Review
AI
Art
Culture
5 min read

Art, AI and apocalypse: Michael Takeo Magruder addresses our fears and questions

The digital artist talks about the possibilities and challenges of artificial intelligence.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A darkened art gallery displays images and screens on three walls.
Takeo.org.

In the current fractured debate about the future development of Artificial Intelligence (AI) systems, artists are among those informing our understanding of the issues through their creative use of technologies. British-American visual artist Michael Takeo Magruder is one such, with his current exhibition Un/familiar Terrain{s} infusing leading-edge AI systems with traditional artistic practices to reimagine the world anew. In so doing, this exhibition pushes visitors to question the organic nature of their own memories and the unsettling notions of automatic processing, misattribution, and reconstruction. 

The exhibition uses personal footage of specific places of renowned natural beauty that has been captured on first generation AI-enabled smartphones. Every single frame of the source material has then been revised, reworked, and rebuilt into digital prints and algorithmic videos which recast these captured moments as uncanny encounters. In this exhibition at Washington DC’s Henry Luce III Center for the Arts & Religion, the invisible work of the AI allows people to experience more than there ever was, expanding both time and space. 

Magruder has been using Information Age technologies and systems to examine our networked, media-rich world for over 25 years. A residency in the Department of Theology and Religious Studies at King’s College London resulted in De/coding the Apocalypse, an exhibition exploring contemporary creative visions inspired by and based on the Book of Revelation. Imaginary Cities explored the British Library’s digital collection of historic urban maps to create provocative fictional cityscapes for the Information Age. 

JE: You are a visual artist who works with emerging media including real-time data, digital archives, VR environments, mobile devices, and AI processes. What is it about the possibilities and challenges of emerging media that captures your artistic imagination? 

MTM: As a first-generation digital native, computer technologies – and the evolving range of potentials they offer – have deeply informed my life and art. Computational media not only opens different avenues for artistic expression but provides a novel means to recontextualise traditional artforms and histories of practice; its ephemeral nature is a particular draw. However, this also creates new challenges, especially in areas concerning preservation and access. I sometimes wonder if my art will still exist for future generations to experience in full, or if it will simply fade alongside the technologies that I’ve used in its production. 

JE: To what extent does Un/familiar Terrain{s} build on past exhibitions like Imaginary Landscapes and Imaginary Cities, and to what extent does it break new ground for you? 

MTM: Un/familiar Terrain{s} certainly arises from and expands on the artistic concepts of those past projects. The main difference is that each artwork in Un/familiar Terrain{s} is generated from a small sample of personal data (a scenic moment that I’ve captured intentionally), not digital materials gleaned from large public archives and online collections.      

JE: Do you find that working with images of the natural world (as is the case with this exhibition) as opposed to images of human-made environments (as you did with 'Imaginary Cities') leads to different approaches or inspiration on your part? 

MTM: My projects that explore constructed environments often reference principles of Modernist architecture and design whereas my pieces in Un/familiar Terrain{s} explicitly seek to dialogue with the long history of Western landscape art. The AI systems that I have used in their creation are leading edge but conversely, their conceptual references extend back to long before the onset of what we consider ‘modern’ art.  

JE: I've heard many artists criticise digital art in terms of degrading the principal tools and techniques of artists throughout history and those arguments would be made even more vigorously in relation to AI. In this exhibition you're enabling a conversation about the painterly effects you can create as a digital artist and those that can be achieved through AI, yet without leading us to one side or other of that argument. Is your vision essentially one of wanting to see the possibilities in whatever tools, techniques or technologies we have to hand? 

MTM: Absolutely. For me that’s one of the fundamental purposes of art. AI is unquestionably the most disruptive (and potentially problematic) technology affecting creative communities at present, but it’s just the most recent historical example. I imagine similar criticisms arose during the proliferation of devices like the printing press and the first photographic cameras. Such inventions clearly did not ‘degrade’ art, but they indisputably shifted its trajectory. 

JE: While your work is not expressly religious, you have engaged with theological themes and institutions as with Un/familiar Terrain{s}, which is on show at Wesley Theological Seminary in Washington DC. What do you think it is about your work and the ways you use and explore emerging media that enables such a dialogue to take place?  

MTM: I feel that many of the social and ethical questions raised by the emergence of transformative digital technologies are quite similar (and sometimes identical) to ones that have been traditionally posed by theologians. With that in mind, although the fields are quite different in many ways, at present there are some strange and compelling intersections. 

JE: From your experience, what can theological or religious institutions learn from a more engaged involvement with emerging media, particularly AI? 

MTM: Like artists, perhaps theologians can use emerging (and disruptive) media to not only expand possibilities for their work, but more importantly, to refocus their efforts towards areas that these technologies cannot presently (and will likely never) address. 

JE: Apocalyptic scenarios are often invoked in response to developments such as AI, the refugee crisis, populist political movements or the climate emergency. In De/coding the Apocalypse, you worked with emerging media to explore contemporary creative visions inspired by and based on the Book of Revelation. From that experience, what advice would you give to emerging artists wanting to engage with or invoke apocalyptic imagery? How might emerging artists live in the shadow of apocalypse or what have you noticed about our contemporary fear of modern apocalypses? 

MTM: Throughout history, visions of apocalypse have been consistently rooted in humanity’s prevailing fears. In the Digital Age these sit alongside our growing concerns about technologies that afford increasingly greater potential to create or destroy. Of course, artists should continue to reveal the deeply problematic (and potentially apocalyptic) aspects of new technologies, but they should also highlight their positive aspects to encourage the creation of “a new heaven and a new earth” that can be a better place for all. 

 

Un/familiar Terrain{s}, 30 May – 18 September 2024, The Dadian Gallery, Henry Luce III Center for the Arts & Religion.

Article
Culture
Migration
Politics
6 min read

It's 2029 and PM Farage has reformed asylum

Are refugees really no longer deserving of our protection?

Steve is news director of Article 18, a human rights organisation documenting Christian persecution in Iran.

Nigel Farage stands and gestures in front of a flag.
Reform.

The year is 2029 and Nigel Farage has just been elected as the new prime minister of the United Kingdom. 

As one of many sweeping reforms in his first few months in office, the new PM has deported thousands of asylum-seekers to countries including Eritrea, Afghanistan and Iran.  

Upon return to these countries, it has been reported that several of these asylum-seekers have faced arrest, torture, and even execution. 

Now of course this is only a fictional depiction of one possible future, but it is a future that would appear at least conceivable, given recent polling and the pledge of the Reform party leader to deport every individual who travels illegally to these shores, whether or not they may face a risk to life upon their return home. 

Such statements would have been almost universally lambasted not so many years ago, but the current status of our immigration system - and politics - has seemingly rendered them palatable to a growing number of Brits. 

“I don't think it's about hate,” said one caller to BBC Radio 5 Live when Reform’s plans were announced last week. “I think it's about the way [immigration’s] been handled up to now by this government and the previous government, [which has] created a lot of unease.” 

Another caller admitted the issue had divided opinion, but provided a contrasting perspective: 

“This is Nigel Farage all over,” she said. “It's what he's done since before Brexit. What does he need to win in this country? He needs division. And what's the most divisive issue we can come up with? Immigration. And what a privilege we have to live in a safe country where, God forbid, none of us will ever have to pick our children up and flee persecution!” 

All of which brings us nicely back to the particular - and certainly complex - issue at hand: namely, what should be our response to those asylum-seekers who have genuinely fled from persecution and may face more of it should they be returned home? 

The safeguarding of such individuals is at the very heart of the 1951 Refugee Convention, which all Western democracies (including ours) have ratified and long defended, and which includes the principle of “non-refoulement”: prohibiting "the forcible return of refugees or asylum-seekers to a country where they are liable to be subjected to persecution”. 

“Our values have always been that where people are under a real and substantial risk of physical torture or persecution … then we as a country have always been prepared to have them,” former head of the judiciary Lord Thomas explained on another BBC Radio show last week. “I don’t think we should abrogate values embodied in the convention … because that’s part and parcel of our history and our tradition and our standing as a liberal democracy.” 

And yet, as Lord Thomas’s interviewer correctly pointed out, this is precisely what Reform are pledging to do, should they come to power.  

Indeed, an increasing number of politicians here and elsewhere now argue that the Refugee Convention and other similar treaties, such as the European Convention on Human Rights, must be reformed - or even ignored - in light of a much-changed world. 

We are not the only country facing an immigration crisis, of course; nor are we the first to consider drastic measures to stem the tide of asylum-seekers arriving on our shores. 

In his own first few months back in office, the US president, Donald Trump, made good on his own pledge to tighten up America’s borders by, among other things, deporting illegal immigrants

Among them were several Iranians who claimed to have a reasonable fear of persecution should they be returned home, given their expressed conversions to Christianity. 

In May, a US congresswoman proposed that legislation should be amended to protect such religious refugees from deportation, naming her bill, the Artemis Act, after one of the Iranians who had been deported to Panama. 

In June, the issue returned to the headlines when another Iranian asylum-seeker was filmed having a panic attack as her husband and fellow Christian convert was taken away by the US’s immigration enforcement agency, ICE. 

In July, the couple’s pastor - another Iranian Christian who had arrived in the United States as a refugee some years ago - travelled to the White House to conduct a three-day hunger strike in protest against the detention of his church members. 

And in August, in an interview with the director of the advocacy organisation for which I work, the pastor called for “deep reforms” to the immigration system, saying that “most [Iranian Christian asylum-seekers in the US] tried many times to come through a legal way, like a refugee pathway, but there is no legal way for Iranians to become refugees in the United States.” 

“If you were in the UK, and you had nothing to feed your children or grandchildren, what would you do?” 

A legal pathway for religious refugees is also something that has been called for in the UK, including by the frontrunner to be the next leader of the Church of England - another Iranian former refugee, Bishop Guli Francis-Dehqani.  

So the need to reform the asylum system here and elsewhere is something that would appear to be agreed upon by all sides in the debate. 

Reporting on the plight of refugees was not something that was considered part of my remit when I first joined Article18 midway through Trump’s first term in office. Back then, our focus was only on documenting the persecution Christians were (and still are) enduring in their homeland.  

But as the years have passed and the numbers of Iranian Christians seeking asylum have grown while the opportunities for them to be resettled have drastically shrunk, the issue has become an increasing and ultimately un-ignorable concern. 

In the last two years alone, my organisation has released reports on the plight of Iranian Christian refugees in Turkey, Georgia and, closer to home, Sweden, while concerns have also been raised about Iranian Christian refugees in several other countries, including Armenia, Iraq and Indonesia. 

In each of these countries, as in Blighty, the common denominator appears to be simply that these refugees - however worthy their claims may be - are unwanted and untrusted by their hosts. 

During my research, I came across a refugee support group in Colchester, Refugee, Asylum Seeker & Migrant Action (RAMA), whose director, Maria Wilby, I had the privilege of interviewing, and whose perspective has stayed with me. 

Ms Wilby picked me up on a comment I had made, when I suggested that “one could understand why people may feel less sympathy for economic migrants, but surely not refugees”. 

Her response was not dissimilar to the words of the second caller to 5 Live: 

“If you were in the UK, and you had nothing to feed your children or grandchildren, what would you do?” she asked. “You’d go to the next country and ask them to feed them. And that’s what it means to be an economic migrant. It’s not about, ‘Oh, I’ve got a nice car, but I want a nicer car.’ These are people who are literally starving, and feel so disadvantaged that they think the next generation will also be equally disadvantaged. And of course then you try and move. 

“And back in the day, it used to be that if you had a child in another country, they would basically be a native of that country. We’ve changed the rules to mean that migration and borders grow and grow. And actually, we’ve created this system – all of us have created this system by standing by and letting it happen – and it’s not right. If I believed in God, God certainly didn’t intend there to be borders. Nobody would. Why would you? It’s an unnatural concept. We are one world, and we should share it.” 

I’m not sure Nigel Farage would agree, but whatever one’s perspective on the need for border control, surely we should all be able to agree that those with genuine claims to have fled persecution should be afforded our help, or at the very least protected from refoulement.

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