A new renaissance in art: Refik Anadol on the AI transformation of art
Summary
TLDRIn this talk, media artist Refik Anadol discusses his innovative work at the intersection of AI, data, and art. He shares his journey from his early fascination with computers to his current projects that blend technology with nature and human emotion. Anadol explores the potential of machine learning to create immersive art experiences and emphasizes the importance of using technology responsibly to benefit society and the environment.
Takeaways
- 🌐 Mira Lane introduced Refik Anadol, a media artist renowned for using AI and data to create immersive experiences.
- 🎨 Refik Anadol collaborates with diverse institutions like MIT, NASA, and even indigenous communities, showcasing the broad impact of his work.
- 🖥️ Anadol's journey with technology began at a young age, with an early fascination for computers leading to a career at the intersection of art and AI.
- 🌟 His work focuses on public art and the concept of data pigmentation, pushing the boundaries of traditional art forms.
- 🌌 Anadol's projects often involve large-scale data sets, aiming to capture collective human memories and experiences.
- 💡 He emphasizes the importance of imagination and creativity in the age of AI, believing that art can inspire and bring joy even with advanced technologies.
- 🏥 His artwork is not confined to galleries; it extends to hospitals and schools, aiming to provide hope and inspiration.
- 🌳 Anadol's work also explores the preservation of nature, collaborating with Google AI Quantum team to visualize quantum circuits and generate art.
- 🌐 He is developing 'Dataland', an AI museum concept that aims to bring together minds to reimagine the role of art and technology in society.
- 🌿 Anadol's project with the Yawanawá people, 'Winds of Yawanawá', not only generated art but also raised significant funds to support the community's dreams.
Q & A
Who is Mira Lane and what is her role?
-Mira Lane is the Senior Director in Technology and Society. She leads a global team called the Envisioning Studio, which focuses on imagining new possibilities of technology to benefit society.
What is Refik Anadol's profession and what is unique about his work?
-Refik Anadol is a world-renowned media artist known for using AI as his paintbrush and data as his pigment to create immersive, creative, and beautiful experiences.
What significant partnerships has Refik Anadol been involved with?
-Refik Anadol has partnered with prestigious institutions like MIT and NASA, as well as with organizations such as the Grammys and the World Economic Forum. He has also collaborated with companies like Rolls-Royce and Chanel, and with Indigenous communities like the Yawanawá in the Brazilian Amazon.
What was the nature of Refik Anadol's first solo exhibit in the UK?
-Refik Anadol's first solo exhibit in the UK was described as breathtaking and a love story to nature.
How does Refik Anadol view the concept of machine intelligence in relation to his work?
-Refik Anadol views machine intelligence as a collaborator and an innovation that profoundly affects art, similar to the invention of applied pigments, the printing press, photography, and computers.
What is the significance of the Bosporus to Refik Anadol's artistic inspiration?
-The Bosporus, a body of water connecting physical and virtual worlds, is one of the reasons Refik Anadol is in love with the idea of connecting the physical and the virtual worlds in his art.
What is the collective experience that Refik Anadol's studio focuses on?
-Refik Anadol's studio focuses on creating public art that belongs to everyone, specifically concentrating on the imagination of data pigmentation, data sculptures, and performances.
How does Refik Anadol perceive data in the context of his art?
-Refik Anadol perceives data not just as numbers but as a form of memory that can take any shape and form, and when liberated from traditional constraints, it can lead to a new world of imagination.
What was the inspiration behind Refik Anadol's project involving an open-source library?
-The project was inspired by the idea of what happens if a machine can learn, dream, or hallucinate, using an open-source library in Istanbul as a starting point.
What is the concept behind Refik Anadol's 'Dataland' project?
-Dataland is envisioned as an AI museum that aims to bring together wonderful minds to imagine a new type of art that can make a more significant impact worldwide.
How does Refik Anadol's 'Winds of Yawanawá' project support the Yawanawá people?
-The 'Winds of Yawanawá' project supports the Yawanawá people by raising $2.5 million for them, enabling them to build their first museum, school, and village.
Outlines
🎨 Introduction to Mira Lane and Refik Anadol
Mira Lane, Senior Director in Technology and Society, introduces herself and welcomes Refik Anadol, a world-renowned media artist known for his immersive AI and data-driven experiences. Anadol has collaborated with prestigious institutions like MIT, NASA, and the Grammys, as well as with companies like Rolls-Royce and Chanel. He has also worked with indigenous communities, such as the Yawanawá in the Brazilian Amazon. Mira shares her experience of Anadol's UK solo exhibit, which was a tribute to nature.
🌐 Refik Anadol's Journey and Vision
Refik Anadol expresses his excitement about being at Google I/O and shares his background as a media artist and director from Istanbul, Turkey. He discusses his fascination with connecting the physical and virtual worlds and his early inspiration from science fiction. Anadol talks about his studio in Los Angeles, which focuses on public art and data pigmentation. He emphasizes the importance of collective human experience and the use of data as a form of memory that can take any shape. Anadol also shares his vision for the future of art in the age of AI and machine learning.
🖥️ The Evolution of Digital Art and AI
Anadol delves into the evolution of digital art, highlighting the importance of machine learning algorithms and their impact on art. He references Blaise Aguera-Arcas and the generative AI event in 2016, which marked a pivotal moment in his career. Anadol's studio has been exploring machine hallucinations and the concept of data as a pigment for creating art. They have worked with massive datasets, including 4.5 billion images and over a century of sound data, to create immersive experiences that blend art, technology, and AI.
🌳 Nature-Inspired Art and Collaborations
Refik Anadol discusses his work inspired by nature, including a project with Google AI Quantum team that visualizes quantum circuit bits to create a subatomic universe. He also talks about creating an AI scent machine to generate new scents and the 'Coral Dreams' project, which aims to bring attention to the rapid decline of coral reefs. Anadol's work spans various fields, from art and technology to environmental conservation, showcasing the potential of generative AI to create tangible impacts.
🏛️ Dataland: The Future of AI and Art
Anadol introduces 'Dataland,' an AI museum concept that aims to push the boundaries of art and technology. He shares his vision of creating a space that brings together minds to explore new forms of art. Dataland focuses on creating the 'Large Nature Model,' an open-source project that aims to understand and preserve nature through AI. Anadol's studio is collecting data from various sources, including 16 rainforests, to contribute to research and education. The project also involves collaborations with Google and other partners to create a new movement in art-making.
🌿 The Yawanawá Project and Indigenous Wisdom
Refik Anadol concludes with the 'Winds of Yawanawá' project, which supports the dreams of Chief Nixiwaka and the Yawanawá people. The project uses generative AI to create art inspired by Yawanawá artwork and real-time weather data. Anadol shares the story of his connection with the Yawanawá community and their ancestral wisdom. He emphasizes the importance of respecting and understanding nature and concludes with Chief Nixiwaka's message about love, spirituality, and unity.
Mindmap
Keywords
💡AI
💡Data as Pigment
💡Immersive Experiences
💡Generative AI
💡Machine Learning Algorithms
💡Public Art
💡Data Sculptures
💡Quantum Circuit
💡Dataland
💡Indigenous Communities
Highlights
Mira Lane introduces Refik Anadol, a world-renowned media artist who uses AI and data to create immersive experiences.
Anadol's work involves collaborations with institutions like MIT, NASA, and the World Economic Forum.
He discusses the importance of seeing technology as a collaborator rather than just a tool.
Anadol shares his journey from getting his first computer at eight years old to becoming an artist.
He explains how his studio in Los Angeles focuses on public art and data pigmentation.
Anadol views data as a form of memory that can take any shape and inspire new forms of art.
He explores the concept of machine hallucinations and AI data paintings.
Anadol's work with Google's Artists and Machine Intelligence program led to innovative projects.
His projects often involve training machine learning algorithms on vast amounts of data.
Anadol discusses embedding AI into architecture to create living buildings.
He shares his vision of using AI to generate art that can be felt, seen, heard, and smelled.
Anadol's project 'Coral Dreams' aims to bring attention to the decline of coral reefs.
His work with the Museum of Modern Art in New York used 138,000 archives to create a generative AI artwork.
Anadol's artwork at MoMA received over 3 million views, averaging a 38-minute viewing experience.
He is currently working on 'Dataland', an AI museum that aims to be a new form of art.
Anadol's project 'Winds of Yawanawá' raised $2.5 million for the Yawanawá people and their dreams.
He emphasizes the importance of ancestral wisdom and respecting nature in his work.
Transcripts
[MUSIC PLAYING]
MIRA LANE: Hi, everyone.
My name is Mira Lane, and I'm the Senior Director
in Technology and Society.
I lead a small, multidisciplinary global team
called the Envisioning Studio, and we
work on imagining new possibilities of technology
to benefit people in society.
I am delighted to welcome my friend,
and our next speaker, Refik Anadol.
He is a world-renowned media artist.
He uses AI as his paintbrush and data as his pigment.
He creates immersive, creative, beautiful experiences.
He's a pioneer in this field, and he's
a former artist in residence at Google's Artists and Machine
Intelligence program.
He's partnered with institutions like MIT and NASA,
the Grammys, the World Economic Forum.
He's partnered with Rolls-Royce and Chanel and even Indigenous
communities, like the Yawanawá in the Brazilian Amazon.
And I had the opportunity of seeing Refik's first solo
exhibit in the UK a few months ago.
It was breathtaking.
It was a love story to nature.
And to that, let's welcome Refik Anadol.
[APPLAUSE]
[MUSIC PLAYING]
REFIK ANADOL: Thank you so much.
Thank you.
MIRA LANE: Yes.
REFIK ANADOL: Hello, everyone.
I'm so glad to be here with you.
Thank you, Google I/O and everyone inviting me.
And I'm so excited for many reasons because
of the pioneers in the stage and the people who
have been pushing the idea of imagination for many of us,
like artists and creators.
So I'm a media artist and director and originally
from Istanbul, Turkey, where I got so inspired
by the idea of when the West and East connects.
I think, as a child, I believe this idea
of how nature connects cultures and emotions geographically,
physically, emotionally, I feel like the water here, Bosporus,
is one of the reason I am in love with the idea of connecting
physical and the virtual worlds.
So today, I would like to share you my journey
and how many things I hope in the next century will happen.
But how we can think about machine as a collaborator,
it became very much a starting point.
I was eight years old, got my first computer.
My mom just gifted a machine that's finally--
an idea that-- not a friend friend maybe right now, like AI
is becoming.
But the idea of programming very early or playing with games very
early, I believe, was where I found this idea
of finding human in nonhuman.
And last, literally, many years, I'm
super inspired by, also, science fiction.
But as a child, when I watched "Blade Runner"--
as we all know, as a child mind and mindset,
we maybe not only see the beauty and the utopia
and the positivity.
But it's really what I was trying to hold into my heart,
was how I can still keep the life and the journey.
Even the most advanced technologies
can bring us inspiration, joy, and hope.
So this movie is not only just very important, but also very
important to say that I am not alone.
The dream was to open an art and design
studio that truly imagines what is beyond reality.
And I'm so happy to say that these are my giants.
We are in Los Angeles, California.
And now we are 20 people, can speak 15 languages,
and 10 countries.
And it's very important to mention this.
Because in the age of machine and human creativity, I think,
there is more and more human.
So because these are not only just a one human experience,
it's a collective experience-- and last, especially,
nine years, which our studio right now
practicing in this idea of using data as a pigment.
I was 2008 as an undergrad.
And also, thanks to my mentor, Peter Weibel,
which we lost recently, he truly allowed
me to push this concept of data painting.
And when I think about data, I don't just see numbers.
I just see a form of memory.
And this memory can truly take any shape and any form.
And when we liberate the idea of art-making
from the Newtonian constraints, I
think that there is a world that we can imagine.
And that world with blending with technology, lights,
and eventually data, and AI, I found
that there is a whole, new world of imagination.
So our work specifically focused on public art
that belongs to everyone and specifically focused
on the imagination of data pigmentation,
data sculptures, performances--
things that, I think, in the art world,
somehow, not push forward yet.
But hopefully, with technology, this will be also a part of it--
and especially last 16 years right now,
the whole idea of not only focus personal data,
but look at the collective memories of humanity.
And I do believe that it's possible to think information
or data--
nature, heartbeats, skin conductance, brain data,
machines interconnected like information and many others.
So I found this joy that when we push these concepts
in different scales and different worlds,
especially if we don't just worry about art only
belongs to a gallery or museum.
When the art goes out of those buildings and spaces,
I found so much possibilities.
Our work is in hospitals, to give hope.
Our works are at schools, to give inspiration.
And this is, I think, where I found
that true liberating of art in the age of data, technology,
and AI.
So one of the reason today I would
like to show some of the work that sometimes
digital artists like we are not well known in the many spaces.
When we think about digital artists,
sometimes, we don't, maybe, imagine what
happens behind the scenes and how this journey starts.
So today, I would like to share several concepts that I believe
is important in the age of AI and how we started
and, most importantly, how we use
machine learning algorithms in a way that I think
may be different.
So one of the things that I want to remind everyone that Blaise
Aguera-Arcas said, "Like the invention of applied pigments,
printing press, photography, and computers,
we believe machine intelligence is an innovation that will
profoundly affect art."
Blaise, also a wonderful Google friend,
has literally pioneered and invented this moment in 2016,
February, in San Francisco, in an event at Gray Area.
It was the very first, as far as I know, public event.
Google engineers and creators was in an event
to talk about generative AI, I think, very first time publicly.
And I'm so grateful that event, with [INAUDIBLE] as well,
I became the first artist in residence in an Artists
and Musicians group.
So eight years ago, being able to work with AI
is a fascinating feeling.
And right now-- I feel like it's eight years, the speed of change
and innovation.
But for the art context, it's a whole new world.
So I'm very grateful for this residency that allowed me
and my team to think about neural networks,
to think about machine intelligence
and really push forward this idea.
And the first project we focused on the idea of library
of the future, inspired by the Borges.
And it was this idea of what happens if we take
an open-source library--
in Istanbul, by the way, thanks to our creator, Vasif Kortun--
and we look at the idea of, if a machine can learn, can it dream?
Can it hallucinate?
And it was a very fascinating experiment,
as you may see, in a physical and virtual world.
We tried to think about how we can imagine
when we go to a library, where we learn a lot of things,
and how we can think this space as a new canvas.
And in these experiments--
I think I'm still obsessed with this concept of machine
hallucinations-- this idea of AI data paintings, AI data
sculptures, and performances became a new body of work.
And last eight years, we tried to look for many things.
But the first thing was-- on the very left,
by the Ian Goodfellow, also a wonderful Google friend
and pioneer that inspired this generative adversarial network,
which we trained, I guess, 1.7 million documents-- what I found
so inspiring is, if one day, if machine can dream,
I thought that, again, liberated from the Newtonian physics, what
happens if we turn it into these pigments,
a pigment that doesn't dry, that perhaps always take
a shape, a form, a change?
And the last couple of, I guess, eight years now,
the last couple of challenges we went through
is, last eight years, look at the collective memories
of humanity-- for example, nature, culture, urban space.
We worked with more than 4.5 billion images
and more than 100 years of sound data
and really tried to collect and train data--
and again, many of them in Google Cloud--
and very grateful that this happened in that time.
We really pushed forward this idea.
And what was really got so inspiring--
I think Carl Sagan also mentioned very well,
"Imagination will often carry us to the Worlds that never were,
but without it-- we go nowhere."
As a studio, I thought that this is just a great start point.
But what else can we go from somewhere from here?
So last eight years, one of the topic that I'm so inspired
is the idea of data universe.
The information behind machine intelligence
is a fascinating world-- sound, image, text,
and many information.
I see them as sculptures.
They are literally six-dimensional sculptures,
what we are seeing here.
For example, Rumi's "Masnavi" in 19 languages,
read by three different AI algorithms.
They are sorted by six dimensions, x, y, z,
and RGB coordinates.
But I'm seeing them this type of incredible forms
of three-dimensional representation of how
we can understand collective memories
or hear Mozart, his entire repertoire, again,
understood by the embedding system
and looking at them in a different perspectives.
The other part that I got so inspired and excited
is the idea of embedding AI into architecture.
I do believe architecture is beyond just concrete, glass,
and steel.
And I have been so fortunate and grateful that I
was able to work with Frank Gehry, Zaha
Hadid, and Gaudí, and many other pioneers in the field.
And I really love this idea of that
what happens if we truly think about architecture as a system,
as a form of canvas.
Also, grateful for Doug Eck and Magenta
team and Adam Roberts and Jesse Engle.
We were able to create this artwork
to celebrate 100 years of LA Philharmonic in downtown Los
Angeles.
This building-- Frank Gehry's cultural beacon--
was the 100-year celebration for LA philharmonic,
and we were able to take the 100 years of every single music,
image, text that has been performed in this beautiful
context and celebrate it in the form of free,
open public art in downtown Los Angeles.
And for this project, we learned so much
that there is an incredible possibility of imagination
if we truly connect the data, the architecture, the AI,
and the light as a material.
And the other part of our research
was the idea of what happens if we step inside this machine
dreams.
And there is so much value in physical world
that I don't believe we fully understand
what happens if we connect physical and virtual worlds.
Last 10 years, we look at the patterns of machine
hallucinations and try to connect the walls,
the ceilings, the floor--
the places that collectively, together, we
can feel and experience the imagination.
And there is so much, I think, possibilities
with this idea of connecting physical and virtual worlds.
And I think when we embed AI into architecture,
there is a whole world of imagination.
So I am super obsessed and excited.
Very "Blade Runner," but still going beyond what else we can do
with that.
And the other part that may be very important for us
is speculating the idea of living architecture.
For example, what we see here, the building of Gaudí's--
Antoni Gaudí's-- Casa Batlló in Barcelona,
we are watching right now and, literally,
data algorithm from the Cloud coming to the middle is
visualizing the rain data.
On the right side, the wind data.
On the left is visualizing the humidity data.
The concept of, I think, living architecture
is a fascinating-- a new kind of seeing
through the physical reality and, most importantly,
not only this, bringing people together.
So last year, we were in Barcelona
to activate this beautiful building, the legacy of Gaudí,
to honor his legacy, to honor his genius by using
his data with AI to transform his legacy
and remind us that, even in the age of AI,
we can still remember the importance of the heritage,
but we can still activate these surfaces and forms
and go beyond what we can see.
This piece, by the way, also running in a little Google
Cloud that real time getting data.
So the performances are each is unique, never repeat.
And they have been performed in the public space
for free and open to anyone, any age.
And most importantly, I guess, it brought 65,000 together.
And it was a fascinating feeling that how public art can truly
connect us together.
And in the age of machine intelligence,
I think there are many stories to tell around this topic.
And recently, I'm so grateful that this fair team at Las Vegas
also invited to become the first artist in residence.
And this building is one of the most exciting forms, I think,
we can imagine as artists, literally taking that
two-dimensional machine hallucinations and wrap around
a rectangular imagination, turn that machine hallucinations--
in real time, by the way, the weather data--
or precomputed-- and transform the world's, I guess,
largest data sculpture and then really look
at this information in the age of AI and architecture
from a fresh perspective.
So there is so much, I think, there in architectural realm.
And the other part I was really inspired
is the idea of our mind, our consciousness.
I think it's a fascinating place that, right now,
to really understand our memories, emotions, and dreams.
Always believe in half-human and half-machine collaboration.
Over the last nine years, we also look at information.
For example, Human Connectome Project,
which is 6,000 people's open-source data,
we look at the idea of emotion as a form of art-making.
Here, we are seeing inspiration and joy and hope
in the form of three-dimensional representations,
looking collective emotions of Human Connectome Project data
sets.
And most importantly, generative AI and data art
can be also very powerful, very impactful.
This piece is called "Sense of Healing,"
auctioned at UNICEF for 1.7 million euro and help children
mental health.
So we have been truly working with across different concepts
to be sure that data and AI not only just
becomes a technological feature for humanity,
but we can also turn this into a profoundly exciting and helpful
experiments and experiences in different scale
and different concepts.
So we are very grateful that five children brain
data from the Lausanne hospital, We
were able to create this form to celebrate the power of healing
and bring the hope to the UNICEF community.
And then the last part that I'm so inspired is this.
Truly, I guess, to me, I hope for many of you,
our most intelligent thing we have in life is nature.
For artists, for many centuries, nature
is the most inspiring, most exciting form
of living creatures that I think an [? infinite ?] world.
And in our work last, also, eight years,
trying to preserve nature as well.
And one of our collaboration with Google AI Quantum team
and Hartmut Neven and his wonderful team,
we were able to, also, visualize the quantum circuit bit,
which was their research, and was
able to generate a generative adversarial network that
was fed through the quantum circuit, that unique noise
patterns that was able to create, I guess,
this subatomic universe, like Hugh Everett's
many-worlds interpretation concept,
and turn it into artwork.
But also, this idea of nature that transforms pigmentation
is an infinite possibilities.
So one of them was this idea of not only letting machine
to dream flowers of the world, but also the question was,
what happens--
this, by the way, four years ago,
the question-- what happens not only seeing but hearing nature
that we can also smell this AI dreams?
So four years ago, thanks to Eric Saracchi, our former CTO
of Firmenich, and many, many wonderful supporters,
he allowed us to go a little bit deeper in this concept.
And we were able to create an AI scent machine by training
on a half million scent molecules that
look at our AI outputs that come up with new formulas.
And this was turned into an awesome, immersive environment
that you can step inside this living archive, a living
library, where it can constantly and all the time
can dream new flowers and, possibly,
new scents and the feeling of being inside the machine dreams.
Or the same idea can be also used in the opera,
in performing arts.
We were here exploring the same AI model-- this time,
in real-time inferencing-- and tried
to create a connection between the beautiful music
and the environment and the stage design as well.
And last year, we also learned that generative AI can also
support to talk about things that
are very challenging in the World Economic Forum.
So last year, we learned that the corals-- as we know,
the climate change is affecting the world and the nature
profoundly.
And one of the challenge was corals are dying rapidly.
And what was the question was, can we
bring attention to the world leaders
by training, maybe, an AI on the corals,
even speculate a possibility of reconstructing what we lost?
So I'm so happy to say that this is also
trained on Google Cloud on a sustainable energy for 135
million images of underwater.
And we generate "Coral Dreams" project that are not just shiny
pixels but truly 3D-printed into a form to possibly give a life
back in places where we lost corals.
And I'm so happy to say that art sometimes
takes more attention in a world that sometimes we
lose our attention.
And I'm so happy to say that generative AI and collaboration
like Google Cloud and beyond, we can
generate truly, profoundly tangible
and quantifiable impact.
And this project is also very, I guess,
important in the age of AI, that we
are seeing wonderful activations and activities and imaginations
around machine intelligence.
So I'm so grateful that, almost three years ago,
Museum of Modern Art in New York,
our curators Paola Antonelli, Michelle Kuo,
and my hero and mentor, [INAUDIBLE] invited to challenge
the idea of a new concept by using 138,000 archives of MoMA--
Museum of Modern Art.
It was a fascinating challenge at pandemic.
And when the world was closed, museums were closed.
As an artist, it was a fascinating possibility
of imagining what happens if we take this GitHub--
open-source data already in the GitHub, the entire archive--
that we can speculate a new form of art.
And what was also very exciting to me is what happens,
this artwork is a dialogue with the public.
In this context, we have a microphone and a camera
and a weather station.
The artwork is every single moment receives this information
and have been producing new type of dreams and across the one
year of exhibition.
And there was another dedicated artwork next to the artwork,
which I'm calling it "Data Anatomy,"
that people were able to see what exactly machine dreams
happening and which formats of--
which embedding space the mission impossible is seeing
the dream, what type of data information, such as weather--
like a rainy day, windy day, or a sunny day versus a very loud
day or a calm day in the museum--
reflecting back to the artwork and has a dialogue instead
of just a monologue, which is a very,
I think, exciting part of it.
And I'm so grateful to say that the artwork received
close 3 three million people.
And the average viewing experience,
based on our understanding, was 38 minutes.
That was a fascinating learning because, finally,
when the art world was skeptical about digital art,
there was this moment of reaction
from the institution to remind us
that there are people like myself dreaming
about this type of information that
transforms into new narratives of humanity.
And I'm so grateful that this received a significant response
from the public.
But most importantly, artwork became the first generative
piece in the collection of MoMA.
And it gave a very positive response
to artists around the world that this can be a medium,
this can be a new type of imagination,
and this is a positive response to many artists practicing
in this field.
And after these experiences around the world,
I learned that there is so much positive and very important
topics that we can go beyond this.
And I'm so grateful that, around the world,
we received these super exciting responses.
But possibilities for me comes with responsibility.
And this is the reason we thought that--
me and my partner, Efsun--
we thought that we can maybe take this to another level
after 10 years of experience.
So we are, right now, working on our next dream.
We call it Dataland.
Dataland is a form of AI museum.
But please don't, maybe, imagine right
away when the museum keyword comes.
But there are people like myself have been practicing
around this field that I do believe
that we can do a lot of new quantification about this field.
And I am imagining that what happens when we bring together
wonderful minds and what happens if we can imagine
a new type of art that, I believe,
can make a more impact than our humble studio
and really make it around the world.
And I'm so happy to say that, for this project,
we thought that we can do something really much
different as a collective and bring all our wonderful friends,
like Google, and do something special.
So what we try to say for this project is, starting last year,
we want to created Large Nature Model.
It's pretty much a large language model thinking,
but it's a little bit more different.
As we know, current AI is heavily
focused on human reasoning and human intelligence.
And I do believe that nature has its own context
and its own reality.
And for this purpose, last year, we started this project.
And I'm so happy to say that wonderful data partners love
the project and its open-source context and education
and research.
We received incredible information across the world,
reaching more than half billion images, sound, and text as well.
And I'm so happy to say that this data finally
becoming at the Google Cloud and a wonderful partnership.
And this, by the way, really, really heavy
work as a small art studio.
And I'm so grateful that Google and Google Cloud--
that we are able to use this research, this process
in the cloud and sustainable energy.
By the way, we are working very closely with the team
to understand what we exactly doing
and then really create something exceptional for a gift
to humanity.
And to add more to this value, we also
physically going 16 rainforests around the world
and collecting our own data to contribute to science,
to share publicly, to open source
this data for researchers, for education,
for people who loves nature, who wants to learn nature.
But the whole idea here is to be the voice of the nature.
So to be the-- truly bring back this wonderful relation that we,
as humanity, as nature--
and remind us how important nature
is, to just love it as much as we can.
And this is a very fascinating research process at the moment.
And also, as you see, the data is open source.
It is coming from all these incredible sources.
We have been doing lots of activation and different types
of fun, also, demos over the time.
And I'm so happy to say that here in Mountain View,
in Google collaboration, we have been, right
now, doing so many research.
And I'm so grateful for the support from DeepMind
to many other friends at Google AI helping us, teaching us how
to truly do this complex research.
And also, I want to show you some examples.
Again, these are all open-source research studies
from our open-source AI models.
And we have been able to create, in one year,
very exciting, almost realistic outputs.
None of them are real looking, but they
are scientifically accurate.
2.5 million species you can see here.
And I believe this can be a fascinating
educational and research tool but, also, for art-making.
And what is also so exciting is we have so many different forms
of outputs.
We see here landscapes, for example.
I mean, so fascinating.
I think rainforests are the lungs of humanity.
And we can think not only just real but,
also, art-making, right?
We have some sort of dream spaces.
And even what we experimented last year is
what happens if we take these two-dimensional images, that we
can hopefully step inside that world, see,
hear, and hopefully smell.
And that's, I think, what we are experimenting right now.
And I am calling this field right now generative reality.
And I'm happy to hear your inputs.
Because I do believe that we have something new here with AI,
with imagination.
And I think we can be kind of feeling and seeing and hearing
and smelling and touching and tasting a whole new universe.
And I do believe that this may be
a new birth of a new movement and, also,
new idea of art-making.
And also, we have beautiful flora systems.
We also explore text-to-video experiments.
So much of, I guess, things can be done in that universe,
which we see the video.
And I'm sure there will be so much, so much things can
be done when we think nature as an input for AI,
that I believe we will find so much fun and inspiring outputs.
On the fauna side, of course, we have beautiful--
at World Economic Forum, this year,
we opened the World Economic Forum
with all the animals of Amazonia.
We especially focused rainforest.
And we had these beautiful creatures
that we were able to generate and tell the world leaders how
important this space.
And for our audio research, we have quarter million--
all the birds of Amazonia here with Cornell Lab
that, thanks to them, we were able to help the researchers
by using AI by clustering and hearing and seeing
the complexity of nature.
To think that what can we do with this incredible
information-- bring attention, again, love to nature.
And in this data, there is one thing
that is very different than any of this information.
One of the reasons I am so inspired
with this type of-- or part of my life
is pretty much not necessarily only data or AI.
This is a bird called [? Chana. ?]
And this bird doesn't exist in any AI neural networks.
[? Chana ?] is a name, a special bird, a spiritual bird,
a name given by the Chief Nixiwaka and Chief Putanny.
They are the Indigenous leaders, spiritual leaders
living in Amazonia in Acre.
There are only 1,000 people, but they have been living
in the forest with harmony, with love and respect to nature
for thousands of years.
They are my mentors.
This excitement that I was sharing
with you about the nature that I learned
four years ago from them--
what does it mean to live in a nature?
And they are so important to me because I learned so much
from them that I couldn't find in any documentary,
a book, a story that I read.
And this is the name given to me by them.
And it's so special because I learned so much
when I shift my perspective at data as just a point.
I was hosted by them-- and my partner--
in beautiful Amazonia in Acre in Brazil.
And we went through this very challenging road and land
to their beautiful village.
And we connect with the family and have a very special
relationship.
I became one of their family members.
And what I learned was something so special--
that I understand how they live, how they save information, how
they preserve their culture, how they preserve the nature for us.
And I ask, what could be your dream?
And the good news is, they had, of course,
one of the most inspiring dreams.
And the Chief Nixiwaka was hoping to bring 1,000 Amazonian
leaders together in his village to sit together to think about
the future of humanity.
And we were able to collaborate with the young Yawanawá artists.
And these are their beautiful paintings
that I believe one of the most beautiful thing I've ever seen.
These are canoes, the graphical representation
of their graphical patterns.
And they can only generate 13 of them.
But they love generative AI.
They love our work.
And they allowed us to use their work,
connect with our eight years of AI work,
and we come up with a project called "Winds of Yawanawá."
The purpose of project--
to help Chief Nixiwaka's and Yawanawá people's dreams.
And with this project, we also put a weather station--
that you remember from our projects.
And we let this 1,000 piece get a real-time weather data,
influence the motion, and generate "Winds of Yawanawá."
And this project's all entire proceeds
went to the Yawanawá people, and we raised $2.5 million for them.
[CHEERING, APPLAUSE]
Thank you.
[APPLAUSE]
Thank you.
This project allows them to make their first museum,
the first school, and the first village.
So there is so much power in generative AI, the technology
and beyond, when we use it purposefully.
And I'm happy to say that, this year, they
were the first Indigenous leaders accepted
to be speaking in the mainstage, and their voice is finally
heard.
And I think ancestral wisdom will bring us
an incredible possibilities to respectfully understand
what it mean to be human and really understand
where we are going.
And I want to finish my keynote with the words of Chief
Nixiwaka.
He says, "It's new times we are living now.
Time for forgiveness.
Time for love.
Time for spirituality.
It's time for humanity to look back to the origins--
to the Earth.
To our hearts.
To learn, to love, respect one another.
To make alliances, join the forces.
This is the moment."
So thank you very much for listening.
[MUSIC PLAYING]
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