Unleashing The Wild:
Wild Horses Restoring Balance
/Notes on The Conference/
September 7th, 2024
Last week at The Conference Media Evolution,
I came away with new powerful insights about the concept of “wild” becomings. While I’ve long understood the importance of rewilding both nature and ourselves, I was excited to see this topic take center stage at The Conference. It felt like FINALLY , ‘wild’ is not just a buzzword, but a vital focus of discussion.
Artist Jemma Foster opened with her sound experiments in nature, engaging with stones, plants, and other non-human elements through her Wild Alchemy Lab. Her work highlighted the deep connection between art, nature, and rewilding.
Giulia Testa, in her talk “Rewilding Us”, introduced Rewilding Europe’s project, focusing on methods for reintroducing wild species, like the endangered Przewalski’s horses, back into their natural habitats, and how that can help restore ecological balance. I see this also as a metafor for restoring inner balance through the way of the horse. 🐴
A standout was the keynote on “Rewilding Our Imaginations”, which explored how rewilding isn’t just ecological but also a shift in mindset and creativity.
The Conference summarized this approach with a thought-provoking quote from the program:
“Rewilding pays attention to the emergent properties of interactions between ‘things’ in ecosystems … a move from linear to systems thinking.”
—Paul Jepson & Cain Blythe, Rewilding: The Radical New Science of Ecological Recovery
As someone whose company, Wild Ride, resonates with the theme of “wild,” this focus on rewilding struck a personal chord. I believe these ideas will increasingly shape my future work. However, I also sensed frustration with outdated systems that restrict the “wild” — whether in workspaces, everyday life, or nature itself.
As change-makers, how can we integrate this wild energy into our daily lives and work environments? I’d love to hear your thoughts. Please share with comments if you like.
Let’s start the shift together!
Beyond Bluprints
The Futures We Build Teams
August 15th, 2024
Wild Ride AB and Karin Victorin, in the role of artist and AI expert, have been selected by Media Evolution for a major research project funded by Smart Built Environment and Formas. Vanessa Ware, is the brilliant mind behind the application and she will be leading the team and joining Wild Ride’s journey in the fall.
Dream team! This fall, this incredible interdisciplinary team (composed of innovative urban developers, socially driven advanced digitization strategists, an artist working with collective imagination and AI, and a systems-thinking process leader) will create a future vision, 🍃 Beyond Blueprints 🍃, about how residents can live in and influence their city in a safe, meaningful, and joyful way.
The vision will aim to enhance the understanding of how stakeholders—particularly those shaping the conditions for life between buildings—can achieve their sustainability goals, especially the social ones, with the help of advanced digitalization. These are critical paths of societal development today that we hope will become a natural combination in the future. But what will that look like?!
🌿 Can residents experience, engage with, and help develop their city in a safe and joyful way? 🌿 Can we make informed (and improvised) decisions about sustainable life choices in a daily life where circumstances can change rapidly? 🌿 How, through new ways of being connected (and disconnected), can we be part of a resilient city?
Smart Built Environment is a strategic innovation program focused on how the community building sector can contribute to Sweden’s journey towards becoming a global leader in realizing the new opportunities brought by digitalization.
The Beyond Blueprint team: Malin Lampa, advanced digital stategist at TechSeed/Karin Victorin, CEO Wild Ride/Katrin Behdjou Arshi, Director of Urban Development at Fastighetsägarna/Vanessa Ware, Process Leader with expertise in sustainable impact innovation/
Den Stora Väven/The Great Weave
A Ruby Rose Production
April 5th, 2024
I’ve been working on an application with an extended project plan for quite some time, and I’m thrilled to share that Rebecca Tiger, Olle Bjerkås, and I have been granted funding and support from Svenska Postkodstiftelsen to bring our dream project, The Great Weave, to life. This interactive play marks the third and final part of the trilogy Arise Amazons! The Green Theory. Svenska Postkodstiftelsen focuses on projects that spark imagination and explore ways to create a better, more sustainable future. We’re incredibly excited to contribute to this vision!
LumenMind
And a Wild New Year
January 25th, 2024
Hey there, fellow wanderers of the digital cosmos and this planet we call Earth!
2024, I will be diving into the depths of my creative journey with LumenMind, and I am expecting and adventurous Wild Ride of art and innovation.
Picture this: me, surrounded by the lush greenery, or snowy white, of the forest, with LumenMind perched atop my head like a crown of light. I have started to explore with this illumine device at Selva Studio’s indoor and outdoor art happenings. A DJ was spinning beats, and as the music pulsed through the trees- LumenMind synced with the rhythm, casting an ethereal glow (see image above or more on my instagram).
There’s something truly other-worldly about watching LumenMind weave its magic among the crowd. It’s like a silent storyteller, translating the language of emotions into a pulsating symphony of light and color. This little beacon of creativity perched on my head has a way of breaking down barriers and inviting people into a space of sensory interaction. It’s a reminder that art isn’t just about what you see; it’s about what you feel, what you experience, and the connections you make along the way.
LumenMind is in its beginning of being created and is a collaboration with designer Olle Bjerkås. It’s more than just a piece of technology; it’s a portal to a world of possibilities. It’s a reminder to embrace the unknown.
In my ongoing exploration, I’ve embarked on collaborations with designers and programmers to create more-than-human add-ons, gadgets, and wearables. These prototypes aim to prototype benign forms of technology, augmenting our waning human capabilities. LumenMind facilitates the tuning into and re-experiencing of our senses, prompting us to reconnect with our corporeal selves. It serves as a reminder that we are not merely beings of the mind but also of the body, where our senses are intricately interwoven with our environment.
As neural networks manifest in our nervous system, they find resonance in the reimagination within AI machines. My artwork is a testament to the exploration and practical experimentation of human-machine mirroring, envisioning a future where this symbiotic relationship births extraordinary new entities.
As I wrap up this little diary entry, I invite you to join me on this journey. Strap on a LumenMind, and let’s illuminate the world together, as pulsating light entangled in an embrace of multi-colored realities.
Until next time, keep shining bright, my friends!
AI job interviews with robots/chatbots, and aspects of bias
I am this week’s guest expert in think tank FUTURION’s podcast.
Maj 29th, 2023
(Text published in Swedish on Futurion’s website)
Karin Victorin är tv-producent, kreatör med ett passionerat intresse för hur AI och robotteknologi påverkar människor och samhälle. I senaste avsnittet av podden Framtidens Färdigheter, gästar hon Futurions Ann-Therése Enarsson för att prata om risker och möjligheter när anställningsintervjuerna görs av en robot istället för en människa.
De sociala robotarna får allt större utrymme och används idag i allt högre grad som medhjälpare i rekryteringsprocesser.
– Det som verkligen exploderar just nu, tack vare ChatGPT, är rekryteringsverktyg som baseras på chatbots, säger Karin Victorin i podden.
Rekryteringsbottar marknadsförs som fördomsfria – en robot som är ”blind” kan inte döma utifrån hudfärg, ålder eller kön. Men det finns flera exempel på då det blivit fel, påpekar Karin Victorin.
– I Sydkorea hade toppstudenter svårt att få jobb när en rekryteringsbot gjorde urvalet. I intervjun fick du inte visa för starka känslor, utan var tvungen att vara neutral i ditt ansikte. En ung man som var toppstudent kom inte vidare i processen för att han visade osäkerhet i sin blick. Det här väckte stora frågor hos mig som även håller på med teater. Måste vi lära oss att ha pokerface nu?, säger Karin Victorin.
En annan risk är i chefsrekryteringar, där roboten tolkar datan som om att de bästa ledarna är män, eftersom det sett ut så historiskt. Det har lett till att verktyget främst rekryterat män.
– Det är bra att vi försöker skapa fördomsfria verktyg, men det är svårt.
AI kommer även att påverka den som förbereder sig inför en jobbintervju. Som arbetssökande kan man behöva lära sig hur roboten fungerar och lära sig att behärska sitt kroppsspråk.
– Man tränar sig på de här intervjuerna, vilket gör att vissa personer som har gjort det förut har en fördel. Det finns dyra kurser där man lär sig skådespela mot ett rekryteringsverktyg som är utrustat med biometriska system som läser av ögonkontakt, entusiasm, leende och tal. Redan med sociala medier har vi blivit väldigt medvetna om våra selfie-ansikten. Nu når det en helt ny nivå, säger Karin Victorin.
Vilka känslor är svåra att fånga för en rekryterarrobot?
– En egenskap som är svår att läsa av med biometriska system är karisma. Det är även svårt att läsa av prestationsångest eller om man tycker synd om sig själv. Komplexa känslouttryck och personlighetsdrag är fortfarande väldigt svårt.
Så varför använder man över huvud taget AI inom rekrytering och HR?
– Jag tror att det har blivit populärt för att det är väldigt kostnadseffektivt och för att det kan innebära färre fördomar i en första sortering. Men helt fördomsfri är ju ingen metod än så länge.
https://www.podbean.com/ep/pb-befrc-141da32
The 18th annual Human Robot Conference in Stockholm 2023
March 13th, 2023
Is happening right now in Stockholm! I felt honored to be asked to be one of the expert reviewers of the academic paper submissions for the conference. Elizabeth Jochum, associate professor at the Laboratory for Art and Technology, Aalborg University, one of the co-chairs this year, reached out to me to see if I wanted to be part of the process of choosing papers, and videos relevant to the theme of this year. The co-chairs wrote that it is challenging to find expert reviewers that grasp the relevance of creative and/or unconventional approaches to robotics research. I am more than pleased to be at the service.
This year, the aim was to attract submissions that speak to the transformative potential of interdisciplinary and transdisciplinary research. With work and research projects that highlight how the field of human-robot interaction might be enriched by diverse, and innovative perspectives. The Alt HRI co-chairs wanted to create opportunities for more creative and nontraditional research. Especially artworks or performances that present different ways of researching within HRI.
We wrote a book! As part of the multidisciplinary experimental project: The Horse, the Robot & the Immeasurable.
November 10th, 2022
Tove Kjellmark – The Horse, the Robot & the Immeasurable presents the practice of artist Tove Kjellmark and her extensive artistic research project currently exhibited at Färgfabriken. With texts by: Jonna Bornemark, Jonatan Habib Engqvist, Elin Hernlund, Tove Kjellmark, Sinziana Ravini, Joanna Sandell, Karin Victorin. Design: Waters Löwenhielm. Photo: Carl-Michael Herlöfsson. Published by Arvinius + Orfeus 2022.
I have written a chapter in the book titled Chimera Cyborg Creatures. An Ode to our dead horses. Here is a short quote on how I start my chapter:
Heart to heart, soul to soul…
The horse is a friendly reminder of re-connecting to the inner core
Allowing you to travel freely between human and more-than-human other worlds:
To penetrate the transparent membrane between life and death;
Assembling the human character inside a chimeric costume out of disparate parts – joined together
Abandoning humans’ inability to accept transience:
Blindness instinctively unveiled –
Breaking the doctrine of anthropocentric reality.
Here is a link to the publisher: https://ao-publishing.com/news-article/tove-kjellmark-the-horse-the-robot-the-immeasurable-book-release-and-conversation/
Hosting the Union DIK’s 50th anniversary film
November 8th, 2022
I have been working with television, and film for 20 years, but I am mostly directing, behind the camera. When the union asked me if I could host their short documentary film about the history of DIK, I thought it to be a fun challenge. An experience that made me realize that I enjoy being in working in this position too, and would love to do more!
Link to DIK’s film: https://vimeo.com/ahaproduktion/review/766072039/0e0c01eb32
Hootchy Kootchy [The Resurrection] Chimeras & Cyborgs at Cirkus Venues 29/10 2022.
October 27th, 2022
The Hootchy Kootchy Club has been a highlight in my career. I have been the artistic director (konstnärliga ledare) since it started in 2006. With a long break, I thought it was time for a resurrection. Ronny Larsson interviewed me for an article in QX magazine the week before the show. Below you can read it in Swedish.
”Burlesk, drag, musik, fashion-runway & konstperformance – och upplevs bäst på plats”
“Nu på lördag är det dags för Hootchy Kootchy att inta Hasselbacken på Djurgården i Stockholm. QX bad Karin Victorin, (grundare/konstnärlig ledare) berätta mer inför deras stora event.
Vi säger som i Grease, Tell me More, tell me more! Berätta vad händer!
– Hootchy Kootchy är en ”more is more”-blandad varieté av burlesk och dragshow, där gränsen mellan publik och artister upplöses. Vi bygger en värld för en kväll med ett tema för gästerna att kliva in i. Publiken uppmuntras att klä upp sig på temat, men det är absolut inget tvång. Det blir burlesk, drag, musik, fashion-runway och konstperformance i en salig blandning. Det är svårt att beskriva med ord, och kan bäst upplevas på plats (skrattar).
Ni har fått ihop en namnstark lista på performers, hur satte ni ihop detta härliga gäng?
– Vi har bjudit in gamla kära namn som är en del av Hootchys historia, som Scotty the Blue Bunny (Berlin), Karis Wilde (LA), Robert Fux, Fräulein Frauke med flera. Medverkar gör även andra intressanta artister som utvecklat burlesk och drag som scenkonst med unika individuella uttryck.
Finns det något namn du extra stolt att ge publiken?
– Hungry (Johannes J. Jaruaak) från Berlin är en stor inspiratör för kvällens tema samt för mig och många andra artister vad det gäller make-up, drag och ”tricksteridentiteter”. Han har länge jobbat med en symbolisk intention att lura facial recognition kamerasystem genom surrealistiska sminkningar som transformerar ansiktsdragen. För mainstream är Hungry mest känd för sina signifikanta samarbeten med artisten Björk.
Världsbekanta stilikonen Fredrik Robertson står med på listan över deltagare, vad ska Fredrik bjuda på?
– Fredrik Robertson ska vara med i vår fabulösa jury tillsammans med Bea Szenfeld och Hungry (Berlin). Framåt midnatt bjuder vi nämligen på en Chimera Cyborg Catwalk Competion, en tävling som är öppen att anmäla sig till. Temat är kopplat till ett mer långgående konstprojekt som jag initierat. Det går ut på att med hjälp av analog och digital slöjd skapa fantasimonster eller ”trickster identitites” som en kommentar till övervakningssamhället och facial recognition-system. Det är både modeskapare, konstnärer, drag- och burleskartister som kommer beträda catwalken och kan bli hur galet som helst.
Apocalyptic Weimar Era meets Future Fashions of chimeras and cyborgs är dresscode, HUR ska man tolka det? Har du nån fingervisning?
– Haha! Ja, jag tänkte att det kunde vara bra med en bred dresscode nu när det var länge sedan vi körde ”Hootchy” och publikkulturen också behöver återuppstå och bli varm i kläderna. Weimar Eran är för publiken som älskar det klassiska looken som ju också klär Hasselbackens lokaler väldigt bra. Kan råda läsaren att googla den dekadenta ”Weimar-eran” i Berlin så kommer det upp massor med inspirerande bilder. Marlene Dietrich, för att bara nämna en ikon. För framtida look i kombo med retroestetik kan jag fingervisa till barscenen i sci-fi kultfilmen Blade Runner från 80-talet. Den filmen inspirerade även Donna Haraway när hon
skrev ”A Cyborg Manisfesto” (1985). Annars kan man följa insta kontot @chimeracyborg för massor av inspiration, särskilt om man är sugen på catwalken.
Så, varför är Hasselbacken en bra lokal för detta event?
– Hasselbacken har en gedigen historia och var länge navet i Stockholms nöjes- och kulturliv och inte minst för gaykulturen. Surprise Sisters (Hans Marklund, Babsan med flera) brukade husera med sina showkvällar här och när vi hade ett teknikmöte uppe i festvåningen fick jag veta att det var så populärt att folk försökte ta sig in genom att klättra på husfasaden. De fick tom fick smörja in stuprännorna för folk inte skulle lyckas smita in.
Hur kommer man som gäst känna 02.01 på söndagmorgon när festen avslutats?
– Upplyft och pånyttfödd! Jag hoppas att kunna bidra med, i alla fall lite, hopp om en ljusare framtid efter år av mörker, med mycket politiskt tumult, pandemi och krigsföring som kryper allt närmare Europas gränser. Artisterna är i sina fantastiska skapelser som levande konstverk som föder inspiration till en färgstarkare och friare värld.
Link to the QX article: https://www.qx.se/noje/238344/burlesk-drag-musik-fashion-runway-konstperformance-och-upplevs-bast-pa-plats/
You need to be a hunter, as self-employed
October 5th, 2022
Magasin K is a newly started magazine by DIK (Documentation, Information, and Communication). It is the union for people working in media, communication, or creative industries. I have been a member since I studied social anthropology at Stockholm university in the early 2000s. Earlier this fall, I was interviewed by them about my experiences being self-employed. The pros and cons.
Here is a short extract from journalist Sophie’s interview with me (in Swedish).
” – Det är inget ekorrhjul direkt, det här livet är snarare som en evig Himalaya-hajk, ständiga berg och dalar. Det är tufft – men ger också en otrolig känsla av frihet.
Med femton år som frilansande egenföretagare i ryggen vet Karin Victorin, som med sina vitt skilda strängar på en närmast gigantisk lyra oftast nöjer sig med att kalla sig “producent”, vad hon pratar om. Att hon startade bolag från första början sammanföll med att hon gav sig in i tv-branschen, där så gott som alla är frilansare.
– Man kan ju bli anställd också såklart men jag ville ju fortsätta med andra typer av projekt, söka kulturstöd för scenkonst och ja, allt annat.
Det där “allt annat” är svårt att fånga i ett par meningar, men att hennes bolag heter “Wild Ride” ger en hint. Karin Victorin, som exempelvis tog burlesquen till Sverige, producerar smala konstutställningar, föreläser och forskar om genus och AI, castar deltagare till tv och skriver manus för realityshower. Bland annat, alltså.”
Link to the article in “Magasin K”: https://magasink.se/2022/10/karin-victorin-man-maste-vara-en-jagare/
How the Myth of the Naked Swedes was Created
June 23th, 2022
Varför är nakna kroppar så laddat?
Insidan in DN publicerade idag en artikel på temat ”myten om den nakna svensken”, kopplat till svensk film- och tv historia, där jag uttalar mig i rollen som producent för Naked Attraction Sverige (discovery+).
PASSAR PÅ ATT ÖNSKA DIG EN GLAD MIDSOMMAR MED MÅNGA NAKENBAD 🌺
Utdrag ur artikeln skriven av Moa Malmqvist:
Sommaren 2016 hade ”Naked attraction premiär på brittiska tv-kanalen Channel 4. I år kom tv-konceptet till Sverige och Karin Victorin, producent för svenska upplagan på Baluba, menar att nakenhet i tv fortfarande väcker uppståndelse.
– Det verkar dock finnas en dubbelhet kring nakenhet i Sverige, å ena sidan är vi ett folk som badar bastu ihop och besöker kallbad. Å andra sidan är sexualiserad nakenhet tabu. Många som tittar på ”Naked attraction” verkar tycka att nakenheten är pinsam och behöver ha kuddar att sätta för ansiktet, säger Victorin och fortsätter:
– Men det finns även dem som anser att programmet är befriande för att kropparna avsexualiseras där de står helt sonika i studion, att det är kroppar som kroppar ser ut.
Hon förklarar att det fanns en del tveksamheter till att lansera ett program om nakendejting i Sverige, och dilemman hur programmet skulle utformas.
– Men jag tycker att programmets genomslag och mediala bevakning visar på att nakenhet i tv absolut inte är något som obemärkt passerar revy. Vissa kritiker menar att programmet kan upplevas ytligt. Men min stora behållning har varit deltagarnas berättelser, att de fortsatt har hört av sig om deras upplevelse som något genuint självförtroendehöjande och ett starkt minne för livet, säger Karin Victorin.
Länk till artikeln i DN: https://www.dn.se/insidan/fran-den-svenska-synden-till-naked-attraction-sa-foddes-myten-om-den-nakna-svensken/
Proud Producer of Naked Attraction Sweden
June 9th, 2022
“Det här var en wild ride.Uppfriskande chockartat med disneykön och bra med inkludering både när det kommer till kroppar och sexualitet.” (Elle Louise Åström).
I have finally completed my work as the producer for the very first season of Naked Attraction Sweden. The first two episodes were streamed yesterday, and the show has already gotten some reviews, mostly good ones that are really fun to read. The quote above can be read as the first line in the summary of a review in Elle, where the show is actually described as a “wild ride” to watch. Well, well, well.. did I do my job as promised, and according to the name I gave my new company? I thought this was hilarious to read. The full article can be found below.
Discovery was very determined from the start that they wanted the Swedish version to be very inclusive and body positive. With a warm and friendly tone. They trusted us (Baluba) to help them develop this already in the first press release, further with the casting process, with the script, and to create a safe space for the participants in the studio. I decided that I wanted to do a talk about safe space and consent in the studio space, for the whole tv team and studio crew. I also talked to all the participants to make them feel comfortable, and although some of them were nervous they found support in each other. I was very impressed by how brave they all were. This is something that I will remember and that will stay with me. No matter how often critics write that “in the end, this is a superficial tv concept” my experience, after talking to and staying in touch with the participants, many of them see this as a life-changing experience. At least when it comes to attaining a better body-aware self-confidence.
Here you can find the full press release and the Elle review in Swedish:
https://www.expressen.se/noje/spoiler-alert/naked-attraction-discovery-plus/
https://www.elle.se/noje/27-tankar-jag-hade-nar-jag-sag-naked-attraction-sverige/8540250
Another fun article “A very friendly strip show without pubic hair”
https://www.aftonbladet.se/kultur/a/34AjzL/jenny-hogstrom-om-naked-attraction-sverige
My Horse Setare Enters the Art Space at Färgfabriken
April 2nd, 2022
Swedish Artist Tove Kjellmark asked me to be a collaborator and curator for her upcoming art exhibition The Horse, The Robot, and The Immeasurable, which will open in October 2022. Tove has dedicated almost 2 years to this project, and she has 3D scanned, filmed (thermocamera), and photographed my horses on several occasions. We decided to bring my perlino-colored Akhal Teke mare Setare to the art space at Färgfabriken to see how she would interact with the space and to document this with a photographer.
Setare entered the large room with curiosity, proceeding carefully in her chic rubber boots. Her color matched the walls exquisitely, as we had painted the walls based on her shimmering silvery golden coat. As we worked with her, an idea grew that Setare would open the show, the horse initiating the horse/robot/human art lab. A ceremonial performance is also under construction, in which Setare and I will serve as a sacral link – connecting this world with the other world – to call back memories of horses that have been our dearest family members but now are dead. They keep on living through our memories of them, and if we remember them TOGETHER their presence will grow even stronger.
Working with Drama Students is Something Teaches Me a lot about Body, and Performativity in Everyday Life
March 19th, 2022
I am a teacher in physical theatre, burlesque, drag, and performance art at the 1-year drama program in Sigtuna Folkhögskola. My focus, in line with my academic studies in techno feminist technoscience and post-humanism, relates to bodily expressions and face (mask) as artistic instruments in how to communicate on stage. Additionally, how we perform in everyday life bears a resemblance to theatrical acting, as I draw on aspects of “performativity” from sociologist Erving Goffman and Judith Butler. My intention is always to bring awareness to how we continuously perform in intra-action with other human or non-human agencies that surround us. Even in our dreams, the performance continues in the form of the rich inner myriad of personas that enter the dreamscape stage to communicate with us, and through us to the outer world.
This year’s class at Sigtuna presented a beautiful variety of numbers that were seamlessly woven together into the Kinky Winky Cabaret. The students felt happily high afterward, surprised by what they had created together as a group and individually to try out their very own expression on stage without following either script or the instructions of a director. This was true play, giving bliss to both performers and spectators. How we had missed collectively indulging in physical presents and bodily expressions throughout these years of the corona famine.
How Does AI see You?
Invited to talk at Verto’s Breakfast Seminar about AI Recruitment Tools
March 11th, 2022
I was excited to be asked to give a talk and show slides about my research in the field of AI and Society, and to meet people that work with Human Resource Management and hiring practices. Johan Åkesson, coach at Verto encouraged me to develop my knowledge into talks and consultant services. He also liked the photo below and I know used it, not only for the presentation but as my profile picture on LinkedIn. The presentation was in Swedish and here is the text presented in the invitation.
Hur ser AI på dig?
Ett frukostseminarium om AI, chatbots och digitala rekryteringsverktyg och hur mänsklig selektiv bias tenderar att transfereras till algoritmer.
Artificiell Intelligens och digitala verktyg tar allt större plats i rekryteringsprocesser. Hur kommer den påverka HR och rekryteringsbranschen? Samt dig personligen? Det finns visioner inom AI-teknologi att eliminera eller kringgå bias. Att genom teknologi skapa en mer neutral avläsning av människan, bortom stereotyper och fördomar som riskerar medföra diskriminering kopplat till genus, ålder, klass, ras och så vidare.
Föreläsningen ger inga definitiva svar, utan öppnar upp för vikten av att bredda medvetenheten. Att öppna en dialog kring för- och nackdelar med AI-verktyg med fokus på rekrytering och arbetsmarknaden. Den handlar också om utmaningen vi ALLA står inför då AI alltmer inverkar på offentliga samhällsfunktioner och våra ”privata” liv. Den större frågeställningen berör; vart tar ”människan” vägen i det digitaliserade AI-samhället?
Karin Victorin har en internationell master i social science och genusvetenskap från Linköpings universitet. Hon har undersökt begrepp som agens, kropp och genus kopplat till artificiell intelligens och sociala robotar. 2021 skrev hon en masteruppsats där hon jämför ett svenskt AI-rekryteringsverktyg, i form av en rekryteringsbot som försäkrar fördomsfri rekrytering, med internationella exempel på AI och rekryteringschatbots. 2017 skapade hon en teaterföreställning på Orionteatern (Stockholm) med en social robot som protagonist, i samarbete med Furhat Robotics (KTH). Scenproduktionen resulterade i ett undersökande experiment som hon senare presenterat bland annat på Bloomberg i New York samt i en masteruppsats (2019).
Premiere of the TV series Tillsammans med Strömstedts (TV4), where I’ve worked as script writer, and Editor
February 28th, 2022
Tonight, you can see Swedish journalist Jenny and her partner musician Niklas Strömstedt visit Stefan and Ulla Löfven. Stefan was the prime minister of Sweden during the pandemic but resigned at the end of last year. Warner Bros Sweden produces this reality show about love relationships, and this is the third season I’ve researched all the couples we meet. I enjoyed interviewing and talking to each person about relationship and their particular experience with each other. This season we have met three ex-politicians, Sweden’s first influencer, a sports star, and a famous Swedish actor.
Riding In the Intor of Sweden’s
EUROVISION SONG CONTEST
February 5th, 2022
It’s an honor to open Melodifestivalen (Mello) 2022, where I will ride on my PRE (Spanish) horse Jazmin with the Mello Trophy, through the landscapes of Sweden, to start off Sweden’s competitions for the Eurovision Song Contest. Jazmin and I have performed in various settings before, e.g. the opening of Cinema Queer‘s film festival in a circus tent in Stockholm, at the musical festival Gagnef Festivalen, riding through Stockholm City for Swedish/American artist Michele Pred’s art performance Radical Love Parade, and more. You can watch us riding in Mello at SVT Play: https://www.svtplay.se/video/33836762/melodifestivalen-2022/melodifestivalen-2022-deltavling-1-5-feb-20-00.
ARISE AMAZONS 2.0 –
The Green Theory
The ceremony was performed in Nackareservatet September 18th, 2021
It could not be described with justice through my words…
Instead, I will let the images give a glimpse of the magic that was created in the urban woodland by the artists, horses, and other human or non-human participants. Or, as a woman posted on her Facebook wall.
“Last Saturday an event appeared in my feed and even though I wasn’t sure what it was, the event text intrigued me to go there. Fredrik and Björn wanted to go aswell. Not really knowing what we would see or experience we went there with a curious mind.
It was an art piece in the forest, where the creators had designed different rooms, everything from talk about grieving to tree climbing. It ended with us all gathering around a fire, and together we created a soup of the most basic ingredients but with a piece from everyone who was there. There was so much happening, and so much to write but I’ll just let the images do the talking.
It is called Arise Amazons – The Green Theory and the creative minds behind the event are the two women Rebecca Tiger and Karin Victorin.” (Isabelle Edlund, a woman I don’t know)
The art project received cultural funding from Stockholm Stad, Nacka Kommun, Kulturrådet och Konstnärsnämnden.
AI as Gatekeepers to the Job Market.
June 24th 2021
2021, so far, has been a freakin Wild Ride where I feel motivated and challenged to dare new adventures in my work and art. In this first blog post on the website of my new company, I am happy to announce that I have just completed and published a second master’s thesis on the topic of social robots and society. In spite of corona, I finally managed to push through – to continue writing – no matter what the obstacle and present a critical reading of the current phenomenon of using AI and chatbots in hiring processes. Many thanks to my supervisor professor Ericka Johnson at Linköping University for the dynamic feedback and support in the process.
https://liu.diva-portal.org/smash/record.jsf?pid=diva2%3A1572100&dswid=-4966
Abstract
The topic of this thesis is AI recruitment chatbots, digital discrimination, and data feminism (D´Ignazio and F.Klein 2020), where I aim to critically analyze issues of bias in these types of human-machine interaction technologies. Coming from a professional background of theatre, performance art, and drama,I am curious to analyze how using AI and social robots as hiring tools entails a new type of “stage” (actor’s space), with a special emphasis on social acting. Humans are now required to adjust their performance and facial expressions in the search for, and approval of, a new job. I will use my “theatrical glasses” with an intersectional lens, and through a methodology of cultural analysis, reflect on various examples of conversational AI used in recruitment processes. The silver bullet syndrome is a term that points to a tendency to believe in a miraculous new technological tool that will “magically” solve human-related problems in a company or an organization. The captivating marketing message of the Swedish recruitment conversational AI tool – Tengai Unbiased – is the promise of a scientifically proven objective hiring tool, to solve the diversity problem for company management. But is it really free from bias? According to Karen Barad, agency is not an attribute, but the ongoing reconfiguration of the world influenced by what she terms intra-actions, a mutual constitution of entanglement between human and non-human agencies (2003:818). However, tech developers often disregard their entanglement of human-to-machine interferences which unfortunately generates unconscious bias. The thesis raises ethical questions of how algorithmic measurement of social competence risks holding unconscious biases, benefiting those already privileged or those acting within a normative spectrum.