What generative AI can't do is create something new that's never been seen. The models are trained on everything that's ever been done before; it can't be trained on that which has never been done. So you will innately see, essentially, all of human art and human experience put into a blender, and you'll get something that is kind of an average of that. So what you can't have is that individual screenwriter's unique lived experience and their quirks.
"I'm thrilled for this nomination," Cox said. "I've said this before, and I think it's important to say, there's an amazing French actor by the name of Maxence Cazorla who did almost all of the motion capture for that role in that game. So any nomination or any credit I get, I really have to give to him because I kind of believe that the performance of that character is really down to him, and my voice is just part of that process."
Artificial intelligence (AI), viewed from an optimist's perspective, is an accelerant for humans; a tool to handle tedious tasks that allow users to spend more time and energy on what really matters. On the current episode of Understanding IP Matters (UIPM), Eric Bear, a classically-trained actor, singer and dancer, and now a kinesthetic artist specializing in primate motion capture, discusses the interplay of creativity and technology. Bear is a successful entrepreneur, industry expert and inventor responsible for more than 100 patents.
This year's Performa, New York's performance art biennial, is taking over spaces across the city for projects that, in many cases, will be the artists' first forays into live performance. The biennial's main slate of eight commissions includes projects by seven women-Aria Dean, Sylvie Fleury, Camille Henrot, Ayoung Kim, Lina Lapelytė, Tau Lewis and Diane Severin Nguyen-and a male-female duo, Pakui Hardware.