Contains critical commentary on the exhibitions "Training Humans" and "Making Faces  " by Kate Crawford and Trevor Paglen, and on the accompanying essay "Excavating AI: The politics of images in machine learning training sets . " 
Two art exhibitions, "Training Humans" and "Making Faces , " and the accompanying essay "Excavating AI: The politics of images in machine learning training sets " by Kate Crawford and Trevor Paglen, are making substantial impact on discourse taking place in the social and mass media networks, and some scholarly circles. Critical scrutiny reveals, however, a self-contradictory stance regarding informed consent for the use of facial images, as well as serious flaws in their critique of ML training sets. Our analysis underlines the non-negotiability of informed consent when using human data in artistic and other contexts, and clarifies issues relating to the description of ML training sets.
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Contains critical commentary on the exhibitions
Two art exhibitions,
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by Kate Crawford and Trevor Paglen, and on
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by Kate Crawford and Trevor Paglen, are making substantial impact on discourse taking place in the social and mass media networks, and some scholarly circles. Critical scrutiny reveals, however, a self-contradictory stance regarding informed consent for the use of facial images, as well as serious flaws in their critique of ML training sets. Our analysis underlines the non-negotiability of informed consent when using human data in artistic and other contexts, and clarifies issues relating to the description of ML training sets.