‘Paradox’ exhibit explores artificial intelligence
This has become the age of artificial intelligence as the digital world takes over society as we know it. The Miller Institute for Contemporary Art at Carnegie Mellon University illustrates some of the implications of this shift in the exhibition “Paradox: The Body in the Age of AI,” which continues through Feb. 3 at the gallery in Oakland.
The exhibition seeks to draw more attention to the human’s body’s unconscious knowledge and to illuminate research that has unlocked new connections between mind and body. Elizabeth Modos, curator of the Miller Institute, said the exhibition resonates with students because it overlaps with current events.
“We want to shift from passively viewing artwork to engaging in conversation and provoking
dialogue,” she said.
There is an ongoing conversation in the scientific world about the blurring lines between human and artificial intelligence. The featured artworks suggest that AI has the potential to evolve the way human knowledge has, perhaps learning some of the same lessons we have over the last 2,000 years.
The exhibition is inspired by the Moravec Paradox. Hans Moravec, a Carnegie Mellon University faculty member at the Robotics Institute, theorized that the unconscious is responsible for the complexity in the relationship between the mind and body.
“Things that are hard for people to do — processing large data sets — can be done by computers, but AIs cannot perform lower sensorimotor skills — walking — which are so embedded into [human] bodies it’s unconscious,” said Ms. Modos.
The advancement of technology continues to improve machines’ abilities to replicate unconscious and human functions. The work of 11 artists is included in the exhibition.
“FACE” by Eunsu Kang is a collaboration between computers and the media artist and visiting professor at CMU’s School of Computer Science. Ms. Kang entered a database of 20,000 human faces without including any information about race, gender and age. The result is an image of a face that is familiar yet nonexistent.
“This is the most optimistic work in the show,” Ms. Modos said. “It has this utopic vision that [AI] can crack open the oppressive systems we are forced into as human beings. However, there is a paradox. They can use their [powers] for good or for evil.”
Another piece titled “NTOO” (Not the only one) is an AI sculpture that encompasses a family. The artist, Stephanie Dinkins, worked with a database archive that spans three generations of her family.
“My niece, aunt and I cover 100 years of [lineage],” said Ms. Dinkins.
The sculpture is made from black glass from the Pittsburgh Glass Center on Penn Avenue.
“The AI has taken the stories [of these individuals], processes them and promotes its own being,” said Ms. Modos. “It does not just replicate the stories. It’s continuing a familial line.”
All of the artists have incorporated human emotive traits and abilities AIs can acquire, including painting expressive art and deciding which Instagram photos to “like.”
“I feel conflicted,” Ms. Modos said. “I feel optimistic about the utopic possibilities but I am afraid we are making ourselves obsolete.”
The Miller gallery is in the Purnell Center for the Arts. Admission is free and open to the public. Hours are noon-6 p.m. Tuesday through Sunday. Information: 412-268-3618 or http:// miller-ica.cmu.edu.