The Amazing Ways Coca-Cola Uses Generative AI In Art And Advertising - Forbes | Canada News Media
Connect with us

Art

The Amazing Ways Coca-Cola Uses Generative AI In Art And Advertising – Forbes

Published

 on


Some say that in the very near future, we’ll need to either adopt artificial intelligence (AI) or be made redundant by it – or by others using it. If this is true, artists, designers and other creatives are more at stake than most.

So, it’s interesting to see big companies like Coca-Cola choosing to kickstart their own generative AI journey with projects directed at including and enabling creatives.

The company has recently appointed a global head of generative AI, Pratik Thakar – becoming one of the first major multinationals to do so. It’s a sure sign of how important it thinks the technology will be.

In addition, it’s won acclaim with a stunning AI-generated advertising campaign that really shows how AI, combined with human talent, can bring the wow factor.

Running through its other initiatives is a theme of empowering independent creators and small studios with the opportunities of generative AI.

The message seems to be that artists have nothing to fear from AI and should instead embrace its power to enhance their own skills.

Which sounds great – but does it actually hold water?

Here’s an overview of some of the ways that the world’s most famous soft drink company is using (or planning to use) generative AI. These are use cases that, while technically excellent, raise interesting questions about how AI will change the relationship between technology, artists and the corporations that put the money on the table.

Head of Generative AI

This year, Coca-Cola appointed Pratik Thakar as the global head of generative AI. Speaking to The Drum, he said that he believes AI will bridge the gap between human creativity and brand identity.

He said, “Coca-Cola has always bridged the divide … how do we make it more approachable … more palatable and something which is useful to everyone?”

Thakar believes that the democratization of AI means the democratization of Coca-Cola – or its brand identity, at least. The plan is to achieve this by making tools that let anyone play around with new ways of communicating that identity.

Ethics are an important aspect of AI, and you’d hope they would be a concern for the man in charge of it across operations as huge as Coca-Cola’s. So it’s reassuring that he’s made a commitment to ensuring his company carefully selects its technology partners based on knowing that their models are trained “in the right way.”

Generative Video Advertising

Among the first fruits of Coca-Cola’s move into generative AI is the advert Masterpiece. This critically acclaimed video brings to life some of the world’s most famous works of art, seamlessly integrating AI-augmented animation with live action.

It was created in collaboration with OpenAI, using their DALL-E2 generative image model and ChatGPT.

It’s a result of a partnership formed earlier in 2023 when Coca-Cola announced it was working with the agency Bain and Company to find innovative generative AI use cases in marketing and advertising.

The drinks manufacturer’s involvement with AI is long-standing, though, with predictive and prescriptive AI already in use for localized and personalized marketing initiatives.

Masterpiece works on several levels. It’s a visually impressive piece of content that communicates brand identity. It’s also a signal that Coca-Cola is looking for people who can use generative AI to do amazing things. Finally, it serves as an announcement that generative AI has arrived in the advertising industry, and it’s about to shake things up.

Empowering Creativity?

In line with Thakar’s stated belief in helping creatives to unlock the power of AI, Coca-Cola held its first Real Magic Creative Academy this year.

The event helped it to build connections with the independent art and design community. By fostering these relationships, it hopes to unearth the talent and inspiration it needs to follow up Masterpiece.

It’s an extension of the brand’s Create Real Magic campaign, which invited artists to use its digital platform to create images using Coke’s platform and assets, with the winning images going on display on billboards in New York and London.

Staying on the theme of empowering creatives, there’s also Coke Studio. This is a free music-making platform, now augmented with generative AI capabilities.

Hosted at various festivals around the US, visitors are able to create songs, music videos and even album covers by answering questions posed by a ChatGPT-powered bot.

Once they’ve completed the process, which involves being filmed in a green room studio and inserted into their video, their creations can be downloaded and shared.

It’s clear that the brand wants to be associated with AI and the upcoming generation of artists and creators that it believes will use it. Of course, it probably isn’t a coincidence that many of them, because of what they do, are likely to be identified by marketers as influencers.

Is this really good for human creatives?

As generative AI becomes commonplace in advertising, we can’t ignore the implications for broader society, and in particular for human creatives working in this fast-changing field.

Appointing a head of generative AI is a big statement from any company that they understand the power that the technology has to transform their business. But when a company like Coca-Cola does it, it means they know it’s going to transform an entire industry. If you’re a working artist or other creative, reliant on businesses and enterprises to hire and commission you, is it a transformation that’s in your best interests?

We’ve seen that generative AI enables opportunities to create and express ideas in new and amazing ways. It also democratizes the creative process, meaning independent artists and small studios can create work that can compete with that of large agencies.

But there are very real fears that industries that have always paid creatives for everything from company logos and packaging design to cinematic adverts will divert that money into AI art. So, some creatives might see this as being given the tools to dig their own graves!

Another concern is that the growing closeness between industrial and tech giants like Coca-Cola and OpenAI, fostered by the AI boom, demonstrates that not everyone has equal access to these world-changing tools. We commonly see AI providers offering superior access to enterprise users. By securing access to the newest and most powerful models and algorithms, could we be heading for a future where corporations have even greater influence than they do now on the world of art and design?

Personally, though, I don’t believe any of these are predetermined outcomes. The steps we take in coming years to ensure the responsible and ethical rollout of AI into society managing its impact on human lives, will determine the world we end up with.

I think it will be a long time before human creativity can be completely simulated. The Masterpiece advert wouldn’t have been possible to make without human input. And I don’t think it would be able to come up with something that could become as iconic as the Coca-Cola logo itself. Or of Santa Claus in a red coat.

Of course, that doesn’t mean businesses won’t try to use it to save money where they can, particularly on repetitive work – such as mass personalization, for example. But in the near term, as a commercial artist or designer, being able to augment your skills with AI is likely to open doors to new and interesting opportunities.

Read more about these topics in my new book, The Future Internet: How the Metaverse, Web 3.0, and Blockchain Will Transform Business and Society and and ‘Business Trends in Practice, which won the 2022 Business Book of the Year award. And don’t forget to subscribe to my newsletter and follow me on Twitter, LinkedIn, and YouTube for more on the future trends in business and technology.

Adblock test (Why?)



Source link

Continue Reading

Art

Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

Published

 on

In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.

Alleged Fraud Scheme

Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.

Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.

Massive Seizure of Artworks

In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.

Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.

Artwork Returned, but Some Remain Unclaimed

In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.

Court Proceedings Ongoing

The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.

Impact on the Local Art Community

The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.

For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.

As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.

While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.

Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.

As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.

Continue Reading

Art

Ukrainian sells art in Essex while stuck in a warzone – BBC.com

Published

 on


[unable to retrieve full-text content]

Ukrainian sells art in Essex while stuck in a warzone  BBC.com



Source link

Continue Reading

Art

Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

Published

 on

The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”

On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.

Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”

The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.

Blaze in the West Wing

The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.

About Somerset House

Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.

Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.

Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.

Source link

Continue Reading

Trending

Exit mobile version