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Fake AI: Artificial Abundance

An overly sensitive recognition algorithm ends up producing a glitch across the whole book. All instances of “AI”, “ai” and “Ai” are replaced by a custom AI-informed typeface, regardless of their meaning or context. The dataset used for training the GAN in charge of this typeface contains logos from various AI related brands, or companies located in the country of Anguilla (whose top-level domain is “.ai”).

Designed with @johnphilipsage @roxyamina for @meatspacepress edited by @f_kaltheuner

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Fake AI: The Wizard of Oz Technique

This book explores the use of AI to conceptualise its main visual elements. Its design is a staged lie, result of a micromanaged collaboration with a GAN (Generative Adversarial Network). The result could be seen as 𝓽𝓱𝓮 𝓯𝓲𝓻𝓼𝓽 𝓫𝓸𝓸𝓴 𝓭𝓮𝓼𝓲𝓰𝓷𝓮𝓭 𝓫𝔂 𝓪𝓷 𝓪𝓻𝓽𝓲𝓯𝓲𝓬𝓲𝓪𝓵 𝓲𝓷𝓽𝓮𝓵𝓵𝓲𝓰𝓮𝓷𝓬𝓮. In this scenario, the collaborating AI has informed the visual language, but also constrained the possibilities and reading experience of the pages.

In this book, what seems autonomous is disguising our work ‘as a proxy for the system behind the scenes’. The use of a GAN, which a reader could see as a symbol of technological ergonomics, has complicated the process of design. As a result, the contents contort around the spaces that the AI imagination leaves them to exist.

The book features two different uses of a GAN, dealing with the overall composition of pages, and substitution of all “AI”, “ai” and “Ai” character combinations, regardless of their context.

Designed with @johnphilipsage @roxyamina for @meatspacepress edited by @f_kaltheuner

Set in Roobert by @xyz_displaay

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$The MA GMD course has contributed to a new publication entitled One and many mirrors: perspectives on graphic design education, published by Occasional Papers, 2020. The essay entitled ‘A Refractive (Re)view’ asks: what can it mean to approach graphic design education as a piece of design today? Members of the course team, current participants and graduates came together to think through the contexts, conditions and concerns that emerge in and through a course design, speaking to and from distinct standpoints, histories and ambitions. One and many mirrors: perspectives on graphic design education is an ambitious book bringing together a wide international selection of new and recent writing by educators and practitioners who question the rules and hierarchies of graphic design education today. It holds a vivid mirror up to the ways in which graphic design is imagined, taught, received and reproduced. Edited by Brad Haylock and Luke Wood, the publication features contributions by Paul Bailey, Stuart Bertolotti-Bailey, Sheila Levrant de Bretteville, Richard Buchanan, Vincent Chan, Tony Credland, Europa, Katie Evans, Matthew Galloway, Rob Giampietro, Corin Gisel, Ricardo Gonçalves, Lisa Grocott, Brad Haylock, Constanze Hein, Richard Hollis, Na Kim, James Langdon, Lu Liang, Ellen Lupton, Gabriela Matuszyk, Fraser Muggeridge, Paul Mylecharane, Nina Paim, Megan Patty, Radim Peško, Joe Potts, Bryony Quinn, Carlos Romo‑Melgar, Naomi Strinati, Jon Sueda, Lucille Tenazas, Teal Triggs, Michael Twyman, Jonty Valentine, Laurene Vaughan, Noel Waite, Luke Wood, Jia Xiao, Bonne Zabolotney and Roxy Zeiher.$

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