As you read my words now, the text has been constructed with several decisions about the words, tone, and grammar. While it seems straightforward to articulate this message rationally, it is far from pure reason and is in fact a creative and unique process to write. Can you imagine how machines would choose to write to us? If you haven't already seen an AI send text messages, you might imagine a concise and precise use of words that could only mean one thing. Language doesn’t work like that, and English is incredibly messy, and we are now seeing astounding examples of written communication from AI. Dr Alan D. Thompson is an AI consultant with a particularly amazing example of machine learning in his AI named Leta, who has recently authored, illustrated, narrated and then described her own children’s book. Leta’s Adventures is simply a must-read for 2022 and sits amongst an incredible collection of exploration and examination of AI available on Alan’s popular Youtube Channel. Alan graced the Art Intelligence Agency unaccompanied, though I am sure it won’t be long before we can hear Leta join the podcast.

If you're intrigued to hear more of Alan's excellent commentary on AI, follow his work on his website, or subscribe to his renowned newsletter, The Memo.

This Podcast was Produced by Tim Whiffen of Whimsy Productions in Association with the Art Intelligence Agency, the Australian Institute for Machine Learning, and the Sia Furler Institute of the University of Adelaide. 

Support the show: https://arts.adelaide.edu.au/music/sia-furler-institute/engagement#

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When AI is only worth as much as the algorithms and data it is based upon, what cultural impacts and criticisms are not afforded to what can be deemed objective data? Though we have looked at AI through the disciplines of philosophy, engineering, and art, the humanities have a lot more to do with this field as we increasingly realise the cultural potential (and indeed impact) of machine learning. Ramon Amaro is perfectly situated to identify issues with AI practice now, as a Lecturer in Visual Cultures at University College London. Ramon holds a Ph.D. in Philosophy at Goldsmiths, a Masters's degree in Sociological Research from the University of Essex, and a Bachelor of Science in Mechanical Engineering from the University of Michigan, Ann Arbor. With broad expertise, Agent Ramon Amaro joins the art intelligence agency to explore ideas of Afrofuturism, problematisation of AI, and ideas of perception in machines and visual cultures.

If you enjoyed this episode, you can find more of Ramon's work and purchase his book The Black Technical Object.

This Podcast was Produced by Tim Whiffen of Whimsy Productions in Association with the Art Intelligence Agency, the Australian Institute for Machine Learning, and the Sia Furler Institute of the University of Adelaide. 

Support the show: https://arts.adelaide.edu.au/music/sia-furler-institute/engagement#

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Would you listen to a story made by a machine? We've discussed how AI can collaborate with humans in art, inspiring some truly great work across mediums. But what happens when creatives take their passion to commercial products, what room is there for AI in commercial innovation? It turns out, a lot! ABF creative is one of the world's first content producers to leverage AI in the creation of podcasts. Anthony Fraiser, ABF Creative CEO, joins the Art Intelligence Agency to discuss the process of using AI in storytelling and the considerations of AI in their multicultural practice.

You can find more of Anthony's work and read his book on Facebook. You can also contact Anthony at anthony@abfc.co

This Podcast was Produced by Tim Whiffen of Whimsy Productions in Association with the Art Intelligence Agency, the Australian Institute for Machine Learning, and the Sia Furler Institute of the University of Adelaide.

Support the show: https://arts.adelaide.edu.au/music/sia-furler-institute/engagement#

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It seems that many people would rather use calculators or employ the services of an accountant than practice the language of mathematics, we've got plenty more fun things to be doing than formal equations. But is this boredom surrounding mathematics due to the language, or the subject of equations? Perhaps grammar is to a poem what math is to AI art. Can we code for creative outcomes? Is there a formula for art? It sounds daunting but Marcus Du Sautoy, author of the creativity code, is an Oxford University mathematician with fascinating insights on how we can solve for bold and beautiful in AI. Marcus joins the Art Intelligence agency to discuss the art of mathematics and the mathematics in art.

You can find more of Marcus's work in mathematics here, and follow his newest book on bookshelves in August.

This Podcast was Produced by Tim Whiffen of Whimsy Productions in Association with the Art Intelligence Agency, the Australian Institute for Machine Learning, and the Sia Furler Institute of the University of Adelaide.

Support the show: https://arts.adelaide.edu.au/music/sia-furler-institute/engagement#

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The study of art history brings with it questions of identifying and classifying genres, styles, and interpretations, providing an understanding of art at a sophisticated level. With the emergence of AI within artistic spaces, it has drawn contemporary art historians to consider how aesthetics play into the analytical ‘mind' of a machine processing art. With the new aesthetic, and the blending of virtual and real worlds in artistic language, we have a lot of creative potential and we're only starting to see what that looks like. Professor Marian Mazzone is the chair of art history at the college of charleston in South Carolina and an expert in computational art history. She joined the Art intelligence agency to provide insight into how we classify and analyse AI in art.

You can find more of Marian's work discussing a machine's understanding of art here.

This Podcast was Produced by Tim Whiffen of Whimsy Productions in Association with the Art Intelligence Agency, the Australian Institute for Machine Learning, and Sia Furler Institute of the University of Adelaide.

Support the show: https://arts.adelaide.edu.au/music/sia-furler-institute/engagement#

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As this series has explored the possibilities of artistic creativity with regard to AI, a common theme arises where AI is unable to self-sufficiently create meaningful work, but with direction from artistic intentions, it can be involved in truly remarkable work. Tim Gruchy is an artist who employs technology for multi-media art in this way. But as Agent Tim Gruchy explores ideas of sensory experiences, questions arise for AI's potential in a complex space, where as far as human experience is concerned, artists understand and pose questions no one is able to answer, let alone quantify for a computer.

This is a two-part discussion, please see episode 11 before starting.

You can find more of Tim's work here and follow his artistic endeavours on his YouTube,

This Podcast was Produced by Tim Whiffen of Whimsy Productions in Association with the Art Intelligence Agency, the Australian Institute for Machine Learning, and the Sia Furler Institute of the University of Adelaide.

Support the show: https://arts.adelaide.edu.au/music/sia-furler-institute/engagement#

See omnystudio.com/listener for privacy information.

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As this series has explored the possibilities of artistic creativity with regard to AI, a common theme arises where AI is unable to self-sufficiently create meaningful work, but with direction from artistic intentions, it can be involved in truly remarkable work. Tim Gruchy is an artist who employs technology for multi-media art in this way. But as Agent Tim Gruchy explores ideas of sensory experiences, questions arise for AI's potential in a complex space, where as far as human experience is concerned, artists understand and pose questions no one is able to answer, let alone quantify for a computer.

You can find more of Tim's work here and follow his artistic endeavours on his YouTube,

This Podcast was Produced by Tim Whiffen of Whimsy Productions in Association with Art Intelligence Agency, the Australian Institute for Machine Learning, and Sia Furler Institute of the University of Adelaide.

Support the show: https://arts.adelaide.edu.au/music/sia-furler-institute/engagement#

See omnystudio.com/listener for privacy information.

Hosted on Acast. See acast.com/privacy for more information.

While data is technically valuable to industry and science, it also makes an amazing subject for artistic exploration and expression. Data is a fantastic way of knowing about something but it is a limited experience of the world. That limitation is a great constraint for the creation of art but is also a fantastic motivation to point out through art. Equally, AI is a great tool to collaborate with for art creation, but using machine learning for commercial benefit requires reflection and critique available in fine art. The expansion of AI in the last couple of decades is something that Tega Brain, Industry Assistant Professor at NYU, has noticed and is exploring in her research and her artistic expression. To discuss the limitations and patterns of AI within our cultural and natural settings, Tega draws from examples of her work and her insights from her recent book.

You can find more of Tega's work and discover her insights into the convergence of engineering and fine art from her book Code as Creative Medium.

This Podcast was Produced by Tim Whiffen of Whimsy Productions in Association with the Art Intelligence Agency, the Australian Institute for Machine Learning, and the Sia Furler Institute of the University of Adelaide.

Support the show: https://arts.adelaide.edu.au/music/sia-furler-institute/engagement#

See omnystudio.com/listener for privacy information.

Hosted on Acast. See acast.com/privacy for more information.