Ascenti: Humans Opening to Ai (Artist Survival) - Softcover

Über die Autorinnen und Autoren

Lorene Shyba is publisher at Durvile & UpRoute Books and editor of the Artist Survival series. Her PhD in Interactive Media is from the University of Calgary.

James R. Parker is a professor of art at the University of Calgary and an expert in multimedia and game design.

Participants are: Verna Vogel, Rich Théroux, Julian Hobson, and Eveline Kolijn (visual art), Dagmar Jamieson (architectural design), John Heerema (photography), Clem Martini (playwriting), Uchechukwu Umezurike (prose), Rosemary Griebel (poetry), Jim Parker (games), Lorene Shyba (audiobook narration/animation), and Kenna Burima (sound/music).

Lorene Shyba is publisher at Durvile & UpRoute Books and editor of the Artist Survival series. Her PhD in Interactive Media is from the University of Calgary. She lives in the wilds of the Southern Alberta foothillsw.

James R. Parker is a professor of art at the University of Calgary and an expert in multimedia and game design. Jim is author of Generative Art: Algorithms as Artistic Tool and other books on digital art, video games, and generative art. He also writes science fiction.

Steve DiPaola, is a professor, artist, and scientist at the School of Interactive Arts and Technology, Simon Fraser University. He is a pioneer in AI based computational creativity exploring the marriage of cognitive science and artificial intelligence-based modelling.

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The Ascenti Project is about AI and Creativity
Ascenti: Humans Opening to AI, the book, features a diverse array of creatives in the arts, including individuals specializing in visual art, literature (playwriting, prose, and poetry), photography, audio performance, music, video, and computer games. For the Ascenti book, as well as for the accompanying Ascenti AI symposium and art exhibition, these individuals first created original works within their respective artistic mediums. They then used an AI program to generate works based on prompts derived from these original creations, and subsequently evaluated and contextualized the AI-generated output. In some cases, the creatives discovered ways in which AI helped them overcome visual and other challenges or demonstrated AI’s potential to enhance their works. However, some creatives also expressed concerns about the downsides.
Cover image, Rich Th?roux. Book design, Lorene Shyba.

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Commentary, by James R. Parker PhDThe question is: “When a robot takes a job from a person, what should that person do now”? In my view, the use of robots for human work is fine, but humans should not have to suffer on that account. This is not a situation where, for example, the job has become obsolete because the product is no longer needed (eg. buggy-whip makers) or due to the resources being mo longer there (eg. fishing). The replacement of humans by robots??—AI—is purely a matter of convenience and cost savings on the part of a small group, at the expense of the creative human workers.This is unacceptable. And yet [certain companies] insist they will aggressively push ahead with using AI.What are the options? Well, we could forbid AI from doing human jobs, but that seems impractical. We could expand copyright laws so that the training of the AI involved payment to those who created the training data. That’s going on now, and is a beginning.I suggest that AI use be allowed at a price, and part of that price would be paid to the humans who were no longer able to do those jobs due to the use of AI. Call it a levy or a tax, it would in my opinion be more like the old concept of profit sharing. This will not be voluntary, and would have to be attached to the AI tools or the products they generate.