From Introduction
The Emancipatory Potential of AI Art: Jasmin Pfefferkorn in conversation with Nora Al-Badri
No full textNora Al-Badri is a para-disciplinary artist with a significant body of research-driven conceptual media works. She holds a degree in political sciences, is a lecturer at ETH Zurich, and a guest professor at the State Academy of Fine Arts Stuttgart. Her practice engages decolonial and post-digital thinking and reflects a commitment to the speculative possibilities of technologies and public spaces, most notably museums. Over a video call in August of 2024, we discuss what needs to be prioritised in working with AI, how to push back against institutional power, and the emancipatory potential of new technologies. Two of her works, Babylonian Vision and The Post-Truth Museum, form the focus of this in-conversation
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