The artist Stephanie Dinkins has long been a pioneer in combining art and technology in her Brooklyn-based practice. In May she was awarded $100,000 by the Guggenheim Museum for her groundbreaking innovations, including an ongoing series of interviews with Bina48, a humanoid robot.
For the past seven years, she has experimented with A.I.’s ability to realistically depict Black women, smiling and crying, using a variety of word prompts. The first results were lackluster if not alarming: Her algorithm produced a pink-shaded humanoid shrouded by a black cloak.
“I expected something with a little more semblance of Black womanhood,” she said. And although the technology has improved since her first experiments, Dinkins found herself using runaround terms in the text prompts to help the A.I. image generators achieve her desired image, “to give the machine a chance to give me what I wanted.” But whether she uses the term “African American woman” or “Black woman,” machine distortions that mangle facial features and hair textures occur at high rates.
“Improvements obscure some of the deeper questions we should be asking about discrimination,” Dinkins said. The artist, who is Black, added, “The biases are embedded deep in these systems, so it becomes ingrained and automatic. If I’m working within a system that uses algorithmic ecosystems, then I want that system to know who Black people are in nuanced ways, so that we can feel better supported.”