Isabelle Levent

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

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.

“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.

Crawford elaborated in an interview. “When you have this enchanted determinism, you say, we can’t possibly understand this. And we can’t possibly regulate it when it’s clearly so unknown and such a black box,” she says. “And that’s a trap.”

In the course of a year, the tech industry’s dreary post-social, post-crypto interregnum was rapidly supplanted — largely as the result of public-facing efforts by OpenAI, which is reportedly in talks with Microsoft about a potential $10 billion investment — by a story about inevitable technologies that are  so  transformative,  so  incomprehensibl