he video snapped to life, a blue spark flashed across the screen, underscored by epic words echoing underneath the rendered images. The spark alights on a stone pillar, then lifts off again before touching down and transforming into luminous humanoid figures, who arise and stride forward.
Forget Candy Crush. Behold, Biskaabiiyaang.
This was a video trailer for “Biskaabiiyaang: the Indigenous Metaverse,” a joint effort to promote and protect Indigenous languages through an Indigenous-led metaverse. Video games are massively popular, played by billions, and home to deep storytelling and artistic expression. As “Biskaabiiyaang” illustrates, they can also be incredible vehicles for cultural preservation, promotion and shared understanding.
Yet for many artists, activist and policymakers, there remains a significant gap in their understanding of what is a crucial arena: technological platforms such as video games and artificial intelligence (AI), said Manouchehr Shamsrizi, a social entrepreneur, policy adviser, co-founder of gamelab.berlin in Humboldt University of Berlin’s Cluster of Excellence, and gaming and metaverse expert of Germany's Institut für Auslandsbeziehungen.
These technologies hold significant peril and promise, and require immediate, in-depth and sustained engagement by artists, activists, and policymakers alike. Only with such attention can these technologies reach their true potential as platforms for free expression.
“Gaming is the path to understand all those technologies,” Shamsrizi told Diplomatic Courier. “If we are able to close this gap, we would be able to make use of the potentials, and mitigate the risks, of many of these digital technologies.”
Shamsrizi is one of the participants in Salzburg Global Seminar’s latest session, “On the Front Line: Artists at Risk, Artists Who Risk.” SGS convened more than 50 artists, activists and allies from more than 40 countries at its home in Hotel Schloss Leopoldskron in Salzburg, Austria, from 25-30 March 2023. One of the examined topics: technological solutions, with a strong focus on video games and AI.
Garbage In, Garbage Out?
Hardly a week goes by lately that doesn’t feature news about AI. Significant advances in the field by multiple tech firms have resulted in the recent unveiling of generative AIs for public use, including OpenAI’s ChatGPT and Google’s Bard.
AI is a powerful tool, with most currently built atop what are known as large-language models. A generative AI is, fundamentally, a sophisticated prediction engine, using its capabilities and knowledge of a large body of existing work to predict the best next word in its responses to natural language queries, sometimes to such an uncanny degree that it marvels the mind.
The conversations at the “On the Front Line” event included discussion about the use of AI by artists and others. While the public increasingly has access to powerful AIs, we are still in the early stages of AI development and grappling with the flaws, failings, pitfalls and potentials of this technology. One such flaw: the large language models upon which such AIs are based. There was concern among participants that such models often include racist and misogynistic language and thinking, as well as historical biases.
Kira Xonorika, a participant who is an AI researcher, author and artist, described AI as requiring a “processing of de-biasing.”
“To engage that process of de-biasing and to truly achieve an equitable world, we really need the collaboration of people of color, of Black people, Indigenous people, trans people, intersex people, and all those who have been affected by the macro-political effects of exclusion,” Xonorika said. “And, for the stakeholders and the people who have power to change the infrastructure to truly prioritize these demographics so we can start balancing out things more.”
There are even more basic concerns: AI presents significant hurdles for those without the necessary resources to use it. AI requires both technological literacy fueled by education access and technological access (equipment, internet, electricity) Both remain globally limited.
There has also been significant concern from many artists about AI models harvesting artists’ work and using it as part of its creation process in service to others—plagiarism, essentially. But there remains a positive viewpoint to develop as well, amid the concerns. Xonorika described art created via AI as a collaboration with a collective consciousness, including a cooperative development process.
“That perspective of plagiarism is confined within the limits of ‘AI will overpower us’ that was imprinted in our consciousness due to Western science fiction between the ‘40s to the ‘60s,” Xonorika said. “If you look at it that way, then you are closed to the possibility of understanding that AI is in the process of learning.”
Industry, Policymakers Must Step Up
While much of the talk at the “On the Front Line” program about video games and AI was focused on what artists and activists could and should do, there remains a significant burden on others, specifically the gaming and AI industry itself, and policymakers who remain largely behind the technological curve, even if just to be aware of the latest developments. To correct this mismatch, Shamsrizi said, required significant sustained outreach to the arts community and its allies, which are well practiced in the use—and defense of—more-traditional art forms.
Shamsrizi listed a number of crucial steps for policy makers, as well: 1) monitor what is happening in games, 2) identify, listen to and develop in-house expertise in the field, 3) place video games on an equal footing with other arts—as a platform for culture and diplomacy—and seek to protect the artists who make them.
The gaming industry has its share of work to do as well, Shamsrizi said.
“The gaming industry has not grown up yet, that's what I believe. So it would highly benefit from exchange with cultural techniques or art forms and the communities connected to them, which has been dealing with these kinds of issues for decades, if not centuries,” he said. “So, the gap is there. Because neither the traditional art forms nor the gaming communities have been too eager to collaborate. Of course, there are examples, right? But we are not where we should be.”
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For Artists and Activists, a Crucial Moment in AI and Video Games
In “Biskaabiiyaang,” an Indigenous-led language preservation and promotion metaverse project, players discover Anishinaabe legend and origin stories including via this Legend of the Thunderbirds cut scene. (Image courtesy Biskaabiiyaang.com)
March 29, 2023
Artists, civil society and policymakers must engage in what is becoming a decisive moment in technology, as AI and video games take on global significance for art, activism, and cultural diplomacy, writes DC’s Jeremy Fugleberg from Salzburg, Austria.
T
he video snapped to life, a blue spark flashed across the screen, underscored by epic words echoing underneath the rendered images. The spark alights on a stone pillar, then lifts off again before touching down and transforming into luminous humanoid figures, who arise and stride forward.
Forget Candy Crush. Behold, Biskaabiiyaang.
This was a video trailer for “Biskaabiiyaang: the Indigenous Metaverse,” a joint effort to promote and protect Indigenous languages through an Indigenous-led metaverse. Video games are massively popular, played by billions, and home to deep storytelling and artistic expression. As “Biskaabiiyaang” illustrates, they can also be incredible vehicles for cultural preservation, promotion and shared understanding.
Yet for many artists, activist and policymakers, there remains a significant gap in their understanding of what is a crucial arena: technological platforms such as video games and artificial intelligence (AI), said Manouchehr Shamsrizi, a social entrepreneur, policy adviser, co-founder of gamelab.berlin in Humboldt University of Berlin’s Cluster of Excellence, and gaming and metaverse expert of Germany's Institut für Auslandsbeziehungen.
These technologies hold significant peril and promise, and require immediate, in-depth and sustained engagement by artists, activists, and policymakers alike. Only with such attention can these technologies reach their true potential as platforms for free expression.
“Gaming is the path to understand all those technologies,” Shamsrizi told Diplomatic Courier. “If we are able to close this gap, we would be able to make use of the potentials, and mitigate the risks, of many of these digital technologies.”
Shamsrizi is one of the participants in Salzburg Global Seminar’s latest session, “On the Front Line: Artists at Risk, Artists Who Risk.” SGS convened more than 50 artists, activists and allies from more than 40 countries at its home in Hotel Schloss Leopoldskron in Salzburg, Austria, from 25-30 March 2023. One of the examined topics: technological solutions, with a strong focus on video games and AI.
Garbage In, Garbage Out?
Hardly a week goes by lately that doesn’t feature news about AI. Significant advances in the field by multiple tech firms have resulted in the recent unveiling of generative AIs for public use, including OpenAI’s ChatGPT and Google’s Bard.
AI is a powerful tool, with most currently built atop what are known as large-language models. A generative AI is, fundamentally, a sophisticated prediction engine, using its capabilities and knowledge of a large body of existing work to predict the best next word in its responses to natural language queries, sometimes to such an uncanny degree that it marvels the mind.
The conversations at the “On the Front Line” event included discussion about the use of AI by artists and others. While the public increasingly has access to powerful AIs, we are still in the early stages of AI development and grappling with the flaws, failings, pitfalls and potentials of this technology. One such flaw: the large language models upon which such AIs are based. There was concern among participants that such models often include racist and misogynistic language and thinking, as well as historical biases.
Kira Xonorika, a participant who is an AI researcher, author and artist, described AI as requiring a “processing of de-biasing.”
“To engage that process of de-biasing and to truly achieve an equitable world, we really need the collaboration of people of color, of Black people, Indigenous people, trans people, intersex people, and all those who have been affected by the macro-political effects of exclusion,” Xonorika said. “And, for the stakeholders and the people who have power to change the infrastructure to truly prioritize these demographics so we can start balancing out things more.”
There are even more basic concerns: AI presents significant hurdles for those without the necessary resources to use it. AI requires both technological literacy fueled by education access and technological access (equipment, internet, electricity) Both remain globally limited.
There has also been significant concern from many artists about AI models harvesting artists’ work and using it as part of its creation process in service to others—plagiarism, essentially. But there remains a positive viewpoint to develop as well, amid the concerns. Xonorika described art created via AI as a collaboration with a collective consciousness, including a cooperative development process.
“That perspective of plagiarism is confined within the limits of ‘AI will overpower us’ that was imprinted in our consciousness due to Western science fiction between the ‘40s to the ‘60s,” Xonorika said. “If you look at it that way, then you are closed to the possibility of understanding that AI is in the process of learning.”
Industry, Policymakers Must Step Up
While much of the talk at the “On the Front Line” program about video games and AI was focused on what artists and activists could and should do, there remains a significant burden on others, specifically the gaming and AI industry itself, and policymakers who remain largely behind the technological curve, even if just to be aware of the latest developments. To correct this mismatch, Shamsrizi said, required significant sustained outreach to the arts community and its allies, which are well practiced in the use—and defense of—more-traditional art forms.
Shamsrizi listed a number of crucial steps for policy makers, as well: 1) monitor what is happening in games, 2) identify, listen to and develop in-house expertise in the field, 3) place video games on an equal footing with other arts—as a platform for culture and diplomacy—and seek to protect the artists who make them.
The gaming industry has its share of work to do as well, Shamsrizi said.
“The gaming industry has not grown up yet, that's what I believe. So it would highly benefit from exchange with cultural techniques or art forms and the communities connected to them, which has been dealing with these kinds of issues for decades, if not centuries,” he said. “So, the gap is there. Because neither the traditional art forms nor the gaming communities have been too eager to collaborate. Of course, there are examples, right? But we are not where we should be.”
