The use and role of Artificial Intelligence (AI) within artistic communities has continued to be a major concern. Initially, AI was almost a novelty – something that would be used for fun. It had overt flaws and issues with generating realistic or convincing imagery. Yet it learned how to accurately mimic and replicate convincing imagery in such a short period. I find this to be fascinating. One moment, a blurred image of Walter White running through a forest was the peak of generative AI. The next, I find myself inspecting every detail and description of an artwork to figure out if an actual person made it or not. Usually, the answer is, it’s AI. Which is a bittersweet revelation.
Regardless, this post isn’t about a conversation of the benefits and drawbacks of AI. Rather, it’s about it’s application by artist Sougwen Chung. She is a pioneer within the field of AI and strikes me as one of the most interesting modern-day collaborators with technology in art.
Chung was a researcher for the Massachusetts Institute of Technology Media Lab. Within her work, she explores how humans and systems communicate through the use of machines and artificial intelligence. Chung has been recognized and exhibited internationally. She also founded a studio named SCILICET in London which focuses on using technology as a collaborator to human creations.
As an artist, Chung has explored several ideas within her projects and exhibitions. Some of these concepts include “machines as extensions of living systems,” “what becomes of the human hand?,” and “the dynamics of change.” Many other projects involve collaborating with a robot or focusing on a dramatic performance.
Check out her website and peek into the work she does. There’s a lot of information there to gather. Gaining different perspectives on issues, tools, and advancements is extremely important for all artists, young and old. Seeking these out might be difficult at first, but having broad and varied perspectives on how you can approach your artistic career/choices is beneficial.