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Organized by the Miller Institute for Contemporary Art at Carnegie Mellon University, Paradox: The Body in the Age of AI explores the primacy of the human body as it’s poised on the precipice of a potential fusion with artificial intelligence. The exhibition looks deeper into the unconscious role the body’s sensorimotor habitat has in shaping our awareness, imagination, and socio-political structures.
Artists: Zach Blas, Brian Bress, Nick Cave, Kate Cooper, Stephanie Dinkins, Jes Fan, Claudia Hart, Eunsu Kang, Jillian Mayer, Sarah Oppenheimer, Siebren Versteeg. Curated by Elizabeth Chodos.
Miller ICA will host a symposium named Paradox: Frames and Biases in Art and AI on Janaury 28. The panel discussion explores the ways bias is inherently built into the structure and function of Machine Learning. In order to make predictions or identify patterns, AI requires that a person set specific instructions that have the potential to reinforce bias and oppressive social structures, particularly when ML is being used in everything from policing to determining someone’s credit score. This panel will also explore the role that contemporary art can play in challenging and refiguring these biases by calling into question the frameworks underpinning our assumptions. As ML and AI continue to influence more aspects of everyday life, conversations around how we can use these tools to undo harmful biases, as opposed to reinforcing them, is increasingly urgent.
Paradox: Frames and Biases in Art and AI
January 28, 2019, 5:30–8:30 pm
Organized by Eunsu Kang and Elizabeth Chodos. Panel: Manuela Veloso, Alexandra Chouldechova, Sey Min, Jillian Mayer, and more. Further information is available on the event’s Facebook page.
Paradox: The Body in the Age of AI is on view at Miller ICA
at Carnegie Mellon University in Pittsburg through February 3. For details, visit miller-ica.edu/Paradox.
This week, LA’s new Academy Museum, the intersections of anti-Blackness and anti-fatness, a largely unknown 19th century Black theater in NYC, sign language interpreters, and more.
Titian’s paintings are masterpieces, with all the complications of the term.
Through “Historic Site,” an 8-foot-tall plaque and Historic Sight, a year-long rotating exhibition in Pittsburgh, the Black Cube Fellows investigate how history is constructed, remembered, and retold.
Lawson’s images, and the ways that she has discussed her process, seem to be actively reproducing the kind of big-dick energy power dynamics of White male artists who also claim mastery over their subject matter.
Jenkins’s new short film, the centerpiece of a MoMI exhibit on The Underground Railroad, uses his signature techniques to confront the viewer.
Romanticism to Ruin: Two Lost Works of Sullivan and Wright memorializes Chicago’s Garrick Theatre and Buffalo’s Larkin Building, which were razed to build a parking lot and a truck stop.