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The AI Index, currently in its ninth year, tracks, collates, distills, and visualizes data relating to artificial intelligence.
The AI Index, currently in its ninth year, tracks, collates, distills, and visualizes data relating to artificial intelligence.
Music is intertwined with human emotion, memory, and identity, making it a powerful medium for affective experience and regulation.
Music is intertwined with human emotion, memory, and identity, making it a powerful medium for affective experience and regulation.
The possibility that AI will automate most cognitive labor is worth taking seriously. How should we adapt to this transformation? I start from the perspective, articulated in the essay “AI as normal technology”, that the true bottlenecks lie downstream of capabilities and that AI’s impacts will unfold gradually over decades. If this is true, there are major gaps in our current evidence infrastructure, because it over-emphasizes the capability layer.
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The possibility that AI will automate most cognitive labor is worth taking seriously. How should we adapt to this transformation? I start from the perspective, articulated in the essay “AI as normal technology”, that the true bottlenecks lie downstream of capabilities and that AI’s impacts will unfold gradually over decades. If this is true, there are major gaps in our current evidence infrastructure, because it over-emphasizes the capability layer.
Elizabeth King combines figurative sculpture with stop-frame animation in works that blur the boundary between actual and virtual object. Intimate in scale and made to solicit close looking, her work reflects her interest in the history of the puppet, the automaton, and literature’s host of legends in which the artificial figure comes to life. She asks, “What is the figure in sculpture now? The representation of the body and its life: can I absorb the news from biotechnology and artificial intelligence but keep art’s ancient pact with theater?”
Her artist's talk will touch on the mind/body riddle, the science of emotion, the human/machine interface, and what the direct gaze means in an increasingly mediated world. Her most recent solo show, Radical Small at the Massachusetts Museum of Contemporary Art (MASS MoCA), was on view from February 2017 through January 2018.
The Studio Lecture Series is sponsored by the Millicent Greenwell Clapp Fund for Studio Art.
Image: From the book Attention’s Loop (A Sculptor’s Reverie on the Coexistence of Substance and Spirit), Elizabeth King, photos by Katherine Wetzel. Harry N. Abrams, NY, 1999. Pictured is King's sculpture Pupil, 1991; half life-size; porcelain, wood, glass eyes, brass; all joints movable; collection of the Hirshhorn Museum, Washington DC.