Remixing, Seeing, Curating: Algorithms' Influence on Human Artistic Creativity

创作者经济预示着使用数字平台观看艺术内容。这使得创意专业人士能够与观众互动，从而在艺术策展过程中直接与观众互动。理想情况下，数字策展的过程使创造性工作的价值民主化，最大限度地减少精英机构的判断（例如，博物馆和拍卖行），以前行使看门的权力。然而，在我之前的研究中，创作者透露，他们现在会根据他们对平台算法品味的看法来改变他们的创作，类似于之前的艺术家寻求安抚收藏家或策展人。为了迎合算法，艺术家们将其视为他们创造性作品的中心人物。然而，与前几代受人尊敬的策展人相比，托管平台的排名算法被认为是降低了真正有创意的内容的优先级。随着算法继续保持在线策展角色，更多的创意专业人士将开始制作一些作品，这些作品要么是a）根据算法优先级明确设计的，要么是B）受到算法策展内容的影响，从而激发设计师和艺术家的灵感。这将产生一个反馈回路，人工智能通过这个回路影响所创造的东西，并相应地策划创作，从而影响文化品味。在这个研究项目中，我计划解决以下问题：算法平台的社会技术系统如何影响视觉内容的创作？ 如何将算法视为创作者的利益相关者？特别是，作为一个策展人，它在做出充满价值的判断时扮演了什么角色？创作者如何改变他们的创作过程以适应（感知到的）算法口味？ 创作者如何在算法平台上展示他们的创作过程，为什么？ （感知的）算法过程如何影响美学趋势？为了回答这些问题，我正在完成一个“综合”（纸质）论文。纸1概念化的算法驱动的创造力在全球南部，去中心的西方透镜以前的研究。Paper 2利用TikTok作为算法影响人类创造力的原型网站，其中的内容只能通过算法策划的Feed访问，该Feed可以保持观众访问。重新混合被探索为一种由于算法影响而出现的创造模型。论文3采用基于实践的研究方法，使用算法策划展览。这种探索还产生了一个网站，在这个网站上，创作者就算法平台对他们工作的影响接受了采访，访问者就算法和人类策展之间的体验差异进行了调查。论文4涉及在最著名的在世艺术家之一Olafur Eliasson的工作室进行的特定地点的民族志实地考察，他的团队通过插入算法成功的策略来影响他的艺术实践。该团队还在探索过程在他们的在线身份和物理展览中的作用。最后，EMP4.5利用基于实践和共同创作的方法，与创意社区的成员一起构建艺术作品，探索针对人类创造力进行优化的算法的可能性。目前，我已经完成了论文1和2的数据收集和分析，我正在撰写这些论文。我目前正在准备论文3的材料和展示，数据将在秋季学期收集。这些数据将于2023年春季为论文4收集。

The creator economy has heralded the use of digital platforms for viewing artistic content. This allows creative professionals to interface with their viewers, allowing direct audience interaction in artistic curation processes. Ideally, the process of digital curation democratizes the value of creative work, minimizing judgments from elite institutions (e.g., museums and auction houses) that previously wielded gatekeeping power. However, in my previous research, creators revealed that they now shift their creations according to how they perceive the tastes of platform's algorithms, similar to previous artists seeking to appease collectors or curators. In pandering to the algorithm, artists figure it a central character in their creative output. In contrast with respected curators of previous generations, however, the hosting platform's ranking algorithm is perceived as deprioritizing content that is truly creative. As algorithms continue to maintain curatorial roles online, more creative professionals will begin to produce pieces that are either a) explicitly designed according to algorithmic priorities or b) influenced by algorithmically-curated content that inspires designers and artists. This will produce a feedback loop by which AI influences what is created and curates creations accordingly, influencing cultural tastes. In this research programme, I plan to address the following questions: How do algorithmic platforms' sociotechnical systems influence the creation of visual content? How is the algorithm perceived as a stakeholder for creators? In particular, what role does it play as a curator making value-laden judgments? How have creators changed their creation processes to suit (perceived) algorithmic tastes? How do creators display their creative processes on algorithmic platforms, and why? How might (perceived) algorithmic processes be influencing aesthetic trends? To answer these questions, I am completing an "integrated" (paper-based) thesis. Paper 1 conceptualizes algorithmically-driven creativity in the Global South, de-centering the Western lens of previous research. Paper 2 leverages TikTok as an archetypal site of algorithmic influence on human creativity, where content is only accessible via an algorithmically-curated feed that gatekeeps audience access. Remixing is explored as a model of creation that has emerged due to algorithmic influence. Paper 3 takes a practice-based research approach to curate an exhibit using an algorithm. This exploration also produces a site in which creators are interviewed regarding the impact of algorithmic platforms on their work and visitors are surveyed on the experiential differences between algorithmic and human curation. Paper 4 involves site-specific ethnographic fieldwork at the studio of one of the most famous living artists: Olafur Eliasson, whose team influences his artistic practice by inserting strategies for algorithmic success. The team is also exploring the role of process in their online identity and physical exhibits. Finally, Artifact 4.5 draws on practice-based and co-creation methods to construct an art piece with members of the creative community, exploring the possibilities of an algorithm that is optimized for human creativity. Currently, I have completed the data collection and analysis for papers 1 and 2, and I am in the process of writing those papers. I am currently preparing the materials and exhibit for paper 3, and data will be collected in the fall term. The data will be collected for paper 4 in the spring of 2023.