The SensiLab creative AI podcast is back for a new season in 2020. In this second season of our highly respected podcast we tackle the biggest and most pressing issues in Creative AI and beyond. Against the backdrop of the COVID-19 pandemic we take advantage of lockdown to interview the contemporary leaders in Creative AI from all over the planet.

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This week we discuss the release of the 1.5 billion parameter model of the GPT-2 neural network. Released by OpenAI, the GPT-2 is a language model trained to predict the next word in 40GB of Internet text. While it’s been around for some time in scaled-back forms, the release of the full model was previously considered “too dangerous” for the Internet. Why the change? Listen in as we discuss the implications of “big AI”, where the resources to train very large models are beyond what most individuals or even universities can afford. And what about the energy costs for all those GPUs/TPUs computing away a gradient descent for weeks or months on end? Should there be a “training shame” (utbildningskam in Swedish) for big, energy hungry models?

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Another big week in Creative AI! The announcement of the Lumen Prize for Art and Technology, A discussion pondering if “Robots could ever become artists” at the Science Museum in London, plus the release of a new book on AI-powered creativity. At that’s before we get to today’s topic: does AI need to be able to explain how it arrived at a decision? Join podcast regulars Jon, Nina and Dilpreet along with our new special guest star, Computational Creativity researcher Professor Simon Colton to find out more.

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This week the Sensilab CreativeAI podcast goes live at the Monash School of Film, Media and Journalism’s Creative Directions festival! Hosted by SensiLab Engagement coordinator, Lizzie Crouch, join podcast regulars Jon and Nina in conversation with Seb Chan, CXO at the Australian Centre for the Moving Image (ACMI) in Melbourne. The panel discuss the impact and implications of AI for the cultural and museum sector.

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Jon is back from this year’s Ars Electronica festival in Linz, Austria. Ars is one of the biggest festivals of its kind, probing the interactions of Art, Technology and Society, and this year was its 40th anniversary. The stats are impressive: 5 days, 16 locations, 501 exhibits, 548 individual events, 1,449 artists and scientists from 45 countries, 110,000 visitors. We review the festival, in particular the impact of AI on the artworks, discussions and presentations.

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Ever been in an art gallery and wondered if something was really art? Well, wonder no more: a handy new app allows you to harness the power of AI to decide on the question: “is that art…or not?”

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Our topic this week is Surveillance AI. One of the biggest — if not the biggest — applications of AI technologies is surveillance. From face recognition and analysis to recommender systems, new AI and Machine Learning techniques are being employed to handle the data explosion. How long before automated surveillance becomes automated response?

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Its 2019: how good is AI? Good in the sense of being good at the kind of intelligence it is programmed for, and good in the sense of being good for humanity. We don’t shy away from the big questions, so tune in to the Creative AI podcast to find out how good AI really is!

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How is AI portrayed in cinema? This week, Jon, Nina and Dilpreet go to the movies, discussing the role of AI in some of Western cinema’s most interesting takes on Artificial Intelligence.

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This week we take a look at the new round of “Deep Fakes” making their way across the internet. Deep Fakes are realistic looking and sounding videos – often of well known people – synthesised using deep learning techniques. Join Jon, Nina and Dilpreet as they discuss the implications of a world where you can’t be certain what is real and what is fake anymore.

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