MishMash was formally opened today with a full-day program exploring artificial intelligence and creativity.
Internal program
The day began with a research application workshop followed by work package meetings. We are still working on
Work
Panel session
To celebrate the opening of MISMAS (MishMash), a new national center for research on artificial intelligence and creativity, the panel discussion “Det umuliges kunst? Om bruk av KI i kreativ praksis” was held at Scene Domus Bibliotheca. Moderated by Jon Marius Aareskjold-Drecker, the event brought together artists, editors, and researchers to debate the ethical and legal challenges posed by generative AI in the cultural sector.
The discussion highlighted several critical concerns regarding the “shittification” of culture and the protection of artists’ rights. Irina Eidsvold-Tøien raised the alarm on the use of AI to recreate deceased artists, such as Jan Werner Danielsen, arguing that the use of personal identity markers like voice and likeness should be protected as fundamental human rights. Flu Hartberg, a co-founder of the initiative KIKI, expressed strong skepticism toward AI “plagiarism monsters” that train on stolen data, citing a controversial AI-generated cover for a children’s book as a warning of declining artistic quality.
From the music and media industries, Ole Henrik Antonsen discussed the difficulty of regulating powerful tech companies and the slow implementation of legal frameworks like the DSM Directive, while Trine Eilertsen shared how Aftenposten balances AI efficiency—such as automated transcription—with a strict commitment to human-led, verified journalism to combat AI-generated misinformation.
The panel also explored AI as an experimental tool. Benedicte Wallace detailed the ethical complexities of using motion-capture data from dancers to train AI models, specifically regarding royalties and consent. Anders Hasmo presented a project from Det Norske Teatret that allowed audiences to interact with a nynorsk-speaking AI model, though he noted the theater avoided using current actors’ voices for the AI to remain within ethical boundaries. The event concluded with a shared consensus on the urgent need for clear regulations and a “traffic light” system to protect human creativity from being overtaken by unregulated technology.
Opening Event: Artificial Creativity?
The evening showcased the MishMash mission to create, explore, and reflect on AI for, through, and in creative practices. On the stage, there were performances:
- Flytpunkt 1: Violinist Victoria Johnson and composer Anders Tveit interacted with machine-learning agents that responded musically to live violin in real-time.
- Dancing Embryo: Dancer Diego Marin and researcher Benedikte Wallace demonstrated a “kinematic relationship” between a human and a digital avatar.
- Skurdalsbruring: Joan Gatti performed on the Hardanger fiddle while an AI system developed by Olivier Lartillot and Lars Monstad visualized the music’s inner logic.
- Percussive Video: Koka Nikoladze used the AI model Claude to develop a system for playing 4K video files like drums, highlighting both the brilliance and limitations of modern AI.
The event also featured two panel discussions addressing the complex implications of AI for the creative sector. The first one Industry in Concern was moderated by Daniel Nordgård and featured Øystein Strand (Arts Council Norway), Nina Frederikke Grünfeld (University of Inland Norway), and Andrew Melchior (freelance creative technologist). They discussed authorship, provenance, and the need to ensure due diligence regarding training data.
The second panel, Knowledge, Culture, and AI was moderated by Ida Jahr, featuring the new National Librarian, Åse Wetås, Helge Jordheim (UiO), and Anne Kjersti Fahlvik (Research Council of Norway). They focused on cultural sustainability, warning against AI-generated “slopp” and the need to protect the Norwegian language and cultural heritage from being diluted by generic models.
During the launch, Synne Tollerud Bull discussed how “artistic intelligence” can both challenge and improve “artificial intelligence”, while Alexander Refsum Jensenius introduced the Artistic Readiness Level (ARL) framework to complement traditional technological metrics (TRL). ARL could ensure that artistic research and humanistic inquiry remain central to AI development.
MishMash is now officially opened, and will serve as a hub for interdisciplinary and inter-institutional collaboration in the years to come.