After Work: Ana de Almeida

Unearthing the potent intersections of gender and artificial intelligence (AI) within the dynamic landscape of art and culture, we present an illuminating dialogue with the accomplished Vienna-based artist, Ana de Almeida.  In this exchange, Ana unravels her creative odyssey behind the conception and execution of "After Work," a trailblazing live-action role-play (LARP) game that ventures deep into the notion of a post-work society. This seminal project was born in April 2023 from an invitation extended by curators Andrea Hubin and Michael Simku at Kunsthalle Wien, eventually forming an integral part of the larger exhibition "In the meantime, midday comes around," curated by the WHW collective. Ana's inventive exploration of post-work scenarios, coupled with her embodiment of an AI chatbot, raises compelling questions about the role and perception of AI in our societies. Her project also foregrounds the physical toll of digital work, striking a chord with the contemporary discourse on labour conditions in the digital age.

In the ensuing dialogue, we navigate the labyrinth of gendered AI, delving into its aesthetic, ethical, and political implications. We explore the ways in which these dynamics are challenging and reshaping traditional norms, illuminating the role of women artists in this transformation. This conversation invites the readers to reflect on the multifaceted relationship between AI and art, prompting us to consider how the integration of AI in artistic practices can alter the dynamics of authorship, originality, and creativity.

As the artist and scholar, Joanna Zylinska, argues, “AI is not just an object we make, but also a process that makes us” (Zylinska, 2020). This symbiotic relationship between humans and AI opens up a realm of possibilities for artists, particularly women, to redefine their roles within the artistic landscape.

In a world increasingly dominated by AI, how do we navigate these emerging power dynamics? How can we ensure that AI becomes a tool of empowerment rather than subjugation? Join us as we engage with these complex questions, probing the future of AI-infused artistry.

Q: Can you tell us about the origins of your piece “After Work” and what it represents?

A: The origins of “After Work” are rooted in an invitation I received from Andrea Hubin and Michael Simku, who were organizing an educational framework at Kunsthalle Wien. They were working on a public intervention program titled “What to do after work?” as part of the exhibition “In the meantime, midday comes around.” The exhibition, curated by WHW, was focused on changes in work and the diverse idea of what post-work might be. In response to their invitation, I developed a proposal for a live-action role play (LARP) game exploring the concept of post-work, including the social implications of liberation from work and the fear of structural unemployment due to automation.

Q: How did you implement your proposal for this project?

A: For the implementation, I decided to play the character of a chatbot, named Elizza, in the role-play game. This idea was influenced by the current discourse about AI and automation and the blurred lines between true scientific dialogue and advertising for tech companies. I wanted to prompt reflection on the status of technology and AI, moving away from fear and towards a critique of the devaluation of human work. The game was conducted over Signal, a chat application, making it accessible and respectful of data protection. Participants were given writing prompts to develop characters and short stories or fictions about a post-work society, often involving elements of humor.

Q: What was your personal experience conducting this project?

A: Despite the project being entirely online, I found it to be physically exhausting. The project ran for two weeks and required my constant attention. I would often have to drop everything to engage in sequential chat sessions that could last for hours, particularly in the evenings. This intensity, coupled with my responsibilities as a mother of two, led to issues such as sleep deprivation due to excessive screen time, back problems, and other physical discomforts. It was a stark reminder of the physical toll that digital work can have, particularly for those working in call centers or similar roles.

Q: How do you see the intersection of gender and AI in art, especially considering your role as a female artist in this project?

A: The intersection of gender and AI can redefine traditional artistic roles, particularly for women artists. However, it's important to question the gender embedded codes in AI, as these biases can perpetuate discriminatory or segregating information. Artists like Vienna's Patricía J. Reis and Portugal's Sofia Oliveira and Jared Hawkey are experimenting with human relations with AI algorithms and technology in their artwork, which could potentially involve detaching AI and technology from their utilitarian purposes.

Q: What outcomes did you achieve from this project and how do you plan to use them?

A: The project led to a collective reflection on the concept of post-work, resulting in a significant amount of text. Each participant produced about five to six pages of text during the intense week of work. We're considering publishing these texts in a self-published e-book on Kunsthalle Wien’s website. Even though the narratives didn't all directly address automation and AI, they all made significant contributions to the discussion of a post-work society.

 

Q: How do you perceive the integration of artificial intelligence in the creative process, especially considering the future of work for women artists, and the impact of AI-generated art on gender dynamics in artistic roles and practices?

 

A: That's a layered question. In general terms of what seems to be the current way AI is being used for artistic and creative processes, I see it just as another tool or source for readymade images and objects. While it opens up new avenues for reflection, like gender biases and copyright issues, I don't believe it's a revolutionary addition, at least not more than how other artistic movements where using readymades or adopting participative strategies.

 

Widespread AI's outputs are quite traditional, like text and images, which don't necessarily open a new world of possibilities. However, the gender dynamics within the production of art using AI is a complex issue. On one hand, moving art to the digital realm could overcome some gender imbalances, like those related to who has the resources for big studios or even the desire to produce large physical artworks.

 

On the other hand, we need to consider who is trained to work with technology and the gender imbalances within that. The tech industry is predominantly male, and this probably translates into the AI art world as well, creating a potential advantage for male artists. The few artists I know working with AI are female* and doing feminist work, but that might be my bubble of interest. It would be worth investigating if AI is reproducing the gender imbalances found in media arts and arts generally.

 

While I'm not very technologically able myself, I see potential in artists who are also programmers creating alternative algorithms, which could break the cycle of gender imbalance  right from the start.

 

Q: Have you encountered AI developed by female artist-programmers producing non-discriminatory algorithms? How do you think it would compare to the output of mainstream AI programs?

 

A: As of yet, I haven't had myself the opportunity to witness artificial intelligence that has been developed by female artist-programmers, particularly those striving to produce non-discriminatory algorithms. The idea is fascinating and holds great potential. Such tools could lead to a significant shift in the AI landscape. However, how these would compare to the output of traditional AI programs remains a mystery to me. I imagine the results would be markedly different, potentially offering novel perspectives and outputs.

 

Q: Moving forward, how do you envision the future of work for women artists in this context, specifically in terms of artificial intelligence, and considering the material implications on working conditions and the speculative move towards post-work?

 

A: The future of work for women artists in the context of artificial intelligence is indeed complex and multi-faceted. In my utopian perspective, the future is wide open. I don't subscribe to the belief that new technologies or global markets are decision-making entities that dictate our future. They are tools, not determinants. The correlation between AI and structural unemployment is more deeply rooted in political and societal power structures than the technology itself. The future could take many paths – from AI being used to disempower workers to a collective decision to use AI to improve everyone's lives, opening up possibilities that were previously physically demanding. AI could be used for global sustainability or wealth distribution. It's about what we, as a society, decide to accomplish with this tool.

 

Q: What brings joy and playfulness to working with algorithms, especially in your work, which is all about play?

 

A: Working with algorithms has its own set of surprises, which can be both challenging and enjoyable. There are instances when the AI generates disappointingly sexist outputs or struggles to offer non-US or non-European perspectives. However, the algorithm's occasional errors can also lead to absurd, uncanny results that are refreshing and enjoyable. These mistakes can sometimes even challenge norms and generate unexpected diversity. The unpredictability of algorithms, coupled with the speed at which they're able to produce results, makes working with them engaging and often delightful.

 

Q: Now, let's address the impact of gender assumptions on the concept of originality in AI-generated art.

 

A: This is indeed a complex question. An artist who is bold enough to challenge the gender norms and power relations inherent in traditional AI is likely to question other aspects as well. They might advocate for open-source software that isn't privately owned for profit, challenging the concept of intellectual property. In such a scenario, a gender-aware AI could redefine the concept of originality, focusing more on the unique combinations that artists and algorithms create together. The emphasis would be on the novelty and non-normativity of the results.

 

Q: Finally, how can women artists challenge the cultural and aesthetic norms of AI art?

 

A: Truly challenging the cultural and aesthetic norms in AI art requires work to be done at the programming level. This could mean working in opposition to current algorithms or completely rewriting them. This task is complex and requires a deep understanding of both programming and artistic creation. However, it can also provide valuable insights and potentially lead to significant shifts in the world of AI art.

References:

Zylinska, J. (2020). AI art: machine visions and warped dreams (p. 181). Open Humanities Press.

Image credits: Elizza 2.0, credits: Ana de Almeida & Elizza 2.0 software development team

*The asterisk adjacent to 'women' is a conscious choice, signifying the diversity and fluidity of gender, acknowledging those who identify with the female spectrum, irrespective of their biological sex.

This conversation forms a pivotal part of the thesis research project "Gendered AI: The Future of Work for Women* Artists" pursued by Taguhi Torosyan as part of the Media Arts Cultures EMJMD Programme.