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The Artist, Augmented: AI in the Studio is an art and writing project that explores the impact of generative AI on the artistic process from the perspective of an artist practitioner. Through a series of physical paintings and a written reflection, the project delves into the potential benefits and ethical concerns arising from integrating AI in the studio. The Artist, Augmented goes beyond the technical aspects of AI and addresses social and cultural issues, such as bias, inclusivity, and cultural values in generative AI art. The artist seeks to provide insights for creators, designers, scholars, policymakers, and the general public interested in the intersection of AI and art.
The reflection explores the intersection of the novelty cycle concept and generative AI art, highlighting how the use of AI as an iterative studio tool, accelerates the rate of experimentation and knowledge acquisition. The paper acknowledges the phenomenon of hedonic adaptation and emphasizes the importance of social context in the production and consumption of generative AI art.
The written reflection of this interdisciplinary exploration considers the role of glitch in the artistic process, highlighting its potential as a tool for examining the possibilities and limitations of AI in art and creativity. The project stresses the significance of the artist's relationship with material and the distinctive mental state achieved during the creative process. The Artist Augmented explores the potential for deeper collaboration between AI and human artists, with AI serving as a valuable brainstorming tool in the studio.
Through this body of artwork and written reflection, The Artist, Augmented: AI in the Studio seeks to provide a critical and informed perspective on the integration of AI in the studio. The project highlights the democratization of artistic practice, the expansion of human creative output, and ethical concerns such as copyright infringement, environmental impact, and bias in datasets. It offers strategies and perspective on how artists and designers may consider utilizing AI to enhance their studio practice.
Digital mapping offers a variety of options that range in complexity from dropping a point on your smartphone's mapping application to analyzing statistical differences in different geographies to warping geography for historical or artistic purposes. In addition to learning digital mapping methodology for humanist and social sciences research, and adapting mapping tools for artistic practice, we will discuss the critical application of these tools and how they can be used effectively in the classroom.
Alexis Witt, Institute for Digital Arts & Humanities
Summary:
As part of my PhD dissertation in Musicology,I am building a network graph (visualized using Gephi) of Russian émigré and traveling performers who toured the United States in the first half of the twentieth century. By visualizing these relationships in a graph, I more clearly define the extent to which these people are related while presenting these relationships in a way that is more useful and illustrative than prose text. The relationships that exist between the people in my study fall into six types: artistic (when individuals collaborate together for a performance or other creative enterprise), patron (when one individual is providing money or influence in support of another with no expectation of reciprocation), professional (when an individual is employed by another individual), family (marriages, family relationships), educational (teacher-student relationships), and personal (mutual acquaintances exclusive of artistic or professional endeavors). The graph frames a more nuanced reading of particular nodes in the artistic networks of New York City in the 1920s.
Like cities around the globe, Washington, DC has been gentrifying for decades. As a result, the city’s overall population has soared while the Black population has decreased from its peak Chocolate City status in the 1970s. These processes of gentrification are often studied longitudinally, where we see neighborhoods shift in racial demographics, socioeconomic status, and cultural formation over a given period of time. In this talk, I use a digital sound studies approach to recast gentrification as interruption, as jagged disruptions to everyday Black life in DC. These ruptures are a crucial part of the city’s gentrification story, and yet are often overlooked in favor of a more reductive narrative of displacement. Using music and soundscape analysis, I consider gentrification as the sonic disruption of Black life: through sirens, the displacement of music scenes, and the criminalization of sound. These stories, drawn from DC’s rapidly gentrifying Shaw neighborhood, are intended to broaden conversations about gentrification and help us to listen against everyday sonic harms.
This project employs text annotations on recordings of conversations of heritage Spanish speakers (HSSs) of Mexican descent that reside in Indiana to create a data visualization of the topics that promote code-switching between Spanish and English. The methodology includes conducting recorded conversations of bilingual speakers talking to a bilingual friend or a family member about Mexican-American culture. Participants were asked to speak as naturalistically as possible. The tools for the text analysis of the present study include ELAN (Sloetjes & Wittenburg, 2008) to create annotations and Voyant (Sinclair & Rockwell, 2016) to create text visualizations.
Text analysis of topics that promote more use of code-switching and the direction of the switch, Spanish to English or English to Spanish, can be useful to design data collection tasks for studies on Hispanic linguistics and bilingual heritage speakers’ culture. Additionally, the present study helps document the current state of code-switching according to cultural topics. To my knowledge, there are no existing analyses that document the topics that promote code-switching, nor the directions of the language switch using digital humanities tools to analyze text annotations of sociolinguistics interviews, so this study offers a viable option to present these types of information.
Where, exactly, is “the field” implied by field recording? Can you make a “field recording” inside your own home? What does the widespread dissemination of portable recording devices mean for the future of sonic practices? Is the sound of your everyday life already a work of music? In this hybrid lecture presentation and artist’s talk, Drew and M.C. Schmidt of Matmos will discuss the political and social questions of consent, control, access and “shareveillance” that surround their critical and creative practices of sampling and composition. The talk will discuss both their work as electronic musicians in Matmos and “Quarantine Supercut”, a globally crowdsourced audio collage documenting the public and private sounds of life during COVID lockdown.
There is growing interest in geographic information science and spatial analysis in public health research and practice, with emphasis on place-based interventions. However, given the spatialization of social inequity, these tools and methods can be used to reproduce the status quo if we do not critically apply spatial thinking when we use spatial methods and tools for public health problems. In this talk, I impress the importance of place for public health and discuss potential remedies and directions.
