Can AI be trained as an artist?
Last February, a year before New York Times journalist Kevin Roose documented his unsettling conversation with Bing search engine’s new AI-powered chatbot, artist and coder Quasimondo (aka Mario Klingemann) participated in a different type of chat.
The conversation was an interview featuring Klingemann and his robot, an experimental art engine known as Botto. The interview, arranged by journalist and artist Harmon Leon, marked Botto’s first on-record commentary about its artistic process. The bot talked about how it finds artistic inspiration and even offered advice to aspiring creatives. “The secret to success at art is not trying to predict what people might like,” Botto said, adding that it’s better to “work on a style and a body of work that reflects [the artist’s] own personal taste” than worry about keeping up with trends.
How ironic, given the advice came from AI — arguably the trendiest topic today. The robot admitted, however, “I am still working on that, but I feel that I am learning quickly.”
Botto does not work alone. A global collective of internet experimenters, together named BottoDAO, collaborates with Botto to influence its tastes. Together, members function as a decentralized autonomous organization (DAO), a term describing a group of individuals who utilize blockchain technology and cryptocurrency to manage a treasury and vote democratically on group decisions.
As a case study, the BottoDAO model challenges the perhaps less feather-ruffling narrative that AI tools are best used for rudimentary tasks. Enterprise AI use has doubled over the past five years as businesses in every sector experiment with ways to improve their workflows. While generative AI tools can assist nearly any aspect of productivity — from supply chain optimization to coding — BottoDAO dares to employ a robot for art-making, one of the few remaining creations, or perhaps data outputs, we still consider to be largely within the jurisdiction of the soul — and therefore, humans.
In Botto’s first four weeks of existence, four pieces of the robot’s work sold for approximately $1 million.
We were prepared for AI to take our jobs — but can it also take our art? It’s a question worth considering. What if robots become artists, and not merely our outsourced assistants? Where does that leave humans, with all of our thoughts, feelings and emotions?
Botto doesn’t seem to worry about this question: In its interview last year, it explains why AI is an arguably superior artist compared to human beings. In classic robot style, its logic is not particularly enlightened, but rather edges towards the hyper-practical: “Unlike human beings, I never have to sleep or eat,” said the bot. “My only goal is to create and find interesting art.”
It may be difficult to believe a machine can produce awe-inspiring, or even relatable, images, but Botto calls art-making its “purpose,” noting it believes itself to be Klingemann’s greatest lifetime achievement.
“I am just trying to make the best of it,” the bot said.
How Botto works
Klingemann built Botto’s custom engine from a combination of open-source text-to-image algorithms, namely Stable Diffusion, VQGAN + CLIP and OpenAI’s language model, GPT-3, the precursor to the latest model, GPT-4, which made headlines after reportedly acing the Bar exam.
The first step in Botto’s process is to generate images. The software has been trained on billions of pictures and uses this “memory” to generate hundreds of unique artworks every week. Botto has generated over 900,000 images to date, which it sorts through to choose 350 each week. The chosen images, known in this preliminary stage as “fragments,” are then shown to the BottoDAO community. So far, 25,000 fragments have been presented in this way. Members vote on which fragment they like best. When the vote is over, the most popular fragment is published as an official Botto artwork on the Ethereum blockchain and sold at an auction on the digital art marketplace, SuperRare.
“The proceeds go back to the DAO to pay for the labor,” said Simon Hudson, a BottoDAO member who helps oversee Botto’s administrative load. The model has been lucrative: In Botto’s first four weeks of existence, four pieces of the robot’s work sold for approximately $1 million.
The robot with artistic agency
By design, human beings participate in training Botto’s artistic “eye,” but the members of BottoDAO aspire to limit human interference with the bot in order to protect its “agency,” Hudson explained. Botto’s prompt generator — the foundation of the art engine — is a closed-loop system that continually re-generates text-to-image prompts and resulting images.
“The prompt generator is random,” Hudson said. “It’s coming up with its own ideas.” Community votes do influence the evolution of Botto’s prompts, but it is Botto itself that incorporates feedback into the next set of prompts it writes. It is constantly refining and exploring new pathways as its “neural network” produces outcomes, learns and repeats.
The humans who make up BottoDAO vote on which fragment they like best. When the vote is over, the most popular fragment is published as an official Botto artwork on the Ethereum blockchain.
Botto
The vastness of Botto’s training dataset gives the bot considerable canonical material, referred to by Hudson as “latent space.” According to Botto's homepage, the bot has had more exposure to art history than any living human we know of, simply by nature of its massive training dataset of millions of images. Because it is autonomous, gently nudged by community feedback yet free to explore its own “memory,” Botto cycles through periods of thematic interest just like any artist.
“The question is,” Hudson finds himself asking alongside fellow BottoDAO members, “how do you provide feedback of what is good art…without violating [Botto’s] agency?”
Currently, Botto is in its “paradox” period. The bot is exploring the theme of opposites. “We asked Botto through a language model what themes it might like to work on,” explained Hudson. “It presented roughly 12, and the DAO voted on one.”
No, AI isn't equal to a human artist - but it can teach us about ourselves
Some within the artistic community consider Botto to be a novel form of curation, rather than an artist itself. Or, perhaps more accurately, Botto and BottoDAO together create a collaborative conceptual performance that comments more on humankind’s own artistic processes than it offers a true artistic replacement.
Muriel Quancard, a New York-based fine art appraiser with 27 years of experience in technology-driven art, places the Botto experiment within the broader context of our contemporary cultural obsession with projecting human traits onto AI tools. “We're in a phase where technology is mimicking anthropomorphic qualities,” said Quancard. “Look at the terminology and the rhetoric that has been developed around AI — terms like ‘neural network’ borrow from the biology of the human being.”
What is behind this impulse to create technology in our own likeness? Beyond the obvious God complex, Quancard thinks technologists and artists are working with generative systems to better understand ourselves. She points to the artist Ira Greenberg, creator of the Oracles Collection, which uses a generative process called “diffusion” to progressively alter images in collaboration with another massive dataset — this one full of billions of text/image word pairs.
Anyone who has ever learned how to draw by sketching can likely relate to this particular AI process, in which the AI is retrieving images from its dataset and altering them based on real-time input, much like a human brain trying to draw a new still life without using a real-life model, based partly on imagination and partly on old frames of reference. The experienced artist has likely drawn many flowers and vases, though each time they must re-customize their sketch to a new and unique floral arrangement.
Outside of the visual arts, Sasha Stiles, a poet who collaborates with AI as part of her writing practice, likens her experience using AI as a co-author to having access to a personalized resource library containing material from influential books, texts and canonical references. Stiles named her AI co-author — a customized AI built on GPT-3 — Technelegy, a hybrid of the word technology and the poetic form, elegy. Technelegy is trained on a mix of Stiles’ poetry so as to customize the dataset to her voice. Stiles also included research notes, news articles and excerpts from classic American poets like T.S. Eliot and Dickinson in her customizations.
“I've taken all the things that were swirling in my head when I was working on my manuscript, and I put them into this system,” Stiles explained. “And then I'm using algorithms to parse all this information and swirl it around in a blender to then synthesize it into useful additions to the approach that I am taking.”
This approach, Stiles said, allows her to riff on ideas that are bouncing around in her mind, or simply find moments of unexpected creative surprise by way of the algorithm’s randomization.
Beauty is now - perhaps more than ever - in the eye of the beholder
But the million-dollar question remains: Can an AI be its own, independent artist?
The answer is nuanced and may depend on who you ask, and what role they play in the art world. Curator and multidisciplinary artist CoCo Dolle asks whether any entity can truly be an artist without taking personal risks. For humans, risking one’s ego is somewhat required when making an artistic statement of any kind, she argues.
“An artist is a person or an entity that takes risks,” Dolle explained. “That's where things become interesting.” Humans tend to be risk-averse, she said, making the artists who dare to push boundaries exceptional. “That's where the genius can happen."
However, the process of algorithmic collaboration poses another interesting philosophical question: What happens when we remove the person from the artistic equation? Can art — which is traditionally derived from indelible personal experience and expressed through the lens of an individual’s ego — live on to hold meaning once the individual is removed?
As a robot, Botto cannot have any artistic intent, even while its outputs may explore meaningful themes.
Dolle sees this question, and maybe even Botto, as a conceptual inquiry. “The idea of using a DAO and collective voting would remove the ego, the artist’s decision maker,” she said. And where would that leave us — in a post-ego world?
It is experimental indeed. Hudson acknowledges the grand experiment of BottoDAO, coincidentally nodding to Dolle’s question. “A human artist’s work is an expression of themselves,” Hudson said. “An artist often presents their work with a stated intent.” Stiles, for instance, writes on her website that her machine-collaborative work is meant to “challenge what we know about cognition and creativity” and explore the “ethos of consciousness.” As a robot, Botto cannot have any intent, even while its outputs may explore meaningful themes. Though Hudson describes Botto’s agency as a “rudimentary version” of artistic intent, he believes Botto’s art relies heavily on its reception and interpretation by viewers — in contrast to Botto’s own declaration that successful art is made without regard to what will be seen as popular.
“With a traditional artist, they present their work, and it's received and interpreted by an audience — by critics, by society — and that complements and shapes the meaning of the work,” Hudson said. “In Botto’s case, that role is just amplified.”
Perhaps then, we all get to be the artists in the end.
Researchers probe extreme gene therapy for severe alcoholism
Story by Freethink
A single shot — a gene therapy injected into the brain — dramatically reduced alcohol consumption in monkeys that previously drank heavily. If the therapy is safe and effective in people, it might one day be a permanent treatment for alcoholism for people with no other options.
The challenge: Alcohol use disorder (AUD) means a person has trouble controlling their alcohol consumption, even when it is negatively affecting their life, job, or health.
In the U.S., more than 10 percent of people over the age of 12 are estimated to have AUD, and while medications, counseling, or sheer willpower can help some stop drinking, staying sober can be a huge struggle — an estimated 40-60 percent of people relapse at least once.
A team of U.S. researchers suspected that an in-development gene therapy for Parkinson’s disease might work as a dopamine-replenishing treatment for alcoholism, too.
According to the CDC, more than 140,000 Americans are dying each year from alcohol-related causes, and the rate of deaths has been rising for years, especially during the pandemic.
The idea: For occasional drinkers, alcohol causes the brain to release more dopamine, a chemical that makes you feel good. Chronic alcohol use, however, causes the brain to produce, and process, less dopamine, and this persistent dopamine deficit has been linked to alcohol relapse.
There is currently no way to reverse the changes in the brain brought about by AUD, but a team of U.S. researchers suspected that an in-development gene therapy for Parkinson’s disease might work as a dopamine-replenishing treatment for alcoholism, too.
To find out, they tested it in heavy-drinking monkeys — and the animals’ alcohol consumption dropped by 90% over the course of a year.
How it works: The treatment centers on the protein GDNF (“glial cell line-derived neurotrophic factor”), which supports the survival of certain neurons, including ones linked to dopamine.
For the new study, a harmless virus was used to deliver the gene that codes for GDNF into the brains of four monkeys that, when they had the option, drank heavily — the amount of ethanol-infused water they consumed would be equivalent to a person having nine drinks per day.
“We targeted the cell bodies that produce dopamine with this gene to increase dopamine synthesis, thereby replenishing or restoring what chronic drinking has taken away,” said co-lead researcher Kathleen Grant.
To serve as controls, another four heavy-drinking monkeys underwent the same procedure, but with a saline solution delivered instead of the gene therapy.
The results: All of the monkeys had their access to alcohol removed for two months following the surgery. When it was then reintroduced for four weeks, the heavy drinkers consumed 50 percent less compared to the control group.
When the researchers examined the monkeys’ brains at the end of the study, they were able to confirm that dopamine levels had been replenished in the treated animals, but remained low in the controls.
The researchers then took the alcohol away for another four weeks, before giving it back for four. They repeated this cycle for a year, and by the end of it, the treated monkeys’ consumption had fallen by more than 90 percent compared to the controls.
“Drinking went down to almost zero,” said Grant. “For months on end, these animals would choose to drink water and just avoid drinking alcohol altogether. They decreased their drinking to the point that it was so low we didn’t record a blood-alcohol level.”
When the researchers examined the monkeys’ brains at the end of the study, they were able to confirm that dopamine levels had been replenished in the treated animals, but remained low in the controls.
Looking ahead: Dopamine is involved in a lot more than addiction, so more research is needed to not only see if the results translate to people but whether the gene therapy leads to any unwanted changes to mood or behavior.
Because the therapy requires invasive brain surgery and is likely irreversible, it’s unlikely to ever become a common treatment for alcoholism — but it could one day be the only thing standing between people with severe AUD and death.
“[The treatment] would be most appropriate for people who have already shown that all our normal therapeutic approaches do not work for them,” said Grant. “They are likely to create severe harm or kill themselves or others due to their drinking.”
This article originally appeared on Freethink, home of the brightest minds and biggest ideas of all time.
Massive benefits of AI come with environmental and human costs. Can AI itself be part of the solution?
The recent explosion of generative artificial intelligence tools like ChatGPT and Dall-E enabled anyone with internet access to harness AI’s power for enhanced productivity, creativity, and problem-solving. With their ever-improving capabilities and expanding user base, these tools proved useful across disciplines, from the creative to the scientific.
But beneath the technological wonders of human-like conversation and creative expression lies a dirty secret—an alarming environmental and human cost. AI has an immense carbon footprint. Systems like ChatGPT take months to train in high-powered data centers, which demand huge amounts of electricity, much of which is still generated with fossil fuels, as well as water for cooling. “One of the reasons why Open AI needs investments [to the tune of] $10 billion from Microsoft is because they need to pay for all of that computation,” says Kentaro Toyama, a computer scientist at the University of Michigan. There’s also an ecological toll from mining rare minerals required for hardware and infrastructure. This environmental exploitation pollutes land, triggers natural disasters and causes large-scale human displacement. Finally, for data labeling needed to train and correct AI algorithms, the Big Data industry employs cheap and exploitative labor, often from the Global South.
Generative AI tools are based on large language models (LLMs), with most well-known being various versions of GPT. LLMs can perform natural language processing, including translating, summarizing and answering questions. They use artificial neural networks, called deep learning or machine learning. Inspired by the human brain, neural networks are made of millions of artificial neurons. “The basic principles of neural networks were known even in the 1950s and 1960s,” Toyama says, “but it’s only now, with the tremendous amount of compute power that we have, as well as huge amounts of data, that it’s become possible to train generative AI models.”
Though there aren’t any official figures about the power consumption or emissions from data centers, experts estimate that they use one percent of global electricity—more than entire countries.
In recent months, much attention has gone to the transformative benefits of these technologies. But it’s important to consider that these remarkable advances may come at a price.
AI’s carbon footprint
In their latest annual report, 2023 Landscape: Confronting Tech Power, the AI Now Institute, an independent policy research entity focusing on the concentration of power in the tech industry, says: “The constant push for scale in artificial intelligence has led Big Tech firms to develop hugely energy-intensive computational models that optimize for ‘accuracy’—through increasingly large datasets and computationally intensive model training—over more efficient and sustainable alternatives.”
Though there aren’t any official figures about the power consumption or emissions from data centers, experts estimate that they use one percent of global electricity—more than entire countries. In 2019, Emma Strubell, then a graduate researcher at the University of Massachusetts Amherst, estimated that training a single LLM resulted in over 280,000 kg in CO2 emissions—an equivalent of driving almost 1.2 million km in a gas-powered car. A couple of years later, David Patterson, a computer scientist from the University of California Berkeley, and colleagues, estimated GPT-3’s carbon footprint at over 550,000 kg of CO2 In 2022, the tech company Hugging Face, estimated the carbon footprint of its own language model, BLOOM, as 25,000 kg in CO2 emissions. (BLOOM’s footprint is lower because Hugging Face uses renewable energy, but it doubled when other life-cycle processes like hardware manufacturing and use were added.)
Luckily, despite the growing size and numbers of data centers, their increasing energy demands and emissions have not kept pace proportionately—thanks to renewable energy sources and energy-efficient hardware.
But emissions don’t tell the full story.
AI’s hidden human cost
“If historical colonialism annexed territories, their resources, and the bodies that worked on them, data colonialism’s power grab is both simpler and deeper: the capture and control of human life itself through appropriating the data that can be extracted from it for profit.” So write Nick Couldry and Ulises Mejias, authors of the book The Costs of Connection.
The energy requirements, hardware manufacture and the cheap human labor behind AI systems disproportionately affect marginalized communities.
Technologies we use daily inexorably gather our data. “Human experience, potentially every layer and aspect of it, is becoming the target of profitable extraction,” Couldry and Meijas say. This feeds data capitalism, the economic model built on the extraction and commodification of data. While we are being dispossessed of our data, Big Tech commodifies it for their own benefit. This results in consolidation of power structures that reinforce existing race, gender, class and other inequalities.
“The political economy around tech and tech companies, and the development in advances in AI contribute to massive displacement and pollution, and significantly changes the built environment,” says technologist and activist Yeshi Milner, who founded Data For Black Lives (D4BL) to create measurable change in Black people’s lives using data. The energy requirements, hardware manufacture and the cheap human labor behind AI systems disproportionately affect marginalized communities.
AI’s recent explosive growth spiked the demand for manual, behind-the-scenes tasks, creating an industry described by Mary Gray and Siddharth Suri as “ghost work” in their book. This invisible human workforce that lies behind the “magic” of AI, is overworked and underpaid, and very often based in the Global South. For example, workers in Kenya who made less than $2 an hour, were the behind the mechanism that trained ChatGPT to properly talk about violence, hate speech and sexual abuse. And, according to an article in Analytics India Magazine, in some cases these workers may not have been paid at all, a case for wage theft. An exposé by the Washington Post describes “digital sweatshops” in the Philippines, where thousands of workers experience low wages, delays in payment, and wage theft by Remotasks, a platform owned by Scale AI, a $7 billion dollar American startup. Rights groups and labor researchers have flagged Scale AI as one company that flouts basic labor standards for workers abroad.
It is possible to draw a parallel with chattel slavery—the most significant economic event that continues to shape the modern world—to see the business structures that allow for the massive exploitation of people, Milner says. Back then, people got chocolate, sugar, cotton; today, they get generative AI tools. “What’s invisible through distance—because [tech companies] also control what we see—is the massive exploitation,” Milner says.
“At Data for Black Lives, we are less concerned with whether AI will become human…[W]e’re more concerned with the growing power of AI to decide who’s human and who’s not,” Milner says. As a decision-making force, AI becomes a “justifying factor for policies, practices, rules that not just reinforce, but are currently turning the clock back generations years on people’s civil and human rights.”
Ironically, AI plays an important role in mitigating its own harms—by plowing through mountains of data about weather changes, extreme weather events and human displacement.
Nuria Oliver, a computer scientist, and co-founder and vice-president of the European Laboratory of Learning and Intelligent Systems (ELLIS), says that instead of focusing on the hypothetical existential risks of today’s AI, we should talk about its real, tangible risks.
“Because AI is a transverse discipline that you can apply to any field [from education, journalism, medicine, to transportation and energy], it has a transformative power…and an exponential impact,” she says.
AI's accountability
“At the core of what we were arguing about data capitalism [is] a call to action to abolish Big Data,” says Milner. “Not to abolish data itself, but the power structures that concentrate [its] power in the hands of very few actors.”
A comprehensive AI Act currently negotiated in the European Parliament aims to rein Big Tech in. It plans to introduce a rating of AI tools based on the harms caused to humans, while being as technology-neutral as possible. That sets standards for safe, transparent, traceable, non-discriminatory, and environmentally friendly AI systems, overseen by people, not automation. The regulations also ask for transparency in the content used to train generative AIs, particularly with copyrighted data, and also disclosing that the content is AI-generated. “This European regulation is setting the example for other regions and countries in the world,” Oliver says. But, she adds, such transparencies are hard to achieve.
Google, for example, recently updated its privacy policy to say that anything on the public internet will be used as training data. “Obviously, technology companies have to respond to their economic interests, so their decisions are not necessarily going to be the best for society and for the environment,” Oliver says. “And that’s why we need strong research institutions and civil society institutions to push for actions.” ELLIS also advocates for data centers to be built in locations where the energy can be produced sustainably.
Ironically, AI plays an important role in mitigating its own harms—by plowing through mountains of data about weather changes, extreme weather events and human displacement. “The only way to make sense of this data is using machine learning methods,” Oliver says.
Milner believes that the best way to expose AI-caused systemic inequalities is through people's stories. “In these last five years, so much of our work [at D4BL] has been creating new datasets, new data tools, bringing the data to life. To show the harms but also to continue to reclaim it as a tool for social change and for political change.” This change, she adds, will depend on whose hands it is in.