Repeating and mistranslating: the associations ofGANs in an art context
Anna Ridler
ArtistLondon
anna.ridler@network.rca.ac.uk

Abstract
Briefly considering the lack of language to talk about GAN generated art in anart context, I look how GANs and training sets should be considered in the samemanner that other materials are in art pieces. I will look at the potential associationsof training sets and GANs, in particular pix2pix, and how I have attempted toembed these associations in my own work.

1Introduction

Research has looked at whether artificial intelligence, and more particularly machine learning, cancreate art [4, 2, 6]. However, the focus of this work has been to consider and judge the result as “art"through the impact of visual parameters on a viewer (i.e. “does this look like art?"). This ignoresa vital consideration of an artist when producing a piece, that of the impact of the materials usedhave. Producing an image using a GAN versus any other way gives the viewer a different experience,
expectation, history, traces and contexts to consider. What are these associations and how might theybe used in a piece of work? Materiality is “one of the most contested concepts in contemporary art
and is often side-lined in critical academic writing"[5]. It has only recently begun to be explored
digital art, and has not to my knowledge been applied to work produced by neural nets. This is an
important gap: images produced by GANs are becoming more and more prevalent in the international
fine art scene (e.g. Ars Electronica 2017, Serpentine Gallery Miracle Marathon 2017) yet there
is little language to talk about them in an art context beyond the scientific. Art should be able tocomment on contemporary scientific theories through use in a creative practise whilst also “ensuring
a critical distance that prevents the elevation of these fields to the status of unquestioned authority"[5]. Can a GAN or indeed training set become a “wilful actor and agent within artistic processes"[5] as other materials are? I will start to explore some of these questions by looking at the potential
associations of training sets and GANs, in particular pix2pix, and how I have attempted to embed
these associations in my own work.

2Associations of Training Sets

Training sets are rarely discussed, yet are central to the eventual image output. Most of the training
sets that are readily available are compiled by researchers according to a variety of methodologies,
but because human subjectivity is always involved at some point in either the source content or in
the process, they inevitably come to enshrine certain cultural or social attitudes. These datasets
are often extremely large which means that artists cannot control though selection which biases
and prejudices are being replicated and repeated. Furthermore, the invisible labour and associatedpower relations of those used to create the sets, often mechanical turks, and what this might mean israrely acknowledged in discussion of GAN generated imagery as art. Small batch machine learning
programmes (e.g. pix2pix) require a much smaller training sets which are possible to put together by
31st Conference on Neural Information Processing Systems (NIPS 2017), Long Beach, CA, USA.

hand. Artists can start to use these create smaller handpicked training sets deliberately to push backagainst and explore some of these issues.

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Associations of GAN generated images

Whilst there is a certain amount of control afforded to the artist through the creation of a training set(images, labels), a GAN allows a quality where the “where materials develop uncanny lives of theirown and display their power to metamorphose"[5]. This power to metamorphose without real control
is something that within an art context is more closely associated with work that deals with biology
or nature, than the digital. The style of images generated by GANs are distinctive (particularly in“poorly-trained" models) and echoes perhaps Georges Bataille’s concept of bas materialite - ruined,decaying and decomposed - something antithetical to the smooth surfaces of capitalist consumer
goods [7] and, I would argue, a large proportion of the aesthetics of contemporary digital art. These
associations and their meanings are yet to be fully unpicked by art historians and cultural theorists
but are starting to be used by artists if Petra Lange-Berndt’s definition of materials in “electronictechnologies" (i.e. the digital) is used. Here instead of imitation the result is “as hybrid, as mutant
material, where a new substance appears that also critically comments on the initial components thatstarted the experiment"[5]. GAN generated imagery can critically bring out and start explore some of
the assumptions of creativity, authorship and control if the context of materiality is considered as
evidenced by recent works by AI artists (e.g. Memo Akten, Mario Klingemann).

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Fall of the House of Usher

I have tried to take both of the associations of training sets and GANs into consideration when making
my own work, Fall of the House of Usher, a twelve minute animation made using pix2pix[8]. It is apiece that could have been hand animated but by choosing machine learning I was able to heighten
and increase themes around the role of the creator, the reciprocity between art and technology, andaspects of memory in a way that would not be available to me otherwise. For example, by choosing
to create my own training set by hand drawing in ink stills from the 1929 version of the film (fig 1,fig. 2), I was able to emphasis the history of drawing in interplay between the digital and the physical,
question the role of the human and artificial intelligence, and start to think through questions aroundlabour.
By restricting the training set to the first four minutes of the film, I was able to control to a certain
extent the levels of “correctness": as the animation progresses, it has less and less of a frame ofreference to draw on, leading to uncanny moments that I cannot predict where the information starts
to break down, particularly at the end of the piece. I deliberately take the “decay" offered by making
an image in this way and turn it into a central part of the piece, echoing the destruction that happensin the narrative and the “copying" that occurs (the piece is a copy of a copy (film) of the original(book)) (fig. 3).
GAN images have allowed me to discover new possibilities[3] that I am now exploring in the next
iteration of the piece. It has held up a mirror to my own process and allowed me to see elements thatI was unaware of (how I draw eyes, what I choose to emphasise). I am now creating a new training
set where I have drawn the GAN generated images (see fig. 4), copying the artefacts and mistakes(some of which I have made in the original training set, such as a chair that appears and disappears
according to whether I remembered to draw it or not). Copies of copies of copies, decaying anddecomposing, becoming more mutable and less controllable. The results of this model will be merged
and absorbed into the animation to create a piece that is a series of duplications which in the words ofBorges is “no less real, but closer to expectations" where over time and cycles comes “a purity of line
not found in the original"[1].

2Figure 1: Hand drawn elements for training set for Fall of House of Usher.

Figure 2: Training set for Fall of House of Usher.

Figure 3: Stills from Fall of House of Usher.

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Figure 4: samples of redrawn GAN imagery in ink from Fall of House of Usher.

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References[1] Jorge Luis Borges, Andrew Hurley, and Andrew Hurley. Collected fictions. Viking New York,
1998.
[2] Simon Colton. The painting fool: Stories from building an automated painter. In Computers andcreativity, pages 3–38. Springer, 2012.
[3] Mark d’Inverno, Jon McCormack, et al. Heroic versus collaborative AI for the arts. 2015.
[4] Ahmed Elgammal, Bingchen Liu, Mohamed Elhoseiny, and Marian Mazzone. CAN: Creative
Adversarial Networks, Generating “Art" by Learning About Styles and Deviating from Style
Norms. arXiv preprint arXiv:1706.07068, 2017.
[5] Petra Lange-Berndt. How to be complicit with Materials. 2015.
[6] Alexander Mordvintsev, Christopher Olah, and Mike Tyka. Inceptionism: Going deeper into
neural networks. Google Research Blog. Retrieved June, 20:14, 2015.
[7] Michael Richardson. Georges Bataille: essential writings. Sage, 1998.
[8] Anna Ridler. Fall of the House of Usher.

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