Tag Archives: Karel Čapek

Mad, bad, and dangerous to know? Artificial Intelligence at the Vancouver (Canada) Art Gallery (2 of 2): Meditations

Dear friend,

I thought it best to break this up a bit. There are a couple of ‘objects’ still to be discussed but this is mostly the commentary part of this letter to you. (Here’s a link for anyone who stumbled here but missed Part 1.)

Ethics, the natural world, social justice, eeek, and AI

Dorothy Woodend in her March 10, 2022 review for The Tyee) suggests some ethical issues in her critique of the ‘bee/AI collaboration’ and she’s not the only one with concerns. UNESCO (United Nations Educational, Scientific and Cultural Organization) has produced global recommendations for ethical AI (see my March 18, 2022 posting). More recently, there’s “Racist and sexist robots have flawed AI,” a June 23, 2022 posting, where researchers prepared a conference presentation and paper about deeply flawed AI still being used in robots.

Ultimately, the focus is always on humans and Woodend has extended the ethical AI conversation to include insects and the natural world. In short, something less human-centric.

My friend, this reference to the de Young exhibit may seem off topic but I promise it isn’t in more ways than one. The de Young Museum in San Francisco (February 22, 2020 – June 27, 2021) also held and AI and art show called, “Uncanny Valley: Being Human in the Age of AI”), from the exhibitions page,

In today’s AI-driven world, increasingly organized and shaped by algorithms that track, collect, and evaluate our data, the question of what it means to be human [emphasis mine] has shifted. Uncanny Valley is the first major exhibition to unpack this question through a lens of contemporary art and propose new ways of thinking about intelligence, nature, and artifice. [emphasis mine]

Courtesy: de Young Museum [downloaded from https://deyoung.famsf.org/exhibitions/uncanny-valley]

As you can see, it hinted (perhaps?) at an attempt to see beyond human-centric AI. (BTW, I featured this ‘Uncanny Valley’ show in my February 25, 2020 posting where I mentioned Stephanie Dinkins [featured below] and other artists.)

Social justice

While the VAG show doesn’t see much past humans and AI, it does touch on social justice. In particular there’s Pod 15 featuring the Algorithmic Justice League (AJL). The group “combine[s] art and research to illuminate the social implications and harms of AI” as per their website’s homepage.

In Pod 9, Stephanie Dinkins’ video work with a robot (Bina48), which was also part of the de Young Museum ‘Uncanny Valley’ show, addresses some of the same issues.

Still of Stephanie Dinkins, “Conversations with Bina48,” 2014–present. Courtesy of the artist [downloaded from https://deyoung.famsf.org/stephanie-dinkins-conversations-bina48-0]

From the the de Young Museum’s Stephanie Dinkins “Conversations with Bina48” April 23, 2020 article by Janna Keegan (Dinkins submitted the same work you see at the VAG show), Note: Links have been removed,

Transdisciplinary artist and educator Stephanie Dinkins is concerned with fostering AI literacy. The central thesis of her social practice is that AI, the internet, and other data-based technologies disproportionately impact people of color, LGBTQ+ people, women, and disabled and economically disadvantaged communities—groups rarely given a voice in tech’s creation. Dinkins strives to forge a more equitable techno-future by generating AI that includes the voices of multiple constituencies …

The artist’s ongoing Conversations with Bina48 takes the form of a series of interactions with the social robot Bina48 (Breakthrough Intelligence via Neural Architecture, 48 exaflops per second). The machine is the brainchild of Martine Rothblatt, an entrepreneur in the field of biopharmaceuticals who, with her wife, Bina, cofounded the Terasem Movement, an organization that seeks to extend human life through cybernetic means. In 2007 Martine commissioned Hanson Robotics to create a robot whose appearance and consciousness simulate Bina’s. The robot was released in 2010, and Dinkins began her work with it in 2014.

Part psychoanalytical discourse, part Turing test, Conversations with Bina48 also participates in a larger dialogue regarding bias and representation in technology. Although Bina Rothblatt is a Black woman, Bina48 was not programmed with an understanding of its Black female identity or with knowledge of Black history. Dinkins’s work situates this omission amid the larger tech industry’s lack of diversity, drawing attention to the problems that arise when a roughly homogenous population creates technologies deployed globally. When this occurs, writes art critic Tess Thackara, “the unconscious biases of white developers proliferate on the internet, mapping our social structures and behaviors onto code and repeating imbalances and injustices that exist in the real world.” One of the most appalling and public of these instances occurred when a Google Photos image-recognition algorithm mislabeled the faces of Black people as “gorillas.”

Eeek

You will find as you go through the ‘imitation game’ a pod with a screen showing your movements through the rooms in realtime on a screen. The installation is called “Creepers” (2021-22). The student team from Vancouver’s Centre for Digital Media (CDM) describes their project this way, from the CDM’s AI-driven Installation Piece for the Vancouver Art Gallery webpage,

Project Description

Kaleidoscope [team name] is designing an installation piece that harnesses AI to collect and visualize exhibit visitor behaviours, and interactions with art, in an impactful and thought-provoking way.

There’s no warning that you’re being tracked and you can see they’ve used facial recognition software to track your movements through the show. It’s claimed on the pod’s signage that they are deleting the data once you’ve left.

‘Creepers’ is an interesting approach to the ethics of AI. The name suggests that even the student designers were aware it was problematic.

For the curious, there’s a description of the other VAG ‘imitation game’ installations provided by CDM students on the ‘Master of Digital Media Students Develop Revolutionary Installations for Vancouver Art Gallery AI Exhibition‘ webpage.

In recovery from an existential crisis (meditations)

There’s something greatly ambitious about “The Imitation Game: Visual Culture in the Age of Artificial Intelligence” and walking up the VAG’s grand staircase affirms that ambition. Bravo to the two curators, Grenville and Entis for an exhibition.that presents a survey (or overview) of artificial intelligence, and its use in and impact on creative visual culture.

I’ve already enthused over the history (specifically Turing, Lovelace, Ovid), admitted to being mesmerized by Scott Eaton’s sculpture/AI videos, and confessed to a fascination (and mild repulsion) regarding Oxman’s honeycombs.

It’s hard to remember all of the ‘objects’ as the curators have offered a jumble of work, almost all of them on screens. Already noted, there’s Norbert Wiener’s The Moth (1949) and there are also a number of other computer-based artworks from the 1960s and 1970s. Plus, you’ll find works utilizing a GAN (generative adversarial network), an AI agent that is explained in the exhibit.

It’s worth going more than once to the show as there is so much to experience.

Why did they do that?

Dear friend, I’ve already commented on the poor flow through the show and It’s hard to tell if the curators intended the experience to be disorienting but this is to the point of chaos, especially when the exhibition is crowded.

I’ve seen Grenville’s shows before. In particular there was “MashUp: The Birth of Modern Culture, a massive survey documenting the emergence of a mode of creativity that materialized in the late 1800s and has grown to become the dominant model of cultural production in the 21st century” and there was “KRAZY! The Delirious World of Anime + Manga + Video Games + Art.” As you can see from the description, he pulls together disparate works and ideas into a show for you to ‘make sense’ of them.

One of the differences between those shows and the “imitation Game: …” is that most of us have some familiarity, whether we like it or not, with modern art/culture and anime/manga/etc. and can try to ‘make sense’ of it.

By contrast, artificial intelligence (which even experts have difficulty defining) occupies an entirely different set of categories; all of them associated with science/technology. This makes for a different kind of show so the curators cannot rely on the audience’s understanding of basics. It’s effectively an art/sci or art/tech show and, I believe, the first of its kind at the Vancouver Art Gallery. Unfortunately, the curators don’t seem to have changed their approach to accommodate that difference.

AI is also at the centre of a current panic over job loss, loss of personal agency, automated racism and sexism, etc. which makes the experience of viewing the show a little tense. In this context, their decision to commission and use ‘Creepers’ seems odd.

Where were Ai-Da and Dall-E-2 and the others?

Oh friend, I was hoping for a robot. Those roomba paintbots didn’t do much for me. All they did was lie there on the floor

To be blunt I wanted some fun and perhaps a bit of wonder and maybe a little vitality. I wasn’t necessarily expecting Ai-Da, an artisitic robot, but something three dimensional and fun in this very flat, screen-oriented show would have been nice.

This image has an empty alt attribute; its file name is image-asset.jpeg
Ai-Da was at the Glastonbury Festival in the U from 23-26th June 2022. Here’s Ai-Da and her Billie Eilish (one of the Glastonbury 2022 headliners) portrait. [downloaded from https://www.ai-darobot.com/exhibition]

Ai-Da was first featured here in a December 17, 2021 posting about performing poetry that she had written in honour of the 700th anniversary of poet Dante Alighieri’s death.

Named in honour of Ada Lovelace, Ai-Da visited the 2022 Venice Biennale as Leah Henrickson and Simone Natale describe in their May 12, 2022 article for Fast Company (Note: Links have been removed),

Ai-Da sits behind a desk, paintbrush in hand. She looks up at the person posing for her, and then back down as she dabs another blob of paint onto the canvas. A lifelike portrait is taking shape. If you didn’t know a robot produced it, this portrait could pass as the work of a human artist.

Ai-Da is touted as the “first robot to paint like an artist,” and an exhibition of her work, called Leaping into the Metaverse, opened at the Venice Biennale.

Ai-Da produces portraits of sitting subjects using a robotic hand attached to her lifelike feminine figure. She’s also able to talk, giving detailed answers to questions about her artistic process and attitudes toward technology. She even gave a TEDx talk about “The Intersection of Art and AI” in Oxford a few years ago. While the words she speaks are programmed, Ai-Da’s creators have also been experimenting with having her write and perform her own poetry.

She has her own website.

If not Ai-Da, what about Dall-E-2? Aaron Hertzmann’s June 20, 2022 commentary, “Give this AI a few words of description and it produces a stunning image – but is it art?” investigates for Salon (Note: Links have been removed),

DALL-E 2 is a new neural network [AI] algorithm that creates a picture from a short phrase or sentence that you provide. The program, which was announced by the artificial intelligence research laboratory OpenAI in April 2022, hasn’t been released to the public. But a small and growing number of people – myself included – have been given access to experiment with it.

As a researcher studying the nexus of technology and art, I was keen to see how well the program worked. After hours of experimentation, it’s clear that DALL-E – while not without shortcomings – is leaps and bounds ahead of existing image generation technology. It raises immediate questions about how these technologies will change how art is made and consumed. It also raises questions about what it means to be creative when DALL-E 2 seems to automate so much of the creative process itself.

A July 4, 2022 article “DALL-E, Make Me Another Picasso, Please” by Laura Lane for The New Yorker has a rebuttal to Ada Lovelace’s contention that creativity is uniquely human (Note: A link has been removed),

“There was this belief that creativity is this deeply special, only-human thing,” Sam Altman, OpenAI’s C.E.O., explained the other day. Maybe not so true anymore, he said. Altman, who wore a gray sweater and had tousled brown hair, was videoconferencing from the company’s headquarters, in San Francisco. DALL-E is still in a testing phase. So far, OpenAI has granted access to a select group of people—researchers, artists, developers—who have used it to produce a wide array of images: photorealistic animals, bizarre mashups, punny collages. Asked by a user to generate “a plate of various alien fruits from another planet photograph,” DALL-E returned something kind of like rambutans. “The rest of mona lisa” is, according to DALL-E, mostly just one big cliff. Altman described DALL-E as “an extension of your own creativity.”

There are other AI artists, in my August 16, 2019 posting, I had this,

AI artists first hit my radar in August 2018 when Christie’s Auction House advertised an art auction of a ‘painting’ by an algorithm (artificial intelligence). There’s more in my August 31, 2018 posting but, briefly, a French art collective, Obvious, submitted a painting, “Portrait of Edmond de Belamy,” that was created by an artificial intelligence agent to be sold for an estimated to $7000 – $10,000. They weren’t even close. According to Ian Bogost’s March 6, 2019 article for The Atlantic, the painting sold for $432,500 In October 2018.

That posting also included AI artist, AICAN. Both artist-AI agents (Obvious and AICAN) are based on GANs (generative adversarial networks) for learning and eventual output. Both artist-AI agents work independently or with human collaborators on art works that are available for purchase.

As might be expected not everyone is excited about AI and visual art. Sonja Drimmer, Professor of Medieval Art, University of Massachusetts at Amherst, provides another perspective on AI, visual art, and, her specialty, art history in her November 1, 2021 essay for The Conversation (Note: Links have been removed),

Over the past year alone, I’ve come across articles highlighting how artificial intelligence recovered a “secret” painting of a “lost lover” of Italian painter Modigliani, “brought to life” a “hidden Picasso nude”, “resurrected” Austrian painter Gustav Klimt’s destroyed works and “restored” portions of Rembrandt’s 1642 painting “The Night Watch.” The list goes on.

As an art historian, I’ve become increasingly concerned about the coverage and circulation of these projects.

They have not, in actuality, revealed one secret or solved a single mystery.

What they have done is generate feel-good stories about AI.

Take the reports about the Modigliani and Picasso paintings.

These were projects executed by the same company, Oxia Palus, which was founded not by art historians but by doctoral students in machine learning.

In both cases, Oxia Palus relied upon traditional X-rays, X-ray fluorescence and infrared imaging that had already been carried out and published years prior – work that had revealed preliminary paintings beneath the visible layer on the artists’ canvases.

The company edited these X-rays and reconstituted them as new works of art by applying a technique called “neural style transfer.” This is a sophisticated-sounding term for a program that breaks works of art down into extremely small units, extrapolates a style from them and then promises to recreate images of other content in that same style.

As you can ‘see’ my friend, the topic of AI and visual art is a juicy one. In fact, I have another example in my June 27, 2022 posting, which is titled, “Art appraised by algorithm.” So, Grenville’s and Entis’ decision to focus on AI and its impact on visual culture is quite timely.

Visual culture: seeing into the future

The VAG Imitation Game webpage lists these categories of visual culture “animation, architecture, art, fashion, graphic design, urban design and video games …” as being represented in the show. Movies and visual art, not mentioned in the write up, are represented while theatre and other performing arts are not mentioned or represented. That’ s not a surprise.

In addition to an area of science/technology that’s not well understood even by experts, the curators took on the truly amorphous (and overwhelming) topic of visual culture. Given that even writing this commentary has been a challenge, I imagine pulling the show together was quite the task.

Grenville often grounds his shows in a history of the subject and, this time, it seems especially striking. You’re in a building that is effectively a 19th century construct and in galleries that reflect a 20th century ‘white cube’ aesthetic, while looking for clues into the 21st century future of visual culture employing technology that has its roots in the 19th century and, to some extent, began to flower in the mid-20th century.

Chung’s collaboration is one of the only ‘optimistic’ notes about the future and, as noted earlier, it bears a resemblance to Wiener’s 1949 ‘Moth’

Overall, it seems we are being cautioned about the future. For example, Oxman’s work seems bleak (bees with no flowers to pollinate and living in an eternal spring). Adding in ‘Creepers’ and surveillance along with issues of bias and social injustice reflects hesitation and concern about what we will see, who sees it, and how it will be represented visually.

Learning about robots, automatons, artificial intelligence, and more

I wish the Vancouver Art Gallery (and Vancouver’s other art galleries) would invest a little more in audience education. A couple of tours, by someone who may or may not know what they’re talking, about during the week do not suffice. The extra material about Stephanie Dinkins and her work (“Conversations with Bina48,” 2014–present) came from the de Young Museum’s website. In my July 26, 2021 commentary on North Vancouver’s Polygon Gallery 2021 show “Interior Infinite,” I found background information for artist Zanele Muholi on the Tate Modern’s website. There is nothing on the VAG website that helps you to gain some perspective on the artists’ works.

It seems to me that if the VAG wants to be considered world class, it should conduct itself accordingly and beefing up its website with background information about their current shows would be a good place to start.

Robots, automata, and artificial intelligence

Prior to 1921, robots were known exclusively as automatons. These days, the word ‘automaton’ (or ‘automata’ in the plural) seems to be used to describe purely mechanical representations of humans from over 100 years ago whereas the word ‘robot’ can be either ‘humanlike’ or purely machine, e.g. a mechanical arm that performs the same function over and over. I have a good February 24, 2017 essay on automatons by Miguel Barral for OpenMind BBVA*, which provides some insight into the matter,

The concept of robot is relatively recent. The idea was introduced in 1921 by the Czech writer Karel Capek in his work R.U.R to designate a machine that performs tasks in place of man. But their predecessors, the automatons (from the Greek automata, or “mechanical device that works by itself”), have been the object of desire and fascination since antiquity. Some of the greatest inventors in history, such as Leonardo Da Vinci, have contributed to our fascination with these fabulous creations:

The Al-Jazari automatons

The earliest examples of known automatons appeared in the Islamic world in the 12th and 13th centuries. In 1206, the Arab polymath Al-Jazari, whose creations were known for their sophistication, described some of his most notable automatons: an automatic wine dispenser, a soap and towels dispenser and an orchestra-automaton that operated by the force of water. This latter invention was meant to liven up parties and banquets with music while floating on a pond, lake or fountain.

As the water flowed, it started a rotating drum with pegs that, in turn, moved levers whose movement produced different sounds and movements. As the pegs responsible for the musical notes could be exchanged for different ones in order to interpret another melody, it is considered one of the first programmable machines in history.

If you’re curious about automata, my friend, I found this Sept. 26, 2016 ABC news radio news item about singer Roger Daltrey’s and his wife, Heather’s auction of their collection of 19th century French automata (there’s an embedded video showcasing these extraordinary works of art). For more about automata, robots, and androids, there’s an excellent May 4, 2022 article by James Vincent, ‘A visit to the human factory; How to build the world’s most realistic robot‘ for The Verge; Vincent’s article is about Engineered Arts, the UK-based company that built Ai-Da.

AI is often used interchangeably with ‘robot’ but they aren’t the same. Not all robots have AI integrated into their processes. At its simplest AI is an algorithm or set of algorithms, which may ‘live’ in a CPU and be effectively invisible or ‘live’ in or make use of some kind of machine and/or humanlike body. As the experts have noted, the concept of artificial intelligence is a slippery concept.

*OpenMind BBVA is a Spanish multinational financial services company, Banco Bilbao Vizcaya Argentaria (BBVA), which runs the non-profit project, OpenMind (About us page) to disseminate information on robotics and so much more.*

You can’t always get what you want

My friend,

I expect many of the show’s shortcomings (as perceived by me) are due to money and/or scheduling issues. For example, Ai-Da was at the Venice Biennale and if there was a choice between the VAG and Biennale, I know where I’d be.

Even with those caveats in mind, It is a bit surprising that there were no examples of wearable technology. For example, Toronto’s Tapestry Opera recently performed R.U.R. A Torrent of Light (based on the word ‘robot’ from Karel Čapek’s play, R.U.R., ‘Rossumovi Univerzální Roboti’), from my May 24, 2022 posting,

I have more about tickets prices, dates, and location later in this post but first, here’s more about the opera and the people who’ve created it from the Tapestry Opera’s ‘R.U.R. A Torrent of Light’ performance webpage,

“This stunning new opera combines dance, beautiful multimedia design, a chamber orchestra including 100 instruments creating a unique electronica-classical sound, and wearable technology [emphasis mine] created with OCAD University’s Social Body Lab, to create an immersive and unforgettable science-fiction experience.”

And, from later in my posting,

“Despite current stereotypes, opera was historically a launchpad for all kinds of applied design technologies. [emphasis mine] Having the opportunity to collaborate with OCAD U faculty is an invigorating way to reconnect to that tradition and foster connections between art, music and design, [emphasis mine]” comments the production’s Director Michael Hidetoshi Mori, who is also Tapestry Opera’s Artistic Director. 

That last quote brings me back to the my comment about theatre and performing arts not being part of the show. Of course, the curators couldn’t do it all but a website with my hoped for background and additional information could have helped to solve the problem.

The absence of the theatrical and performing arts in the VAG’s ‘Imitation Game’ is a bit surprising as the Council of Canadian Academies (CCA) in their third assessment, “Competing in a Global Innovation Economy: The Current State of R&D in Canada” released in 2018 noted this (from my April 12, 2018 posting),

Canada, relative to the world, specializes in subjects generally referred to as the
humanities and social sciences (plus health and the environment), and does
not specialize as much as others in areas traditionally referred to as the physical
sciences and engineering. Specifically, Canada has comparatively high levels
of research output in Psychology and Cognitive Sciences, Public Health and
Health Services, Philosophy and Theology, Earth and Environmental Sciences,
and Visual and Performing Arts. [emphasis mine] It accounts for more than 5% of world research in these fields. Conversely, Canada has lower research output than expected in Chemistry, Physics and Astronomy, Enabling and Strategic Technologies,
Engineering, and Mathematics and Statistics. The comparatively low research
output in core areas of the natural sciences and engineering is concerning,
and could impair the flexibility of Canada’s research base, preventing research
institutions and researchers from being able to pivot to tomorrow’s emerging
research areas. [p. xix Print; p. 21 PDF]

US-centric

My friend,

I was a little surprised that the show was so centered on work from the US given that Grenville has curated ate least one show where there was significant input from artists based in Asia. Both Japan and Korea are very active with regard to artificial intelligence and it’s hard to believe that their artists haven’t kept pace. (I’m not as familiar with China and its AI efforts, other than in the field of facial recognition, but it’s hard to believe their artists aren’t experimenting.)

The Americans, of course, are very important developers in the field of AI but they are not alone and it would have been nice to have seen something from Asia and/or Africa and/or something from one of the other Americas. In fact, anything which takes us out of the same old, same old. (Luba Elliott wrote this (2019/2020/2021?) essay, “Artificial Intelligence Art from Africa and Black Communities Worldwide” on Aya Data if you want to get a sense of some of the activity on the African continent. Elliott does seem to conflate Africa and Black Communities, for some clarity you may want to check out the Wikipedia entry on Africanfuturism, which contrasts with this August 12, 2020 essay by Donald Maloba, “What is Afrofuturism? A Beginner’s Guide.” Maloba also conflates the two.)

As it turns out, Luba Elliott presented at the 2019 Montréal Digital Spring event, which brings me to Canada’s artificial intelligence and arts scene.

I promise I haven’t turned into a flag waving zealot, my friend. It’s just odd there isn’t a bit more given that machine learning was pioneered at the University of Toronto. Here’s more about that (from Wikipedia entry for Geoffrey Hinston),

Geoffrey Everest HintonCCFRSFRSC[11] (born 6 December 1947) is a British-Canadian cognitive psychologist and computer scientist, most noted for his work on artificial neural networks.

Hinton received the 2018 Turing Award, together with Yoshua Bengio [Canadian scientist] and Yann LeCun, for their work on deep learning.[24] They are sometimes referred to as the “Godfathers of AI” and “Godfathers of Deep Learning“,[25][26] and have continued to give public talks together.[27][28]

Some of Hinton’s work was started in the US but since 1987, he has pursued his interests at the University of Toronto. He wasn’t proven right until 2012. Katrina Onstad’s February 29, 2018 article (Mr. Robot) for Toronto Life is a gripping read about Hinton and his work on neural networks. BTW, Yoshua Bengio (co-Godfather) is a Canadian scientist at the Université de Montréal and Yann LeCun (co-Godfather) is a French scientist at New York University.

Then, there’s another contribution, our government was the first in the world to develop a national artificial intelligence strategy. Adding those developments to the CCA ‘State of Science’ report findings about visual arts and performing arts, is there another word besides ‘odd’ to describe the lack of Canadian voices?

You’re going to point out the installation by Ben Bogart (a member of Simon Fraser University’s Metacreation Lab for Creative AI and instructor at the Emily Carr University of Art + Design (ECU)) but it’s based on the iconic US scifi film, 2001: A Space Odyssey. As for the other Canadian, Sougwen Chung, she left Canada pretty quickly to get her undergraduate degree in the US and has since moved to the UK. (You could describe hers as the quintessential success story, i.e., moving from Canada only to get noticed here after success elsewhere.)

Of course, there are the CDM student projects but the projects seem less like an exploration of visual culture than an exploration of technology and industry requirements, from the ‘Master of Digital Media Students Develop Revolutionary Installations for Vancouver Art Gallery AI Exhibition‘ webpage, Note: A link has been removed,

In 2019, Bruce Grenville, Senior Curator at Vancouver Art Gallery, approached [the] Centre for Digital Media to collaborate on several industry projects for the forthcoming exhibition. Four student teams tackled the project briefs over the course of the next two years and produced award-winning installations that are on display until October 23 [2022].

Basically, my friend, it would have been nice to see other voices or, at the least, an attempt at representing other voices and visual cultures informed by AI. As for Canadian contributions, maybe put something on the VAG website?

Playing well with others

it’s always a mystery to me why the Vancouver cultural scene seems comprised of a set of silos or closely guarded kingdoms. Reaching out to the public library and other institutions such as Science World might have cost time but could have enhanced the show

For example, one of the branches of the New York Public Library ran a programme called, “We are AI” in March 2022 (see my March 23, 2022 posting about the five-week course, which was run as a learning circle). The course materials are available for free (We are AI webpage) and I imagine that adding a ‘visual culture module’ wouldn’t be that difficult.

There is one (rare) example of some Vancouver cultural institutions getting together to offer an art/science programme and that was in 2017 when the Morris and Helen Belkin Gallery (at the University of British Columbia; UBC) hosted an exhibition of Santiago Ramon y Cajal’s work (see my Sept. 11, 2017 posting about the gallery show) along with that show was an ancillary event held by the folks at Café Scientifique at Science World and featuring a panel of professionals from UBC’s Faculty of Medicine and Dept. of Psychology, discussing Cajal’s work.

In fact, where were the science and technology communities for this show?

On a related note, the 2022 ACM SIGGRAPH conference (August 7 – 11, 2022) is being held in Vancouver. (ACM is the Association for Computing Machinery; SIGGRAPH is for Special Interest Group on Computer Graphics and Interactive Techniques.) SIGGRAPH has been holding conferences in Vancouver every few years since at least 2011.

At this year’s conference, they have at least two sessions that indicate interests similar to the VAG’s. First, there’s Immersive Visualization for Research, Science and Art which includes AI and machine learning along with other related topics. There’s also, Frontiers Talk: Art in the Age of AI: Can Computers Create Art?

This is both an international conference and an exhibition (of art) and the whole thing seems to have kicked off on July 25, 2022. If you’re interested, the programme can be found here and registration here.

Last time SIGGRAPH was here the organizers seemed interested in outreach and they offered some free events.

In the end

it was good to see the show. The curators brought together some exciting material. As is always the case, there were some missed opportunities and a few blind spots. But all is not lost.

July 27, 2022, the VAG held a virtual event with an artist,

Gwenyth Chao to learn more about what happened to the honeybees and hives in Oxman’s Synthetic Apiary project. As a transdisciplinary artist herself, Chao will also discuss the relationship between art, science, technology and design. She will then guide participants to create a space (of any scale, from insect to human) inspired by patterns found in nature.

Hopefully there will be more more events inspired by specific ‘objects’. Meanwhile, August 12, 2022, the VAG is hosting,

… in partnership with the Canadian Music Centre BC, New Music at the Gallery is a live concert series hosted by the Vancouver Art Gallery that features an array of musicians and composers who draw on contemporary art themes.

Highlighting a selection of twentieth- and twenty-first-century music compositions, this second concert, inspired by the exhibition The Imitation Game: Visual Culture in the Age of Artificial Intelligence, will spotlight The Iliac Suite (1957), the first piece ever written using only a computer, and Kaija Saariaho’s Terra Memoria (2006), which is in a large part dependent on a computer-generated musical process.

It would be lovely if they could include an Ada Lovelace Day event. This is an international celebration held on October 11, 2022.

Do go. Do enjoy, my friend.

Sci-fi opera: R.U.R. A Torrent of Light opens May 28, 2022 in Toronto, Canada

Even though it’s a little late, I guess you could call the opera opening in Toronto on May 28, 2022 a 100th anniversary celebration of the word ‘robot’. Introduced in 1920 by Czech playwright Karel Čapek in his play, R.U.R., which stands for ‘Rossumovi Univerzální Roboti’ or, in English, ‘Rossum’s Universal Robots’, the word was first coined by Čapek’s brother, Josef (see more about the play and the word in the R.U.R. Wikipedia entry).

The opera, R.U.R. A Torrent of Light, is scheduled to open at 8 pm ET on Saturday, May 28, 2022 (after being rescheduled due to a COVID case in the cast) at OCAD University’s (formerly the Ontario College of Art and Design) The Great Hall.

I have more about tickets prices, dates, and location later in this post but first, here’s more about the opera and the people who’ve created it from the Tapestry Opera’s ‘R.U.R. A Torrent of Light’ performance webpage,

This stunning new opera combines dance, beautiful multimedia design, a chamber orchestra including 100 instruments creating a unique electronica-classical sound, and wearable technology [emphasis mine] created with OCAD University’s Social Body Lab, to create an immersive and unforgettable science-fiction experience.

As for the opera’s story,

The fictional tech company R.U.R., founded by couple Helena and Dom, dominates the A.I. software market and powers the now-ubiquitous androids that serve their human owners. 

As Dom becomes more focused on growing R.U.R’s profits, Helena’s creative research leads to an unexpected technological breakthrough that pits the couples’ visions squarely against each other. They’ve reached a turning point for humanity, but is humanity ready? 

Inspired by Karel Čapek’s 1920’s science-fiction play Rossum’s Universal Robots (which introduced the word “robot” to the English language), composer Nicole Lizée’s and writer Nicolas Billon’s R.U.R. A Torrent of Light grapples with one of our generation’s most fascinating questions. [emphasis mine]

So, what is the fascinating question? The answer is here in a March 7, 2022 OCAD news release,

Last Wednesday [March 2, 2022], OCAD U’s Great Hall at 100 McCaul St. was filled with all manner of sound making objects. Drum kits, gongs, chimes, typewriters and most exceptionally, a cello bow that produces bird sounds when glided across any surface were being played while musicians, dancers and opera singers moved among them.  

All were abuzz preparing for Tapestry Opera’s new production, R.U.R. A Torrent of Light, which will be presented this spring in collaboration with OCAD University. 

An immersive, site-specific experience, the new chamber opera explores humanity’s relationship to technology. [emphasis mine] Inspired by Karel Čapek’s 1920s science-fiction play Rossum’s Universal Robots, this latest version is set 20 years in the future when artificial intelligence (AI) has become fully sewn into our everyday lives and is set in the offices of a fictional tech company.

Čapek’s original script brought the word robot into the English language and begins in a factory that manufactures artificial people. Eventually these entities revolt and render humanity extinct.  

The innovative adaptation will be a unique addition to Tapestry Opera’s more than 40-year history of producing operatic stage performances. It is the only company in the country dedicated solely to the creation and performance of original Canadian opera. 

The March 7, 2022 OCAD news release goes on to describe the Social Body Lab’s involvement,

OCAD U’s Social Body Lab, whose mandate is to question the relationship between humans and technology, is helping to bring Tapestry’s vision of the not-so-distant future to the stage. Director of the Lab and Associate Professor in the Faculty of Arts & Science, Kate Hartman, along with Digital Futures Associate Professors Nick Puckett and Dr. Adam Tindale have developed wearable technology prototypes that will be integrated into the performers’ costumes. They have collaborated closely with the opera’s creative team to embrace the possibilities innovative technologies can bring to live performance. 

“This collaboration with Tapestry Opera has been incredibly unique and productive. Working in dialogue with their designers has enabled us to translate their ideas into cutting edge technological objects that we would have never arrived at individually,” notes Professor Puckett. 

The uncanny bow that was being tested last week is one of the futuristic devices that will be featured in the performance and is the invention of Dr. Tindale, who is himself a classically trained musician. He has also developed a set of wearable speakers for R.U.R. A Torrent of Light that when donned by the dancers will allow sound to travel across the stage in step with their choreography. 

Hartman and Puckett, along with the production’s costume, light and sound designers, have developed an LED-based prototype that will be worn around the necks of the actors who play robots and will be activated using WIFI. These collar pieces will function as visual indicators to the audience of various plot points, including the moments when the robots receive software updates.  

“Despite current stereotypes, opera was historically a launchpad for all kinds of applied design technologies. [emphasis mine] Having the opportunity to collaborate with OCAD U faculty is an invigorating way to reconnect to that tradition and foster connections between art, music and design,” comments the production’s Director Michael Hidetoshi Mori, who is also Tapestry Opera’s Artistic Director. 

“New music and theatre are perfect canvases for iterative experimentation. We look forward to the unique fruits of this collaboration and future ones,” he continues. 

Unfortunately, I cannot find a preview but there is this video highlighting the technology being used in the opera (there are three other videos highlighting the choreography, the music, and the story, respectively, if you scroll about 40% down this page),


As I promised, here are the logistics,

University address:

OCAD University
100 McCaul Street,
Toronto, Ontario, Canada, M5T 1W1

Performance venue:

The Great Hall at OCAD University
Level 2, beside the Anniversary Gallery

Ticket prices:

The following seating sections are available for this performance. Tickets are from $10 to $100. All tickets are subject to a $5 transaction fee.

Orchestra Centre
Orchestra Sides
Orchestra Rear
Balcony (standing room)

Performances:

May 28 at 8:00 pm

May 29 at 4:00 pm

June 01 at 8:00 pm

June 02 at 8:00 pm

June 03 at 8:00 pm

June 04 at 8:00 pm

June 05 at 4:00 pm

Tapestry Opera’s ‘R.U.R. A Torrent of Light’ performance webpage offers a link to buy tickets but it lands on a page that doesn’t seem to be functioning properly. I have contacted (as of Tuesday, May 24, 2022 at about 10:30 am PT) the Tapestry Opera folks to let them know about the problem. Hopefully soon, I will be able to update this page when they’ve handled the issue.

ETA May 30, 2022: You can buy tickets here. There are tickets available for only two of the performances left, Thursday, June 2, 2022 at 8 pm and Sunday, June 5, 2022 at 4 pm.

Robots in Vancouver and in Canada (one of two)

This piece just started growing. It started with robot ethics, moved on to sexbots and news of an upcoming Canadian robotics roadmap. Then, it became a two-part posting with the robotics strategy (roadmap) moving to part two along with robots and popular culture and a further  exploration of robot and AI ethics issues..

What is a robot?

There are lots of robots, some are macroscale and others are at the micro and nanoscales (see my Sept. 22, 2017 posting for the latest nanobot). Here’s a definition from the Robot Wikipedia entry that covers all the scales. (Note: Links have been removed),

A robot is a machine—especially one programmable by a computer— capable of carrying out a complex series of actions automatically.[2] Robots can be guided by an external control device or the control may be embedded within. Robots may be constructed to take on human form but most robots are machines designed to perform a task with no regard to how they look.

Robots can be autonomous or semi-autonomous and range from humanoids such as Honda’s Advanced Step in Innovative Mobility (ASIMO) and TOSY’s TOSY Ping Pong Playing Robot (TOPIO) to industrial robots, medical operating robots, patient assist robots, dog therapy robots, collectively programmed swarm robots, UAV drones such as General Atomics MQ-1 Predator, and even microscopic nano robots. [emphasis mine] By mimicking a lifelike appearance or automating movements, a robot may convey a sense of intelligence or thought of its own.

We may think we’ve invented robots but the idea has been around for a very long time (from the Robot Wikipedia entry; Note: Links have been removed),

Many ancient mythologies, and most modern religions include artificial people, such as the mechanical servants built by the Greek god Hephaestus[18] (Vulcan to the Romans), the clay golems of Jewish legend and clay giants of Norse legend, and Galatea, the mythical statue of Pygmalion that came to life. Since circa 400 BC, myths of Crete include Talos, a man of bronze who guarded the Cretan island of Europa from pirates.

In ancient Greece, the Greek engineer Ctesibius (c. 270 BC) “applied a knowledge of pneumatics and hydraulics to produce the first organ and water clocks with moving figures.”[19][20] In the 4th century BC, the Greek mathematician Archytas of Tarentum postulated a mechanical steam-operated bird he called “The Pigeon”. Hero of Alexandria (10–70 AD), a Greek mathematician and inventor, created numerous user-configurable automated devices, and described machines powered by air pressure, steam and water.[21]

The 11th century Lokapannatti tells of how the Buddha’s relics were protected by mechanical robots (bhuta vahana yanta), from the kingdom of Roma visaya (Rome); until they were disarmed by King Ashoka. [22] [23]

In ancient China, the 3rd century text of the Lie Zi describes an account of humanoid automata, involving a much earlier encounter between Chinese emperor King Mu of Zhou and a mechanical engineer known as Yan Shi, an ‘artificer’. Yan Shi proudly presented the king with a life-size, human-shaped figure of his mechanical ‘handiwork’ made of leather, wood, and artificial organs.[14] There are also accounts of flying automata in the Han Fei Zi and other texts, which attributes the 5th century BC Mohist philosopher Mozi and his contemporary Lu Ban with the invention of artificial wooden birds (ma yuan) that could successfully fly.[17] In 1066, the Chinese inventor Su Song built a water clock in the form of a tower which featured mechanical figurines which chimed the hours.

The beginning of automata is associated with the invention of early Su Song’s astronomical clock tower featured mechanical figurines that chimed the hours.[24][25][26] His mechanism had a programmable drum machine with pegs (cams) that bumped into little levers that operated percussion instruments. The drummer could be made to play different rhythms and different drum patterns by moving the pegs to different locations.[26]

In Renaissance Italy, Leonardo da Vinci (1452–1519) sketched plans for a humanoid robot around 1495. Da Vinci’s notebooks, rediscovered in the 1950s, contained detailed drawings of a mechanical knight now known as Leonardo’s robot, able to sit up, wave its arms and move its head and jaw.[28] The design was probably based on anatomical research recorded in his Vitruvian Man. It is not known whether he attempted to build it.

In Japan, complex animal and human automata were built between the 17th to 19th centuries, with many described in the 18th century Karakuri zui (Illustrated Machinery, 1796). One such automaton was the karakuri ningyō, a mechanized puppet.[29] Different variations of the karakuri existed: the Butai karakuri, which were used in theatre, the Zashiki karakuri, which were small and used in homes, and the Dashi karakuri which were used in religious festivals, where the puppets were used to perform reenactments of traditional myths and legends.

The term robot was coined by a Czech writer (from the Robot Wikipedia entry; Note: Links have been removed)

‘Robot’ was first applied as a term for artificial automata in a 1920 play R.U.R. by the Czech writer, Karel Čapek. However, Josef Čapek was named by his brother Karel as the true inventor of the term robot.[6][7] The word ‘robot’ itself was not new, having been in Slavic language as robota (forced laborer), a term which classified those peasants obligated to compulsory service under the feudal system widespread in 19th century Europe (see: Robot Patent).[37][38] Čapek’s fictional story postulated the technological creation of artificial human bodies without souls, and the old theme of the feudal robota class eloquently fit the imagination of a new class of manufactured, artificial workers.

I’m particularly fascinated by how long humans have been imagining and creating robots.

Robot ethics in Vancouver

The Westender, has run what I believe is the first article by a local (Vancouver, Canada) mainstream media outlet on the topic of robots and ethics. Tessa Vikander’s Sept. 14, 2017 article highlights two local researchers, Ajung Moon and Mark Schmidt, and a local social media company’s (Hootsuite), analytics director, Nik Pai. Vikander opens her piece with an ethical dilemma (Note: Links have been removed),

Emma is 68, in poor health and an alcoholic who has been told by her doctor to stop drinking. She lives with a care robot, which helps her with household tasks.

Unable to fix herself a drink, she asks the robot to do it for her. What should the robot do? Would the answer be different if Emma owns the robot, or if she’s borrowing it from the hospital?

This is the type of hypothetical, ethical question that Ajung Moon, director of the Open Roboethics Initiative [ORI], is trying to answer.

According to an ORI study, half of respondents said ownership should make a difference, and half said it shouldn’t. With society so torn on the question, Moon is trying to figure out how engineers should be programming this type of robot.

A Vancouver resident, Moon is dedicating her life to helping those in the decision-chair make the right choice. The question of the care robot is but one ethical dilemma in the quickly advancing world of artificial intelligence.

At the most sensationalist end of the scale, one form of AI that’s recently made headlines is the sex robot, which has a human-like appearance. A report from the Foundation for Responsible Robotics says that intimacy with sex robots could lead to greater social isolation [emphasis mine] because they desensitize people to the empathy learned through human interaction and mutually consenting relationships.

I’ll get back to the impact that robots might have on us in part two but first,

Sexbots, could they kill?

For more about sexbots in general, Alessandra Maldonado wrote an Aug. 10, 2017 article for salon.com about them (Note: A link has been removed),

Artificial intelligence has given people the ability to have conversations with machines like never before, such as speaking to Amazon’s personal assistant Alexa or asking Siri for directions on your iPhone. But now, one company has widened the scope of what it means to connect with a technological device and created a whole new breed of A.I. — specifically for sex-bots.

Abyss Creations has been in the business of making hyperrealistic dolls for 20 years, and by the end of 2017, they’ll unveil their newest product, an anatomically correct robotic sex toy. Matt McMullen, the company’s founder and CEO, explains the goal of sex robots is companionship, not only a physical partnership. “Imagine if you were completely lonely and you just wanted someone to talk to, and yes, someone to be intimate with,” he said in a video depicting the sculpting process of the dolls. “What is so wrong with that? It doesn’t hurt anybody.”

Maldonado also embedded this video into her piece,

A friend of mine described it as creepy. Specifically we were discussing why someone would want to programme ‘insecurity’ as a  desirable trait in a sexbot.

Marc Beaulieu’s concept of a desirable trait in a sexbot is one that won’t kill him according to his Sept. 25, 2017 article on Canadian Broadcasting News (CBC) online (Note: Links have been removed),

Harmony has a charming Scottish lilt, albeit a bit staccato and canny. Her eyes dart around the room, her chin dips as her eyebrows raise in coquettish fashion. Her face manages expressions that are impressively lifelike. That face comes in 31 different shapes and 5 skin tones, with or without freckles and it sticks to her cyber-skull with magnets. Just peel it off and switch it out at will. In fact, you can choose Harmony’s eye colour, body shape (in great detail) and change her hair too. Harmony, of course, is a sex bot. A very advanced one. How advanced is she? Well, if you have $12,332 CAD to put towards a talkative new home appliance, REALBOTIX says you could be having a “conversation” and relations with her come January. Happy New Year.

Caveat emptor though: one novel bonus feature you might also get with Harmony is her ability to eventually murder you in your sleep. And not because she wants to.

Dr Nick Patterson, faculty of Science Engineering and Built Technology at Deakin University in Australia is lending his voice to a slew of others warning us to slow down and be cautious as we steadily approach Westworldian levels of human verisimilitude with AI tech. Surprisingly, Patterson didn’t regurgitate the narrative we recognize from the popular sci-fi (increasingly non-fi actually) trope of a dystopian society’s futile resistance to a robocalypse. He doesn’t think Harmony will want to kill you. He thinks she’ll be hacked by a code savvy ne’er-do-well who’ll want to snuff you out instead. …

Embedded in Beaulieu’s article is another video of the same sexbot profiled earlier. Her programmer seems to have learned a thing or two (he no longer inputs any traits as you’re watching),

I guess you could get one for Christmas this year if you’re willing to wait for an early 2018 delivery and aren’t worried about hackers turning your sexbot into a killer. While the killer aspect might seem farfetched, it turns out it’s not the only sexbot/hacker issue.

Sexbots as spies

This Oct. 5, 2017 story by Karl Bode for Techdirt points out that sex toys that are ‘smart’ can easily be hacked for any reason including some mischief (Note: Links have been removed),

One “smart dildo” manufacturer was recently forced to shell out $3.75 million after it was caught collecting, err, “usage habits” of the company’s customers. According to the lawsuit, Standard Innovation’s We-Vibe vibrator collected sensitive data about customer usage, including “selected vibration settings,” the device’s battery life, and even the vibrator’s “temperature.” At no point did the company apparently think it was a good idea to clearly inform users of this data collection.

But security is also lacking elsewhere in the world of internet-connected sex toys. Alex Lomas of Pentest Partners recently took a look at the security in many internet-connected sex toys, and walked away arguably unimpressed. Using a Bluetooth “dongle” and antenna, Lomas drove around Berlin looking for openly accessible sex toys (he calls it “screwdriving,” in a riff off of wardriving). He subsequently found it’s relatively trivial to discover and hijack everything from vibrators to smart butt plugs — thanks to the way Bluetooth Low Energy (BLE) connectivity works:

“The only protection you have is that BLE devices will generally only pair with one device at a time, but range is limited and if the user walks out of range of their smartphone or the phone battery dies, the adult toy will become available for others to connect to without any authentication. I should say at this point that this is purely passive reconnaissance based on the BLE advertisements the device sends out – attempting to connect to the device and actually control it without consent is not something I or you should do. But now one could drive the Hush’s motor to full speed, and as long as the attacker remains connected over BLE and not the victim, there is no way they can stop the vibrations.”

Does that make you think twice about a sexbot?

Robots and artificial intelligence

Getting back to the Vikander article (Sept. 14, 2017), Moon or Vikander or both seem to have conflated artificial intelligence with robots in this section of the article,

As for the building blocks that have thrust these questions [care robot quandary mentioned earlier] into the spotlight, Moon explains that AI in its basic form is when a machine uses data sets or an algorithm to make a decision.

“It’s essentially a piece of output that either affects your decision, or replaces a particular decision, or supports you in making a decision.” With AI, we are delegating decision-making skills or thinking to a machine, she says.

Although we’re not currently surrounded by walking, talking, independently thinking robots, the use of AI [emphasis mine] in our daily lives has become widespread.

For Vikander, the conflation may have been due to concerns about maintaining her word count and for Moon, it may have been one of convenience or a consequence of how the jargon is evolving with ‘robot’ meaning a machine specifically or, sometimes, a machine with AI or AI only.

To be precise, not all robots have AI and not all AI is found in robots. It’s a distinction that may be more important for people developing robots and/or AI but it also seems to make a difference where funding is concerned. In a March 24, 2017 posting about the 2017 Canadian federal budget I noticed this,

… The Canadian Institute for Advanced Research will receive $93.7 million [emphasis mine] to “launch a Pan-Canadian Artificial Intelligence Strategy … (to) position Canada as a world-leading destination for companies seeking to invest in artificial intelligence and innovation.”

This brings me to a recent set of meetings held in Vancouver to devise a Canadian robotics roadmap, which suggests the robotics folks feel they need specific representation and funding.

See: part two for the rest.