Sarah Fox

Jordan Taylor, Joel Mire, Alicia DeVrio et al. · cmu

Art-making is a collective social activity through which queer people engage in political resistance, develop identities, archive queer memory, and form community. However, in recent years, generative AI has disrupted queer artistic communities. Through 15 semi-structured interviews, we examine how queer artists are making sense of the encroachment of GenAI into their art worlds. Our findings surface significant tensions between the relationality of our participants' queer art practices and the perceived anti-relationality of GenAI development and use. We detail how our participants refuse and resist GenAI use and development in response and highlight the limited role our participants saw for GenAI within art-making, such as the queer aesthetic potential of surreal image models. Drawing on queer theory, we discuss how CSCW researchers might support queer artists by refusing dominant AI imaginaries and supporting queer world-building.

Shivani Kapania, William Agnew, Motahhare Eslami et al.

The recent excitement around generative models has sparked a wave of proposals suggesting the replacement of human participation and labor in research and development--e.g., through surveys, experiments, and interviews--with synthetic research data generated by large language models (LLMs). We conducted interviews with 19 qualitative researchers to understand their perspectives on this paradigm shift. Initially skeptical, researchers were surprised to see similar narratives emerge in the LLM-generated data when using the interview probe. However, over several conversational turns, they went on to identify fundamental limitations, such as how LLMs foreclose participants' consent and agency, produce responses lacking in palpability and contextual depth, and risk delegitimizing qualitative research methods. We argue that the use of LLMs as proxies for participants enacts the surrogate effect, raising ethical and epistemological concerns that extend beyond the technical limitations of current models to the core of whether LLMs fit within qualitative ways of knowing.

Jordan Taylor, Joel Mire, Franchesca Spektor et al. · allen-ai, cmu

Queer people are often discussed as targets of bias, harm, or discrimination in research on generative AI. However, the specific ways that queer people engage with generative AI, and thus possible uses that support queer people, have yet to be explored. We conducted a workshop study with 13 queer artists, during which we gave participants access to GPT-4 and DALL-E 3 and facilitated group sensemaking activities. We found our participants struggled to use these models due to various normative values embedded in their designs, such as hyper-positivity and anti-sexuality. We describe various strategies our participants developed to overcome these models' limitations and how, nevertheless, our participants found value in these highly-normative technologies. Drawing on queer feminist theory, we discuss implications for the conceptualization of "state-of-the-art" models and consider how FAccT researchers might support queer alternatives.

Jordan Taylor, William Agnew, Maarten Sap et al.

Visual generative AI models are trained using a one-size-fits-all measure of aesthetic appeal. However, what is deemed "aesthetic" is inextricably linked to personal taste and cultural values, raising the question of whose taste is represented in visual generative AI models. In this work, we study an aesthetic evaluation model--LAION Aesthetic Predictor (LAP)--that is widely used to curate datasets to train visual generative image models, like Stable Diffusion, and evaluate the quality of AI-generated images. To understand what LAP measures, we audited the model across three datasets. First, we examined the impact of aesthetic filtering on the LAION-Aesthetics Dataset (approximately 1.2B images), which was curated from LAION-5B using LAP. We find that the LAP disproportionally filters in images with captions mentioning women, while filtering out images with captions mentioning men or LGBTQ+ people. Then, we used LAP to score approximately 330k images across two art datasets, finding the model rates realistic images of landscapes, cityscapes, and portraits from western and Japanese artists most highly. In doing so, the algorithmic gaze of this aesthetic evaluation model reinforces the imperial and male gazes found within western art history. In order to understand where these biases may have originated, we performed a digital ethnography of public materials related to the creation of LAP. We find that the development of LAP reflects the biases we found in our audits, such as the aesthetic scores used to train LAP primarily coming from English-speaking photographers and western AI-enthusiasts. In response, we discuss how aesthetic evaluation can perpetuate representational harms and call on AI developers to shift away from prescriptive measures of "aesthetics" toward more pluralistic evaluation.