View allAll Photos Tagged Algorithms
By Wilkinson Eyre Architects
Installed at Canary Wharf, this egg was lit with a rotating colour display.
Part of the The Big Egg Hunt:
"The Big Egg Hunt is a plan hatched by Elephant Family and Action for Children for a record-breaking egg hunt across Central London to raise money for these two egg-cellent causes!
Over 200 uniquely crafted eggs, created by leading artists, designers, architects and jewellers, are be hidden across the capital"
[website]
Vyacheslav Polonski, Founder and Chief Executive Officer, Avantgarde Analytics, United Kingdom, David Rowan, Editor-at-Large, Wired, United Kingdom and Baohong Sun, Dean's Distinguished Chair Professor of Marketing; Associate Dean, Global Programmes, Cheung Kong Graduate School of Business, People's Republic of China during the Session: "Algorithms Make the World Go Round ? or Wrong" at the World Economic Forum - Annual Meeting of the New Champions in Dalian, People's Republic of China 2017. Copyright by World Economic Forum / Jakob Polacsek
A collaboration with onformative.com. A pixelrow of a photograph is taken and then sorted by colorvalues. Done with processing.
If possible, click to play, otherwise your browser may be unable to play this audio file.
This is an interesting discussion of YT Kids and the role of algorithms. This is an issue that came to light through James Bridle’s post last year.
I must admit that I still use the YT Kids app sometimes. For example, the other day my daughter wanted to watch a song from Little Mermaid. I used the app and it was interesting what I found:
A response from the YT Kids algorithm
It made me think about how that result may have been produced. I listened to the song. It was fine. It was basically a song inspired by The Little Mermaid. I just wonder why horror was allowed through.
collect.readwriterespond.com/algorithms-leave-them-kids-a...
A screen capture from a generative animation in my first mobile game: DRIFT, the puzzle that doesn't stand still.
See more at rndsd.com/drift/
Algorithms in art are no longer mere visualization tools, but rather creative partners with a considerable share of aesthetic responsibility. The universal language of algorithms is math. Students of the subject put hands-on principles of mathematics in art, get acquainted with more than 50 creative software tools (visual grammars, fractals, chaos, tessellations, etc.) and learn how to understand and critically reflect on calculated creativity.
Credit: Natália Lajčiaková
"Algorithmic tower I "
Designed by deCode (Junkai Jian + Jinqi Huang )
You could also checked the link below
Colorized by Artificial Intelligence Algorithm Tool from originally scanned hi-res photo from the respective source.
Credit: Images are from profile of Ronald S. Coddington www.flickr.com/photos/8026096@N04/
Credit disclaimer: I do not own the original scanned image and believe that it is in the public domain. These images have been collected from Flickr search results. If you know the link to the original image, please kindly put it into comment section as I will update the description to give full credit to the respective owner.
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www.youtube.com/channel/UC8JtcV_EejccsUNXSK_ejcw Springs of Eden
Facebook Algorithmic Factory sheds light on the invisible processes that take place inside the world’s largest social network. Inside this black box, non-transparent algorithms are deciding what kind of content will become a part of our reality, what will be censored or deleted, which ideas will spread and what news will gain most visibility. They are also defining new forms of labour and exploitation.
Credit: Design Society
In the performance "Robots, Bass, and Hot Algorithms!" AI artist Portrait XO enters the stage with Moritz Simon Geist for musical interventions featuring techno robots and an AI collaborator. Portrait XO is an award-winning independent researcher and artist who creates musical and visual works with traditional and non-traditional methods based on ongoing research in computational creativity and human-machine collaboration. Sonically obsessed with space and time, she explores how far she can take storytelling and sound traveling through latent space. Moritz Simon Geist is a music producer working with music robots. He started because he wants to invent the future of electronic music — with robots! His projects range from robotic music performances to robotic sound installations.
Photo: Moritz Simon Geist
OM-1, Olympus 12-40/2.8 mk1, DxO, Affinity.
All rights reserved, including, but not limited to, the usage for training and development of machine learning models, algorithms and artificial intelligence.
Can you trust the algorithm?
Particularly when you know that Rosie the Robot cheated?
She did! Programmed to clean the floors, she swept the dirt under the rug when the Jetsons weren't looking!
If you can't trust Rosie, can you really trust anything AI related?
Through the many years that I've been talking about A.I., I've long been focused on both the potential upside and the downside. Here's a clip from a recent post-keynote Q&A:
I thought it might be helpful to share the whole transcript.
I like to know, what do you feel about AI? And what's beyond AI, in your opinion?
A bloody mess.
I've been talking about the AI for a long time, obviously, as a futurist.
A couple of observations.
Number one, it is going to be the speaking topic of 2023. I've got about 40 bureaus and agents around the world who book me and represent me, and the number of inquiries coming in on that topic is staggering, and we're all seeing that because of what has happened with ChatGPT.
ChatGPT is this thing, you type in something and it comes back with some information, and I think the first time we saw that, it was like the first time we saw the World Wide Web and we went, 'whoah, look at that, there's something magical happening here.
I had a situation with ChatGPT, I'm a geek, I run my own servers and I needed some server code run, and I went in and asked, after asking a whole bunch of people online, how do I write this code? Nobody could give me a response, and I went into ChatGPT and asked, how do I write this code? It gave me a perfect answer.
But the problem that is unfolding here, and I put a post out about this on my website three days ago, is, as a society, it's become painfully obvious, we don't know how to deal with misinformation...
Look at what has happened in the US with the election, you look at what has happened with MAGA supporters and all of that.
And what AI is allowing us to do is number one, it does generate errors, it's not perfect information, people are going to trust it, and it's going to allow us to generate misinformation at scale in ways that are simply profound.
If you're on Instagram, there's somebody who's generating... I think, I can't remember her name, but she's an artificially intelligent generated image of a young girl named Alice or something like that, and every day he puts out to social networks, "which picture should I use today?" and people vote which one's gonna go on Instagram. And if you look at her, you would never know it was generated by an AI.
We are mere months away from the ability to generate full-on video content that you wouldn't know that it's not real.
There's a guy who just two days ago put up a picture, a video of how he cloned himself using technology, he made an almost perfect image of him saying something, using an image generator, an AI to generate the text...an AI voice generator to do his voice.
I'm an optimist about technology, I'm an optimist about the future, I can't come out here on stage and say, "Guess what? Your future sucks!" I wouldn't get a lot of repeat business.
And I'm terrified by what's going on by AI. For the first technology, it's got me absolutely freaked out, , and I think we're gonna do a lot of really stupid things with it as well.
There's a lot going on right now to take our support desks, which we manage to a call center and put an AI engine on it, and that's going come out as with staggering speed, and if we thought we were dealing with customer support hell right now, it's gonna get unbelievably bad, because the implementations will go wrong and the technology will go bad.
So I'm actually quite a pessimist on it. I think there's a lot of opportunities, if we look at the world of medicine, the ability for an AI to go through 100 x-rays and interpret those x-rays far more intelligently than a human can to identify conditions, it's magical.
But on the other side, it's scary.
I think it's inevitable, your customer workgroups and other groups will get involved with AI and looking at it. I mean, this is the topic at 2023, and I think you have to go at it with caution.
The other side of it is, last year the whole focus was on Meta and artificial reality and cryptocurrency and blockchain, and that all sort of collapsed and went nowhere and now, the entire Silicon Valley is going "whoah, a shiny new toy, AI... the amount of venture capital, of money going in, it is simply unreal, so we're in for an interesting ride.
AI. The future. Algorithms. Should trust them? What's your plan?
That's a question you'll have to ask yourself on an increasing basis simply as you go about living your daily life, working in your profession, and working and leading day by day.
I'll admit that I'm asking myself on a regular basis as I let the algorithm take over some of the driving activities in my Tesla - when you are barrelling down a highway at 100km/hr and a computer is doing the driving, it certainly makes you think! (I've also, as you might have seen, become quite skeptical that Tesla or any other car company will be able to deliver anything resembling full, wide-scale 100% reliable self-driving technology at any time in the future, which demonstrates to me that there is a lot of promise about algorithms but a lot yet to deliver.)
Here's the thing - we already know we have significant problems. Long before ChatGPT arrived on the scene and accelerated risk with AI, we knew there were issues involving discrimination, errors, and more. Watch this video: it's chilling.
Or this one:
And yet, we seem to be willing to trust the algorithm more than we trust our fellow humans:
Our daily lives are run by algorithms. Whether we're shopping online, deciding what to watch, booking a flight, or just trying to get across town, artificial intelligence is involved. It's safe to say we rely on algorithms, but do we actually trust them?
Up front: Yes. We do. A trio of researchers from the University of Georgia recently conducted a study to determine whether humans are more likely to trust an answer they believe was generated by an algorithm or crowd-sourced from humans.
The results indicated that humans were more likely to trust algorithms when problems become too complex for them to trust their own answers.
Background: We all know that, to some degree or another, we're beholden to the algorithm. We tend to trust that Spotify and Netflix know how to entertain us. So it's not surprising that humans would choose answers based on the sole distinction that they've been labeled as being computer-generated.
In three preregistered online experiments, we found that people rely more on algorithmic advice relative to social influence as tasks become more difficult. All three experiments focused on an intellective task with a correct answer and found that subjects relied more on algorithmic advice as difficulty increased. This effect persisted even after controlling for the quality of the advice, the numeracy and accuracy of the subjects, and whether subjects were exposed to only one source of advice, or both sources.
The problem here is that AI isn't very well suited for a task such as counting the number of humans in an image. It may sound like a problem built for a computer - it's math-based, after all - but the fact of the matter is that AI often struggles to identify objects in images especially when there aren't clear lines of separation between objects of the same type.
Quick take: The research indicates the general public is probably a little confused about what AI can do. Algorithms are getting stronger and AI has become an important facet of our everyday lives, but it's never a good sign when the average person seems to believe a given answer is better just because they think it was generated by an algorithm.
Today, the biggest barrier to widespread AI is not the technology, Kande said - that part is available and ready to implement. It's the psychological baggage that's holding it back.
"Trust in AI is a big thing, the same way you trust the manufacturing process that delivers a high-quality car," he said. "So if it's your favorite car, manufactured by that car company, we trust their manufacturing process and we trust the car that comes out of it."
But a car is something we can see, touch, and feel. Even if we don't know exactly how the engine works or how its parts are put together, we generally have a good sense of what it's supposed to do: take us, safely, from point A to B. What Kande soon realized is that technologies like AI, despite their business-transforming potential, are a different story altogether. For one, they are invisible. This leads to many justifiable questions, even for folks who are generally well versed in the technology.
"Can you trust somebody's AI?" asked Kande. "Can you trust the algorithm that they have? Can you trust that it won't be biased? Can you trust that it won't be creating collateral damage?"
Study: People trust the algorithm more than each other; People are more likely to pick an answer when they believe it was generated by an algorithm
13 April 2021, The Next Web
AI is all so seductive right now - it's the new shiny toy! And yet, it takes us into an unknown and complex world in which we have to trust the algorithm
And in the context of this, most of the major tech companies have fired most of their A.I. ethics professionals.
Last year, Amazon-owned streaming platform Twitch acknowledged it had a problem.
For much of the company’s 12-year history, women and people of color had argued the platform was biased. Sexist and racist harassment were endemic, and critics said the company’s all-important recommendation algorithms, which use artificial intelligence to decide which streamers to promote to viewers, were amplifying the problem.
As part of its response, the company set up a responsible AI team to look specifically at the algorithms. At its semiannual conference, TwitchCon, the team’s principal product manager told Twitch streamers, “We are committed to being a leader in this area of responsible and fair recommendations.” He urged them to fill out demographic surveys to track potential discrimination.
But last week, the handful of people who made up the responsible AI team were laid off, part of a broader round of cuts that hit about 400 of the company’s 2,500 employees. Others who worked on the issue as part of their current jobs have been moved to other topics, according to a former member of the responsible AI team, who spoke on the condition of anonymity to discuss internal company matters.
As AI booms, tech firms are laying off their ethicists
Twitch, Microsoft and Twitter are among firms that have laid off workers who studied the negative sides of AI
March 30, 2023, Washington Post
Crazy, isn't it?
jimcarroll.com/2023/03/daily-inspiration-to-survive-the-f...
drawing on canvas with trear physics tendrils using texones creative computing framework which is based on processing
Colorized by Artificial Intelligence Algorithm Tool from originally scanned hi-res photo from the respective source.
Credit disclaimer: I do not own the original scanned image and believe that it is in the public domain. These images have been collected from Flickr's search results and/or collected from various internet sources. If you know the link to the original image, please kindly put it into comment section as I will update the description to give full credit to the respective owner.
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Colorized by Artificial Intelligence Algorithm Tool from originally scanned hi-res photo from the respective source.
Credit disclaimer: I do not own the original scanned image and believe that it is in the public domain. These images have been collected from Flickr's search results and/or collected from various internet sources. If you know the link to the original image, please kindly put it into comment section as I will update the description to give full credit to the respective owner.
Please follow, like and leave a comment for more exiting future notifications.
My websites:
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www.saatchiart.com/celestialart
www.redbubble.com/people/Motionage/shop
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www.youtube.com/channel/UC8JtcV_EejccsUNXSK_ejcw Springs of Eden
Project 365, #034 - 2nd April 2012
It’s nice to start another month of my Project 365 with another first - Bokeh! (on purpose anyway)
I finally got round to ordering some lighting last week so was eager to try it out. Not very original interpretation of the ‘Cube’ topic I know (I’m guessing most of us thought of the Rubik’s Cube when first reading the topic), but I was more focused on the Bokeh…and can you blame me? ;)
For the shot I set up the lights at one end of a long room and the subject and camera fairly close together. I was using my nifty fifty (50mm f/1.8) to make use of the large aperture and create more rounded, bokehlicious balls.
This was my first attempt which I am not entirely satisfied with, so definitely need to spend more time experimenting with lighting and subjects.
By the way, the title refers to the discussions of ways to solve the Rubik’s Cube puzzle.
Our Daily Challenge (ODC): CUBE
112 Pictures in 2012: #092 Blurred or Bokeh’ed background
The web book that follows illustrates the concepts involved in the creation of algorithmic organisms within a 3D virtual machine.
Algorithms in art are no longer mere visualization tools, but rather creative partners with a considerable share of aesthetic responsibility. The universal language of algorithms is math. Students of the subject put hands-on principles of mathematics in art, get acquainted with more than 50 creative software tools (visual grammars, fractals, chaos, tessellations, etc.) and learn how to understand and critically reflect on calculated creativity.
Credit: Natália Lajčiaková
How do Sorting Algorithms look like? A pixelrow of a photograph is taken and then sorted by colorvalues. Done with processing.
100,000 translucent circles dropped onto a display. The black lines are the outlines of each circle.
Finally managed to find an insect both alive and willing to sit still for a spot of focus stacking. My sons found it in their sandpit. It moved a little during the shots but not too much.
Another focus stack with Zerene Stacker. This time I tried the D-Map algorithm with the maximum radius and minimum smoothing, which makes most of the image look good but the edges very bad. I then touched up the edges with the P-Map algorithm image - a good combo I think.
I initially did a 27 shot stack so the shots was in-focus from front to back. But it had no depth and the head no longer stood out against the chest. I cut it down to just 10 shots so that the head would stand out better. Overall I prefer it.
For the diffuser I used a ping pong ball with a bit cut out, with flashguns either side. But I think it has rather overdone it - the beetle is practically white!
I need to make much smaller rail adjustments when using wider apertures - there are noticeable gaps in the stack where the image gets blurry between sharp bits. I'd actually meant to use f/8 but had knocked the dial to f/6.3.
I need to leave a big margin around the shot. I'd nicely framed the insect so that his feet were in shot, but the stacking process chopped them off. Grr.
I'm seriously considering using my usual f/16 for my next focus stack. This is because:
- if the insect moves I might still get usable if un-stackable shots
- it will make the transition from stacking to not-stacking less apparent
- it'll cut down on the glow effect
- I can use fewer shots in the stack, reducing the chance of movement messing things up
- it'll reduce the "halo" effect on edges
10 shots at f/6.3, 1/200 sec, ISO 100
Canon 5D Mk II
MPE-65mm
2 x 430EX
Novoflex Castel-L focusing rail
Shutter cord
Tripod
Ping pong ball diffuser
ST-E2 transmitter
Zerene Stacker
Colorized by Artificial Intelligence Algorithm Tool from originally scanned hi-res photo from the respective source.
Credit disclaimer: I do not own the original scanned image and believe that it is in the public domain. These images have been collected from Flickr search results. If you know the link to the original image, please kindly put it into comment section as I will update the description to give full credit to the respective owner.
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Fuzzy level curves of a polynomial function of the set of distances from each point to a set of fixed points.
Ro m theta sigma : 5 -0.049 100 1 \ T N Xo : 99 100 100 nboot: 800 d2ecb318dc786b488b38f7955b65c7d0393c8155
LSN
Pike School of Art – Mississippi artists in residence for Fall 2015 were Samwell Freeman, Mackenzie Hoffman, and Keith Walsh. The residency took place from October 12, through October 25, 2015.
Samwell Freeman, a Computer Vision researcher at Apple, developing software for large-scale construction of 3D images, completed his Ph.D. in Computer Science at the City University of New York. He has taught math and programming courses and led workshops on interactive art, Arduino, and 3D printing at Alpha One Labs, a hacker space in Brooklyn.
During his residency, Freeman worked on an interactive video installation called Beautalyzer. Beautalyzer displays the output and inner workings of a viewer-taught algorithm, which tries to recognize the beauty of images. The installation is comprised of wall-mounted screens and a 3D printed interface. Machine learning is an increasingly important part of our lives, influencing the news we read, the people we meet, and the things we buy. The Beautalyzer hopes to open up this black box of artificial intelligence. What we find may be frightening or enchanting, demonic or hilarious; in any case, it offers us cybernetic insight into the nature of beauty.
The Beautalyzer project explores the potential for collaborative learning between people and machines. Viewers are given the responsibility to teach the algorithm what is beautiful, by labeling images according to their own aesthetic judgment. Simultaneously, viewers are shown vivid illustrations of the algorithm’s effects.
Mackenzie Hoffman is an interdisciplinary artist living in Los Angeles, CA. She received her B.A. in Studio Arts from the University of Southern California, where she was a recipient of the Handtmann Prize for Photography, as well as the Neely Macomber Travel Prize. She is an alumna of the Mountain School of Art, Los Angeles.
Hoffman uses photography and video to explore the construction of regional identities and their filmic representations, with a primary focus on the contemporary american South. Recent projects have described the gradual encroachment of social change within her multi-generational Southern white family, producing works that are both sympathetic and frustrated. She photographs provincial iconography, including the southern landscape, in an ongoing study of history, location and image.
Hoffman used her time at PSA-MS to further her interest in the present day physical and personal landscapes of the American South and to focus on new video work.
While at PSA-MS, Keith Walsh worked on a project titled “The SNCC Mounds,” a poetic interpolation of the legacy of the McComb-area Student Nonviolent Coordinating Committee (SNCC) engagements of the 1960s.
Walsh’s project continues his investigation of the Civil Rights and Black Panthers movements, within the larger geography of American liberation politics. The figure who links these two groups is the black SNCC activist Stokely Carmichael who, in 1964, was the full-time field organizer in Mississippi for the “Freedom Summer” voter registration drives, itinerant “freedom schools,” and protests. Various black residents, businesses, and churches in McComb housed or supported hundreds of SNCC and other civil rights workers during Freedom Summer and were met with repeated police arrests, neglect by governmental authorities, KKK cross-burnings and bombings. The firsthand experience of the sites, people, and histories within McComb were essential to developing Walsh’s project.
While in the region, Walsh conducted research at the Mississippi Department of Archives and History in Jackson, the state capital, and, in New Orleans; and visited cultural resources such as Hilda Casin’s Black History Gallery and met civil rights pioneer, Brenda Travis. To come to PSA-MS, Walsh won The School of the Museum of Fine Arts Boston, 2016 Traveling Fellowship. Walsh received his BFA from Hartford Art School, University of Hartford, West Hartford CT and a dual MFA from the School of the Museum of Fine Arts Boston and Tufts University, Boston.
By Wilkinson Eyre Architects
Installed at Canary Wharf, this egg was lit with a rotating colour display.
Part of the The Big Egg Hunt:
"The Big Egg Hunt is a plan hatched by Elephant Family and Action for Children for a record-breaking egg hunt across Central London to raise money for these two egg-cellent causes!
Over 200 uniquely crafted eggs, created by leading artists, designers, architects and jewellers, are be hidden across the capital"
[website]
Shot for Macro Mondays "Frustrations"
What I find frustrating is the continued dumping of electronic goods into our landfills. Electronic devices are filled full of lead, mercury, cadmium and other heavy metals. Fortunately in Alberta we have a province run recycling program for monitors computers and printers. Yet there are thousands of other devices with chips in them as well. These don't get recycled.
Even more frustrating are the "Recycling companies" that end of shipping the majority of the e-waste to developing nations where they cause even more damage than they would in our landifills. Very sad stuff if you've ever seen the documentaries.
Such a wasteful society we have. Don't feel too bad though, I'm just as guilty of producing my share of pollution. The cost of modern living I suppose.
Shot Info:
50MM prime lens with a 32MM extension tube. SB-600 shot at 1/64th directly behind. Triggered with the CT-301P wireless trigger.