The impact of technology on how we experience theÌıworld creates both new possibilities and a host ofÌıpractical and ethical questions. But Tiffany Calvert, anÌıassociate professor in UofL’s Hite Institute of Art + Design,Ìıis looking for answers — and to find them, she’s goingÌıstraight to the source.

In her “Machine Vision Series,â€� Calvert partners withÌıher own virtual apprentice, a bot trained to paint as herÌıcollaborator. Calvert believes working with AI can help usÌıunderstand its implications and explore the blurring lineÌıbetween what we see and what’s real.

“I often get asked, ‘is AI your collaborator or your antagonist?’ � said Calvert, one of many at UofL exploring the world through creativity. “The answer is that it’s complicated. I’m working with AI in a way that both criticizes its vulnerabilities and has a healthy appreciation of what it can do.�

ART DOTCOMÌı

Cutting her artistic teeth at the height of the ‘90s Dotcom bubble, Calvert has long been fascinated with the intersection of art and technology. Then, traditional forms of visual expression were converging with new digital tools for photo-editing and design.Ìı

“There was something exciting about that convergence and the fact that I could use these tools to build something creative,â€� she said. In a way, Calvert saw technology as a medium similar to charcoals or paint. But as technology has advanced, now capable of its own analysis and decision-making, it’s become more of an artistic partner.ÌıÌı

For her “Machine Vision Series,â€� Calvert trained her AI collaborator by feeding it more than 1,000 historical still life paintings of tulips in bloom. It’s a technique known as machine learning, where a computer is shown examples to learn what something looks like — be it cars, crosswalks or frescos.ÌıÌı

After a while, the AI could recognize the tulips and begin to ‘paint’ its own. Calvert would paint, then the computer, then Calvert again, caking on thick, colorful globs of oil pigment to differentiate herself from the machine.ÌıÌı

The partnership might seem counterintuitive. Art, after all, is built on humanity and meaningful imperfection, but you’d expect a computer algorithm — something literally built on logic — to produce only the predictable and perfect.ÌıÌı

But when the AI painted, it wasn’t perfect. The algorithm can only interpret based on what it’s seen before, and sometimes, it misinterpreted or made logical leaps. Some AI-generated tulips were distorted in interesting and unpredictable ways like confusing the bulb of a flower with, say, an oyster or halved peach.ÌıÌıÌı

“Those distortions behave like a mutating virus,â€� Calvert said. “It’s interesting, because while it’s incredible that the technology can generate beautiful imagery, those misinterpretations reveal the underlying humanity in the code, and the biases inherent in datasets.â€�Ìı

THE HUMANITYÌı

While flowers that look like peaches might seem like a problem, for Calvert, it’s a good thing. Artists are much more interested problems than answers.ÌıÌı

“That’s where the interesting stuff happens,â€� she said. “These problems allow me to explore larger issues. How is this a metaphor for technology infecting our world and what precedents are out there?â€�Ìı

AI can be a powerful tool, she said, but it’s only as good as its human creators and users — who aren’t always clear, make mistakes and sometimes behave irresponsibly, irrationally or maliciously.Ìı

“The technology is obviously only as good as the information we give it, how we program it and how we use it,â€� she said. “That’s the underlying paradox, the humanity in the machine.â€�ÌıÌı

Take the technology that created the tulips in Calvert’s paintings. Those specific tulips are the result of creative farming — a plant virus that boomed during the 17th century Dutch Golden Age, creating an explosion of new and unique tulip colors and variants.Ìı

That virus underpinned Tulip Mania, the first speculative bubble of the modern era, where the flowers were as much an investment and status symbol as decoration. Dutch consumers might have purchased a tulip bulb for more than the average salary.Ìı

“When Tulip Mania happened, the technology got way out of control from both an economic perspective and a biological one, where it’s now a problem for farmers,â€� Calvert said. “So humans, in their hubris, didn’t understand the destruction they’ve created.â€�Ìı

That’s why, Calvert said, it’s important to take a critical eye to technology and understand its implications. For example, with AI technology readily available and the content it creates surging across the internet, a recent Forbes survey shows some 75% of consumers worry AI will be used for misinformation.Ìı

“It’s interesting to explore, because AI is both really critical to solving important problems and at the same time, it depends on who programs and uses it,â€� she said. “Painting has always adopted and responded to new technologies, as a ways of examining our perception of the world.â€�Ìı

Last year, University of Louisville officials began an of the 28-year-old , offering students more than 112,000 square feet of additional or renovated dining, retail, meeting and office space.

As part of that project, there will be a new campus visitor space in the SAC – theÌıHerman and Heddy Kurz Visitors Room – where potential students will meet admissions officials, pick up campus information and embark on campus tours. For many potential students and their families, this space will be their first impression of UofL.

Project directors envision placing two murals on walls there that creatively represent UofL’s personality and traditions, while generating a sense of pride and excitement.

UofL is issuing a request for submissions for mural concepts from the creative minds who know the institution best: our own. Artists and designers who work at UofL, are currently enrolled or have graduated from UofL are encouraged to submit concept proposals.Ìı

“We hope to highlight the talent and creativity of our alumni working within the fields of art and design and bolster ties to the community,” said Kim Butterweck, director of communication initiatives. “If designed by UofL students or alumni, then the murals become an interesting talking point for our tour guides. Our hope is the campus visit area in the SAC becomes one of UofL’s most unique and often-photographed spots on campus, while also contributing to our city’s public art offerings.”

One goal is to harness the power of social media with one of the murals. It’s envisioned as a ‘selfie wall’Ìı– a backdrop that will inspire students and potential students to take their photos and proudly share them to their social media accounts.

As currently conceived, the two interior murals will be two-dimensional and printed on vinyl, with UofL vendors handling installation. However, project directors are open to other, more innovative types of murals, installations or materials that achieve project goals.

If interested in submitting a concept, click here to request the official Request for Submissions, which contains additional project information and guidelines. The project is a paid opportunity.Ìı

She would draw a picture a day of her life here.

“I’m new here, it’s a new city, and the best way for me to understand it is to draw it,â€� she said.

The daily practice resulted in “,� 365 drawings in seven accordion style notebooks. While the drawings are stylistically similar, subjects range from moments of reflection and snapshots of work life to sketches of many of Louisville’s most beloved haunts and traditions, like the Palace Theatre and the triple crown of running. Intrinsic in the series is a sense of discovery in what Louisville long-timers would consider familiar.

One of the notebooks from the collection is on display in “â€� the current exhibition of work by new Hite Art faculty at the Cressman Center, 100 E. Main St. The entire collection is also on Instagram: . ÌıÌı

Khalili said several factors inspired the daily practice.

A Washington, D.C. native, she had lived in several cities in quick succession before landing in Louisville, including Richmond, Virginia, where she earned her BFA and MFA at Virginia Commonwealth University, School of the Arts.

“I was happy to settle down for a minute,� she said.

At the time, Louisville was grieving the loss of Muhammad Ali.

The rich outpouring of respect at Cave Hill Cemetery assured her that Louisville was a special place.

“I thought this city deserves a real homage. It deserves to be dug into and discovered and for me to understand where I landed.�

She had already begun drawing intentionally as a way to discover place on motorcycle trips she had taken down the east coast.

“I wanted to take a practice I did for fun and put into daily practice,� she said. “The ritual of drawing strengthens my visual skills.�

Khalili’s ‘Type Hike’ poster also on display ÌıÌı

Khalili’s work will also be on display in an exhibition entitled “” in Schneider Galleries Aug. 18-Sept. 22.

“Type Hike” is a collection of artistic posters that celebrate the National Park Service.

Designers David RygiolÌıandÌıJames Louis Walker created the project last year to raise money for national parks during its centennial celebration. They invited graphic artists from across the country to submit a poster for each national park. The resulting 60 posters reflected each park’s unique landscape through highly stylized typography.

Khalili created the poster for .

“I was honored to be included among so many award-winning, internationally recognized designers,� Khalili said. “This project also allowed me to see my work do some good and that’s very gratifying.�

Proceeds from print sales have raised thousands of dollars for the National Park Service at a time when federal funding has been cut.

“Type Hike� has been exhibited in galleries across the country, added to the permanent collection of the Library of Congress and received considerable national media attention.

The project recently expanded to include the National Park Services’ protected sea and lakeshores and endangered species.

Khalili noted that “New in Lou” and “Type Hike” both reflect geography, as is often the case with her work. As a first-generation Iranian American, she’s deeply influenced by geography, impermanence and history. Her academicÌıresearch explores typography and Persian calligraphy through multimodal media and focuses on design, illustration and book art. HerÌımoving typography work will be showing in Jakarta, Indonesia this fall.Ìı

See more of her design work .

Classes at the UofL Hite Art Institute have found many ways to incorporate these tools, available on-campus in the GE Appliances-backed FirstBuild makerspace and microfactory. The printmaking studio, for example, has used the facility’s equipment to cut stones used in the printing process.Ìı

“It’s pretty limitless,” said Rachel Singel, an assistant professor at Hite. “It’s just real … a dream to have those facilities available,” she said, adding that it allows students to experiment with new tools and broaden their perspectives by working with people in other fields.

Another instructor,ÌıPower Designer-in-Residence Leslie Friesen,Ìıused FirstBuild to teach design. She brought her class there to produce 3-D elements for a project, in part, to give them experience with different equipment, materials and methods of production.

“I think it’s really nice having the engineers and the designers work together,” said Amber Kleitz, a student in the design class. “Having all of these different facets of my design career, even as a student, I feel that I can show how versatile I am.”Ìı

The free, public TEDxUofL 2017: Growth conference is organized by the Planning Student Organization, affiliated with UofL’s urban and public affairs department.

The 10 a.m. to 4 p.m. event at the Red Barn will feature discussions about community, creation and cultural competency through a series of “TED-style� brief talks; the format is modeled on conferences that began in 1984 with one that tied in technology, entertainment and design (TED).

“With creative ideas and a strong sense of community, we can cultivate a world where all cultures are embraced,� said graduate student Nia Holt, a TEDxUofL organizer. “We plan to explore how cultural competency, creation and community could help us improve our understanding of those around us and our surroundings.�

Although the event is free, session space is limited and participants must register by April 6 for each session (cultural competency, community and creation) they plan to attend .Ìı

Scheduled speakers and sessionsÌıare:Ìı

• Cultural Competency (10-11:30 a.m.), with Aaron Rollins, UofL public administration; Tony Belak, International Center for Compassionate Organizations; Pradeep Deshpande, Six Sigma and Advanced Control; and Brandy Kelly Pryor, Center for Health Equity.
• Community (noon-1:30 p.m.), with John Hopkins, Center for Neighborhoods; Eric Blair, Kentucky Refugee Ministries; Jessica Pendergrass, Louisville Grows; and Lynn Rippy, YouthBuild.
• Creation (2-3:30 p.m.), with Mark Hogg, WaterStep; Josh Miller, IDEAS xLab; Nat Irvin, UofL business; and Ehren Reed, Louisville Visual Art.

Is it a biome? A threat? A provider of livelihoods?

For students participating in “36 Miles: Revealing the Ohio,� a collaborative, creative research project, the river is all of these things and more.

Gresham, Smith and Partners’ Urban Design and Landscape Architecture Studio hosted “36 Milesâ€� in partnership with UofL’s Hite Art Institute and the University of Kentucky Department Of Landscape Architecture. Ìı

The purpose of the project is to bridge art and design education, increase environmental awareness and connect people with Louisville’s hallmark waterway.

“The goal is to reconnect the general public with the history and culture of the river by telling its story in an approachable, highly visual way,â€�Ìısaid Louis R. Johnson, project manager with Gresham, Smith and Partners. “The team will reveal important moments in Louisville’s River History and special places unknown to many residents.â€�

The project resulted in an exhibition at the newly opened , 1538 Lytle St., through May 13. The exhibition is free and open to the public.

Nine students from Hite’s advanced photography class, taught by associate professor Mary Carothers, participated in the project and have pieces on display.

“My artwork examines the river as the backbone of Louisville,� said Hite student Kelsi Wermuth. “Its vital existence is the reason human beings settled in the area. Just as the spine is the main neurological delivery system in our bodies, more cargo is delivered through the Ohio River than any other water system in our nation. This photographic sculpture references the life this geographical feature gives humanity.�

Two Hite students have fathers who are both river boat captains, which inspired their pieces.

Chelsea Wolfe used texts and pictures of her father’s location on his boat’s route with coordinates to compile a large-scale photo map of his trip.

Kathryn Harrington worked with her father to choose their favorite images from his trips to create an archive of what the river means to him as a captain: a livelihood, way of life and home away from home.

Carothers, , said she was impressed with what the students accomplished through the project, and hopes to continue the work in the future.

“I’d love to design a class around it,� she said.