AI in Contemporary Art
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EuroPython 201933 / 118
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Meeting/Interview
Transcript: English(auto-generated)
00:04
Thank you, Alexander. I'm very happy to be here and to show you lots of beautiful pictures of what artists are currently doing with AI. First of all, just to show in a couple
00:20
of slides what I actually do because this is more of a Python and data science conference and you might not be so close to the art world. I run a meet up in London that promotes various artistic projects that use AI in some form in art, music, and design. I curate various exhibitions
00:45
frequently at conferences. This is one I did in Cambridge a couple of years ago and then in London last year where we put some kind of AI printed versions of AI generated works up on
01:05
easels and then I also curated a media festival in the Netherlands called Impact which looked a lot at some of the critical questions around AI and art. In the technical community I am maybe
01:28
a little bit known for organizing this NIPS or NIPS creativity workshop which I've been doing for the past two years and which I really hope to do again in December. If you're
01:42
working in machine learning and doing something creative with design, art, and music, you're very welcome to submit papers to this workshop provided it happens again. Last year I made a
02:02
collection of AI art submitted to this workshop which is now available at AI art online. If you want to know more about what types of artists exist in this space you can go there and have a look. Now I will ultimately tell you about what artists are currently doing in this space.
02:24
I always start with Deep Dream and how many of you are familiar with this? Yes, very many hands go up and this is very good. I feel I give a lot of these talks at art conferences and there maybe 10 or 20% of the room put their hand up. It's very nice to show these
02:45
images to the technical community. If somebody didn't put their hand up and is not so familiar with Deep Dream this is basically how it works. This is an artist, and he is run through this algorithm that emphasizes the features and comes out with all these crazy shapes and
03:05
colors. I think at this point is really when this latest wave of interest in AI art has started. I think it's four years ago now and when this Deep Dream came out into the public a lot of
03:23
people were kind of curious because you can see that it's got its own aesthetic which can be considered artistic and interesting even if you're not an art historian. In terms of artists who've been working with this technique I like to mention Daniel Ambrosi. He is a computational
03:48
photographer so he takes lots of photographs and in this case he has incorporated Deep Dream. If you look closely you can see how some of the rocks and the river they have the Deep
04:04
Dream colors and the shapes but you can still recognize that it's seen by the river with houses and trees. The technique isn't too dominating which is what I like about this example because
04:21
I think with these tools it's too easy to get carried away and make the work all about the technique and in this case it's nice that it's kind of in the background and the realism of the scene can still exist somewhere. Then you also probably saw this also around four years
04:46
ago and also probably more recently in the talk that Alexander gave. Style transfer was great for turning various landscape scenes into works that look like they were made by Picasso or Monet
05:05
or like an impressionist. I think it became really popular with Prisma and I remember when I started going to all these technical conferences and I was telling people that I look at this AI
05:21
art space everybody thought that all the artists were doing style transfer because maybe to the general public this was kind of an easy way of making a photograph or an image look very artistic but if I told this to the art community then they would be shocked
05:43
because many consider style transfer to be a bit of a pastiche because ultimately with this technique you're converting a photograph into something that looks in the style of another famous artist. You're not really developing or innovating so much because you're
06:05
trying to replicate what has been done in the past so the art community has some criticisms of it. There are some more interesting examples like Gene Kogan who has rendered
06:21
Mona Lisa in cubist, impressionist and pointillist ways and then also he broadened the definition of style to change it into astronomy, Google Maps and calligraphy. I think this is one of the more interesting ways of using style transfer is to go beyond artistic
06:44
style and think what else can act as a style. Then Sophia Crespo also has some really cool works where I think she minimised content and somehow basically she got these really
07:03
cool sea creatures. I also like to show you this way because I think it's very aesthetically pleasing. Then came the GAN, the Generative Adversarial Network. I think now it's very
07:33
good and in the process of getting there they have also produced some quite interesting results. Here are some works by Mario Klingemann that are about two or three years old now
07:48
and you can see that they're very beautiful artistically so they might remind you of artists from the 20th century like Egon Schiele or Francis Bacon because they have I guess
08:06
mashed up faces and sometimes weird limbs. If you follow the GAN developments or have been experimenting with the technology a lot you will know that a couple of years ago there were a lot of issues with making sure that the eyes were in the right places
08:26
and that humans or cats had the right amount of limbs. Also you can see how in some ways it's also reflected in the artistic practice of that time. The person in the middle has
08:41
a random arm that's sticking out at an odd angle and so on. Mario Klingemann is a really good artist I think to follow because he's very prolific and every time there was a new kind of GAN model he would kind of play around with it and also kind of add
09:01
different layers and yeah these are some more images of his work and this is one from last year when I think GANs got very realistic and he created some installations that were
09:21
kind of generating very realistic faces and I don't know if any of you have made it to the Heck Basel kind of museum or exhibition has anybody been there? A couple of people very good yeah because I went there actually just before this talk and I can mention it now
09:44
because you're all in Basel and you are here listening about AI art and if you do become interested in it enough to go to the exhibition then yeah there's an exhibition around AI art featuring actually some work by Mario Klingemann and there's a there's a mirror that you can go
10:04
up to in front and it will kind of render your your photo based on kind of the datasets or the people that it's kind of seen throughout the exhibition and yeah it should be open I think tomorrow and the rest of the week from 12 until 6 so that could be interesting but yeah back to the
10:27
art yeah the GANs got quite realistic and there were also some artists like Libby Heaney that are interested exactly in the techniques because they can now produce such kind of high
10:45
quality and realistic results and of course the media likes to pick up on this kind of controversy with with the deep fakes and with all the kind of ethical implications of making
11:00
people say or do things that they never did but this is more of a playful kind of version of that and it's called Euro revision and it features yeah two politicians Angela Merkel and Theresa May who were kind of a thing dancing and also speaking some some poetry
11:25
and this kind of Eurovision style also maybe to highlight the current state of UK politics but yeah this is more a fun example of using these techniques and Scott Eaton has had some
11:41
very beautiful works that I think render the human form in a very kind of beautifully a realistic manner and yeah this is also like a short video that that shows his his process so he comes more from I think the the graphics community and yeah you can see maybe this poor
12:15
person has been sliced apart and then has to cough but yeah yeah this is this is a good
12:23
example of I guess what what the technique can do in terms of also depicting the human form and now I will move on to a set of artists who are very much interested in the data part of of this whole process and I like to start with Roman Lipsky and he is a Polish artist based
12:51
in Berlin and he took this photograph of a night scene in LA and then he proceeded to paint nine
13:00
different versions of this photograph and this became his data set and so he fed this to the machine and it generated kind of some images based on his nine photos and and yeah these were the images generated and what Roman Lipsky did was he he painted some more works in response
13:26
to those generated images you can see them here and then these went into the machine again so you come out with this which is yeah quite a bit more abstract and the color choices are a bit
13:43
well maybe clearly not human selected I think and then Roman Lipsky kind of painted some some other works in response see if you kind of look at these I think it's quite interesting to see how the artist has developed stylistically kind of through the help of of this kind of
14:08
AI algorithm and and yeah it's also I think a great example of how you can use these tools even if you don't care so much about kind of making digital works because a lot of artists
14:23
are also very much interested in continuing to work with traditional materials and this is a great example of how a painter who's always been I think quite traditional and in his choice of medium he's always painted landscapes and then he decided to get some inspiration
14:43
by working with a technical team who kind of trained the AI on his on his paintings and then he kind of proceeds to stick with with the painting medium so I think it's a good example and next there is a work by Anna Riddler called Fall of the House of Usher
15:08
and Anna is very much an artist who is interested in getting in her own datasets and she watched this film called Fall of the House of Usher and then she proceeded to make
15:25
lots of well not lots she made two or three hundred drawings of black and white black and white ink drawings of of this film which you can kind of see how how that worked here and then she proceeded to train pix2pix on her 200 ink drawings to produce an animation
15:49
and yeah this is one of the versions one of the early versions of the animation and if you kind of watch it through you will notice that there are certain kind of specific
16:04
specifics that really link this this work to the artist like here in the in the in the big face the algorithm drew the eyebrows and the eyes in the same way because
16:21
that's how Anna ultimately draws those and then sometimes you have a chair that appears and reappears because to an artist maybe a chair is a background element it's not really that important so sometimes you can miss it out and so it's very kind of interesting to watch
16:40
how how the algorithm amplifies the artist's particularities and like Roman Lipsky Anna also kind of engaged in a feedback loop with with the AI so the first animation was I think the
17:09
one which she then trained pix2pix again to generate the middle video and then she made drawings of the middle video and yeah the AI generated kind of this this last
17:26
version on the on the right so you can kind of see how yeah it becomes a little bit more because I think each time Anna has kind of less and less to work with and these are some stills
17:45
and Helena Siron is is also worth mentioning and what I really like about Helena Siron is that yeah she she also sticks very much with her own data sets and she works a lot with
18:00
I think her own drawings and photographs and yeah also with kind of flower mosaic themes and yeah these are some images of hers that I recently curated for a show in in Switzerland and I think the one on the right it combines newspaper and and photography and
18:28
yeah the other one also like yes her works frequently combine different types of mediums that you wouldn't normally kind of see together in one image and yeah I reckon I definitely recommend you to follow her practice because it's yeah it's very beautiful
18:46
in combining these mediums and seeing what beautiful aesthetics AI can generate and there's also Jegor Kraft who is an artist not working with with his own data sets but
19:04
thinking about the data sets we have from antiquity because we have so many kind of antique well sculptures from yeah yeah from from that early period that sometimes have kind of the noses that has fallen off kind of through through age or or so on or sometimes
19:29
it's only a fragment that we find and he thought like how can we further develop these sculptures maybe we can use an AI to kind of generate the remainder of of the sculpture based
19:45
on the fragment and he did that I think these are some possible generated versions of these faces and then he also 3d printed some of the components and I think complemented
20:04
them to the existing fragment so these are some examples of the sculptures and yeah now I will look at some artists who look a little bit more critically at at this topic and I like to start with this one it's good that you like this one too and
20:26
it was made by Scott Kelly and Ben Polkinghorne so these are two guys from New Zealand and yeah I'm not sure if if I should call them artists or good advertising executives because
20:43
I think yeah they work a lot in advertising and this was I think this was not an artwork in the end but it's kind of very witty and yeah I think it's obvious what it's trying to get at so this is a national park in New Zealand and you come there and then this there's
21:01
this billboard that suggests the other national parks you can go to because clearly that's what you want to do when you're in nature you want to be reminded of technology and you want to be recommended more stuff and yes there's another one kind of with with the seaside
21:22
and also one with the slide and yeah this one this one is particularly good because I guess the point of the slide is to kind of slide down and if you do you do you would burn you would bang your head on the sign so it clearly shows how technology can also
21:41
I guess hinder your enjoyment of natural spaces if if used wrongly and yeah then there is Gretchen Andrew who calls herself an internet imperialist and she is very much concerned with
22:00
kind of what comes out in Google results and whether you as a human or an artist can influence that and she's got a series of projects where she picks a set of words like in this case it's freeze Los Angeles so it's a it's a big famous art fair that was just kind of
22:23
starting out in its edition in LA and she made some paintings which you can see on the images actually on most images there against the white background and she put her paintings in this kind of and yet in I think in a generated gallery space to make them look
22:47
as if they were being exhibited at a gallery and then she knows how to really make search engine optimization work for her so yeah if you did search freeze LA at time
23:01
of the art fair this is what would come up so these kind of like imagined exhibitions of of artwork as opposed to what was really happening and she's done that a lot I think looking at also her hometown in kind of bow New Hampshire in the US and also looking at
23:21
what comes up I think for products for women so yeah I think it's quite admirable kind of what she does in trying to change what is displayed by this huge global search engine herself as a herself only yeah a one-person artist and this is one of her works
23:45
and yeah next I will mention Shiv Intija by Julien de Suif and Matt Plummer Fernandez and yeah there's this platform called Thingiverse which I think you can use if you like
24:04
3D designs and printing objects and these are some examples of the types of models or objects you can find on this Thingiverse website and what these two artists did is they created a bot that made mashups of all these different projects and these are some of the objects that came out
24:28
and the titles were also I think bot generated because that is a plastic action car and that is an open overlord nozzle these are a bit of a I guess strange objects and what I particularly
24:42
find found interesting about this project was the feedback from the community because what this bot was doing it was kind of creating all these mashups and it would post them onto the website and I think the website has some sort of a news feed and so it was kind of dominating it
25:02
and then you had various sorts of feedback from the community some people were not sure if it was a bot or a human that was kind of making all these yeah models and others were annoyed that it was dominating their news feeds so human projects got less exposure and then the
25:26
last one found it strange and was happy that it helped that this person helped with the model so yeah very different types of feedback and although yeah I don't think this project
25:40
explicitly uses kind of anything AI related I always like to show it as an example of what maybe can happen in the future where you will have a lot of this kind of AI generated art fighting for space with with artists and ultimately some of these crazy
26:02
shapes were 3D printed and they were exhibited in a gallery in the Netherlands and you could vote whether it was art or spam but remember this was in a gallery right so you're probably targeting a very biased kind of group of people right who came there because they
26:20
want to see art so they will probably say yes this definitely was art um yeah and now I will look at some artists who think a bit about facial recognition and we can start with Constant Dillard and that is his real name actually and the reason why I say this is because
26:43
this project is called dull dream and you probably remember that I started with deep dream which was all about emphasizing kind of features in an image so you got these kind of very colorful images at the end and with the project dull dream it's about dulling or reducing the features
27:04
in an image so they become a bit more blurry like you can see this image of protesters that is very blurry on the right and also same with Trump and I think this project is still live so if you go on dulldream.xyz and upload your own photograph this will also happen to you so
27:28
you will become less recognizable and this is kind of a way for the artist to look at how we can fight facial facial recognition because of course that is a controversial technique that
27:43
is used a lot in the public realm and I think a lot of artists yeah look at it very critically but yeah Adam Harvey is also one of these artists and he was trying to think of what can you do to your face to stop it from being detected as a face and so he has this project
28:04
called cv dazzle and it's I think three or four years old now so I don't think all of these techniques work anymore because of course the technical community has been working hard to make sure that it can recognize faces and anyway at a certain point in time if you had
28:23
two triangles on your face then it would be detected as yeah then then the face would not be detected but if you had only one triangle then yes you would register as a face and also yeah if you had some crazy hairstyle that partly blocked your face that would also
28:46
prevent the machine from seeing you but yeah nowadays I think a lot of the techniques have improved and the artist has been working with with a different type of technique and this
29:07
camouflage and I think it tries to kind of blend the face into the background and therefore stop it being detected as a face there are some artists who also
29:21
yeah look at facial recognition in more of a fine art context and these guys sheng sung back kim young hung two artists based in seoul they found some painters and asked them to paint portraits which became non-facial portraits so what the painters had to
29:44
do is they had to paint a portrait of a person together with a facial recognition system and the portrait had to be not detected as a face and you can see the final results and kind of these images and then there's also a video that was kind of showing the process because
30:05
yeah as soon as the face was detected the artist had to the painter had to change what they were doing to kind of fool the system and so on and yeah you can see some of the results here and then also here and whenever like I look at these examples I think they're
30:23
particularly curious because the one on the left like to me as a human it doesn't really look like a face at all so yeah I can kind of understand the machine there but on the right I think it's kind of very obvious that it's a portrait of a human but I guess the eyes maybe
30:42
the nose is missing so or very lightly painted so it's probably much more difficult for a machine to register that and Tom White has also some great work that looks at image recognition and kind of the way that works and he has a series called Perception Engines
31:06
and he made some prints that when shown to most image recognition models would register in a particular category so I think the one on the left is a starfish and the one on the right is
31:24
either a cabbage or a brain but I get this wrong because it actually looks like both I think but the image on the left is is a starfish and I think if I asked one of you to draw a starfish you probably wouldn't draw this right because the starfish would normally have like tentacles that are like poking out in different directions but if you wanted to
31:46
talk to a computer and tell it to recognize a starfish from your image then you would draw that so I think it's just interesting to to showcase how how different humans and computers can interpret images and Joanne Hastie also kind of looks at this image recognition topic
32:09
and she made various colorful shapes that were abstract and yeah she got an AI to kind of come up with an arrangement for those images and these are eight different paintings
32:24
that she made based on what the AI told her to paint her images at us and then she ran those paintings through an image recognition model to give them titles and yeah this this one became titled Christmas Stocking but you can see some other options were
32:46
packet sock band-aid or pillow so yeah it's maybe a good way to name things maybe not and yeah just to kind of also mention a different technique because yeah a lot of this
33:04
has been kind of GAN dominated and then I guess a little bit of facial or image recognition at the end yeah so Harn van den Dorpel is an artist who's been working with genetic algorithms and yeah he was interested in looking at how you can kind of maybe create a supreme artwork
33:26
and he's he made some yes some prints of turtle drawings and actually some designs of turtle drawings and then he had kind of two drawings that you picked as parents
33:43
that then produced lots of different designs that became their children and then you could pick the two new parents from the set of children and then kind of they would create more children so the process would then kind of continue until they all converge into
34:02
something very similar and then at the end the final artwork was printed and yeah displayed offline so that was also very nice oh yeah sculpture
34:21
yeah so I don't think there's been so much sculpture in current artistic AI art practice and so that's why I was very happy when there was some work by Ben Snell that went for auction at Phillips I think in April or March and what this artist did was
34:43
he got a computer to generate a design of a sculpture based on a big data set that included I think old sculpture and also some more contemporary or modern designs and then he killed the computer so he kind of mashed up and ground it up into this powder
35:04
and this is kind of where the sculpture came from so yeah a little bit brutal maybe but I don't know I think yeah it just makes it special on so many kind of different levels because if you look at it you might not explicitly think that it was AI generated
35:22
even so yeah it's a really cool project and another recent project called AIDA robot and this one was designed by an art dealer in Oxford who actually always used to sell I think modern art so you know like Picasso and so on and then he decided that AI art is the future
35:46
so clearly a robot AI artist is also the future so she's been making some works and I think she can also draw portraits of people kind of based on facial recognition and then kind of
36:02
using some robotics to draw that and yeah it's I guess it's a curious project that highlights how how trendy AI art is now if kind of art dealers are also kind of
36:20
jumping on the bandwagon I mentioned this already but I seem to have still left a slide of this here so yeah you can go to AI art online and look at more projects and if you are working on something that is relevant I have a workshop in Seoul at ICCV so the international conference
36:44
on computer vision so the workshop will be on the 2nd of November and we are accepting papers on computer vision for fashion art and design and then also art so if you're kind of working with computer vision techniques to create some sort of art then yeah you should submit
37:05
by 10th of August and we'll create another online art gallery and there may even be a prize and if you have any questions or anything you can email me or maybe ask in the five minutes
37:23
or so that we have now thank you thank you very much questions please line up
37:40
at the microphones and while you do let me start with the first question how much of an artist is actually the data set so I think it's always quite difficult to define the artist because art is such a broad definition right and it can encompass anything from a
38:08
Picasso painting to like a pair of artworks kind of left on the floor and I guess if you're looking at kind of this generative AI art field that is composed of I guess the data set
38:24
and then kind of the technique and then the curation and then also somewhere along the way the concept then I think it's one of the stages and it also probably I think it depends right on also a lot on the concept and on your technical ability and yes I think it's just one
38:49
of the components but I think actually an artist might want to have a bias even in the data set actually a bias we try to avoid in data science and artists might want to have some that's a I think that's a big and nice learning I think yes it's possible I mean particularly if it's
39:05
an artist that draws or paints and they have a particular kind of style the way they do things then yeah maybe they want like in Anna Riddel's case to kind of to draw the eyebrows and eyes in the same way because that's what makes their practice special even though
39:20
kind of in theory eyebrows and eyes should look different right yes sure sure can you show the yeah the art gallery okay seems everybody's blown away oh Danielle next question here
39:45
yeah I come here thank you that was a really interesting tour and one of the things I noticed is that much of the art seems to be about subverting things or taking things that exist and then putting off in this kind of machine learning spin on them so the example of the film
40:05
uh the follow the house of Asha or the uh would you we did you like this we recommend that sign boards so they're playful and they're subversive and they're tape playing with things that we already know even the example of the artist mashing up his computer to
40:22
create a sculpture but I didn't see many that were that were not of that kind of art that that didn't take this ironic and detached stance um I didn't see anything that seems like
40:41
it will be striking out in a brand new direction in the way that you know Braque might have done 100 years ago or so or other artists who found a new way of looking at something rather than taking something and playing with it and do you think this is going to come oh wow what a what a question you ask yeah so I mean maybe
41:08
others tulips I think that's what the tulips project um no I think actually the project I would mention is I mean I I really like deep dream to me that's kind of the technique that
41:24
was really kind of unique I mean I haven't researched into kind of psychedelic art or like any any relation movement so but certainly I haven't seen much like that in the mainstream but with deep dream it kind of there was this very certain aesthetic that was linked to
41:41
this algorithm and to me that was kind of very creative that was that was new and special I think some of the early Gans were interesting too but they they did kind of create works that were somehow similar to maybe what 20th century artists did and yeah I guess in some ways
42:03
it is tricky in in this field because if you want to become a contemporary artist then like subverting subverting things or taking a critical look at what's happening in society is what the curators want so that's what they will fund and what they will exhibit and
42:26
yeah I guess in in the in the fine art sense or I guess looking at kind of yeah the generative art process if you kind of have the given that a lot of it is based on on the data set which is kind of stuff that has already been
42:45
done so it will create something based on this stuff so I think maybe if you move away from these generative techniques and use other types of techniques then maybe you will get something that is a bit different I don't know thank you very much yeah thank you very much
43:08
luba for coming by yeah I think you're around if you have questions just feel free to ask and discuss and for you so yeah thank you thanks again for coming by thank you very much
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