The Art + Tech Issue - Fall 2023

the idle class

See Annie Leibovitz’s iconic pictures for Rolling Stone, Vanity Fair, and Vogue, as well as daring new works commissioned for Crystal Bridges.

SEP 16 – JAN 29

Get tickets at CrystalBridges.org/Annie Museum members, SNAP participants, veterans, and youth 18 and under receive FREE admission.

BENTONVILLE, ARKANSAS

10 YEARS OF CELEBRATING THE CREATIVE LIFE IN ARKANSAS

TABLE OF CONTENTS

FILM - 10

LazRael Lison on his latest film.

TV - 12-13

FPTV’S homegrown shows.

FICTION - 14

A short story by Leah Harris.

ART - 15

Sammy Peters discusses his work.

ART + TECH - 22-23

Bo Counts on his love of pinball.

ART + TECH - 27-30

Will A.I. destroy creativity?

Image made using Midjourney

EDITOR’S NOTE

These days, the expression “may you live in interesting times” often finds its way into the comment sections on Reddit or Facebook any time there is a major change in the cultural conversation. Whether you see it as a blessing or as a curse, it is hard to deny that these days are certainly… intriguing, to say the least.

We could discuss climate, politics, and many other subjects—but that’s not our mission here at The Idle Class. This issue is devoted to the arts and technology, the point of convergence that sends thrills or chills through the spines of creatives. Of course, the dominant subject of such conversations is artificial intelligence. Will it save us all or destroy us? Visions of Arnold, bare butted and time traveling, or Keanu, locked and loaded in a black leather trench coat, come to mind. Artificial intelligence has been a part of the cultural zeitgeist for decades, but now that it’s here in everyday formats such as ChatGPT, Bing, or Midjourney, the threats we face seem less globally apocalyptic and more personally apocalyptic. Creatives from actors to writers to artists fear losing their jobs. In the business world, countless positions will be replaced by machine-learning algorithms. These changes aren’t going to happen a decade from now; they’re happening next week, next month, or possibly tomorrow. So, we decided to explore the topic. Do we have answers? Not really, but maybe we can at last have a discussion that isn’t so reactionary. And perhaps when the machines send cyborgs back to kill us all, they’ll at least know we said some nice things about them, too. Maybe they’ll take it easy on us.

Of course, A.I. is not the only intersection of arts and tech. Filmmaking is the perfect outlet for such a combination. You need minds to write the stories and human talent using technology to bring them to life. Augmented Reality is very exciting as well. The Idle Class is no stranger to AR, having had augmented art at The 2022 Black Apple Awards. There are other exciting topics we are exploring in this issue as well, so we hope you enjoy it.

Kody Ford Editor-in-Chief

Editor-in-Chief

Kody Ford

Assistant Editors

Cassidy Kendall

Jenny Vos

Ad Sales Manager

Kathy Forbes

Contributors

Bo Counts

Meikel Church

Lauren Ganim

Leah Harris

Holland Hayden

Lyndsey Huddleston

Brian O’Dea

Brian Young

Cover

MERGE

IG / @dudewheresmyvan

Created with Midjourney

Augmented Reality for Cover

Ringo Jones

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BENTONVILLE

Crystal Bridges Museum of American Art • “Annie Leibovitz at Work” • Sept. 16, 2023Jan. 29, 2024 • Admission: $12

Discover the world of Annie Leibovitz through

her latest exhibition, “Annie Leibovitz at Work.” Known for iconic portraits in Rolling Stone, Vanity Fair, and Vogue, this collection includes new pieces made exclusively for Crystal Bridges, her first museum commission.

The strength of her work is in collective narrative, interconnected stories that add depth. Spanning from monarchs to rock legends, Leibovitz’s five-decade-long career boasts some of the most emblematic portraits of our era. This exhibition captures her journey through the lens, freezing moments of significance for eternity.

Marie Bannerot McInerney: “Trace Me Back”

• Open through April 22, 2024 • Admission is free

Marie Bannerot McInerney’s immersive work, “Trace Me Back,” draws from the poignant myth of Orpheus and Eurydice, exploring themes of impermanence, loss, and fleeting moments. McInerney’s art delves into historical records, ancient myths, and natural forces, contemplating the interplay between bodies, space, and time. Curated by Alejo Benedetti and Victor Gomez, the site-specific installation at Crystal Bridges’ Contemporary Art Gallery melds silk organza, concrete, light, and sound to transform the space into an inspiring realm of contemplation and reflection, inviting viewers to engage with uncertainty and envision possibilities.

The Momentary • Fall 2023 Performance Line-up

Experience a lineup of electrifying events this fall at The Momentary in Bentonville that promise to captivate and inspire.

On October 6th at 7 p.m., prepare to be entranced by Rina Sawayama’s powerful performance as she defies conventions and brings her experimental pop artistry to the stage. Witness Grammy Award-winning band Wilco’s genre-defying tunes on October 27th at 7:30 PM, joined by special guest Nina Nastasia. Mark your calendars for the much-anticipated Wu-Tang Clan concert on October 28th at 8 p.m., where the iconic group will grace the

Rina Sawayama at The Momentary

Annie Leibovitz at Crystal Bridges Museum of American Art

Momentary Green with their legendary music. And don’t miss the thought-provoking Inverse Performance Art Festival 2023 from November 2-5th, presenting a four-day exploration of radical and experimental performance art that challenges our perceptions and sparks new ideas. The Momentary’s lineup promises an unforgettable season of diverse and dynamic experiences that celebrate the arts in all their forms.

Scott Family Amazeum Tinkerfest • September 23, 2023 • 10 a.m. -5 p.m. • Admission is free • Visit Amazeum.org

Tinkerfest is a one-day festival celebrating creativity, curiosity, and innovation. At Tinkerfest, makers, artists, and tinkerers come together to showcase their work, inviting you to join in the DIY fun. You can try bookbinding, taking apart a real car with real tools, woodworking, metal manipulations, and more! Experience hands-on, open-ended discovery celebrating science, technology, engineering, art, and creativity. Reclaim, reuse, and reconstruct cast-off materials, learn new skills, and explore innovative making.

The Amazeum’s Tinkerfest is part of a larger regional Tinkerfest collaboration at three other museums in our region this September. Show your Amazeum membership card at each museum to receive free admission! You can find more information about the regional Tinkerfest events at Tinkerfest.org

EUREKA SPRINGS

I Haunt You • Melonlight Ballroom • Sept. 2 - Oct. 29, 2023 • melonlight.com/i-hauntyou

Experience the unparalleled artistry of Melonlight Productions in the captivating play, I Haunt You. This exquisite ghost story unfolds over two entrancing hours, immersing you in a world of magnetic dance, splendid costumes, and just the right touch of spine-tingling suspense.

This bold theatrical production features a dynamic duo of actors who skillfully weave the suspenseful tales of three distinct couples.

Within the historic white walls of the Melonlight Ballroom, located upstairs at 2 Pine St. in downtown Eureka Springs, the stage comes alive with mesmerizing lighting, an enchanting soundscape, and a narrative that holds the audience spellbound. Witness a performance that transcends boundaries and let the haunting beauty of the story captivate your senses.

PINE BLUFF

The Arts & Science Center: Fall 2023

The Arts & Science Center for Southeast Arkansas is gearing up for an exciting series of events that promise entertainment, creativity, and community engagement. From music exploration to art creation and thought-provoking exhibitions, there’s something for everyone to enjoy this fall. Here’s a glimpse of what’s in store:

PAINTING WITH PAWS • Saturday, September 23rd • 11:00 a.m. - 1:00 p.m.

Calling all pet lovers! Collaborating with Pine Bluff Animal Control, ASC invites you and your furry companions to join us for Painting with Paws. Bring your pets to the museum and embark on a creative journey together, crafting a special piece of art. Plus, get a chance to meet some adorable pups available for adoption. Registration is required.

“VOICES AND VOTES: DEMOCRACY IN AMERICA” • October 27–December 8, 2023

Discover a captivating blend of historical and contemporary photos, immersive multimedia interactives, and intriguing artifacts that delve into the essence of democracy in America through the compelling exhibition, “Voices and Votes.” This exhibition is proudly presented as part of the Museum on Main Street initiative, a collaborative effort between the Smithsonian Institution and State Humanities Councils across the nation. Don’t miss this enriching experience that sheds light on the heart of our nation’s democratic spirit.

“THREE MURDERS & IT’S ONLY MONDAY!” October 27-29, 2023

Prepare for an uproarious evening of mystery and comedy with “Three Murders & It’s Only Monday!” This lightning-paced comedy/ mystery revolves around private eye Harry Monday as he unravels a series of murders at the Peaceful Pines Sanitarium. As the storm outside intensifies, so does the intrigue inside, leading to a cascade of laughter and suspense. This side-splitting spoof on classic private-eye movies guarantees fast-paced fun and a killer ending.

“I Haunt You” at Melonlight Ballroom

MAKING HIS WAY

WORDS/KODY FORD

LazRael Lison is returning with another holiday hit. Last year, he wrote and directed A Miracle Before Christmas, which premiered on BET+ and screened on BET for cable. This was his first of three projects for the streaming service. Now, he’s back this holiday season with Christmas Angel, premiering this November.

“This one is very different,” said Lison. “It’s a human

story that just so happens to be set around the holidays. I’m very proud of this movie, man. It’s called Christmas Angel about this pop star named Angel St. James. Often, we see the people that seem to have it all; they seem to have it all… you know, on the surface. Oftentimes, though, they’re some of the loneliest people.”

The synopsis reads: “A mega star, with the world at her feet, is unraveling at the core. When her car breaks down and a stranger offers to help her, a whole new chapter in her life starts.” Christmas Angel stars DaniLeigh, Skyh Black, Elise Neal, and Romeo Miller. Lison describes the film as “definitely a roller coaster ride.”

A Little Rock native, Lison got the bug early on–writing and directing plays and short films in junior high. He attended the University of Arkansas-Fayetteville and then headed to Los Angeles to pave his own way. At age 21, he began financing, writing and directing a wide range of film-based projects that gained creative notoriety.

Since co-founding Summer House Pictures, Lison, alongside partner Tatiana Chekhova-Lison, has significantly broadened the company’s scope. They now encompass the production of major motion picture projects, promotional media, brand enhancement, and value-based marketing, both on a global and domestic scale. With a portfolio that boasts five successful feature film projects, a 15-episode comedy series, documentaries, commercials, music videos, and an array of other film-related media, Lison expertly guides the outstanding team of imaginative and business-savvy film professionals that constitute Summer House Pictures. Some of his features include the aforementioned A Miracle Before Christmas, #Unknown and Never and Again.

Next up Lison are two features entitled Path and What I Lost. Find out more at SummerhousePictures.com

Little Rock native LazRael Lison has been blazing a trail in Hollywood for years. Now he’s set to release his second holiday film.

THE PEOPLE’S VOICE

Fayetteville Public Television offers the community a unique opportunity to create their own programming. WORDS / LAUREN GANIM

Welcome to the captivating world of Fayetteville Public Television, where community stories come to life on screen. From the vibrant heart of Fayetteville, FPTV brings you a tapestry of local voices, events, and creativity. Tune in and immerse yourself in the pulse of the community as they showcase the remarkable tales and talents that make Fayetteville truly extraordinary.

FPTV has been a cornerstone of the community resources offered by the City of Fayetteville for over 35 years. Today, it continues to be a phenomenal production resource and hub for local creators. FPTV offers video equipment, classes in video production and broadcast channels to share creations with a viewing audience.

Executive Director Dan Robinson believes that FPTV provides something truly unique for Washington and Benton Counties.

“Our internal shows provide community members the opportunity to observe and participate to inspire and encourage them to make their own. We have seen a wide variety of community shows as a result, and in

LATER WITH JASON SUEL

Hosts: Jason Suel with Bo Counts IG/ @laterwithjasonsuel

many cases those people and their shows go on to make a real impact. It is just another example of the value of having a community resource that empowers people to pursue their ideas without the obstacles of cost or censorship. We look forward to continuing to provide this resource, and encourage anyone thinking about launching a show or podcast to reach out to see how we can help.”

The City of Fayetteville contracts with Your Media, a nonprofit organization, to operate FPTV. Along with their resources for production classes and equipment, they provide the opportunity to submit your own videos for telecast. This is a great resource for nonprofit organizations, students, and video enthusiasts.

You can watch FPTV on Cox 218, ATT Uverse 99, Ozarks Go 44, and streaming live on Twitch. You can also subscribe to their YouTube channel for VOD content. The program schedule and information can be found at faypublic.tv.

Here’s a quick synopsis of some shows produced inhouse:

Later with Jason Suel was created at FPTV in 2013 and has grown to be a pillar of NWA entertainment. The show was the first FPTV production to make the leap to syndication, airing on KNWA every Saturday night at 9:30 p.m. This show highlights community activities, leaders, chefs, musicians, and artists. It has won multiple Telly awards, received nominations for a Midwest Emmy, and will be going into its 11th season this fall.

FAYETTETUNES

Facebook.com/Fayettetunes

Fayettetunes is a show that highlights and documents the musicians of the region. The first season in 2014 featured legendary local artists like Darren Ray and Barrett Baber, who was a former contestant on The Voice. The show came back to life after the pandemic, and the second season came out in 2022. Thanks to significant improvements to the facility, the new third season of Fayettetunes provides bands the opportunity to create a professional-quality performance video that is shared with a broadcast audience and can be used by the band to raise awareness. You can watch Fayettetunes every Wednesday as it streams on TV at 7 p.m., and YouTube at 8 p.m.

COMEDY CHANNEL 415

IG/ @comedychannel415

Comedy Channel 415 is a comedy improv game show created by Nate Houchin. Sit back and relax as 12 friends compete against each other every week in loose renditions of popular game shows. The team activates the entire facility, with groups simultaneously creating content in the studio, classroom, and podcast room. The shows air on FPTV, but are also being aggregated to a growing YouTube channel.

ARKANSAS SOUL PRODUCTIONS

IG/ @argotsoul

Arkansas Soul has produced several Arkansas-focused series, and has used FPTV to share them with a broadcast audience. Arkansas Flavours is a six-episode series highlighting BIPOC restaurant owners in the state. H.e.ART & Soul is a series featuring Black artists who guide viewers through creative expression forms of healing, dealing, and coping and explores the impact and value of art for the BIPOC community. These videos share the inspirational stories of these under-represented creators and creatives with a viewing audience, inspiring the next generation.

OPEN MIC

Hosts: Anyone in the FPTV coverage area

Open Mic is the longest-standing FPTV original program. Open Mic gives community members the opportunity to have five minutes to share their opinions, information, or talents with a viewing audience. This can include anyone from musicians and comedians to small business owners and more. Open Mic also provides a valuable resource to nonprofits, musicians, politicians, and artists. You can sign up and reserve your slot for upcoming shows through their website. Submissions for Open Mic premier the following Mondays, and they run 12 times over the week.

STAFF

Executive Director: Dan Robinson

Director of Education: Wai-Kay Carenbauer

Tech Director: Flint Woods

101 W. Rock St. Fayetteville, AR 72701 479-444-3433

It’s A Mystery BookStore

SOCIAL MEDIA

Instagram - https://www.instagram.com/fptvgram/ Facebook - https://www.facebook.com/FayPublicTV

YouTube - https://www.youtube.com/channel/UCT3Dk_ZPcoR7CeHM_Wwb3QA

Linktree - https://linktr.ee/faypublictv

Website - https://faypublic.tv/

On the Berryville square

Located in Berryville, AR

Your gently-used bookstore featuring vintage, modern and classic reads!

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Field Trip

WORDS / LEAH HARRIS ART / MEIKEL CHURCH

The three ringed-spectacle was largely lost on us. Barrel-balancing elephants and tight-walking tumblers blurred like a dream drenched in pink-hued lights. The high-hatted ringmaster bounded from one half of the tent to the other, hand selecting children for one unbelievable feat after the next. Clouds of cool smoke rushed in combining forces with flashes of neon light, shrouding the scene in even more mystery. For some.

But for us, the thick puffs of fog only reinforced our need for cotton candy. The greatest show on earth, no doubt, was in the aisles.

Rainbow-wigged dancers and men on stilts claimed our hearts — and our dollars — hawking overpriced circus mugs, plush pet tigers, butter-soaked popcorn boxes. Pocket money had set our thighs on fire. Imitation cheese nachos and half dripped snow cones flooded our section. Iridescent ponies and colorful felt clowns found new hands and new homes.

But when Tiffany spent all her cash on the green flashing laser, it stole the show for Miss Christman’s kindergarten class. The proud owner allowed it to be passed down the line like cherished secrets in a game of telephone.

Only, not to me. “No ma’am. You do not want that thing to break on you.” The one trip my mother chaperoned had to be this one. “Oh look, there, that elephant is standing right on its head!”

I did not look. I fumed, blinked back hot tears. I tried to discreetly brush the laser with my pinkie, sniff the new, gleaming plastic as it passed over my seat and on to Emily, its bristles bouncing back and forth against each other like whispering wind chimes.

We had broken loose of the brick and mortar confines of Peabody Elementary, past the Madeline-straight lines, and the hushed inside voices. And here I was, being held back again.

That laser was more than a wand of plastic with tiny bristles flashing shimmering green sparkles. It was freedom. The sweet, lawless freedom of buying something on your own, something that served no useful purpose. It was unbraiding your hair during nap after your mother spent precious morning minutes combing it just so. It was realizing you could take extra long trips to the bathroom during church without as much as a sideways glance. It was going with neighbor kids to the corner store for caramel apple lollipops that would surely rot your teeth.

And then it broke. Without warning.

A handful of kids had been watching as it simply stopped whirling. There was no catastrophic fall, no devastating tug-of-war incident, no encounter with a spilled vat of lemonade. No visible cause at all.

It was our tiny hearts that shattered. That emerald toy laser was the only thing we collectively loved and lost.

A motorcycle in a globe cage raced around invisible tracks, faster than lightning at death defying angles, even upside down. We barely noticed. But the tracks of tears that streaked Tiffany’s face, the devestatetion, the loss, were seared into our 5-year old brains forever. We could hardly bear to touch the laser as it moved solemnly down the line in a processional of sorts — from hand to hand, each partly responsible for its untimely demise.

Miss Christman was almost politician-like in her wrath and fury for the unfortunate soul left holding the pieces when the lights went dark and the bristles stopped swirling.

I guess my mother was right afterall, already well versed at how in the field, three rings can quickly turn into a game of Russian roulette.

A CHAT WITH SAMMY PETERS

Interview / Brian Young

Sammy Peters is a key figure in the central Arkansas art scene. His work has been recognized institutionally since 1965 and is included in the permanent collections of museums and organizations including the AMFA, the Windgate Museum of Art at Hendrix College; Arkansas Technical College, Stephens Inc., UAMS, and the Venetian Macao in China. Throughout his career, one consistency remains: Peters is dedicated to creating abstract work.

Can you describe a bit of your personal history and how you came to be an artist?

My father owned a sign painting business and we moved from [Shreveport] Louisiana to Little Rock, Arkansas, so we could move into my grandmother’s house. This was when I was a kid (in 1945). As an artist, I do not have any formal training in art or art history. However, around 1963, I was in New York and became aware of the works of the abstract artists working in New York including Willem DeKooning, Jackson Pollock, Jack Tworkov, and so on. While I understood what Pollock was doing, he was not an influence on me.

I remember from my time at the Arkansas Arts Center (now AMFA) that you had a certain connection to the place and some of my former colleagues.

In 1994, I had a solo show of paintings and drawings that was curated by Ruth Pasquine (former curator) and the catalog had an introduction by Townsend Wolfe (former director of the AAC) and Donald Kuspit. Then (in 2015), I did a group show with David Bailin (instructor at the AAC) and Warren Criswell. Before that, Michael Preble prepared a traveling exhibition and wrote the essay. This was in the mid 1980s. I also took classes at their Museum School. I would also take classes at University of Arkansas, Little Rock, and the University of Arkansas in Fayetteville.

How do you think your work has evolved over the years?

Well, you go in the studio and you try to do something. . . You are searching for something and you don’t know what it is. But something I think a lot about, going back to the 1960s, is that it was difficult for me to destroy a good painting back then. But now the impetus to destroy a painting is greater. I have enough good paintings. And I have other paintings (in my studio) that are better. So why keep another? Also, I have discovered and strengthened my ways to solve problems as an abstract painter. I have a sander nearby to erase certain passages. I can also use solvent if a sander doesn’t work.

But you still have a distinct style. . .

The hand of the artist is always going to be there. I never work on just one painting at a time.

You are getting ready to show with Dolores Justus. What are you hoping to show or say?

I really like seeing the work on the walls. I enjoy that more than seeing the work in my home or in my studio. And I like to see what the works look like next to each other. In some way it is like going to the doctor for a check up. It’s a chance to see how the paintings sit well together.

“Emergence:shadow;memory”bySammyPeters 60”hx48”w-oilandmixedmediaoncanvas

“Concentric:covert;tension”bySammyPeters 30”hx40”w-oilandmixedmediaoncanvas

ART IN ITS NATURAL HABITAT

“Fresh Air” mural by Jason Jones, greets visitors to The Ramble, a growing new park with art experiences around every corner.

HIDDEN WORLDS

How Augmented Reality brings the virtual world and the real world together.

WORDS + PHOTOS / KODY FORD

The tumultuous nature of American culture over the last few years has created a longing for a more peaceful time. While nostalgia polishes the past, making us forget both daily discomforts and outright horrors, futurists often use a similarly rosy lens to find a portent of approaching utopia in emerging technologies and cultural trends. But ultimately, it all falls short. So, has there ever been a time of true peace, a moment when paradise was within arm’s reach? I propose that we once came close, during the summer of 2016.

If you think back to late July and early August of that year, you may remember crowds gathered in random places, like the intersection of Arkansas Avenue and Dickson Street by the University of Arkansas campus in Fayetteville. But it wasn’t a Razorback pep rally leading them there—it was Pokémon Go. The masses had gathered, their faces lit by the screens of their smartphones. The game had quickly become a worldwide phenomenon, and for a few weeks that summer people seemed far less interested in our differences, far less frightened of the future, and far more interested in catching them all.

According to artist and educator Joëlle Storet, an avid Pokémon Go player and lifelong fan of the franchise, major landmarks are the best places for players to gather as they are marked by Pokéstops and gyms that offer players unique items and activities. The aforementioned area by the UA campus has around six such landmarks, and other Fayetteville locations such as Wilson Park are similar Pokémon Go hotspots. Storet has played all around the world, including in Germany and in her native home of Belgium. For Storet, the appeal of Pokémon Go lies in its ability to encourage players to explore areas.

“Each station has information about a particular landmark,” Storet said. “While I was doing a mural in Nebraska, it was one of the best ways to learn about the area. In person card games do not provide that augmented experience.”

Pokémon Go is a collaboration between Nintendo, Niantic, and the Pokémon Company for Apple and Android smartphones. While card and video games had existed within the franchise, this was the first time they had merged the world of Pokémon with the real world through augmented reality (AR). Pokémon Go’s AR mode utilizes a phone’s gyroscope and camera to display Pokémon in real life settings. The game caused controversy as many local governments decried it for being a public nuisance—some gyms ended up in unfortunate places like the Korean Demilitarized Zone and Bagram Air Force Base in Afghanistan. Nevertheless, the game adapted and persisted, grossing $6 billion by 2020 and continuing to be updated to this day.

While Pokémon Go was not the first augmented reality game to be released, its popularity was a game changer for this emerging medium. AR uses technology to blend digital worlds with the real world. It was initially developed and utilized by the United States military and soon gained commercial applications, but never quite got the hype that virtual reality did in the late 1990s. It was only when AR moved from specialized headsets to smartphones that it gained mass appeal. Snapchat filters are an early example of this— if you’ve made yourself a cartoon dog or sent a snap with kitty ears, congratulations, you were using AR.

The applications of AR go far beyond gaming and selfies. During the 2022 Black Apple Awards, The Idle Class commissioned University of Arkansas professor Ringo Jones and our former designer Lane Kendall to animate artworks by Printgurl, Eddie Love, Angela Teeter, and Fred Goss using AR. Party goers downloaded the Artivive app for their phone and saw the paintings come to life with 3D animation. Some even included sound, such as a 1990s modem connecting to the Internet for Printgurl’s “Very Cherry,” which was used for our Summer 2022 Knowledge Issue.

(And yes, the cover works in AR if you download the app!) For their work at the Black Apple Awards, Jones and Kendall won Best of Festival in the Interactive and Emerging Technology division at the Broadcast Education Association’s International Conference in Las Vegas.

“I enjoy working in augmented reality because immersive storytelling has the potential to change the way we think, learn and entertain,” said Jones. “AR can be a time machine or a teleportation device transporting the audience through time and space. The possibilities for empathy training, interactive learning and more can be unlocked by this new, evolving and improving technology.”

Much like Storet, artist Altered Alley first came to know AR through Pokémon Go. The ability to geolocate characters appealed to him. “About three years ago I realized that hardware, software, and Internet speeds are finally gearing up for this next phase of human tech evolution,” he said. “That is when I really began studying and working on building something I’ve thought about for years. I find the ability to create in multiple dimensions, where I can transform, transport, and have transactions in a layered cake of immersive experiences to be immensely gratifying as well as the ability to interact with people from all over the world in a shared environment.”

Altered Alley has hosted AR art shows at the Railyard Park where the avatars of people from all over the world mingle with locals to enjoy a wide variety of AR art, videos suspended in the air, live remote 3D music performances, historic structures, AR games—the list goes on and on.

“It’s hard not to sound crazy when I tell people that there are a lot more people walking around in the park than most people can see. Currently, the park is showcasing a tattoo try-on in augmented reality where I’ve placed a wide variety of tattoo designs that you can walk up to and see how they would look on you and that you can click on to purchase from me directly.”

Altered Alley prefers to work with Spatial.io, Over the Reality, and Mappn to create his work. He 3D scanned the Monte Ne Tower before it was demolished, and it is now preserved forever for people to visit in augmented and virtual reality. He uses a version of Monte Ne as his virtual office where he meets with clients and other builders. He works with about 30 Northwest Arkansas–based businesses to create digital twins to be viewed in XR (or extended reality; a mixture of augmented and virtual reality). He credits James Foreman of the Art Collective Gallery for letting him continuously experiment with this technology to find out how it can relate to the current

art world. He has helped the Shire Gastropub bring their menu items to life so that you can now use AR to view dishes on the table in front of you, in any size and from any angle. Eventually, he says you will be able to view the menu items while comfortably sitting on your couch using a VR headset. Altered Alley foresees AR being used in everything from meetings to trying on clothes.

“NWA has a wonderful variety of businesses that can show how this technology will be applied,” he said. “With all the trial and error, I have essentially made a small historic town in Arkansas one of the worlds hottest superspots of augmented reality; where there are hundreds, if not thousands, of artworks and products available on multiple platforms and locations that are accessible to anyone remotely on the planet. I have also created a vast VR world of almost 700 virtual environments that have everything from shoe stores to a world-wide geolocated graffiti tour.”

However, the future isn’t quite now. He says three major problems need to be solved before mass adoption is possible. First, hardware must be easily accessible, but he is optimistic that a paradigm shift

is coming now that Apple has announced the Vision Pro.

“Think before the Internet and after the Internet,” he said. “We are about to go through something similar but on a much faster timeline that is being supercharged by AI. This first version of the headset, I look at as the training from the safety of your couch, but within the next couple versions, they will be something much more like a pair of Ray-Bans that we will wear out in the world.” He says other tech giants like Google and Meta are also working to develop wearable technology to compete in the XR market.

Cell coverage is the second issue, since XR requires higher Internet speeds in more places. This is being resolved with more 5G cell upgrades and more fiber lines being added to the grid. There is also work being done to move to a higher bandwidth that will be able to handle much faster speeds to keep up with the increasing demand for faster Internet.

The third hurdle to overcome is educating the public on how this all works. Currently people are more or less training themselves in AR with filters on apps like Instagram and TikTok. Companies like Amazon and IKEA allow you to see furniture in your home with AR before you purchase. According to Altered Ally, “As far as the hardware goes, I heard it said best, that the headset will be ready when it doesn’t need an instruction manual similar to when a child that isn’t old enough to speak can pick up an iPhone and easily find their way around. This entire next phase belongs to the Roblox generation and they will need no instructions.”

For artists and creatives interested in XR development, Altered Alley suggests getting acquainted with the Unity Game Engine to get ahead of the curve on AR and working with Open AI’s ChatGPT to learn how to work with AI as a tool, as he believes AI will play a large part in future integration and advancement. He also serves as a spatial guide for Spatial. io and suggests downloading it to get a sense of the hundreds of AR experiences and live events currently available.

Jones offers his own caveat on mass adoption. He said, “Currently, AR feels like a gimmick and we need better access and ubiquity for the general audience to demand this form of storytelling. The other emphasis should be on creators moving beyond the ‘wow factor’ and focusing on storytelling and the user experience. The continued success of AR is directly linked to creating stories people want to experience.”

IG

/ @ALTERED.ALLEY

Above: A painting by Eddie Love that was brought to life by Ringo Jones + Lane Kendall using Augmented Reality during The 2022 Black Apple Awards.

Pg 17: Artist Altered Alley stands by his A.R. works in downtown Rogers.

SEE OUR COVER COME TO LIFE!

We asked Ringo Jones to animate our cover by MERGE and he obliged. Here’s how you can see it...

• DOWNLOAD the Artivive app from your mobile device’s app store.

• AIM your camera. The app is similar to your device’s built-in camera with an extra feature. Open the Artivive app and point your camera at the cover of the magazine. Fill the screen with the entire image. If the experience doesn’t load initially, try moving back or closing and reopening the Artivive app.

• EXPERIENCE – Artivive will trigger and display through your device’s screen. For the best results, move gradually from side to side, near and far, to fully experience the interactive art.

FROM CONCEPT TO CREATION

How 3D printing has forever changed the game.

WORDS / BRIAN O’DEA

PHOTO / LYNDSEY HUDDLESTON

Unlessyou happened to be a master sculptor or well-connected manufacturer, the barriers between a novel idea and its physical fulfillment were once very difficult for an individual to break through. But technology like 3D printing has changed that, effectively lowering the bar of entry and encouraging people of all backgrounds to be creative and express themselves in new mediums.

While 3D printers have existed for decades, it wasn’t until the 2010s that they became accessible and practical for widespread public usage. Their arrival opened the floodgates for creatives to design and fabricate their own sculptures, tools, toys, and more with an astonishing level of detail.

One such example is noted artist Phillip Rex Huddleston, who has used 3D printing to enhance his friend group’s tabletop gaming experience.

“My Dungeons and Dragons group has been playing together for about five years now,” says Huddleston. “While I was deeply invested in making my own terrain and buildings out of foam, the whole process of carving, building, gluing, and painting was taking some of the joy out of the creative process. My group of eight players was kind enough to buy a 3D printer for me—saving me the construction portion of my projects.”

While 3D printers can create any solid object with relative ease, there is a learning curve to effectively using the technology.

“These are finicky machines that require TLC,” Huddleston explains. “The filament used to print could come out too quickly or too slowly. The extruder could get clogged. You can overuse it without regular check-ins. YouTube and forums are easily googleable, but you need to know the terminology of your machine before you know what you are looking for.”

While it’s certainly possible to learn how to use 3D printers alone, for the less technologically intuitive types, various institutions across Arkansas have extended a helping hand by offering both the necessary knowledge and tools to the public.

The Fabrication & Robotics Lab in the Fayetteville Public Library’s Center for Innovation is designed to inspire creativity. Patrons are required to earn certification through free public events before gaining full access to the lab’s assortment of 3D printers, laser engravers, and injection molds. Once gained however, people are able to create to their hearts’ content—paying quite reasonable rates for the raw materials involved.

In North Little Rock, the Innovation Hub similarly offers monthly classes and workshops to help individuals understand the basics of 3D printing, experiment with the process, and learn to troubleshoot the delicate machines in a controlled environment. No matter what route a person might choose, there are more access points than ever to step into the world of 3D printing.

Whether you just want to create a novel paperweight for your desk or have dreams of creating your own custom miniature army, 3D printing technology presents a unique opportunity for creative expression that was all but impossible in the not-so-distant past. By taking advantage of the opportunities online and around our state, almost anyone can now take an offbeat idea and give it physical form.

Phillip Rex Huddleston working on Dungeons & Dragons miniature terrain he creates with his Anycubic Vyper 3D printer.

PINBALL WIZARDRY

Is pinball the perfect combination of art and technology?

An aficionado of the game reflects on his experiences.

WORDS / BO COUNTS

In the realm of arcade games, few have captured the hearts and imaginations of players quite like pinball. With its flashing lights, exciting sounds, and physical nature, pinball has been a staple of gaming culture for over a century. The history of pinball is a fascinating journey that delves into the realms of cultural evolution, legal battles, and artistic innovation. What began as a simple amusement transformed into a highly sophisticated form of interactive art, despite facing legal challenges and societal controversies along the way. Through perseverance, innovation, and a changing societal perspective, pinball has emerged as a captivating blend of mechanical engineering, interactive design, and visual artistry.

The origins of pinball can be traced back to the 18th century, when games with the same basic mechanics were played on tabletops. Pinball as we know it arrived in the 1930s, with the introduction of the first electric pinball machine. This marked the beginning of the game’s association with lights, bumpers, flippers, and the distinctive backglass artwork that would become an integral part of its identity. It wasn’t until the 1950s, however, that pinball truly came into its own as an artistic medium.

It didn’t take long for pinball manufacturers to recognize the potential of eye-catching artwork in attracting players. Elaborately designed backglasses, located at the top of the machine, acted as a

visual focal point and set the tone for the entire game. They became a canvas for artists, who often used them to depict glamorous scenes, captivating characters, and alluring motifs.

Despite its growing popularity during the first half of the 20th century, pinball faced a significant backlash. Those who associated it with gambling and delinquency were concerned about its potential negative influence on society. As a result, a wave of moral panic swept across the United States, prompting several states and cities to ban or heavily regulate pinball machines. The prohibition of pinball reached its peak during the 1940s and 1950s. In cities like New York, Los Angeles, and Chicago, pinball machines were confiscated and their operators faced fines or imprisonment. The ban on pinball led to the rise of underground gambling rings that operated in secret, further fueling the game’s negative associations.

In response to the crackdown, pinball manufacturers and fans fought back through legal means. The most notable of these efforts was the overturning of the ban in New York City in 1976. The successful legal challenge argued that pinball was a game of skill rather than chance, dispelling the perception that it promoted gambling. With the bans lifted, pinball experienced a resurgence in popularity during the late 20th century. The 1980s and 1990s saw the emergence of iconic pinball machines with elaborate themes, intricate designs, and innovative gameplay.

The emergence of pop art and counter-cultural movements influenced pinball’s aesthetics, resulting in machines that reflected each era’s visual language. The backglasses evolved into vivid tapestries of colors, patterns, and iconic characters. Themes ranged from sci-fi and fantasy to rock music, sports, and movies, capturing the spirit of the times and resonating with players from various backgrounds.

As pinball machines became more intricate and technologically advanced, so did their artistic designs. The playfields, which were populated with bumpers, ramps, and targets, also became a canvas for artistic expression. Playfield artwork transformed

into complex mosaics of scenes, characters, and narratives, engaging players not only in gameplay but in an unfolding visual narrative.

The 1980s brought a new wave of innovation with the introduction of digital displays and electronic sound effects. This technological leap allowed pinball designers to push the boundaries of artistic integration further. The marriage of technology and art led to interactive backglasses and playfields where lights, speech, music, and animations responded to players’ actions, creating a more immersive experience.

In recent years, pinball has experienced a remarkable resurgence, fueled by a renewed appreciation for its unique blend of art and entertainment. Vintage machines have become sought-after collector’s items, and a new generation of enthusiasts has emerged, drawn to the game’s tactile experience and analog charm. Moreover, contemporary artists have recognized pinball as an outlet for creative expression, collaborating with manufacturers to produce machines that push the boundaries of design and innovation.

The history of pinball is a testament to the enduring relationship between art and entertainment. From its humble origins as a tabletop diversion to its evolution into a mesmerizing fusion of mechanical ingenuity and visual creativity, pinball has captivated generations of players and artists alike. The intricate backglass designs, playfield artwork, and integration of technology have transformed pinball into a unique and evolving art form. As pinball continues to move into the digital age, its legacy as a canvas for artistic expression and a bridge between art, engineering, and entertainment remains stronger than ever.

Bo Counts is the owner of Arkansas’ first and only pinball bar, Pinpoint. He is an avid collector and restorer of pinball machines, many of which can be played at his establishment in downtown Fayetteville.

(Pg. 22 - pinball machines image made with Midjourney)

“Through perseverance, innovation, and a changing societal perspective, pinball has emerged as a captivating blend of mechanical engineering, interactive design, and visual artistry.” - Bo Counts, owner of Pinpoint

MAPMAKING REIMAGINED

If there’s one piece of technology you wouldn’t expect to ever fundamentally change, it’s a map. One of humanity’s earliest recorded tools, these meticulously plotted charts and figures have long served as our central means to categorize and make sense of our buildings, borders, and beyond.

As we’ve tumbled into the digital age, however, modern tech has transformed our ability to see and engage with the data systems behind maps and made countless levels of additional information instantly accessible from the palm of our hands via smartphones. Operating in the background of almost all modern mapping applications and platforms is GIS (Geographic Information Systems) which stores, analyzes, and visualizes data. While a traditional map can tell you the distance between two points, GIS will gently let you know if a road still exists between them, how the current weather might affect your travel time, or if your destination will still be open by the time you arrive.

While these types of insights are the most immediate impact of GIS on most people’s everyday life, the application potential spans far further. There’s a growing GIS movement within Arkansas that recognizes this and aims to capitalize on the opportunity to both encapsulate the past and better prepare for the future.

At the center of the robust GIS community is the Arkansas GIS Office—a dedicated state agency that sets the standards for public geospatial data like county boundaries, elevation, and water pathways. Updated regularly, the data points provided are the basis for others to then build upon. One of the leading experts in the local GIS community is Dr. Stephen O’Connell, associate professor and chair of geography at the University of Central Arkansas.

“We are hoping GIS can be a bridge between modern technology and creativity that resides (and is often embedded in) local knowledge,” Dr. O’Connell explains. “Functional GIS applications have existed in various industries since the late 1970s and are found in a multitude of workplaces today. Most commonly, you’d encounter GIS in realms of planning (city, transportation, utilities), economic development (site development, resource allocation), trade (logistics, supply chain management, retail expansion), and environmental observation/management (natural hazards, weather, wildlife/ecosystem protection).”

Professional groups of private individuals like Ar-

WORDS / BRIAN O’DEA

kansas GIS Users Forum also provide a network to pool knowledge and further strengthen the overall network. Universities have been quick to recognize the potential of GIS and implement its usage for historical projects. The Pine Bluff historical reconstruction project led by Dr. O’Connell utilized GIS to overlay historical photos of landmarks to track changes throughout the years.

“We started with a list of about 14 historic structures in Pine Bluff, then narrowed the list down to six sites based on buildings that had undergone renovation at some point in their recent history,” says Sheri Storie, executive director of Explore Pine Bluff. “Dr. O’Connell and the student used Sanborn maps from the Library of Congress, Arkansas Heritage National Register for Historic Places database, and Encyclopedia of Arkansas for photos and information on each site. They placed a historic photo next to a recent photo of each structure so the viewer can compare the original structure to the restored structure.”

Other GIS-based projects in Arkansas include detailed mapping of the Buffalo National River to assess, understand, and better protect the unique natural resources within the region. As these technologies and awareness of them become more commonplace, applications of GIS can aid any creative projects that require data visualization to fully comprehend.

If you’re eager to learn more and start contributing to GIS projects throughout Arkansas, then you’re in luck. Dr. O’Connell recommends platforms like Google Earth, Google Maps, and Esri’s ArcGIS Online – browser-based GISs that allow users to create free accounts and generate their own data alongside existing public datasets.

GIS gives people the ability to become active participants in mapmaking and to view data in a manner previously impossible. By providing relevant and richly textured perspectives, GIS provides a more intuitive and visually dynamic understanding of data people can craft to their individual needs and interests.

“The direct Latin meaning of the word geography is ‘to write about or describe the Earth’; for thousands of years, maps have been the most direct way of doing that,” says Dr. O’Connell. “Modern GIS brings the tools of mapmaking into the hands of anyone with interest and the possibilities are limited only by our imaginations.”

How GIS has added new depth & context to digital mapping.

MEET MAUDE

A 12-foot Electric Mockingbird is Bringing Art + Tech to Life at the Scott Family Amazeum

interactive world,” Eugene said. “I learned by watching people interact with the Mockingbird prototype at Tinkerfest, especially kids.”

Maud isn’t the only example of art and technology working together at the Amazeum. Teens can make resin art that is hardened by the technology of a UV light. Adults and kids alike can try their hand at soldering, stained glass, and LED jewelry making. This fusion of art and technology not only fosters imaginative thinking but also creates laughter, connection and delight.

She stands ready to chirp, ready to sing, ready to repeat back what you say. The Incredible Electric Technicolor Mockingbird, best known as Maude, is a larger-than-life version of the state bird of Arkansas. This 12-foot long, 14-foot tall mockingbird sculpture contains 1200 steel feathers and weighs 2500 pounds. She gracefully and colorfully stands guard, welcoming guests into the Scott Family Amazeum located in Bentonville. Whisper “I love you, Maude” into one of the earthworms she’s poised ready to snatch up, and she lovingly mocks back, “I love you, Maude.”

Maud was originally envisioned by artist Amanda Willshire as an interactive sculpture that would respond to the public. Eugene Sargent’s expertise in electronics and coding made him the perfect collaborator to turn this idea into a reality.

Integrating technology to allow Maud to accept audio input and repeat back required not only skills as a technologist and electrical engineer but also the talent of an artist. Integrating the necessary technology into the sculpture is no easy task, but Willshire and Sargent’s complementary skill sets facilitated problem solving.

“One of the most exciting things about working with the Amazeum is that I get to explore this

“There’s something powerful with laughter and joy and play,” said Amazeum executive director Sam Dean. “The Amazeum is a nutrient-dense place; it’s fun and it’s a great place to learn.” The Amazeum encourages visitors to explore and tinker—to create something new without necessarily following the “rules” of creating. After all, the process of merging art and technology is just as important as the end result. Combining science, technology, engineering, art, and math makes the Amazeum, the community, and the world a richer place.

WORDS / HOLLAND HAYDEN

Amazeum.org

REDEFINING THE FAMILIAR

discusses his love of art and technology.

WORDS / KODY FORD

Some artists spend a lifetime perfecting their work in one medium, but Rumwolf likes to mix and match. The Bentonville-based artist has become known for his multimedia installations over the years including his work at the 2022 Black Apple Awards. He’s worked tirelessly with various arts organizations to showcase his work and help others do so. His efforts have not gone unnoticed as he was selected as 2023 artist-in-residence at the Momentary. His piece “The Big Picture” is a captivating journey into the past through an immersive depiction of a working-class family swept up in the vibrant spirit of early 1990s Northwest Arkansas. This multi-disciplinary work employs photography, storytelling, song, video, and performance to engage with the complexities of existence on the fringes of the American dream.

You have the ability to work in a lot of mediums, but seem to gravitate more towards installations that heavily incorporate technology. Why?

Like a lot of folks, I began as an aspiring musician and filmmaker in my late teens and early 20s. Being a novice with no connections to the music or film industry, I took it upon myself to learn everything I could about the equipment, technology and production techniques needed to pursue these passions. In order to bring ideas for songs, stories or movies to life, I had to physically learn how to access and use the equipment needed–cameras, mixing consoles, lights etc. … In the early ’00s, when I was coming into my adulthood, the Internet too was evolving in terms of access to free and shareable knowledge. Suddenly it was possible to self-teach yourself about a great many things that were largely out of reach for people growing up in rural parts of the country…

I have found that my deep well of unique knowledge allows me to develop and execute complex concepts and communicate those concepts in mass through the use of modern, well-understood technologies. Also, these things are attention grabbers. A painting can be beautiful, but it’s easy to ignore when you walk by one hanging on a wall. A 30 foot moving projection on the side of a building is a little harder to ignore haha. In modern times, our audience knows about technology. Every single person has a video camera and audio recording device in their pocket right now. Every single attendee at one of my shows knows how the moving image works. Connecting with an audience through technology has never been easier, or more fun.

What is your favorite installation?

“The Big Free Picture,” my 2023 installation and exhibition at he Momentary, is by far my most ambitious project to date and certainly my favorite thing I’ve worked on. But I’ve also adore working on Jay Benham’s Ledger Art on which I produce, direct and collaborate. In 2022 I was fortunate enough to work at Mass Mocha on a show called “Touch of Red” for TRIBE art collective. At the end of 2022 I did a quick 1 night installation for the grand opening of The Medium in Springdale and did an original piece called “Digital Sex Jungle” which I was very proud of but was only up for 1 night haha and I have a piece titled the You Control Monster, an analog video sculpture which I have installed for a number of group shows and exhibitions. For Interform Assembly this year I did a piece title “These cameras don’t record,” which I was also very fond of.

IG / @RUMWOLF

Multimedia artist Rumwolf

THE HEAD the aLGORITHM THE HEArt

When machines can think and create, where do the creatives fit in?

WORDS / KODY FORD

n 2022, a man named Jason Allen won the Colorado State Fair’s digital art competition with his piece “Théâtre D’opéra Spatial.” What would have normally been a pat on the back and a ribbon led to massive controversy as Allen had not created the art using Adobe Illustrator or another traditional digital tool, but rather the artificial intelligence art generator, Midjourney. While the win generated controversy, given the recency of the program’s development, Allen violated no rules with the win. Is this a taste of what’s to come?

So, what is Midjourney? According to their website, “Midjourney is an independent research lab exploring new mediums of thought and expanding the imaginative powers of the human species.” While it sounds grand, it is at its core a “text to image” generative artificial intelligence program hosted on Discord where users give the A.I. bot prompts to create an image. (Throughout this issue, you have seen several of these images, including our cover.)

While A.I. generated artwork has been making its way into the mainstream—most notably during the NFT boom in 2021 by Marfa, Texas, group Art Blocks—the rise of Midjourney, Dall-E and others have suddenly moved things from Twitter buzz to water cooler talk. These A.I. programs are trained using the images scoured from the Internet. Images by artists who happen to be human beings, not algorithms. This has led to much controversy as some prompts include artists names.

In the February 10, 2023, issue of The New Yorker, the article “Is A.I. Art Stealing From Artists?,” writer Kyle Chayka discusses a recent class-action lawsuit against Midjourney, Stable Diffusion and DreamUp by the artists Kelly McKernan, Sarah Andersen and Karla Ortiz. These three models utilize LAION-5B, the nonprofit database that indexes 5 billion images from across the Internet, including the work of many artists. In the suit filed by the attorneys Matthew Butterick and Joseph Saveri, Butterick states the main issues are that the artists works were used without their consent for it to be on the public database; the artists were not compensated for their involvement despite Midjourney charing a monthly fee for premium use; and their influence was not credited in the final works.

The rise of these programs and their potential creative and commercial applications have Arkansas artists up in arms as well. Chad Maupin, of Big Bot Design, is no fan of these programs.

“I’m incredibly offended by the existence of AI tools that simulate artwork,” Maupin said. “One of the most beautiful parts of human existence is our ability to express ourselves creatively. Creating an artificial intelligence to remove us from this important rela-

tionship to one another is reprehensible. Someone making work with Artificial Intelligence is not creating artwork and is not an artist. Being an artist takes vision, skill and commitment. Learning how to type in some prompts in an A.I. program does not make you an artist and never will.”

Just scroll through Midjourney’s live feed and you’ll find a deluge of “what if [pick a celebrity] played Superman” or political works like a shirtless, shredded Donald Trump to Joe Biden’s Dark Brandon persona. Given the amount of crap that’s out there, can A.I. generated art have merit?

In a recent Washington Post column, art critic Sebastian Smee discussed A.I. generated works in terms that were more optimistic than most. Smee did dismiss basic text to image creation, and noted his belief that technology will not replace the human spirit. He said, “[H]umans feel the pull of the physical. The more dominant the virtual becomes, the more we crave the physicality of art. That’s not just hopeful, old-style humanism. It’s a clear phenomenon. Even as the digital possibilities get greater and more sophisticated, the art world has seen an undeniable rise in the popularity of physical materials — not only paint, but also ceramics, textiles and all kinds of sculpture, all of which are undergoing a noticeable revival.”

While Smee acknowledges the danger and frustrations held by commercial and graphic artists, he points to “Unsupervised,” an installation by Refik Anadol, a seven year veteran of A.I. generated art, at the Museum of Modern Art in NYC, as a game-changing piece that embraces technology and pushes the limits of innovation.“Unsupervised” is an ever-changing image by an A.I. Anadol and his team trained to comb the archives of 140,000 images that MoMA uploaded to GitHub in 2016 to create a truly unique experience, a “dream” of modern abstraction.

The article quotes Anadol as saying, “Some people believe it’s a case of ‘Hey, here’s the data, here’s A.I., voilà! But it’s actually more challenging when you start to have some control over the system instead of having something imposed on you. That’s where the true challenge of art creation comes in.”

Hollywood is currently the front lines in the fight against A.I. Both SAG-AFTRA and the WGA have cited artificial intelligence as threats that have played into their strike demands. SAG is worried of people losing work to artificially created deep fakes. Late last year, a rumor arose that actor Bruce Willis, now retired due to frontotemporal dementia, had sold his likeness rights to a company called Deepcake. His agent denied the report, but it does represent a lucrative business opportunity. Imagine another Die Hard entry with a de-aged, virtual John McClane. It

might not be that far off. While celebrities are within their rights to sell their likeness to such a company, the key to those deals is consent, something many in the industry worry isn’t happening. According to a recent NPR report, a background actor on the show WandaVision says that Disney scanned her likeness, but never asked to sign a waiver form, thereby, taking her likeness without her permission. She was paid the standard $187 per day SAG background actor rate for her time on the show. SAG President Fran Drescher cited the scanning of background actors during the initial strike announcement, according to the AV Club.

Little Rock actor Barry Clifton, an actor and member of the Dallas-Fort Worth SAG-AFTRA Board of Directors, said, “[A.I.] has its uses, [but] ought never replace human interaction. Instinct and true improvisation can never be programmed.”

The WGA has stated they wish to prevent A.I. from replacing writers on shows; however, a story in Variety last May focused on a group of TV writers in the WGA-West, who were drafting proposals that wouldn’t outright ban A.I. in writing but allow writers to utilize it as a tool.

Brooklyn filmmaker and Bentonville native Nancy Pop, who is not a WGA member, tried experimenting with ChatGPT to write a script last Spring, utilizing the A.I. chatbot to organize her thoughts and construct a layout for script ideas. She found it wrote hilariously

bad dialogue, but worked well as a research assistant since the bot had the ability to sort through and organize information, rather than just list relevant websites like Google.

“When it came to writing my script, I used it to construct my basic outline and then would write the scenes myself, occasionally going back to Chat GPT for more research or figuring out words or phrases I couldn’t remember off the top of my head,” Pop said. “Nothing too crazy, but it certainly cut down a lot of time and made the writing process faster for me. I really enjoyed it! Eventually, I hit a wall with how helpful I found it and went rogue, back to writing on my own. I think it’s a helpful tool but it will never replace actual people…it can’t generate new ideas.”

Forbes chronicled a Lucidworks study about investment in generative A.I. by entertainment businesses across the world. Among the 6,000 survey respondents at international companies with more than 100 employees involved in decisions on A.I. investments, an average of 96 perecent planned to invest in generative A.I. in the future.

A recent ruling by the U.S. Copyright Office in regards to an application for a work called A Recent Entrance to Paradise by Stephen Thaler, chief executive of Imagination Engines, listed the artist as the Creativity Machine. The Office had denied his application and Thaler challenged this ruling in court, but the decision was upheld by US District Judge

“Used Car Lot X” by Marty Shutter - Midjourney + Photoshop - cropped from original image. From a group of images featuring different ideas of Heaven. This one being Heaven imagined as the Department of Motor Vehicles.

“One of the most beautiful parts of human existence is our ability to express ourselves creatively. Creating an artificial intelligence to remove us from this important relationship to one another is reprehensible. Someone making work with Artificial Intelligence is not creating artwork and is not an artist. Being an artist takes vision, skill and commitment.”

- Chad Maupin of Big Bot Design

Beryl Howell, who ruled that “human authorship is a bedrock requirement” to register a work. According to The Hollywood Reporter, the judge said, “The act of human creation — and how to best encourage human individuals to engage in that creation, and thereby promote science and the useful arts — was thus central to American copyright from its very inception.” Such a ruling will have implications not just on visual arts but all sorts of artificial intelligence-created works.

Many artists are beginning to utilize A.I. as part of their toolkit. For filmmakers or podcasters, Adobe Premiere now offers live transcription–something previously only available from a third party service–but now native to the video editing software. Once the transcription is complete you can edit live by just highlighting a phrase and deleting it, the words and video vanish from the timeline as well. Photoshop now has a generative A.I. background tool to expand images. (We utilized it for this issue’s cover, which was originally a square format.)

Musician and artist Marty Shutter is an early adopter of Midjourney, having worked with it since 2022. He has created many images based off of physical

sketches; “Cloud Factory” (featured on page 27) went from pen-and-paper to Midjourney to Adobe Creative Cloud. He said, “I’ve drawn cloud factories, pen-and-ink, for some time now. Workers in factories operating machines that craft clouds, etc… My initial inputs were descriptions of drawings I’d made of various cloud-making factories.”

Some of the images from Shutter’s latest release, Fake Jazz, began as drawings. He enjoys “inventing” flowers or drawing something like a US Patent application for an oak tree. A few images on the record began as drawings, which turned into prompts which found their way into Photoshop for editing and then Illustrator for placement.

To Shutter, some arguments for/or against A.I. sound like arguments for/or against the word processor or the digital camera–adding technology separates the creator from the work. However, he acknowledges the nuance–a digital camera didn’t need previous images to work. He said, “Artificial Intelligence is OUR intelligence, synthesized. It’s tricky, because a hammer can kill someone, but it can also build a house. The potential breakthroughs and innovation with A.I. is as wildly uncertain as its potential downfalls and dangers. It’s impossible to celebrate the positive potentials without acknowledging the negative potentials, known and unknown.

“We can’t uninvent it, that’s for sure. How we train these things and how we employ these things are the primary foundational issues. Personally, I hope and suspect the conversation stays active and vibrant through development.”

According to a March 2023 research note by Goldman Sachs, as many as 300 million jobs could be threatened by some form of A.I. and fully two-thirds of U.S. jobs could be partially automated. While many of these jobs involve repetitive tasks or mathematics, the fear of creatives is palpable and justified. But what will arise from these A.I. generated ashes? When photography was first introduced, artists thought it would destroy their profession. And sure, the market for portrait painters dropped, but people still made a living as artists–they just had to adapt.

So, what happens next–who knows? But A.I. is here and it’s moving fast. As Shutter put it, “The question might actually be, what will or can remain untouched by artificial intelligence?”

Below: “Dev Cycle 2” - created by cover artist MERGE using Midjourney by entering journal entries and Arthur Schopenhauer quotes into the prompt.

Sammy the Shrimp by Asia Ward

Interplay: Bugs and Bulbs by Jason Jones

@Artist Jason Jones

The Incredible Electric Technicolored Mockingbird by Amanda Willshire Rainbow Springs by Eugene Sargent