Alalykin-Izvekov, V. (2025). Digital antagonisms: AI, neoliberalism, and the shaping of global power dynamics. SocietàMutamentoPolitica, 16(32), 15–23.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 04/05/2026, 09:33
Bellaiche, L., Shahi, R., Turpin, M. H., Ragnhildstveit, A., Sprockett, S., & Barr, N., et al. (2023). Humans versus AI: Whether and why we prefer human-created compared to AI-created artwork. Cognitive Research: Principles and Implications, 8.
Added by: alexb44 Last edited by: Mark Grimshaw-Aagaard 06/06/2025, 03:35
"Firstly, people preferred (purportedly) human-created art over AI-created art. This preference was particularly evident for criteria that communicated deeper meanings of the art (e.g., Profundity, Worth). On more-sensory levels, the difference between human- and AI-labelled art was much more modest, though significant differences were nonetheless observed. As such, AI-labelled art can still be greatly appreciated (almost as much as human-labelled art) when people utilize varying levels of engagement processes.
Interestingly, the sensory versus communicative-level judgement processes were further distinguished by different interaction processes: the former were moderated by rates of story-telling and perceived effort (though in opposite directions), while the latter were moderated by personal positive attitudes toward AI. These interactions shed light on when and why individuals may appreciate art made by different creators, as posed in our initial research question, and also reflect how different stages of multi-processing models of aesthetics may interact with one another.
In conclusion, people tend to perceive art as reflecting a human-specific experience, though creator labels seem to mediate the ability to derive deeper evaluations from art. Thus, creative products like art may be achieved — according to human raters—by non-human AI models, but only to a limited extent that still protects a valued anthropocentrism."
Bender, E. M., Gebru, T., McMillan-Major, A., & Shmitchell, S. 2021 On the dangers of stochastic parrots: Can language models be too big? 🦜. Paper presented at Proceedings of the 2021 ACM Conference on Fairness, Accountability, and Transparency.
Added by: Mark Grimshaw-Aagaard Last edited by: alexb44 29/09/2026, 07:51
Environmental racism
"When we perform risk/benefit analyses of language technology, we must keep in mind how the risks and benefits are distributed, because they do not accrue to the same people. On the one hand, it is well documented in the literature on environmental racism that the negative effects of climate change are reaching and impacting the world’s most marginalized communities first. Is it fair or just to ask, for example, that the residents of the Maldives (likely to be underwater by 2100) or the 800,000 people in Sudan affected by drastic floods pay the environmental price of training and deploying ever larger English LMs, when similar large-scale models aren’t being produced for Dhivehi or Sudanese Arabic? And, while some language technology is genuinely designed to benefit marginalized communities, most language technology is built to serve the needs of those who already have the most privilege in society. Consider, for example, who is likely to both have the financial resources to purchase a Google Home, Amazon Alexa or an Apple device with Siri installed and comfortably speak a variety of a language which they are prepared to handle. Furthermore, when large LMs encode and reinforce hegemonic biases, the harms that follow are most likely to fall on marginalized populations who, even in rich nations, are most likely to experience environmental racism."
Coherence in the Eye of the Beholder
"We say seemingly coherent because coherence is in fact in the eye of the beholder. Our human understanding of coherence derives from our ability to recognize interlocutors’ beliefs [30, 31] and intentions [23, 33] within context [32]. That is, human language use takes place between individuals who share common ground and are mutually aware of that sharing (and its extent), who have communicative intents which they use language to convey, and who model each others’ mental states as they communicate. As such, human communication relies on the interpretation of implicit meaning conveyed between individuals. The fact that human-human communication is a jointly constructed activity [29, 128] is most clearly true in co-situated spoken or signed communication, but we use the same facilities for producing language that is intended for audiences not co-present with us (readers, listeners, watchers at a distance in time or space) and in interpreting such language when we encounter it. It must follow that even when we don’t know the person who generated the language we are interpreting, we build a partial model of who they are and what common ground we think they share with us, and use this in interpreting their words."
They feed it beauty, ugly and cruel and expect only beauty.
"Birhane and Prabhu note, echoing Ruha Benjamin [15], “Feeding AI systems on the world’s beauty, ugliness, and cruelty, but expecting it to reflect only the beauty is a fantasy.” [p.1541]"
Static data - always changing world
"Developing and shifting frames stand to be learned in incomplete ways or lost in the big-ness of data used to train large LMs — particularly if the training data isn’t continually updated. Given the compute costs alone of training large LMs, it likely isn’t feasible for even large corporations to fully retrain them frequently enough to keep up with the kind of language change discussed here. Perhaps fine-tuning approaches could be used to retrain LMs, but here again, what would be required is thoughtful curation practices to find appropriate data to capture reframings and techniques for evaluating whether such fine-tuning appropriately captures the ways in which new framings contest hegemonic representations."
Hegemonic view of the world gets strengthened
"Thus at each step, from initial participation in Internet fora, to continued presence there, to the collection and finally the filtering of training data, current practice privileges the hegemonic viewpoint. In accepting large amounts of web text as ‘representative’ of ‘all’ of humanity we risk perpetuating dominant viewpoints, increasing power imbalances, and further reifying inequality."
The internet is far from representative
"The Internet is a large and diverse virtual space, and accordingly, it is easy to imagine that very large datasets, such as Common Crawl (“petabytes of data collected over 8 years of web crawling”,a filtered version of which is included in the GPT-3 training data) must therefore be broadly representative of the ways in which different people view the world. However, on closer examination, we find that there are several factors which narrow Internet participation, the discussions which will be included via the crawling methodology, and finally the texts likely to be contained after the crawled data are filtered. In all cases, the voices of people most likely to hew to a hegemonic viewpoint are also more likely to be retained. In the case of US and UK English, this means that white supremacist and misogynistic, ageist, etc. views are overrepresented in the training data, not only exceeding their prevalence in the general population but also setting up models trained on these datasets to further amplify biases and harms. Starting with who is contributing to these Internet text collections, we see that Internet access itself is not evenly distributed, resulting in Internet data overrepresenting younger users and those from developed countries. However, it’s not just the Internet as a whole that is in question, but rather specific subsamples of it. For instance, GPT-2’s training data is sourced by scraping outbound links from Reddit, and Pew Internet Research’s 2016 survey reveals 67% of Reddit users in the United States are men, and 64% between ages 18 and 29. Similarly, recent surveys of Wikipedians find that only 8.8–15% are women or girls"
Bender, E. M., & Hanna, A. (2025). The AI Con: How to Fight Big Tech's Hype and Create the Future We Want. US and UK: Harper / The Bodley Head.
Added by: alexb44 Last edited by: Mark Grimshaw-Aagaard 09/10/2026, 05:54
Bie, A., & Grimshaw-Aagaard, M. 2026, June 12–14. The producer as puppet. Paper presented at Innovation In Music 2026, Aalborg.
Added by: Mark Grimshaw-Aagaard Last edited by: alexb44 02/09/2026, 02:04
Boden, M. A. (2004). The creative mind: Myths & mechanisms. 2nd ed. New York: Routledge.
Added by: Mark Grimshaw-Aagaard Last edited by: alexb44 17/09/2026, 03:29
On values and creativity
"I said earlier that ‘new’ has two meanings, and that ‘surprising’ has three. I didn’t say how many meanings ‘valuable’ has – and nobody could. Our aesthetic values are difficult to recognize, more difficult to put into words, and even more difficult to state really clearly. (For a computer model, of course, they have to be stated really, really clearly.)
Moreover, they change: who will proudly admit, today, to having worn a beehive hairdo or flared trousers in the 1960s? They vary across cultures. And even within a given ‘culture’, they are often disputed: different subcultures or peer groups value different types of dress, jewellery or music. And where transformational creativity is concerned, the shock of the new may be so great that even fellow artists find it difficult to see value in the novel idea.
Even in science, values are often elusive and sometimes changeable. Just what ‘simplicity’ or ‘elegance’ means, as applied to scientific theories, is something that philosophers of science have long tried – and failed – to pin down precisely. And whether a scientific finding or hypothesis is ‘interesting’ depends on the other theories current at the time, and on social questions too (might it have some medical value, for instance?).
Because creativity by definition involves not only novelty but value, and because values are highly variable, it follows that many arguments about creativity are rooted in disagreements about value. This applies to human activities no less than to computer performance. So even if we could identify and program our aesthetic values so as to enable the computer to inform and monitor its own activities accordingly there would still be disagreement about whether the computer even appeared to be creative."
Parallel to intelligece. Intelligence is also tied to several value parameters, and as Boden argues, creativity is one of them. Those who accumulate great wealth and thereby power are often viewed as intelligent, but the two need not have any correlation, for example. What constitutes value is often what is viewed as succesful, but surely that is a reduction of such a rich concept.
Grimshaw-Aagaard, M., & Bie, A. 2026, March 23–28, The problem of embodied Artificial Intelligence. Unpublished paper presented at Society for Phenomenology and Media 2026 Conference, Nagoya.
Added by: Mark Grimshaw-Aagaard Last edited by: alexb44 02/09/2026, 02:04
Hendrycks, D., Song, D., Szegedy, C., Lee, H., Gal, Y., & Brynjolfsson, E., et al. (2025). A definition of AGI.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 06/10/2026, 10:17
"We do not assume the AGI must be embodied"
"Decades of psychometric research have yielded a vast battery of tests specifically designed to isolate and measure these distinct cognitive components in individuals. Our framework adapts this methodology for AI evaluation. Instead of relying solely on generalized tasks that might be solved through compensatory strategies, we systematically investigate whether AI systems possess the underlying CHC narrow abilities that humans have. To determine whether an AI has the cognitive versatility and proficiency of a well-educated adult, we test the AI system with the gauntlet of cognitive batteries used to test people. This approach replaces nebulous concepts of intelligence with concrete measurements, resulting in a standardized “AGI Score” (0% to 100%), in which 100% signifies AGI."
The definition: "AGI is an AI that can match or exceed the cognitive versatility and proficiency of a well-educated adult."
Auditory Processing (A) Weight: 10% Auditory Processing (A) is the ability to discriminate, remember, reason, and work creatively on auditory stimuli, which may consist of tones and speech units. We decompose this ability into five areas: • Phonetic Coding (1%): The ability to hear phonemes distinctly, blend sounds into words, and segment words into parts, sounds, or phonemes. • Speech Recognition (4%): The ability to transcribe a spoken audio signal into its corresponding sequence of text. • Voice (3%): The quality and responsiveness of the AI’s synthesized voice. • Rhythmic Ability (1%): The ability to recognize and maintain a musical beat, including reproducing rhythms, detecting differences between rhythms, and synchronizing by playing or humming along. • Musical Judgment (1%): The ability to discriminate and judge simple patterns in music.
"Reading and Writing Ability (RW): Proficiency in consuming and producing written language, from basic decoding to complex comprehension, composition, and usage" (p.2).
(p.3)
Reading and Writing Ability (RW): Captures all of the declarative knowledge and procedural skills a person uses to consume and produce written language. • Letter-Word Ability: The ability to recognize letters and decode words. • Reading Comprehension: The ability to understand connected discourse during reading. • Writing Ability: The ability to write with clarity of thought, organization, and good sentence structure. • English Usage Knowledge: Knowledge of writing in the English language with respect to capitalization, punctuation, usage, and spelling. (p.4)
Jefferson, G. (1949). The mind of mechanical man. BMJ, 1(4616), 1105–1110.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 18/11/2025, 07:51
In comparing the brain with (what was then) an early computer, Jefferson identifies "the machines' lack of opinions, of creative thinking in verbal concepts. I shall be surprised, indeed, if that gap is bridged, for even supposing that electrical charges could be made to represent words, what then? Not until a machine can write a sonnet or compose a concerto because of thoughts and emotions felt, and not by the chance fall of symbols, could we agree that machine equals brain—that is, not only write it but know that it had written it. No mechanism could feel (and not merely artificially signal, an easy contrivance) pleasure at its successes, grief when its valves fuse, be warmed by flattery, be made miserable by its mistakes, be charmed by sex, be angry or depressed when it cannot get what it wants."
Knakkergaard, M. (2019). Beacons of sound. In M. Grimshaw-Aagaard, M. Walther-Hansen & M. Knakkergaard (Eds.), The Oxford Handbook of Sound and Imagination. New York: Oxford University Press.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 01/05/2026, 09:25
Lovelace, A. A. (1843). Notes by the translator. In A. Hyman (Ed), Science and Reform: Selected Works of Charles Babbage. (pp. 267–311). Cambridge: Cambridge University Press.
Added by: alexb44 Last edited by: alexb44 11/09/2026, 04:43
Two points here: The human is not intervening "during calculations", and "its nature is limited".
"in the absence of all necessity for the intervention of human intelligence during the performance of its calculations. Its nature is, however, limited to the strictly arithmetical, and it is far from being the first or only scheme for constructing arithmetical calculating machines with more or less of success."
In this instance I would argue that the human can never not be present, because arithmetic is an entirely anthropocentric concept and includes biases of its own.
Mathematical science is the only way to truly understand the natural world
"Those who view mathematical science, not merely as a vast body of abstract and immutable truths, whose intrinsic beauty, symmetry and logical completeness, when regarded in their connexion together as a whole, entitle them to a prominent place in the interest of all profound and logical minds, but as possessing a yet deeper interest for the human race, when it is remembered that this science constitutes the language through which alone we can adequately express the great facts of the natural world, and those unceasing changes of mutual relationship which, visibly or invisibly, consciously or unconsciously to our immediate physical perceptions, are interminably going on in the agencies of the creation we live amidst [...]"
Predicts AI's ability to process symbols with music example
"Supposing, for instance, that the fundamental relations of pitched sounds in the science of harmony and of musical composition were susceptible of such expression and adaptations, the engine might compose elaborate and scientific pieces of music of any degree of complexity or extent."
Marks, R. J. (2022). Did the GPT3 chatbot pass the Lovelace test? Mind Matters, Retrieved November 18, 2025, from https://mindmatters.ai/ ... pass-the-lovelace-test/
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 18/11/2025, 07:26
Paraphrasing the Lovelace test: "computer creativity will be demonstrated when a machine’s performance is beyond the intent or explanation of its programmer."
McCormack, J., & d'Inverno, M. 2014, April 1–January 4, On the future of computers and creativity. Unpublished paper presented at AISB Symposium on Computational Creativity.
Added by: alexb44 Last edited by: Mark Grimshaw-Aagaard 06/06/2025, 03:26
Moon, K., Kushlev, K., Bank, A., Luttges, B., Viskontas, I., & Kaufman, J., et al. (2026). The link between diverse words and original ideas is weakening in the AI-era college admissions.
Added by: alexb44 Last edited by: Mark Grimshaw-Aagaard 25/09/2026, 08:35
Moruzzi, C. 2022, June 27–July 1. The (artificial) physicality of creativity: How embodiment influences perceptions of creativity. Paper presented at 13th International Conference on Computational Creativity.
Added by: alexb44 Last edited by: alexb44 03/09/2025, 04:30
Moura, F. T. (Ed.). (2024). Artificial intelligence, co-creation and creativity: The new frontier for innovation. London: Routledge.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 06/06/2025, 03:08
Runco, M. A. (2023). AI can only produce artificial creativity. Journal of Creativity, 33(3), 100063.
Added by: alexb44 Last edited by: alexb44 02/09/2026, 02:04
"AI does not choose to produce novelty. Like porpoises, it may produce something that is attributed with creativity, but actually it is at most mere novelty, and even this is not intentional."
"It suggested that AI can be original and effective, but it lacks other things that are a part of authentic creativity (e.g., intrinsic motivation, intentionality, authenticity, problem finding). It may be that intentionality covers intrinsic motivation, problem finding, and choice. It may even cover authenticity, at least in the sense that an authentic human regularly chooses (or intends) to express him- or herself (rather than conform)."
"To begin with, AI can be original, and its output is often useful. If AI produces useful output, it may satisfy the requirement of “effectiveness” (also called fit or “utility,” Tsao, Ting, & Johnson, 2019). But creativity is more than originality and effectiveness. Think for a moment about the research on divergent thinking. Tests of divergent thinking are usually scored for originality, but that does not make them tests of creativity. Originality is necessary but not sufficient for creativity. Originality can be wildly ineffective, as is apparent in the divergent thinking of psychotic patients (Eysenck, 1997). Sometimes original things are original precisely because they are worthless."
"[The Lovelace test] was named after Ada Lovelace (1815-1852), daughter of Lord Byron, because she proposed that the critical test for a computer was whether or not it can "originate an idea." That of course puts the emphasis on originality, but it also implies that the underlying process is important. After all, "to originate" describes the process used when something new comes into being. This suggestion of process goes a long way towards answering the question of AI creativity. That is because AI can produce things that are judged to be creative, but judgments are fallible, and, more importantly, AI does not use the same creative process as humans."
"The authentic individual expresses ideas and feelings without manipulating them for the sake of others. It may be that AI can avoid filters, but there is no self to express, so no possibility of authenticity."
Runco, M. A. (2025). Updating the standard definition of creativity to account for the artificial creativity of AI. Creativity Research Journal, 37(1), 1–5.
Added by: alexb44 Last edited by: alexb44 02/09/2026, 02:04
"The debate about the best definition of creativity has recently gained urgency. That is because there are claims that AI is creative. AI may in fact qualify as creative according to the SDC, but at the same time there are compelling reasons to question the creativity of AI. This in turn implies that it may be time to update the SDC."
Runco, M. A., & Jaeger, G. J. (2012). The standard definition of creativity. Creativity Research Journal, 24(1), 92–96.
Added by: Mark Grimshaw-Aagaard Last edited by: alexb44 02/09/2026, 02:04
Stein on social judgment and Boden's P and H creativity
Stein (1953) is also quoted in detail because he offered several other ideas that are still in use and were well ahead of their time. These include his ideas that (a) creative work tends to be useful for some group, and thus that social judgment is involved; (b) a creative insight ‘‘arises from a reintegration of already existing materials or knowledge, but when it is completed it contains elements that are new’’ (p. 311); and (c) it is important to separate personal from historical creativity (cf. Boden, 1994; Runco, 1996).
"The standard definition is bipartite: Creativity requires both originality and effectiveness."
Seberger, J. S., & Slaughter, R. A. (2020). The mystics and magic of latent space: Becoming the unseen. Membrana – Journal of Photography, Theory and Visual Culture, 5(1), 88–93.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 22/09/2025, 01:48
"computers and their visions both inherit and interpolate the lived world of the human"