It’s been a wild year for the creative media industry. “Artificial Intelligence” all over the place - experimentation, adoption, adaptation, apprehension, panic and boycott.

We saw the rise of AI slop with “Italian Brain Rot” being the most prominent exhibit for the new media phenomenon; We saw the alleged promise for a new Hollywood, a 15-second realistic fight scene between Brad Pitt and Tom Cruise spooking everyone out, courtesy of film-maker and AI provocateur Ruairi Robinson; We saw a backlash from professionals, activists and artists – among them the “all-organic” “fully-human” music album by Spanish singer-songwriter Rosalia, and a recalibration of expectations occurring these days, with OpenAI closing their AI video app, Sora, to focus on more commercially and financially viable developments, ending its 1 Billion USD deal with Disney, allowing for the use of their IP, our childhood memories, on the platform.

It seems like a crucial year for AI, within creative circles and in general. Will the balloon continue its ascent, up and to the right, or will it pop? Possibly we’re on the verge of understanding that a new tool, a new artistic outlet, is just that. Photography did not make painters obsolete; it created a new artform and transformed an existing one. It rattled a source of income for some, made some professionals reconsider their careers and made new careers available. But it also made the demarcation line between reality and imagination, documentation and art, murkier, and laid the groundwork for the ability to manipulate and control that line.

What’s been happening, what's going on and what's to come? A conversation on the year we just had, and the year ahead, for media, video, art, creativity and “artificial intelligence”.

DO, 30. April
14:00 – 15:30 Uhr
Massif E / Saal Europa

Single tickets are available for the panel.
For the conference, both day tickets and a four-day conference pass are available.

Panel in English language with German translation.