The Clockwork Penguin

Daniel Binns is a media theorist and filmmaker tinkering with the weird edges of technology, storytelling, and screen culture. He is the author of Material Media-Making in the Digital Age and currently writes about posthuman poetics, glitchy machines, and speculative media worlds.

Tag: creativity

  • Blinded by machine visions

    A grainy, indistinct black and white image of a human figure wearing a suit and tie. The bright photo grain covers his eyes like a blindfold.
    Generated with Adobe Firefly, prompts by me.

    I threw around a quick response to this article on the socials this morning and, in particular, some of the reactions I was seeing. Here’s the money quote from photographer Annie Leibovitz, when asked about the effects of AI tools, generative AI technology, etc, on photography:

    “That doesn’t worry me at all,” she told AFP. “With each technological progress, there are hesitations and concerns. You just have to take the plunge and learn how to use it.”1

    The paraphrased quotes continue on the following lines:

    She says AI-generated images are no less authentic than photography.

    “Photography itself is not really real… I like to use PhotoShop. I use all the tools available.”

    Even deciding how to frame a shot implies “editing and control on some level,” she added.2

    A great many folx were posting responses akin to ‘Annie doesn’t count because she’s in the 1%’ or ‘she doesn’t count because she’s successful’, ‘she doesn’t have to worry anymore’ etc etc.

    On the one hand it’s typical reactionary stuff with which the socials are often ablaze. On the other hand, it’s fair to fear the impact of a given innovation on your livelihood or your passion.

    As I hint in my own posts3, though, I think the temptation to leap on this as privilege is premature, and a little symptomatic of whatever The Culture and/or The Discourse is at the moment, and has been for the duration of the platformed web, if not much longer.

    Leibovitz is and has always been a jobbing artist. Sure, in later years she has been able to pick and choose a little more, but by all accounts she is a busy and determined professional, treating every job with just as much time, effort, dedication as she always has. The work, for Leibovitz, has value, just as much — if not more — than the product or the paycheck.

    I don’t mean to suddenly act my age, or appear much older and grumpier than I am, but I do wonder about how much time aspiring or current photographers spend online discussing and/or worrying and/or reacting to the latest update or the current fad-of-the-moment. I 100% understand the need for today’s artists and creators to engage in some way with the social web, if only to put their names out there to try and secure work. But if you’re living in the comments, whipping yourselves and others into a frenzy about AI or whatever it is, is that really the best use of your time?

    The irony of me asking such questions on a blog where I do nothing but post and react is not lost on me, but this blog for me is a scratchpad, a testing ground, a commonplace book; it’s a core part of my ‘process’, whatever that is, and whatever it’s for. This is practice for other writing, for future writing, for my identity, career, creative endeavours as a writer. It’s a safe space; I’m not getting angry (necessarily), or seeking out things to be angry about.

    But I digress. Leibovitz is not scared of AI. And as someone currently working in this space, I can’t disagree. Having even a rudimentary understanding of what these tools are actually doing will dispel some of the fear.

    Further, photography, like the cinema that it birthed, has already died a thousand deaths, and will die a thousand more.

    Brilliant4 photography lecturer and scholar Alison Bennett speaks to the legacy and persistence of photographic practice here:

    “Recent examples [of pivotal moments of change in photography] include the transition from analogue film to digital media in the late 20th century, then the introduction of the internet-connected smart phone from 2007,” they said.

    “These changes fundamentally redefined what was possible and how photography was used.

    “The AI tipping point is just another example of how photography is constantly being redefined.”5

    As ever, the tools are not the problem. The real enemies are the companies and people that are driving the tools into the mainstream at scale. The companies that train their models on unlicensed datasets, drawn from copyrighted material. The people that buy into their own bullshit about AI and AGI being some kind of evolutionary and/or quasi-biblical moment.

    For every post shitting on Annie Leibovitz, you must have at least twenty posts actively shitting on OpenAI and their ilk, pushing for ethically-sourced and maintained datasets, pushing for systemic change to the resource management of AI systems, including sustainable data centers.

    The larger conceptual questions are around authenticity and around hard work. If you use AI tools, are you still an authentic artist? Aren’t AI tools just a shortcut? Of course, the answers are ‘not necessarily’. If you’ve still done the hard yards to learn about your craft, to learn about how you work, to discover what kinds of stories and experiences you want to create, to find your voice, in whatever form it takes, then generative AI is a paintbrush. A weird-looking paintbrush, but a paintbrush nevertheless (or plasticine, or canvas, or glitter, or an app, etc. etc. ad infinitum).

    Do the work, and you too can be either as ambivalent as Leibovitz, or as surprised and delighted as you want to be. Either way, you’re still in control.

    Notes ↩︎

    1. Agence France-Presse 2024, ‘Photographer Annie Leibovitz: “AI doesn’t worry me at all”’, France 24, viewed 26 March 2024, <https://www.france24.com/en/live-news/20240320-photographer-annie-leibovitz-ai-doesn-t-worry-me-at-all>.
      ↩︎
    2. ibid. ↩︎
    3. See here, and with tiny edits for platform affordances here and here. What’s the opposite of POSSE? PEPOS? ↩︎
    4. I am somewhat biased as, at the time of writing, Dr. Bennett and I currently share a place of work. To look through their expanded (heh) works, go here. ↩︎
    5. Odell, T 2024, ‘New exhibition explores AI’s influence on the future of photography’, RMIT University, viewed 26 March 2024, <https://www.rmit.edu.au/news/all-news/2024/mar/photo-2024>.
      ↩︎

  • The handmade internet

    A fragment from random notes over the last few days, weeks…

    There seems to be a return to an idea, philosophy, or practice of “just make stuff!” or “just do it!”; “just write something, ffs!” (Maybe that last one is more for me…)

    I noticed this most recently with Rick Rubin’s odd but intriguing Squarespace tie-in promo for his book; he’s seeking to spawn or to gather online folx who are just doing cool, interesting, intriguing stuff. At least that’s how I saw it in my cursory glance over the copy:

    A collaboration with Rick Rubin to build tetragrammaton – an online world of curated materials – and a new website design, Transmission, to inspire your creativity.

    From “Co _ Rick Rubin“, Squarespace, accessed January 22, 2024 (archived).

    It’s all a bit corporate, a bit woowoo, a bit odd, but it plugs into a broader conversation about how the internet has evolved and changed, how platforms have scorched much of the landscape that was previously a bit rougher around the edges, a bit more grassroots, more personal, more creative, perhaps.

    There are other offshoots of this movement, like tiny-internets, and lovely lite micro-blogging services like bearblog and Plume, even Neocities. Larger companies like Automattic, for all their faults, are (at least at a surface, front facing level), trying to champion this kind of crazy, personalised, creative internet.

    Whether this is a return to the internet of old, or a new evolution entirely, remains to be seen.

  • the daily DAN

     

    A week ago, I posted this on Twitter. Must’ve been something of a shock to my Twitter followers, as I haven’t really used that social platform in quite some time.

    The push to take up this challenge came partly from current research — I’m looking into Casey Neistat’s vlog practice for an article — but also partly from a need to kickstart my own creative practice. The short film we shot in July last year has sat pretty well dormant in post-production for over a year, and I’d barely touched any kind of creative software during that time.

    I needed to get back into shooting, back into editing, back into writing, to get myself back up to speed with both the gear, the software, and with my own creativity.

    The video-a-day thing hasn’t worked: I don’t think it trucks too well with a full-time job, relationships, family and such, but I’ve done five thus far, and fully intend to keep going, shooting and cutting whenever I can, until I reach the promised fourteen videos.

    It’s been enormous fun: sometimes shooting new stuff, sometimes delving into the archives, always cutting something new, something fresh. Recording voiceover and featuring myself in the videos is not easy: as much as the challenge emerged from analysing vloggers, I don’t really want to be the main focus. That said, I received some feedback that the voiceover would lend itself well to a video essay, which may well be one of the videos to come.

    Creativity begets creativity

    On Monday, a few days into the challenge, I opened Final Draft for the first time in a year and smashed out the first draft of a short film I’ve been thinking about for a long time. And I think a few colleagues and I are going to shoot it — quick’n’dirty style — late next week, so expect an upcoming video to be something of a behind the scenes.

    The producer of last year’s film and I are also spending three hours in an edit suite tomorrow, to finish off this damn short. Nothing like time pressure.

    Don’t sweat it

    Perfection is overrated. I think this is a lesson from Casey. But I’m learning to not kill myself over the edits, over colour correction, over getting the timing or the music just right. Do it quick, get it done — the satisfaction of a completed video far outweighs the hours you may have spent to get things perfect.

    More reflections, hopefully to follow, but for now, here’s the playlist…

    [youtube https://www.youtube.com/watch?v=Qh63ybFBK-I]

  • Writing

    I haven’t written for a very long time.

    That seems a strange thing to say, given that I bill myself as a ‘writer, producer, and researcher’. But it’s true. In terms of actually setting mind to page without the baggage of scholarly rigour, it’s been an age.

    Given I now work for an institution that lauds, encourages, creative practice as research, I’m wondering if there’s an element of writing that needs a punch in the face. Or — maybe I just need to write, and figure the rest out afterwards.

    I surround myself with people who I know have outstanding skills in their respective fields, whether living or dead. But I’ve not opened a screenwriting program in some three or four years. There’s something there.

    There’s always something there.

    I just have to go find it, capture it, and ensure I can type it out in Courier New 12pt.