Listening to AI: ARIAS workshop report

Last week, I attended the second workshop of the ARIAS working group of AI and the Arts. ARIAS is a platform for research on Arts and Sciences and as such seeks to build a bridge between these disciplines. The new working group is looking at the interplay between Arts and AI specifically. Interestingly, this is not only about using AI to make art, but also to explore what art can do for AI (research). The workshop fell under the thematic theme for ARIAS “Art of Listening to the Matter” and consisted of a number of keynote talks and workshop presentations/discussions.

The workshop at the super-hip Butcher’s Tears in Amsterdam, note the 1.5m COVID-distance.

UvA university professor Tobias Blanke kicked off the meeting with an interesting overview of the different ‘schools’ of AI and how they relate to the humanities. Quite interesting was the talk by Sabine Niederer (a professor of visual methodologies at HvA) and Andy Dockett . They presented the results of an experiment feeding Climate Fiction (cli-fi) texts to the famous GPT algorithm. The results were then aggregated, filtered and visualized in a number of rizoprint-like pamflets.

My favourite talk of the day was by writer and critic Flavia Dzodan. Her talk was quite incendiary as it presented a post-colonial perspective on the whole notion of data science. Her point being that data science only truly started with the ‘discoveries’ of the Americas, the subsequent slave-trade and the therefor required counting of people. She then proceeded by pointing out some of the more nefarious examples of identification, classification and other data-driven ways of dealing with humans, especially those from marginalized groups. Her activist/artistic angle to this problem was to me quite interesting as it tied together themes around representation, participation that appear in the field of ICT4D and those found in AI and (Digital) Humanities. Food for thought at least.

The afternoon was reserved for talks from three artists that wanted to highlight various views on AI and art. Femke Dekker, S. de Jager and Martina Raponi all showed various art projects that in some way used AI technology and reflected on the practice and philosophical implications. Again, here GPT popped up a number of times, but also other methods of visual analysis and generative models.

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Linked Art Provenance

In the past year, together with Ingrid Vermeulen (VU Amsterdam) and Chris Dijkshoorn (Rijksmuseum Amsterdam), I had the pleasure to supervise two students from VU, Babette Claassen and Jeroen Borst, who participated in a Network Institute Academy Assistant project around art provenance and digital methods. The growing number of datasets and digital services around art-historical information presents new opportunities for conducting provenance research at scale. The Linked Art Provenance project investigated to what extent it is possible to trace provenance of art works using online data sources.

Caspar Netscher, the Lacemaker, 1662, oil on canvas. London: the Wallace Collection, P237

In the interdisciplinary project, Babette (Art Market Studies) and Jeroen (Artificial Intelligence) collaborated to create a workflow model, shown below, to integrate provenance information from various online sources such as the Getty provenance index. This included an investigation of potential usage of automatic information extraction of structured data of these online sources.

This model was validated through a case study, where we investigate whether we can capture information from selected sources about an auction (1804), during which the paintings from the former collection of Pieter Cornelis van Leyden (1732-1788) were dispersed. An example work , the Lacemaker, is shown above. Interviews with various art historian validated the produced workflow model.

The workflow model also provides a basic guideline for provenance research and together with the Linked Open Data process can possibly answer relevant research questions for studies in the history of collecting and the art market.

More information can be found in the Final report

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