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
Church and state
Culture
Freedom of Belief
War & peace
7 min read

Nigerians plead for an end to rampant murder

So-called ‘grazing conflicts’ need to be treated as a real humanitarian crisis

K.C. Nwajei is a freelance journalist based in Nigeria. 

Small huts in a crowded refugee camp.
Displaced villagers shelter in refugee camps in Benue State.
Open Doors.

 

In the state of Benue in the North Central region of Nigeria, life has become short and brutish, as mothers bury their husbands and children in an endless grief pervading Nigeria’s Middle Belt region. 

In a region where women and families once tilled the soil for sustenance as children played freely on farmlands, an unrelenting nightmare now unfolds with worrisome and haunting regularity. 

Vicious and armed herdsmen, cloaked in impunity, have turned many villages and communities in the area into killing fields. They leave behind mass graves, charred houses, and shattered lives. 

As the world watches in silence, cries from the bloodied farmlands, a steady but unabated genocide unfolds, bringing in its wake ashes of burned houses and orphans, the human cost of Nigeria’s silent killings. This is the sad reality of our times. 

Many human rights groups and people of conscience say this is no longer a local conflict over grazing routes but a serious humanitarian crisis—the agony of abandoned lives in Nigeria’s killing fields crying out for justice and urgent, pragmatic international intervention before the region is wiped off the map. 

The most recent of these gory tales is the Yelewata Massacre in the Guma Local Government Area of Benue state. Reports have it that more than 200 innocent, vulnerable and unsuspecting persons—children and elderly from 47 families—were killed by suspected herdsmen on June 13 and 14. 

In a shocking revelation by the Nigeria’s National Bureau of Statistics, 614,937 people were killed in the country in the past year. According to a local newspaper report (Daily Trust, June 22), the death toll figure is 10 times more than in war-torn Russia and Ukraine, which stands at 67,000. 

A victim of the mayhem, Janet Erdoo Terhemba, recounted her ordeal, in the news reports of the This Day newspaper. 

“I wasn’t around when it happened. At first, I was told my uncle was missing. Later, they said they found my father and stepmother. But my uncle and others, including a toddler, were burnt beyond recognition. They were butchered before they were set ablaze. My uncle was butchered—his wife too. In total, I lost eight people in one night … they were killed.” 

Ajim Doowuese is an internally displaced person from Yelwata. “All my children were burnt to death,” she said while sobbing. “Now I am childless.” 

David Tarku recounts this: “I traveled out of town and returned late in the night. Suddenly, the herdsmen attacked. I started running with my family, but my cousins were not lucky. They were killed.” 

These massacres have provoked reactions from Christian leaders, government, human rights groups, and well-meaning Nigerians, calling for decisive government actions. Pope Leo XIV, in his first official statement regarding the crisis in Nigeria, described it as “a terrible massacre in which mostly displaced civilians were murdered with extreme cruelty.” The pontiff offered prayers for security, justice, and peace for rural Christian communities he described as “relentless victims of violence.” 

The Rt. Rev. Dr. N.N. Inyom Bishop Emeritus of the Diocese of Markurdi, confirmed the story, while emphasizing that this is a “genocidal attack targeted at predominantly Christian communities.” 

Inyom has been a member of the Benue State Security Council through the past two administrations, and is a specialist in conflict and peace studies. “By any stretch of imagination … this is not a conflict,” he said. “It is pure genocide. … These are purely activities of terrorists to take the land of the communities. I have documents to support what I am saying, and pictures and names of the families and people killed in the Yelewata community.” 

“We have been living with this crisis over the years,” he added. “The Yelewata catastrophe is unimaginable.” 

“Benue state has 23 Local Government Areas, and about 17 are completely devastated. Over 1.5 million (mostly women and children) villagers are living in Internally Displaced Camps in the state. 

“Before my retirement, I had six archdeaconries. Out of these six, four have been sacked by the invading terrorists,” the bishop said. 

To buttress his claim, the bishop presented a list of the names and families he says have been killed during the Yelewata crisis. 

He challenged church leaders, irrespective of denomination, to speak up. “If the Pope could speak from the far-away Vatican, what happened to our local leaders? Let the church not just busy or bury itself in ‘spiritual deliverance.’ We need physical deliverance for our people who are being killed. I read a book on Rwandan crisis where the United Nations was asking, ‘Where was the Church before the escalation of the Rwandan crisis?’ Let the Church in Nigeria arise and let the leaders unite and save these communities.” 

He challenged the government to prioritize its duty of ensuring the security of lives of their citizens. “Government is not just about winning elections. They are looking at 2027 general elections. Meanwhile, people are being killed in 2025. Government must stop playing politics with the lives of its citizens.” 

“The greatest problem, he said, is that over time, government has not summoned the political will to implement the recommendation of the Peace and Reconciliation Commission. 

He called on the federal government to set up a Commission of Enquiry on this recurring crisis. 

Bishop Inyom called on the international community to intervene: “This is a Macedonian call. The international communities must speak up because a serious humanitarian crisis is looming.” 

Meanwhile, Amnesty International has been documenting the alarming escalation of attacks across Benue, where gunmen hold sway over the territories. 

Some prominent traditional rulers and Christian leaders have continued to express frustrations. 

In a strongly worded statement shared on X .com, Apostle Johnson Suleiman described the killings as evil, barbaric, and a mayhem. 

At a town-hall meeting with Nigeria’s President Bola Ahmed Tinubu, professor James Ortese Iorzua Ayatse expressed his alarm: 

“We do have grave concern about the misinformation and misrepresentation regarding the security crisis in Benue State. It is not herders-farmers clashes, it is not communal clashes, it is not reprisal attacks or skirmishes. It is such misinformation that has led to suggestions such as “remain tolerant, negotiate for peace, learn to live with your neighbour. 

“Your Excellency, what we are dealing with in Benue is a calculated, well-planned, full-scale genocidal invasion of land-grabbing campaign by herder terrorists and bandits which has been on for decades, and it is worsening every year. 

“Wrong diagnosis will always lead to wrong treatment. So we are dealing with something far more sinister than we think about. It is not learning to live with our neighbors. It is dealing with the war.” 

The leader of North Central Peace Advocates, Frank Utor, in a This Day newspaper report, wrote that the killers are well-trained members and affiliates of international terror groups with the mission to levy war against the indigenous communities of Benue, Plateau, and other parts of North Central. “The killers do not rear cattle, they do not engage in any known pastoral activities,” he said. 

Several media outlets have quoted elder statesmen in the communities expressing concerns about what some of them described as the “genocidal activities” of the criminal herdsmen. Some have argued and lamented that governments have failed to live up to their constitutional responsibility of protecting lives. 

The media, particularly social media, are awash with news berating the political elites in the state for failing to present a united, formidable, and common front to tackle the gruesome serial murders and carnage perpetuated by these criminal armed men. 

At a recent forum during the presentation of a posthumous award to Late Chief Raymond Alegho Dokpesi, a media mogul and founder of African Independent Television, the Rev. Father George Ehusani, a prominent Catholic priest and civil rights activist, said: 

“A lot of the clashes in Benue state are not clashes between two people. People are in their farms and 100 people in motorcycles with AK-47 riffles invade their village, sack them, and kill many. That is not ‘two fighting.’ That is one group of people going to kill people and sack them from their villages. 

“If AIT [a TV news channel] reports the news as “Clash over land in Benue state,” that would not be correct. That would be a lie.” The fact that we should communicate with gentleness does not mean we should tell lies.” 

According to monitored media reports, less than 72 hours after the mayhem, a combined force of Nigeria’s military and police chiefs launched a joint, cross-border manhunt for the gunmen who killed around 200 villagers in Yelewata on the night of June 13. 

Gen. Christopher Musa, the chief of defense, and Kayode Egbetokun, inspector-general of police, arrived in Markudi on June 16 to coordinate the operation. After assessing the carnage, Musa vowed to take the battle to the terrorists by changing the military’s strategy to fit the situation on ground. 

President Bola Ahmed Tinubu, who had previously condemned the violence in Benue state, had also directed security chiefs to implement his earlier directive to bring peace and security to the state. 

Following his visit to Benue on June 18, President Tinubu directed the Benue State Governor, the Rev. Hyacinth Iormem Alia, to set up an all-inclusive peace committee for the resolution of contentious issues that have rendered past efforts fruitless. 

In response, HURIWA, a human rights group, accused the Governor of showing what it describes as “aloofness to the gravity of the situation of mass slaughter of his people—women and children—by the terrorists masquerading as herders.”

This article first appeared in Livingchurch.org. Reproduced with permission. 

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