Isabelle Levent

OpenAI, which has been accused by its peers of releasing tools to the public with reckless speed, is particularly good at designing interfaces for its models that feel like magic. “It’s a conscious design imperative to produce these moments of shock and awe,” Crawford says. “We’re going to keep having those moments of enchantment.”

The Lab’s primary focus is on the ways in which artists and designers are adopting, adapting and remaking AI processes, building their own datasets and reaching into the ‘grey box’ of AI technologies. 

What’s difficult is to state our aesthetic values clearly enough to enable the program itself to make the evaluation at each generation.

“There are real concerns with respect to the copyright of outputs from these models and unaddressed rights issues with respect to the imagery, the image metadata and those individuals contained within the imagery,” said Peters.

Imagine an art-lover at an exhibition entitled ‘Dots 2008’. He speaks to two artists, each displaying a painting. In both cases, the art-lover cannot see past the seemingly random arrangement of dots of paint. He mentions this to the first artist, who says: “Oh, no, they’re not randomly placed. Each dot represents a friend of mine. The colour of