Isabelle Levent
@isabellelevent
Isabelle Levent
As part of this model where the ‘back-end’ gets more attention than the artefact, a systematic dismantling of the myth of ‘the artist’ as a stand-alone genius, standing above, or aside from the world, needs to be enacted.
Creative AI Lab • Creative—Critical—Constructive —Collaborative—Computational: Towards a C5 model in Creative AI
A much better way of thinking about them is as a technology that allows humans to access information from many other humans and use that information to make decisions.
Julien Crockett • How to Raise Your Artificial Intelligence: A Conversation With Alison Gopnik and Melanie Mitchell
on metaphors for LLMs
When happy accidents spark creativity: Bringing collaborative speculation to life with generative AI
Hope Schroederarxiv.org
Many methods for creating these models don't (and to be honest can't) attach the name, website and other details of every image and piece of text used to a create a new image in the metadata to every step of the process.
Olu • Is using Lensa art theft? | The ethics of AI generated art
The Lab’s mission is also to develop a critical literacy that can help cultural institutions approach AI technologies as advanced and multilayered media. While reliant on the highly specialised theoretical work needed to untangle issues such as ‘distributed authorship’ (Ascott 2005; Zeilinger 2021) involved in artistic research, the Lab does not
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Research talk: Prompt tuning: What works and what's next
youtube.comPrompting and
We find that models learn just as fast with many prompts that are intentionally irrelevant or even pathologically misleading as they do with instructively “good” prompts. Further, such patterns hold even for models as large as 175 billion parameters (Brown et al., 2020) as well as the recently proposed instruction-tuned models which are trained on
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