The full question:
AI has opened up a world of opportunity for content production and artistic experimentation. But it has also generated a series of challenges and negative impacts for creative workers and citizens more broadly. Discuss the controversies around the rise of AI tools in the creative sector by using two recent examples to build your argument.
You are expected to use a MINIMUM of four (4) academic sources from the module reading list. These can be essential or suggested readings
In addition, you are expected to include other sources collected through independent research.
You are expected to use at least one example from the lectures/seminars/module readings in developing your answer. You are encouraged to use a mix of examples from class and from your own research.
(uploaded)
(uploaded)
The minimum wordcount is 2,000 words, and the maximum is 2,500. This does not include the reference list.
Please use Arial font size 12, and use the Harvard in-text referencing system.
Essential readings:
(both in the uploaded files)
(both in the uploaded files)
Lee, HK (2022) Rethinking creativity: creative industries, AI and everyday creativity. Media, Culture & Society 43(3): 601-612.
– MUST USE THIS
– MUST USE THIS
MacFarlane, T. et al. (2022). Culture in Crisis: Recommendations for Policy Makers. London: Culture Commons Ltd.
Suggested:
Bunz, M & Vrikki, P 2022, From Big to Democratic Data: Why the Rise of AI Needs Data Solidarity. in Democratic Frontiers: Algorithms and Society. Algorithms and Society, Routledge. https://www.taylorfrancis.com/chapters/oa-edit/10.4324/9781003173427-3/big-democratic-data-mercedes-bunz-photini-vrikki ;
Eikhof, D. (2020) “Covid-19, Inclusion and Workforce Diversity in the Cultural Economy.” Cultural Trends 29(3): 234-250.
Banks, M. & O’Connor, J. (2020) “”A plague upon your howling”. Art and culture in the viral emergency.” Special Issue: Art and Culture in the Viral Emergency, Cultural Trends 30(1): 3-18.
World Economic Forum (2018) Creative Disruption: The impact of emerging technologies on the creative Economy. https://www3.weforum.org/docs/39655_CREATIVE-DISRUPTION.pdf
RSA (2018) A field guide to the future of work. https://www.thersa.org/globalassets/pdfs/reports/rsa_field-guide-future-work.pdf ;
Nesta (2015) Creativity vs. Robots: The creative economy and the future of employment.
Campbell, M. (2022) Reimagining the Creative Industries. Youth Creative Work, Communities of Care. London: Routledge.
Silverstone, T.; Gabbatt, A. and Lamborn, K. (2022) Inside the strange world of NFTs. The Guardian. https://www.theguardian.com/technology/video/2022/jun/07/nfts-get-rich-quick-scheme-or-the-future-of-art-video ;
Williams, L. (2022) The NFT market has collapsed (but that may not be a bad thing). Investment Monitor. https://www.investmentmonitor.ai/crypto/nft-market-collapse-cryptocurrency-value/ ;
Gross, J. and Wilson, N. (2020) Chapter 11: The Green New Deal and Cultural Policy. In Oakley, K. and Banks, M. (eds) Cultural Industries and the Environmental Crisis. Cham: Springer. Pp 139-152.
Over the last few years have, the creative industries have been marked by a series of world-wide events and developments: the Covid-19 pandemic, the escalating effects of global heating, and numerous social and political crises. At the same time, new technologies (e.g. NFTs, AI content generators and automation) are changing the way we produce culture, and with this, how we think about issues of ownership, authorship and work. The unprecedented changes that the sector has seen in the last years provide an opportunity not only to reflect on how cultural and creative industries are affected by periods of crisis, but most importantly, to consider the potential futures of cultural production: those we are told are coming, and those we would like to work towards.