Jordan Taylor

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.