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(AI) ARTIFICIAL INTELLIGENCE PART II OF III | AI NOW : Expert Perspectives

May 30, 2023 By Taliesin Thomas

This 3-part series on the expanding prevalence of Artificial Intelligence (A.I.) considers this topic with respect to art and the creative economies in our region and beyond. Our first installment (I of III) explored the basic definitions of A.I. to set the stage for discussion. In this second segment, we hear from local professionals who amplify our perspective on A.I. and its significance in the wider arts fields especially. In the final segment to come, we will profile regional artists working with AI in interesting and fantastical ways.

*Alice in Wonderland Sculpture* in Central Park, NYC
Photo Credit : Taliesin Thomas (2023)

Let’s be real: AI is becoming increasingly conspicuous—and legitimately freakish!—as diverse subsets report on this topic within their distinct areas of mainstream culture. Since publishing the first segment in this series three months ago, the focus on AI technology has leveled up across the board. The onslaught of news clips focusing on the various dimensions of AI have taken over the airwaves and the entertaining nature of the headlines are provocative enough to rouse our prying further into the amplifying world of AI. Here are a few recent examples:

– AI, WTF Do You Know About Pain?
– Can AI Treat Mental Illness?
– Instant Videos Could Represent the Next Leap in AI Technology
– AI Portraits of Republicans in Drag to Get You Through the Week
– AI Images Visualizing Trump’s Arrest Send Internet Into a Frenzy
– How Hot Are You? Art Collective MSCHF’s New Chat Site Lets A.I. Do the Evaluating

And if these assorted click-bait stories are not engrossing enough, an episode of Tonight with John Oliver offers a witty spoof of an AI-generated Eminem rhapsody, yet another example of the absurdities associated with the ‘creative’ (and snarky) uses of AI amid a wide cultural swath.

Admittedly I have been pursuing the radical dialogue surrounding AI down various rabbit holes of inquiry and investigation. Like many of us, I am keen to learn more around what exactly is happening in the burgeoning technological landscape of AI to understand the ‘real-time’ applications and expressions of this machine-driven intelligence. I have also been discussing AI with friends and colleagues alike, and nearly everyone has a story to share regarding their concerns about AI—algorithms. For some, the exploration of digital domains such as Second Life and other realms of cybernated titillation that were once newfangled digital-experiences but are now considered dated and average.

Street art in Austin, TX | Photo Credit : Taliesin Thomas (2023)

To provide a brief synopsis of what AI is doing today, let us recall the two basic categories that define it: there is the generative ‘narrow’ form of AI that can create image or write text as demonstrated by Midjourney, ChatGPT and Stability.AI. These platforms perform one narrowly defined task or smaller set of related tasks. There is also the generative ‘general’ form of AI that demonstrates intelligent behavior across a range of cognitive tasks, such as the highly versatile technology seen in movies. General programs must be taught with minimal instructions and are given massive amounts of data to filter in which to do that, and these programs essentially teach themselves.

Apparently, all the AI currently in use is a ‘narrow’ form of AI and thus limited, however, we are seeing the ‘deep learning’ capability of AI technology is indeed getting defter—or weirder in some cases. Furthermore, some AI programs confidently spout false information, effectively hallucinating and providing dubious and downright dishonest theses. The data sets for these programs are majority male and white male to boot, so bias input equates bias output. Thus, AI theory and AI practice provide different results and the colossal amount of ‘training data’ found on the internet provides an endless trash-heap with respect to questionable content.

Attempts to filter out racist and other problematic content reveals the intensely convoluted nature of what are we are dealing with.

AI Chatbot Goes Rogue, Confesses Love for User, Asks Him to End his Marriage

As such, everyone is questioning the hullabaloo surrounding AI, and the prevailing census strikes me as apprehension mixed with a dose of curiosity. What are we most concerned about when we consider the broader implications of AI—other than already embedded AI operations such as email spam filters—and its seemingly insuppressible development? How can we manage our human insecurities regarding AI’s unconstrained influence in the creative sector? We turned to two local experts to further unfurl the conversation about AI’s potential and peril.

Professor James Hendler | Photo Credit : Corey Aldrich

Recently I met with Professor James Hendler at the Center for Industrial Innovation at RPI (Rensselaer Polytechnic Institute). Professor Hendler is a leading scholar on the topic of AI, he is also the Director of the Future of Computing Institute and the Tetherless World Professor of Computer, Web and Cognitive Sciences at RPI and the Director of the RPI-IBM Artificial Intelligence Research Collaboration. A data scientist with interests in AI and machine learning, semantic data integration, and the use of data in government, Professor Hendler has authored over 450 books, technical papers, and articles in the areas of AI and data policy and governance.

Professor Hendler’s mind simultaneously works along many fascinating channels. It was a thrill to have a private audience with a thought leader of our time. As we dug deeper into the AI discourse, we encountered many complex areas ripe for discussion, everything from unknowable depths of the human psyche and the mystical-cum-analytic tradition of the ancient Torah to the imaginative realms of Dungeons & Dragons to the provocative misuse of AI to create ‘synthetic pornography.’ We also considered some of the real-time concerns over AI, such as authorship, composition, slander, and so on.

Professor Hendler referred to AI’s ability to ‘operationalize’ in a super-human capacity, since now “We are seeing computers do something they have never done before…” he remarked. He went on to clarify, however, that: “When we say it’s super-human, we are not there yet and even when we are, it’s unclear to me what that will mean.” Speaking of AI’s output, Professor Hendler stated in no uncertain terms that: “These things have no intentionality. Their intention comes from us.” He described his own uses of AI and his experimentation with the AI program DALL-E to generate images of atypical rabbi’s, including African American women in the role.

AI-generated Image by Professor James Hendler in Collaboration with DALL-E
Photo Credit : James Hendler (2023)

“We are going to have to keep falling back on undefined terms, on things that we as humans don’t understand how we do,” he commented. Professor Hendler then went on to invoke a quote by the late theoretical physicist and cosmologist Stephen Hawking, stating that “AI will get to the point where it will self-evolve, and at that point, that becomes an existential threat.” He posed a poignant question in response: “Why? What is the ecological niche we would be competing in?”

He also suggested that concerns around AI reflect our human tendency to “project out” with respect to uncertain futures. The so-called mystical side of AI also inspired many compelling ideas. “I actually believe that a lot of this stuff, when you really get into the depth of it, takes us way away from the mysticism and right into the grounding of politics.” As we rounded the corner on our conversation, I asked a final question: “Is AI changing what it means to be an artist?” with regard to ownership and accomplishment. Professor Hendler then spoke about the first guys to make Mickey Mouse cartoons and their feeling of pride in figuring out the process of animating them. “Now the question is, what is the thing that makes that an accomplishment? It was not the physical act of getting the dots on to the paper,” he stated.

Street art in Troy, NY | Photo Credit : Taliesin Thomas (2023)

After that compelling conversation with Professor Hendler, I followed-up with another leading local voice on these topics, V. Owen Bush. As a designer, filmmaker, producer, and founder of the Scan2Plan 3D mapping company, Bush has been involved in creative immersive technologies and digital output programs since the early 1990s.

V. Owen Bush | Photo Credit : Corey Aldrich

His work has been seen in venues worldwide including digital planetariums, live concerts, events, IMAX 3D, and broadcast television. Bush approaches AI from an innovative angle: “There are a lot of creative applications for AI,” he explains. “From a visual arts standpoint, I think AI will be disruptive to certain craft artists versus artists with more conceptual heft behind their work.” Bush suggests that AI is a contemporary extension of a similar trend that started with Andy Warhol in the 1960s and was later cemented in the 1980s with production style artists such as Jeff Koons, Mark Kostabi, and Julian Schnabel—artists whose work was effectively “…factory produced and the artist just needed to put their signature on it,” he commented. Bush rented in a building in New York City that was home to Koons and Kostabi’s studios, and he visited them frequently during that era. Speaking as someone who has seen the evolution of artistic technologies since the pre-internet days, Bush asserts: “AI is merely an extension of that trend.”

In the next and final installment (III of III), we will profile regional artists working with AI in interesting and fantastical ways.

Taliesin Thomas, Ph.D. is an artist-philosopher, writer, lecturer, and collector based in Troy, NY. Since 2007, she is the founding director of AW Asia and the collection manager of Art Issue Editions—two private art collections based in New York that are the foundation for collaborations and projects with artists and museums
worldwide. Thomas has lectured and published widely on contemporary art. She is the director of the Critical Forum program at the Arts Center for the Capital Region, NY and she is a faculty member at School of Visual Arts, NY. Thomas studied studio art, aesthetics, theory, and philosophy at Bennington College, Columbia University, and The Institute for Doctoral Studies in the Visual Arts.

Joyce Brewer : Building New Collaborations on a Rich Foundation of Past Heritage

April 27, 2023 By Corey Aldrich

I met Joyce Brower at this months 2023 NY Museum Association Conference in Syracuse. (Thanks for the invite Erika Sanger!) I was quickly enthralled by the interesting tapestry of organizational collaborations she was weaving into the fabric of an upcoming event she introduced me to. The ‘2023 Hoosick History and Heritage Fair’ is a regional narrative. Joyce has a way of convincing you of the importance the past plays in the creation of provenance or the identity of a place. As we went deeper, she shared tried and true methods that are creating community cohesion while documenting new things for feature generations to benefit from. There are some real gems in this one folks.

**Joyce Brewer** – *Director* at **Hoosick Township Historical Society** and the **Louis Miller Museum**
Image Provided

Please tell us your name and what you do. How did you get to be in this position?

My name is Joyce Brewer. I am the Director of the Hoosick Township Historical Society and the Louis Miller Museum. I have worked for HTHS for 10 years and have been the Director for 8 years. I am a trustee of the Friends of the Bennington Battlefield and I have held the position of treasurer since its rebirth in 2018. I am a lifelong resident of the Town of Hoosick.

Can you talk a little about why you feel it’s important to tell the stories of places / small towns like Hoosick Falls?

Small communities like Hoosick Falls struggle to make their history and heritage known outside of the local community. They don’t have the funds or dedicated staff at the governmental agencies or departments that work to highlight the community and all it has to offer. Places like Hoosick Falls have amazing history, events and businesses, but getting the word out is hard. The larger media groups don’t tend to cover us, unless something bad happens. Hoosick Falls played an integral part in the founding of our country. The area was a leader at the beginning of the industrial age. We may be a small community now, but at the turn of the 19th century, Hoosick Falls was the place to be!

Hoosick Falls Main Street Trolley | Image Provided

**Walter A. Wood Mowing and Reaping Machine Manufactory** – Main Blacksmith Shop

How does the Hoosick Township Historical Society fit into the towns tapestry? What impact do you feel you have on attracting folks to visit or even live in Hoosick Falls?

The Historical Society plays a very important part in our town. We are a “hands on” museum which delights kids and adults. It is a common occurrence to get calls, emails and visitors from all over the USA and the world inquiring about family genealogy, or asking a question about a piece of Walter A. Wood farm machinery they have. We get many inquiries on military history or tracking someone who fought in the American Revolution. We do all we can do to answer their questions, usually doing the research ourselves and sharing all we can find to help them in their search. It is rewarding to find a long lost family member or have a child excited to try on their great grandfather’s military uniform. If the Town or Village clerk receives a request for genealogy information, we are their first stop.

Hoosick Falls Historical Celebrities the **Eberle Brothers** | Image: Corey Aldrich

A Sample of the **Louis Miller Museum**‘s Vintage Clothing Collection | Photo: Corey Aldrich

When folks are looking to purchase a home or start a business, coming to the museum to find out the history of their building is very common. For new homeowners they want to know the history of who lived in their house before them. They come to the museum and many spend hours and weeks doing more research. It is fun and rewarding to help them discover! As an ambassador for Hoosick Falls, I encourage guests to continue their visit by checking out a food establishment, visiting the Battlefield or a stopping at one of the many art or antique stores.

Display Quilt with Resident Name Panels | Photo: Corey Aldrich

What advice would you give to other Historical Society organizations that are operating in smaller, more rural towns?

It is imperative to have an open door attitude. To have your artifacts accessible to young and old, and to offer events that highlight not just the famous of your community but the everyday person who happens to be an amazing photographer or artist, a cherished dance teacher or even someone who just celebrated their 100th birthday. These are the people who are the fabric of the town, the hardworking everyday people, and when you celebrate them, the entire community can see how the local historical society cares for the community as a whole, not just those who are famous. It is also important to share the stories and photos of not just the famous or infamous, but of everyday life…kids playing ball, a sports team from “back in the day”, a group of folks in a factory. Not only do these photos and stories get people talking, they share them because they have family or friends in them and this promotes pride and respect in them and in your small town. We feel it is extremely important to offer programs for kids and let them experience the museum in a fun and ingenious way. This is why we started Junior Historians in 2022.

Hoosick Falls Junior Historians Group Photo with History Teacher **Katie Brownell** | Photo Provided

I am fascinated by the upcoming event you have at the Hoosick Falls Armory – the ‘Hoosick History and Heritage Fair.’ Can you tell us more about your collaborative project partners and how you plan to make that a town wide event?

Besides being Director of the historical society, I am also a member of the Friends of the Bennington Battlefield. We have been working since 2018 to enhance the Battlefield and the public experience there. We added interpretive panels in 2020 and in 2022 we added an audio tour to accompany the panels. To address attendance challenges, our two groups created a joint committee to focus on fostering community engagement and education in Hoosick History and Heritage. Our goal is to propel our community to the next phases of upcoming celebrations, such as the end of the Seven Years War in 1774 (2024), the beginning of the American Revolution in 1775 (2025), the declaration of our independence 1776 (2026), and the turning point of the Revolution which began right here in Walloomsac, NY on August 16 1777 (2027).

**The Bennington Museum** | **Barnett House** with **Friend of the Bennington Battlefield**
*President* **Peter Shaafphok** | Images Provided

Besides celebrating the 250th anniversary of the Battle of Bennington – which we prefer to call the Battle of Walloomsac- it will also be the 200th anniversary for the Village of Hoosick Falls and the 100th anniversary of NYS officially recognizing the battlefield as a Historic site. With these three important events all in the same year we knew we needed to focus our efforts to bring awareness to these important dates and bring a renewed interest in our amazing history.

**Friends of the Bennington Battlefield** Reenactment with Canon Fire | Image Provided

As a small historical society we could never host an event like this on our own, but bringing all these people together in one space, gives those small, mostly volunteer run places a place to highlight what they are and have to offer. We will have representatives from a wide variety of historic sites and organizations who will share interesting history from Rensselaer County and beyond, as well as reenacting groups, our own Junior Historians and fun kids activities. Visitors can visit over a dozen exhibitors in the armory, participate in a scavenger hunt throughout our historic district, take a narrated trolley ride to the battlefield and back, and grab some food from the local Lions Club and ice cream truck. There will be re-enactors setting up camp in Wood Park. At noon, you can join the Red Knights Motorcycle Club as they co-host the annual Armed Forces Day Ceremony. This ceremony honors the 103 men from the Town of Hoosick who died in service to their country and is held at Liberty Memorial Park in Maple Grove Cemetery.

St. Mark’s Episcopal Church thrift store, which is located adjacent to Wood Park, will be open as well and many of the downtown brick and morter businesses throughout the town will have specials for the day. The best part – the event is FREE!!

The **Louis Miller Museum** Team | Image: Corey Aldrich
*Left to Right*: **Joyce Brewer**, **Paige Kwasniak**, **Katie Brownell** and **Carol Gaillard**

What do folks need to know to get involved with the May 20th event? Is there an event page with a full listing of whats happening?

You can visit Hoosick Township Historical Society

You can also find the information at the Friends of the Bennington Battlefield

On the NYS Parks site for the Bennington Battlefield

If you wish to volunteer an hour or two of your time on the 20th you can reach out to me at staff@hoosickhistory.com or call 518-686-4682.

If you want to experience the fair and all that is happening, the fair will run from 10 am to 4 pm at the Hoosick Falls Armory, 80 Church St, Hoosick Falls. Come early to grab breakfast, a coffee or a nutritious shake, take a walk along the Hoosic River Greenway, or visit Natty Bumppo’s burial site. There is so much to do in Historic Hoosick Falls!

Albany’s 1st Friday : A Reminiscence and New Beginnings

April 27, 2023 By Corey Aldrich

I found myself on the streets of Albany, literally. After going through some intense personal life changing events, I was struggling to craft a new identity. One that was less corporate, less structured. More creative, rebellious. I was attracted to Arts and Culture and had begun volunteering my time consulting for the Albany Center Gallery and soon joined the Ellen Sinopoli Dance Company board. At around this time (circa 2010), I discovered 1st Night in Albany or ART NIGHT as I used to think of it. My life would never be the same. The scene…it was decadent, divine. So creative, smart and unexpected. The who’s who of the regional arts and culture scene where there, on the streets. Hundreds even thousands converging on Albany – for Arts Sake. You could find excellent family friendly events early at places like the Albany Institute of History and Art, Grand Street Community Arts or ACG. Then as the night got later, renegade pop up events got hotter in vacant buildings like St. Joseph’s Church, 259 Lark Street, 4 Central Ave or at the Upstate Artist Guild. Finally, the grand finale for me was always at Samson Contompasis’ Marketplace Gallery in the East Greenbush Tape and Label Factory (40B!) where you could dance till dawn with the DJ’s, street artists, fashion junkies, art freaks and hangers on that I aspired to become more like.

**Marketplace Gallery** | Left with Camera – **Frank Whitney** next to **Peter Contompasis**.
Forefront – **Corey Aldrich** next to **Robbie** | Photo: **Robin Alexandria Kettner-Zebrowski**

**Tommy Watkins** | **Corey Aldrich** | **Jo Agropovich** on Central Avenue
Photo: **Robin Alexandria Kettner-Zebrowski**

“First Friday was such a wonderful community event. Going out, connecting with friends, meeting new people. Wandering from place to place, never quite knowing what you might encounter. I hope to see it come back!” Jo Agropovich (Artist and Bass Player with Va Va Voodoos / Retrobilleze)

A few years in, the scene cooled down. It felt diluted. My friends and I slowly stopped considering it a must go on the calendar, scattering to the wind or for me…the Troy scene. Now, post COVID a group wants to bring that creative energy back to Albany, to reclaim the crown…the question is, can it be done?

Unknown Little Dude & Momma | Performance at **259 Lark Street** | **Robin Alexandria Kettner-Zebrowski**
Photos: **Ken Jacobie**

To understand the genesis of the movement, I went back and talked to some of the folks who were there at the beginning. As frequently is the case, there are slight variations on the ‘AHA!’ moment and not to mention some key voices missing. That said, I decided to reprint the words of some those who were there verbatim. This is by no means a complete history. Also, there are lots of overlaps and differences that seem to me to be the telling from different perspectives. Remember, the best scenes are not planned, they may have a little structure in the beginning but usually they are based on creative alliances that overlap and importantly in the words of Tommy Watkins “…collaborations of friends, forming new relationships, coming together from the heart with love. People who are obsessed with doing the thing.” From what I can tell, the spark of the idea was born from a show called the MANSION SHOW and its timing in conjunction with a variety of other events hitting critical mass over the following year. This group show was organized by Tommy Watkins circa 2005. It’s also clear to me that Chip Faschiana (Artist) was at all the action points mentioned by founding participants.

“The love of art was the common ground in which we all started. But as time went by we saw an even greater value that came out of creating these events. We saw how bringing every one together on the first Friday became uniquely special. It got people talking, got people sharing. It created a family, a community, a place where everyone was accepted and appreciated no matter who they were or where they came from.” Tommy Watkins (Artist / Founding Member of Upstate Artist Guild)

**Rebecca Schoonmaker** | **Upstate Artist Guild** | **Christa Dijstelbergen-Ricci**
*Photo Left / Right:* **Robin Alexandria Kettner-Zebrowski** | *Center:* **Ken Jacobie**

“Born out of the successful one-night shows of Chip Faschiana and Tommy Watkins, I, as a board member of Upstate Artist Guild and the new Director of the Romaine Brooks Gallery at the Pride Center, decided to align RBG’s shows to UAG’s. I then approached Elizabeth Dubben who had just opened Ambrose + Sable Gallery to see if she wanted to also align her schedule to the first Friday and she agreed. So on Friday September 1, 2006, with 3 galleries in Center Square, 1st Friday Albany was born. A few months later, Sarah Martinez at Albany Center Gallery got on board and we started to grow. I engaged the businesses on Lark and Downtown to show art, to get on the map. We got funding to rent the trolley to do loops between Lark and Downtown. Eventually we added the Opalka Gallery, St Rose, and the University at Albany, which facilitated getting a 2nd trolley, one for uptown and one for downtown. At its peak, 1st Friday had over 50 participating venues, every major art gallery/museum in Albany, and thousands of people a month. For anniversary months, we’d do a 2 page spread in the centerfold of Metroland.” Michael Weidrich (UAG Board Member | Director at Romaine Brooks Gallery at the Pride Center)

(EDITORS NOTE: Think of those peak metrics. This does NOT even include all the overlapping economy that happened due to the influx of traffic to participating neighborhoods that benefited restaurants, bars, coffee shops etc)

**Chip Fasciana** | **DWELL** (DJ) and **Mia Otian** | **Katie Pray**
Photo: **Robin Alexandria Kettner-Zebrowski**

**Marketplace Gallery** | **Abe Ferraro’s Art Course**
*Left*: Artist Provided | *Right*: **Kristin Diotte**

“I remember around 2006-13 there was a really vibrant, thriving Art scene that was taking over abandoned spaces and churches with Pop Up shows…independent galleries that were giving a voice to all kinds of artists…IT was exciting and was really moving the conversation forward for what was possible in this region and beyond…an Art Hub! I was happy to be contributing performance / Installation based works that were pretty outlandish…Art that could have easily been dismissed as too dangerous for insurance purposes or eccentric for public scrutiny…yet I was given the opportunity to inspire and be inspired…and live in this area!” Abe Ferraro (Artist | Sculptor and Performance Artist)

Unknown, **DJ RaNa Ransom**, **DJ OFI** & **Martin Dodge** | *Photo:* **Robin Alexandria Kettner-Zebrowski**

**Rachelle Smith-Stallman** Performance Still | Photo: **Robin Alexandria Kettner-Zebrowski**

“I have fond memories when 1st Friday was just an idea sparked by a conversation between Jeff Mirel, Founder of Albany Barn, Chip Fasciana, co-producer of Albany Underground Artists, and me. We all had shows and events opening the same night, and we wanted to come together to build a crowd rather than promote our events in silos. We wanted to bring the art scene to bring us together rather than pull us apart. Albany Center Gallery was relocating to downtown Albany from the second floor of the Albany Public Library, and had a vision to bring new life to the legacy institution so I was personally invested in making 1st Friday successful…“

“Thankfully, Michael Weidrich, a board member at Upstate Artists Guild at the time took initiative and joined our conversation. Through Weidrich’s dedication and commitment towards the initiative, and teamwork from a host of organizations such as Grand Street Community Arts, Albany Institute of History & Art, Albany Center Gallery, Upstate Artists Guild and a slew of other groups, the monthly event definitely elevated the art scene in Albany and other galleries gained notoriety like the Marketplace Gallery. One-night shows at St. Joseph’s Church and Grand Street Community Arts drew hundreds of people. I am grateful to have been part of this team effort to build up the arts community and it is remarkable to see Albany thrive and grow and reinvent this event.” Sarah Martinez (Director at Albany Center Gallery)

**Jessyka Neitzel** & **Alana Sparrow** | Photo: **Robin Alexandria Kettner-Zebrowski**

**Tall Ass Matt** – *The Early Years* | Photo: **Robin Alexandria Kettner-Zebrowski**

COVID really put a crimp in the final strands of what was First Night. But, there is now a new initiative to bring it all back. This is being spearheaded by Michelle Toch Dinsmore Partner at Overit Media and Jim Gilbert Owner and Publisher of Nippertown. Overit through participation in the event in the past had seen major traffic generated to support artists they had lined up pre-covid. Michelle indicated that for some shows they would track hundreds of attendees going through the door of their office / venue. Michelle and her team want to build “…upon the foundation of the great First Friday Albany organizers who came before us.” And of course, we all know Jim and his commitment to supporting all things music, art and culture through Nippertown’s online portal. This will be critical for success as in the past the METROLAND played a major part in creating a there there for the event with promotional information, ads and a detailed monthly event map.

Unknown | **R.M. Englehardt** | **St. Joe’s Church** Installation
Photos: **Robin Alexandria Kettner-Zebrowski**

**Corina Jae** (**oneUNIT**) & **Samson Contompasis** | Unknown at **UAG** | **St. Joe’s Church**
Photo: **Ken Jacobie**

“This is the start of something big,” said Jim Gilbert of Nippertown, “and we hope it will develop into something huge. We really hope that the city’s talented creatives will see this as an opportunity to highlight what makes artists so imperative to the overall success of a creative economy, and we encourage everyone to get involved.”

To this I would personally add, it’s NOT a Creative Economy without the artists and hope that we can remember to center them firmly in the process. After all…the Creative comes first followed by the Economy. Let’s find ways to sustain and provide resources for our value creators and enable them to help in the development of a truly sustaining and sustainable event to the benefit of the overall community.

**Samson Contompasis** (**Marketplace Gallery**), **Greg Dunn** & **Micheal Scott Ackermann** | **RADICAL**
Photo: **Ken Jacobie**

**Michael Conlin** | Unknown | **Jesse** | **Alyssa Hardy** | **Mark Gregory** (?)
Conlin’s Sign Studio at the **East Greenbush Tape and Label Factory**
Photo: **Robin Alexandria Kettner-Zebrowski**

The initial relaunch event will be held with a kickoff show at Overit Media at 435 New Scotland Avenue, Albany including 5 artists called The Power of Paper. (Mimi Castiglione-Santiago, Ruby Silvious, Abe Ferraro, Ashton Guy and Lindsay McKeough partner up with collaborative partners The Circus Family and Mohawk Paper) on May 5th from 5:00 p.m. to 8:00 p.m. This will also serve as the official kick off to the city’s Tulip Week leading up to the 75th Anniversary of the Tulip Festival. Additional events are listed on the Nippertown Event Page and include the arts locations, shows, and food / beverage promotions.

Want to get involved? To connect with participating locations as an artist you can head over to Nippertown’s First Friday Application Page.

**Abe Farraro** at **257 Lark** | Unknown Performance Art | **St. Joe’s Church** – **RADICAL** Stage Design
Photos: **Ken Jacobie**

**Marketplace Gallery** – Abe Ferraro’s Art Course | **Michael Farrell** and **Lisa Reddy**
Photo: **Ken Jacobie**

Photos for this article were significantly mined from the collections of my favorite go to photographer at the time Robin Alexandria Kettner-Zebrowski who created a catalog of many who were on the streets in the deep scene and who without I would have been lost. Special mention to Ken Jacobie as well, who had an sharp eye on the art…and seemed to be everywhere all the time.

There is so much to plumb in this rich history. I may end up doing another article. So many voices to reach out to, images to search and best practice tips to secure!

The Museum Association of New York : The Tie That Binds – A Conversation with Erika Sanger

March 23, 2023 By Corey Aldrich

Please state your name, title and what it is you do for the organization.

My name is Erika Sanger and I am the Executive Director of the Museum Association of New York. In this role, I am the leading ambassador and advocate for museums and cultural institutions in New York State. I work with the board and staff to deepen connections with members and constituents; seek new opportunities for programs and funding; maintain, support, and develop relationships with members and stakeholders including museum professionals, industry partners, state and federal funding agencies, private foundations, local, regional, and federal government officials, and leaders of peer institutions and arts organizations. I was honored last year by the American Alliance of Museums with the 2022 Advocacy Leadership Award for my work on behalf of museums in New York and across the nation.

**The Museum Institute** at **Great Camp Sagamore** | Leadership Learning Retreat 2021 | Photo: Provided

Can you share a bit about your background?

I joined the Museum Association of New York in August of 2016 after serving twelve years as the Director of Education at the Albany Institute of History and Art. There, I provided vision for the development of programs for adults, children, schools, and families, focusing on object-based learning and digital initiatives. I led the institute’s “digital renaissance,” most notably with the launch of a new website and creation of interpretative strategies around hand-held digital devices and interactive media.

I gained my work experience and leadership skills through positions held at renowned arts and cultural institutions including the International Center of Photography, the Jewish Museum, the New-York Historical Society, the Brooklyn Museum, and the Asheville Art Museum in Asheville, NC. I also served as Director of Development at Penland School of Crafts in NC, where I was actively engaged in the region’s artist community and participated in the design and implementation of heritage tourism initiatives and campaigns for capital and endowment funds.

I’ve developed program assessments with Harvard University’s Project Zero, the North Carolina Center for the Advancement of Teaching, and with the education department at the University at Albany. Programs produced under my direction have received funding from state and federal agencies, including the Humanities and Arts Councils of the states of New York and North Carolina, the Institute for Museum and Library Services and the National Endowments for the Arts and Humanities.

I received a BFA from Clark University and an MA from NYU’s Steinhardt School of Culture, Education, and Human Development.

MANY Annual Conference | Photo: Provided

Can you tell us what a typical ‘day in the life‘ for you is?

I frequently say that this job is like riding a roller coaster! We host an April annual conference, professional development programs are produced across the state all year, the legislative calendar of the state and federal governments dictates our advocacy work, and our virtual programs reached over 1,600 people in 48 US States and 8 other nations in 2022. On any given day I may work on a grant application, have a board committee meeting, advise a member on a project or program, and work with our accountant on the organization’s finances. In 2022, we adopted a new strategic plan, revised our by-laws and personnel policy, and changed the board of directors’ terms to align with the organization’s fiscal year.

**Jamie Jacobs** : **The Rock Foundation** | **Georgette Grier-Key** – *Executive Director and Curator* : **Eastville Community Historical Society** | **Didi Barrett** – *NYS Assembly Member* (D-106) | **Erika Sanger** – *Executive Director* : **Museum Association of NY** | **Chloe Hayward** – *Director of Education* : **Studio Museum in Harlem** Photo: Provided

Museum Association of New York Membership Map

Can you tell us a bit about the mission and focus of MANY? How many members do you have and what types of institutions / organizations are in the group?

The mission of the Museum Association of New York is to help shape a better future for museums and museum professionals by uplifting best practices and building organizational capacity through advocacy, training, and networking opportunities. We closed 2022 with 730 members, a 6% increase over 2021 and in the first quarter of 2023, have gained 25 more. The largest number of our members are in the Capital Region and New York City, but we have members located in every region of the state, from every discipline and every budget size from all volunteer organizations to museums with budgets that exceed $10 million. Our website has a great map with each organizational member identified and most people would recognize many of our members.

March on Washington for Jobs and Freedom | August 28, 1963 by **Rowland Scherman**
Courtesy of **National Archives and Records Administration**

What is something you are currently working on that your excited about or that you feel we should know about?

As our nation approaches the 250th anniversary of the signing of the Declaration of Independence, we know that museums are searching for ways to engage their communities with connections to the history of our nation. They are seeking ways to tell multi-vocal stories of our past, to embrace all the people who live in their communities regardless of race, religion, or nation of origin.

The Museum Association of New York is New York’s representative to the Museums on Main Street program of the Smithsonian Institution’s Traveling Exhibition Service. In that capacity we are traveling their exhibition Voices and Votes: Democracy in America to twelve New York museums to help them prepare for the semi-quincentennial, aka America 250. This traveling exhibition includes historical and contemporary photographs; educational and archival video; engaging multimedia interactives, and historical objects like campaign souvenirs, voter memorabilia, and protest material.

Each museum will display the Smithsonian exhibition and produce a small exhibition drawn from their own collection that relates to their community’s role in the development and advancement of Democracy in America, explores a Voices and Votes theme, or tells the story of how people in their community created positive change for our nation. The local exhibitions may be installed in the museum, or in a community partner space like a library or school, or the Voices and Votes exhibition could be installed in a community partner space and the local exhibition in the museum. The application deadline is approaching and we know selecting the exhibition host sites will be a real challenge!

Additionally, The Museum Study Act passed the New York State legislature unanimously (minus one!) in 2022 with overwhelming support from several state agencies. The Governor’s veto noted that the legislature would need to appropriate funds for it to be signed. Actions to that end are already in motion.

EDITORS NOTE: Erika’s comments on The Museum Study Act

A.I. : What It Is and Why You Should Care | PART I OF III

March 21, 2023 By Taliesin Thomas

Powerful Artificial Intelligence engines like Chat GPT4 and Midjourney v5 are quickly moving into the mainstream. This 3-part series on the expanding prevalence of Artificial Intelligence (A.I.) will consider the topic with respect to art and the creative economies in our region and beyond. In this opening segment, Taliesin Thomas PhD explores the basic definitions of A.I. and where the current conversation is moving.

Installation View of a **Daniel Arsham** Exhibition at the **Long Museum** in Shanghai, China | 2019
Photo Credit: **Taliesin Thomas**

The noticeable buzz surrounding Artificial Intelligence (A.I.) appears to be infiltrating nearly every category of contemporary culture, especially creative fields. What exactly is A.I. and how does it work? What are the implications of A.I. for art? Although art made with semi-autonomous machines has been around since the 1960s, we are in an entirely new era of technological realities. First let us consider the pairing of these two words: ‘artificial’ and ‘intelligence.’ These concepts inspire distinct questions surrounding A.I. and its rising significance in our increasingly interconnected society. The term ‘artificial’ presents a wary definition to start—synonyms include ‘bogus’, ‘counterfeit,’ ‘factitious,’ and ‘faked.’ This provokes a circumspect context from the outset of the conversation: can we trust this fabricated form of perceiving, synthesizing, and inferring information? Second, the notion of ‘intelligence’ is arguably the basis of our entire civilization. We endure and increase our collective agency as a species thanks to our combined intelligence. Intelligence can be defined in various ways, including the capacity for understanding, self-awareness, reasoning, planning, critical thinking, and creativity. The power of our singular human experience is precisely our ability to cultivate intellect throughout our life journey.

Installation View of **Yayoi Kusama** “*Infinity Mirrors*” Installation at the **Hirshhorn Museum**, DC | 2022
Image credit: Taliesin Thomas

Thus, we proceed with a sense of discernment regarding A.I. as a ‘phony mind’ yet we must marvel at its swift development and implementation in various realms of society, notably commercial applications. A.I. systems function through a foundation of specific hardware and software tools that consume large quantities of organized data that—through processing techniques—produce specific algorithms or patterns. Those algorithms in turn provide computing devices with step-by-step instructions for how to complete a specific task and can be manipulated to ‘create’ or output in distinct ways. A.I. is now employed for a variety of purposes including expert systems, natural language processing, speech recognition, and machine vision. The ride service Uber, for example, utilizes sophisticated A.I. machine learning algorithms to predict when people are likely to need rides in certain areas, which helps proactively get drivers on the road and to where they are needed most.

Screengrab of **The Andy Warhol Diaries** on **Netflix**

As a novel technology, A.I. is being progressively employed within the creative sector as well, often in fascinating ways. I anticipated the A.I. generated voice for Andy Warhol as encountered in the Andy Warhol Dairies would sound gimmicky and bizarre, however, I was delighted by the opposite effect. Not only does the Warhol’s voice sound incredibly accurate, but it also brings to life his articulate mind (and heart) in a beautiful and believable manner. We already know Warhol as an icon extraordinaire and enduring face of Pop Art, but this intimate series reveals Warhol the lover, and his words are pulled straight from his personal dairies and personified through A.I. technology. The result is a dreamy and eloquent Warhol voice, and it reduced me to bouts of sobbing throughout the series (the emotional quality is undeniable). The company Resemble AI crafted Warhol’s A.I. voice with just 3 minutes and 12 seconds of usable data in the form of existing audio recordings. The Andy Warhol Dairies is a marvelous example that demonstrates the success of A.I. as a tool that brings ever greater insight to the art of our times—and in the case of Warhol, a deceased artist who remains timeless.

The Author with a Painting of **Andy Warhol** at the **Warhol Museum** | 2016
Image credit: **Taliesin Thomas**

The pressing question in all of this seems to be: how does A.I. impact our concept of intelligence and creativity and our ‘ownership’ of that very intelligence and creativity? In other words, to restate a familiar concern about the expanding role of technology and the human mind in all its formats since the first publication of Mary Shelly’s Frankenstein (1818) and the dawn of the computing age: can machines ‘think’ for us? In the meantime, critics such as New York based arts, culture and technology writer Mike Pepi propose: “These so-called ‘creative’ machines are limited in that they can only ever remix existing media and data, they cannot truly create anything new. This is the province of human ingenuity alone.” Artists, fear not! These fictitious A.I. minds are mere derivative producing hacks! In any case, the fundamental thing to understand about A.I. is that it is as a unique form of simulated intelligence by way of computer systems that aim to assist humans achieve in increased capacities. Here one must acknowledge that notions of ‘human’ increasingly point toward the ‘posthuman’ in our hyper-stimulated digital era. A recent article at The Verge highlights the issues around copyright laws and exposes the ruffle between Getty Images and A.I. generated visions of humans that are downright freakish. Indeed, these are dense conceptual paradigms transforming our planet in real-time.

Screengrab of a Recent article concerning A.I. and **Getty Images** Published on The Verge | 2022

Nevertheless, A.I. is here to stay, so we must embrace it as part of the evolving global reality of today. We also recognize, however, an underlying apprehension for creatives, since corporate driven A.I image generators pose a threat to their livelihood. According to a recent article published by Artnews, the latest advancements in machine-learning programs have transformed A.I. into an impressive creative tool that seems capable of outpacing—and underpricing—human artists, sparking a real concern in diverse creative circles. Anxieties surrounding A.I. and art are highest among graphic artists and commercial illustrators, whose very livelihood is based on their ability to design artistic content specific to a clients’ vision. Another Artnews piece also warns that A.I. systems ‘learn’ by sifting through numerous man-made images that are often scraped from online sources by tech companies and often without the consent of their authors. As stated by writer Taylor Dafoe: “A.I. advocates argue that this practice is protected by fair use laws; artists have said it violates their copyrights.” How will A.I.’s artistic capabilities intimidate even more areas within the wider creative field?

Street Art in the **Chelsea** Neighborhood in New York City | 2022
Image Credit: **Taliesin Thomas**

I agree with sceptics who suggest that the vast realm of art practices and material embodiments of aesthetic culture will not be undermined by the new A.I. landscape. And I agree with critical thinkers such as Mathew Dryhurst who states: “I do not believe that artists are in too much danger of being replaced by A.I. Artistic practices are so much more complex than a style that can be mimicked. What we value of art is more social than we often acknowledge.” Other cultural commentators such as Martin Herbert get to the heart of the matter from a meta perspective. In his recent article “I’m an Art Critic. Will AI Steal My Job?” he states the obvious regarding the entire A.I. project: “At the base of this inhuman ‘creativity’, of course, is human labour.” He also makes an important point about the ‘real’ value of art as a matter of ‘real’ lives lived: “The contemporary art scene seems, almost nostalgically, tied to people: artists, as fronting personalities and aspiration models, seem as important as the art.” Undoubtedly it is the corporeal, messy, compelling narratives of artists and their art—the true blood and guts of a creative life—that give art its enduring allure. Thus, we can welcome A.I. onto the scene as fellow ‘counterfeit’ creative as we remain rooted in a pulsating world of manifestation that comes into being precisely through authentic being.

In the next installment (II of III), we will hear from regional professionals who amplify our perspective on A.I. and its significance in arts fields especially.