Diverse artistic perspectives from Salzburg Global Fellows shaping the future of AI and creativity
An illustration by Silvana Casuccio Martín made with digital combined techniques, vector art, Illustrator, Photoshop, AI plug-ins, and Copilot AI assistance (cropped)
-
Including diverse non-Western perspectives in AI discussions can foster a more inclusive and representative future.
-
Artists from Africa, Latin America, Asia, and Indigenous communities showcase their innovative work at the intersection of AI and art.
-
Grassroots efforts and cultural preservation can aid in developing AI models that accurately reflect global diversity.
Artificial Intelligence (AI) has become a central topic in global discussions about technology, ethics, and the future of human society. While much of the discourse is dominated by Western perspectives, it is crucial to include voices from diverse communities worldwide to ensure a global vision for AI. Artists from Africa, Latin America, Asia, and Indigenous communities broaden the conversation, challenging us to think differently about the role of AI in our lives.
Diversity was a key feature of the Salzburg Global program on "Creating Futures: Art and AI for Tomorrow's Narratives", with Fellows hailing from 25 countries and a plethora of organizations and artistic and creative practices. It was a rare opportunity to meet so many creative practitioners from all over the world in one place. Below, some of the Fellows describe their projects and local AI art ecosystems.
Doreen A. Ríos, director of the online digital art platform [ANTI]MATERIA in Mexico City, described the AI scene in Mexico as “twofold, one rooted in what I like calling ‘machine-whispering’ which encompasses practices such as that of Canek Zapata. The other one is older and has to do with the mythologies of non-human collaborators. Both always looking into the commons, both founded on replicable and shareable strategies. The second one of course can be seen in the work of Malitzin Cortés or Anni Garza Lau.” Zapata looks at automated writing models and visual internet languages, while Cortés operates as a creative technologist, working between live coding, live cinema, and installation. Garza Lau, a transdisciplinary artist and programmer, explores the use and effects of technological devices in everyday life.
Over in Nigeria, Oscar Ekponimo is the founder & CEO of Gallery of Code, described as “Africa's first transdisciplinary design lab at merging Arts, Science, and Technology to address Africa's challenges”. When asked about the local ecosystem, Oscar commented, “The AI in Art scene in Nigeria is thriving with a lot of creativity; the first AI in Art Summit in Nigeria held in 2018 was organized by Gallery of Code and Ars Electronica. Since then, we have had artists like Malik Afegbua who created 'The Elders Series' - an AI-generated fashion show for the elderly, and visual artist Jibril Baba, an artist in residence at Gallery of Code incorporating AI for his art-driven innovation called ‘RECALL’ - a modular storage prototype that uses AI to monitor food spoilage of roots and tubers.” The visual artist Malik Afegbua’s "The Elders Series"gained worldwide press coverage for challenging stereotypes with its portrayal of stylish older people on the fashion runway, while the innovator Jibril Baba’s "Recall: Spirit of the Old", a possible solution to the food and water issues in North-eastern Nigeria, was supported by The S+T+ARTS Residency.
Based in Canada, Maya Chacaby is Anishinaabe, Beaver Clan from Kaministiquia (Thunder Bay). A Professor at York University, Maya created a story to teach her students Anishinaabemowin (the Ojibwe language) and realized the potential for making the resources available online to anyone eager to learn the language. Thus the Biskaabiiyaang project was born, which combines traditional Anishinaabe storytelling with metaverse technologies. Set in a post-apocalyptic world invaded by linguicidals, the immersive virtual game invites players to save the language from extinction by learning from nature and the Elders and exploring the ruins. This project is part of the UNESCO International Decade of Indigenous Languages (2022 – 2032) and will be continuously developed to improve the skills of second-language learners. Upon completion, it will act as a blueprint for endangered Indigenous languages.
Meanwhile, June K, an artist known for her phygital installations with red thread, works between LA and South Korea. She sees the Korean AI art scene as a vibrant space, where “the development of Korean-based AI language models by companies like Naver has democratized access to AI technologies, empowering artists of all backgrounds to explore new creative frontiers”. Alongside established institutions such as the Art Center Nabi, which has supported and documented the work of early Korean artists working with technology, newer spots are cropping up such as The Uncommon Gallery in Gangnam. Founded by Kim Min Hyun of AI Network, it is the first web3 gallery in Korea dedicated to promoting AI art, attracting significant footfall and attention for a plethora of artists working within the digital, web3, NFTs, and AI-related art forms.
June was also keen to highlight her experience of working with the generative AI tool Midjourney as a Korean.She commented,“In its early stages, Midjourney struggled with accurately representing Asian faces, often producing inaccurate results for Korean or Asian faces. Users also encountered challenges with Midjourney's representation of traditional Korean costumes and mythical creatures from Korean folklore, indicating the need for a better understanding of cultural context. While Midjourney has made progress, there is still room for improvement in accurately representing Asian faces, traditional attire, and cultural concepts. Incorporating more detailed data and understanding cultural nuances will enhance Midjourney's accuracy and cultural sensitivity.”
These perspectives from Mexico, South Korea, Nigeria, and Anishinaabe, Beaver Clan broaden our understanding of some of the communities working and thinking about AI globally, challenging dominant Western narratives and proposing alternative visions of what AI can and should be. They emphasize the importance of grassroots community efforts, the need for preservation of cultural heritage, and the necessity of developing AI models that accurately represent all global cultures.
To truly harness the potential of AI, it is essential to engage with and learn from these diverse perspectives. This means creating platforms for artists from different regions to share their work, fostering cross-cultural collaborations, and ensuring that AI development is guided by a plurality of voices. Only by doing so can we build a future where AI serves the needs and aspirations of all humanity, rather than a select few. As we move forward, it is imperative that we continue to listen to and amplify non-Western voices, ensuring that AI evolves in ways that are equitable, sustainable, and truly reflective of our global society.
The Salzburg Global Fellows featured in this article convened alongside around 50 other artists, technologists, futurists, curators, and activists for Salzburg Global's annualCulture, Arts and Societyprogram in May 2024."Creating Futures: Art and AI for Tomorrow's Narratives" explored the emergent possibilities at the intersection of creative expression, technology, and artificial intelligence.
This article featuredin ourShorthand story, which includes more coverage from the program "Creating Futures: Art and AI for Tomorrow's Narratives".
