Nora Atkinson

There's a lot of work being done that's using AI either as the main focus of the work or at least as part of the production of the work.

And I think it's unfortunate right now that there are very few people who've made it into the public eye in that realm.

Right.

I hope that a lot more of those barriers get broken down.

I think in part there's also the sort of gloss of the new technology and people are using it the way it's supposed to be used.

But all of my favorite work typically is when people get to the point with the technology that they start to try to break it.

And that's what I'm really looking forward to seeing.

I think it is.

I think, you know, particularly with the Museum of Craft, which is what we are, craft was mostly defined by things that happened in the 20th century.

And so we've been trying to break down the barriers of what that even means.

But generally speaking, you know, you think differently through different media.

And so the more media you can include, the more disciplines you can include, the more sort of inclusive an exhibition becomes.

Right.

You bring in different audiences and I like to think about the idea that an exhibition largely can be about an idea more than it has to be about a specific discipline.

So what that reminds me of is this sort of idea of soul in art.

And I know that there was another TED Talk from a few years ago.

There was a composer who came and he was showing off that he had created an algorithm that made infinite symphonic music.

And it was a fascinating thing that you could create infinite symphonic music.

And there's certainly application for that in video games and whatnot where you want to go on forever.

But of course, it struck me that that music then, what is it essentially?