Are we ready? Artificial Intelligence will change the way we communicate, create and experience our world. Kulturtechniken 4.0 invites artists, thinkers and creative minds to participate in one of the most important discussions of our time.
Remember Napster? A bunch of kids got laughed out of a music boardroom with a scrappy prototype for distributing music on this new thing called the internet. They launched independently, and in five years’ time the music industry’s total revenue had collapsed to a third of its peak. It never recovered. We’re sitting at the precipice of a new important technological shift in music – the emergence of creative Artificial Intelligence – and there’s that same intoxicating smell of opportunity mixed with potential catastrophe looming in the air.
This time, it’s all about intellectual property. And we need to get it right.
In her latest book Atlas of AI leading scholar Kate Crawford writes on how the global networks underpinning artificial intelligence (AI) technology are damaging the environment, entrenching inequality and fuelling a shift toward undemocratic governance.
Technology may be closing in on making instant, in-ear translation services a reality. But it's still a galaxy away from truly replicating human communication.
With the proliferation of deepfake technology, a new form has been added to the long history of media being deployed as a type of stealth weaponry, with disinformation used to stoke division and even violence. Combatting the problem not only requires innovation, it requires a shared commitment to human rights and dignity.
Amer, Francesca Panetta & D. Fox Harrell
When Google Translate was first launched in 2006, it could only translate two languages. By 2016, it was supporting over 103 languages and translating over 100 billion words a day. Now, not only does it translate, but it can also transcribe eight of the most widely spoken languages in real time. Machines are learning, and they are learning fast.
As news media struggles to compete for attention and retain public trust while slashing jobs and cutting costs, the use of artificial intelligence (AI) in newsrooms around the world is rising. AI is being used to source information, produce news articles and identify trends. But will using it lead to better journalism?
Online technology powered by machine learning can spot our spelling mistakes, complete our sentences and even help us write in foreign languages. But are our writing skills getting worse at the same time? Best-selling author Thomas Ramge told Goethe-Institut there are pluses and minuses to this field of technological advancement.
After just three albums, Holly Herndon has already established herself as one of the major names in the AI music scene. Despite creating sounds that seem anonymous and impersonal at times, Herndon says making AI-powered music is still a very human endeavour.
The possibility of machines composing original music has developed from a fringe idea into a mainstream topic. Headlines are full of technological promise as they herald the progress made in this area, but what does it mean for the musicians making new works and audiences looking for music that means something to them?
As AI scientists try to test the technology’s creative limits, the world of music is being issued with a challenge. Goetz Richter, Associate Professor at the University of Sydney’s Conservatorium of Music, gives his view on music, artificial intelligence and consciousness.
Seeing how simple my young children's art was, I wondered if I could teach their creative process to a painting robot. My attempts, failures and successes led to a 15-year journey of artistic discovery that gave me profound insights into my own mind, including how my creative process worked.
At the Los Angeles-based Refik Anadol Studio, artists, architects and data scientists collaborate with machine intelligence to rethink the layered meanings of consciousness and space. Pelin Kivrak, the concept developer at RAS, gives an insight into the Studio’s recent work.
Generally, the works of contemporary artists have been embodied ruminations on AI’s impact on existential questions of the self and our future interaction with nonhuman entities. Few, though, have taken the technologies and innovations of AI as the underlying materials of their work and sculpted them to their own vision.
Francesca Panetta and Halsey Burgund reveal the creative process behind In Event of Moon Disaster, an alternative history of the Apollo 11 moon landing mission. Their work stands as a case study on how AI can expand (and challenge) how art and culture are produced.
Panetta & Halsey Burgund
For decades, movies have depicted fantastical visions of life in the future which are now coming within our reach. Robotics researcher Hiroshi Ishiguro says he is excited about one of his robots starring in an upcoming science fiction film.
A Hollywood star’s run at the top of Tinseltown can be fleeting. But artificial intelligence is powering de-ageing technology and even generating lifelike digital humans that could change movie-making forever.
Artificial intelligence is undoubtedly already influencing our traditional cultural techniques. But have we reached the point where the use of AI itself could be described as a cultural technique? One thing is certain: We have long utilised digital systems in our daily lives despite not having the slightest idea how they work.
AI stands for artificial intelligence, but as leading technologist Toby Walsh likes to point out the “A” could also be for augmenting. The Sydney-based academic spoke to the Goethe-Institut about how humans can combine forces with AI to create new solutions and art.
From Berlin to Bangkok, robots in home, healthcare, school and work settings are becoming more common. However, research from across the globe suggests this technology is not one-size-fits-all for humanity.