Ancestra director Eliza McNitt defends AI as a creative tool

Elisa McKinet is not strange to the new media. Her project for 2017, FistIt was a great look at the stellar birth in the virtual reality, while following it Fields Explore black holes and stars death. Now with her short movie AncestraMcNitt took a Google tools for a deep personal story. By working with Google DeepMind and Darren Aronofsky Primordial Soup, McNitt used a mixture of live clips and media created from artificial intelligence to tell the story of her painful birth.

The result is a strange dramatic insufficiency as the true feelings of performing live work again are fighting artificial intelligence. The film begins when the date of the routine childbirth care in Audrey Corsa turns into an emergency delivery. From that point, we hear it on how her child and all living organisms in the universe are connected – which raises the poetic nature of Terring Malik’s films. We jump between Corsa’s performance, artificial intelligence shots, total photography and careful photography. In the end, Corsa holds a child listed by Google International, using claims that make her look like McNitt as a baby.

There is no escape from the shadow that is on the horizon of Google’s Amnesty International’s ambitions. This is not just an artistic movie – it’s an attempt to legitimize the use of artificial intelligence tools through the McNitt voice. This remains a problem when Google Models, including VEO and other DeepMind technology, have been trained on the pre -existing content and copyright works. A prominent short coming from the Darren Arenovsky production studio is not enough to erase this original sin.

“I have faced a challenge to create an idea that can integrate artificial intelligence,” McKenit said in an interview with Engadget Podcast. “So for me, I wanted to tell a really deep personal story in a way that I could not do before … AI really offered this opportunity to reach these worlds where the camera cannot go, from the universe to the inner world to be inside the mother’s womb.”

When it comes to justifying the use of artificial intelligence tools, which can currently be described as a suicide technique, McNitt says it is a decision that will have every artist who takes themselves. in case AncestraShe wanted to use artificial intelligence to accomplish difficult work, such as creating an infant created by a computer that resembles her, based on the photos taken by her father. I found that you are more moral than bringing the real newborn, and the results are more convincing than a doll or something that is moved by a CG artist.

She said: “I felt that the use of artificial intelligence was really important to this story, and I think it is up to every artist to determine how they want to use these tools and determine that.” “This was something else for me in this project, as I had to really set strong borders, as I did not want actors to be an Amnesty International. [they] Humans should be a spirit. I don’t feel that the performance can be re -created with a machine. I believe strongly and strongly that humanity can only be arrested through humans. Thus I think it is really important to have humans in the midst of stories. “

To this end, McNitt also worked with dozens of artists who create sound, photos and media in artificial intelligence in Ancestra. There is concern that the artificial intelligence video tools will allow anyone to deliver some claims and build projects from low -voltage shots, but McKinet says that she has been closely collaborated with a team of Deepmind engineers who formulated claims and raised through the results to find the shots she was looking for. (He ran out of time before I can ask her about environmental fears of using obstetric artificial intelligence, but at this stage, we know that it requires a large amount of electricity and water. This includes the demands of training forms as well as operating them in the cloud.)

“I think, like [generative AI] McNett said, when asked about her ideas about the future artificial intelligence models that compensate for artists, so that the artists do not benefit from them, when he was asked about her ideas about our role in the future, as this does not think a really important part of our role, as it is not believed that this is a really important part of our role, as this does not believe a really important part of our role, as the artists are not built on the stolen works. Humanitarian stories for other humans.

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