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  1. A Glossary:Artificial vs. Intelligent
  2. This book is published on the occasion of the exhibitionAi or Nay? Artificial vs. Intelligenton view at the Media Majlis Museumat Northwestern University in Qatar from 15 January to 15 May, 2025EditorsJack Thomas Taylor & Katy GillettProject ManagementKaty GillettIllustrations© Bilge EmirMedia Majlis MuseumNorthwestern Qatar, a member of Qatar FoundationEducation CityDoha, Qatarmediamajlis.northwestern.eduIn October 2022, the Media Majlis Museum at Northwestern University in Qatar received accreditation by the American Alliance of Museums (AAM). This achievement signifies the museum’s quality and credibility to the museum community, to governments and outside agencies, and to the museum-going public. The Media Majlis is the first museum outside of the Americas to receive this accreditation.
  3. 7Foreword: Artificial vs. Intelligent8Introduction: They don’t know. We don’t know.10Insight16AAlgorithm18CChatGPT22G(Artificial) General Intelligence26IInvestigation30NNarrative Warfare34TTaylor Swift38XX (formerly known as Twitter)42Foresight46JJais48OOpen Source52QQatar’s National AI Strategy54RRobotics58UUbiquitous62YYottabyte66ZZero70Hindsight74EEnigma76FForensic Architecture80MMuhammad ibn Musa al-Khwarizmi84PPapers88WWhistleblowers92Oversight96BBias98DDrones102HHallucination106KKatherine Johnson110LLovelace, Lovelock114SSurveillance118VVerification122Closing126Endword: On decision-making processesin the age of AI128Biographies130Credits134Contents
  4. 171Insi ghtChapter 1AlgorithmChatGPT(Artificial)GeneralIntelligenceInvestigationNarrativeWarfareAFKBGLCHMDINEJOChapter 1TaylorSwiftX (formerlyknown as Twitter)PUZQV#RWSXTYInsightInsight
  5. 47ForeChapter 2sightJaisOpenSourceAFKBGLCHMDINEJO2Chapter 2UbiquitousYottabyteZeroQatar’s National AI StrategyRoboticsPUZQV#RWSXTYForesight
  6. 751sightHindChapter 3Muhammadibn Musaal-Khwarizmi ForensicArchitectureEnigma AFKBGLCHMDINEJO2Chapter 3WhistleblowerPapersPUZQV#RWSXTYHindsightHindsight
  7. 971OversightChapter 4AFKBGLCHMDINEJODronesHallucinationKatherineJohnsonLovelace,LovelockBias2Chapter 4SurveillanceVerificationPUZQV#RWSXTYOversightOversight
  8. 128Endword: On decision-129making processes inthe age of AIThere is a peculiar sensation in the air—one of inevitability, perhaps, or something more elusive: the sense that we are being drawn, inexorably, into a future that is already half-written by the algorithms that increasingly govern our lives. It’s a sensation that seeps into the crevices of our daily routines, into the choices we make without a second thought and even into the decisions we agonize over. AI, once the stuff of science fiction, is now embedded in the very fabric of our existence, shaping how we think, how we create, how we govern. And in this new socio-cultural-sci-entific landscape, the question that lingers and refuses to be dismissed is not merely how AI influences our deci-sion-making processes, but what it means for the future of human agency itself.In my curatorial practice and broader engagement with the art and media worlds, I often stand at the inter-section of technology and creativity, where the promise of AI is met with both excitement and trepidation. AI, with its unmatched ability to process data and recognize patterns, is often hailed as the key to unlocking new frontiers of decision-making and efficiency in practically every field. It can sort through vast amounts of information in seconds, predict trends with uncanny accuracy and even suggest decisions that might never have occurred to a human mind. But as I consider the implications of this technological prowess, I wonder—not with fear, but with a kind of cau-tious curiosity—what becomes of the uniquely human elements of judgment and intuition and empathy in this new age? Take, for instance, the world of healthcare. IBM’s Watson data analytics processor, or platforms devised using TensorFlow open-source machine learning frame-work (written about in this volume by Katy Gillett), are good examples of AI in action. Watson, despite some setbacks and ‘overpromising and underdelivering,’ has partially transformed the way medical professionals diagnose and treat patients over the last two decades. It can cross-ref-erence millions of data points, pulling from vast medical libraries to offer treatment recommendations that are, in many cases, more precise than those of any single doctor. It has evolved and is deployed for many other business use cases—including customer service, supply chain, financial planning, risk and compliance, advertising, IT, video and security at scale. Taken as a whole ‘ecosystem,’ the effi-ciencies of such a system are undeniable, and yet, one must ask: what is lost in the translation of human experi-ence into data? Is there a way to integrate the irreplaceable art of medical judgment—the instinct honed by years of patient care—with the computational power of AI? The future may lay not in AI replacing human judgment, but in augmenting it, creating a symbiosis where the strengths of both are fully realized. That’s the overarching goal.In the realm of criminal justice, for instance, where the stakes are often life and liberty, AI-driven tools like COMPAS (Correctional Offender Management Profiling for Alternative Sanctions)—a management and decision sup-port tool developed and owned by a private company and used by courts in the USA to assess the likelihood of a defendant becoming a recidivist—have been introduced to guide sentencing decisions. On paper, these tools offer a promise of objectivity, a way to eliminate the biases that have long plagued the justice system. But reality compli-cates the narrative. The data used to train these algorithms is pretty much a reflection of historical injustices, and thus, the AI systems often perpetuate the very biases they are meant to eliminate—a warning that several of the authors in this book have repeatedly stated for different causes. A call to engage more deeply with the ethical frameworks that govern our use of technology is highly due. If we are to rely on AI in such critical decisions, then we must also be vigilant in ensuring that the algorithms are transparent, that they are subject to scrutiny, that they are designed with an acute awareness of the social contexts in which they operate, and that there is accountability implemented for when they fail. All still far away from actuality. Currently, it is in the creative industries—my own world—where the potential for AI to reshape deci-sion-making is both most exciting and most fraught.Generative Adversarial Networks (GANs) are now capable of producing art that challenges our very notions of creativity and authorship. As a curator, often working with artists very active in the digital realm, I have wit-nessed how AI can help produce outstanding works (often based on custom-made databases by the artists them-selves), analyze audience preferences, predict and interpret trends, maximize marketing actions and even suggest (heaven forbid) artworks that align with a particu-lar theme or concept. On one hand, this can lead to more engaging, more focused and more personalized exhibi-tions. On the other, I understand the process of curation in exhibitions—the delicate, intuitive act of selection and contextualization, of juxtaposition and suggestion—could become overly deterministic, guided more by data than by the curator’s vision. Yet rather than resisting this shift, I am intrigued by the possibilities. Could AI not serve as a col-laborator, a critical friend, a tool that expands the curator’s horizon rather than narrows it? The challenge, I believe, lies in striking a meaningful (not necessarily productive) balance—using AI to enhance the creative process without allowing it to dominate. How to get that balance right, remains to be seen—and crucially, experienced. As entire industries and society’s sectors, as well as governments around the world, begin to incorporate AI into their operation and administration—from optimizing traffic systems to deploying predictive policing—the con-versation must keep shifting from a focus on efficiency to a broader discussion about the values we wish to embed in our technological systems. I do not think we talk enough—or at least publicly enough—about these values. Efficiency, after all, is not the only measure of success. Equity, justice, well-being, a sense of things being well thought-out and made (I am a curator, after all, and I value aesthetics), and the preservation of human dignity are, for me, equally important. The future of AI is not about replacing human decision-makers, but about equipping them with tools that can help them make better, more informed and more equi-table decisions—tools that are transparent, accountable and aligned with the principles of society. In reflecting on these developments, I return to a central thought: AI’s greatest potential lies not in its ability to transcend human limitations, but in its capacity to work alongside us, enhancing our decision-making processes while leaving room for the human elements of empathy, intuition, moral judgment and even beauty. Or, as Ali Al Kubaisi mentions in ‘Z is for Zero,’: “This binary approach can be problematic because it oversimplifies the complexity of human senti-ment.” Indeed.We must not view AI as a panacea, nor as a threat, but as a partner—a collaborator in the ongoing project of human progress. And a companion in the long journey of human culture. The real challenge, as we move forward, is to ensure that our use of AI is guided by a thoughtful con-sideration of its implications. We must ask ourselves not only what AI can do, but what it should do. The decisions we make about AI today will shape the future of deci-sion-making itself, determining whether technology serves as a tool for human empowerment, or whether we become subservient to the very systems we create. The future is not yet written, and it is within our power to guide its course. In the end, the question is not whether AI will change the way we make decisions—this much is inevita-ble. The question is how we will navigate this change, ensuring that in our pursuit of innovation, we do not lose sight of the deeper, more human aspects of decision-mak-ing; because the most important decisions are not those made by AI, but those made about AI. The answers will not come easily, nor should they. But in asking the right ques-tions—in engaging critically and creatively with the possibilities of AI—we may yet find a way to harness its potential in ways that enrich, rather than diminish, the human experience.On decision-making process in the age of AIOn decision-making process in the age of AIBy Alfredo Cramerotti
  9. 130Biographies131ContributorsMohammad Shayan AhmadA sophomore from Pakistan, Mohammad Shayan Ahmad is studying at Northwestern University in Qatar, majoring in Communications and Media Industries, while minoring in Film and Design. Ahmad aspires to be a data visualizer, focusing on 3D display and visualizations. For this publica-tion, he focuses on X, formerly known as Twitter, a social media platform that has been highly popularized through-out his formative years. Outside of his academic interests, he also loves reading about new scientific discoveries, especially in cosmology.Ali Al KubaisiWith a Bachelor’s degree in Chemical Engineering and a Master’s degree in Engineering Management, Ali Al Kubaisi is driven by the opportunity to be part of the narrative that shapes new technologies and integrates them into our cul-tures. He is passionate about how technology is shaping the future of industries, with a robust curiosity for innovation. His research background in digital transformation focuses on identifying key factors that enable industries to adopt and thrive with new technologies.Hannah Al MannaiQatari student Hannah Al Mannai is a Journalism Junior at Northwestern University in Qatar, a subject she’s pursuing thanks to a long passion for and interest in stories about politics. So far, Al Mannai has taken several courses on polit-ical science, history and journalistic writing, which have pushed her to discover a world beyond her own perspective. She strives to take this experience into her role as a research assistant at the Media Majlis Museum.Hind Al SaadThe work of Qatari graphic designer and computational art-ist Hind Al Saad folds Islamic and cultural principles into the medium of computation and print. She was the fifth art-ist-in-residence at the Fire Station in Doha and is part of The Ned Doha art collection. She holds an MFA in Design from VCUArts Qatar and taught at the School for Poetic Computation. She collaborates with xLab, a studio for new making and computation, where she co-curated and co-pro-duced the Language-as-Machine exhibition.Rashid Al-MohanadiWith experience in the LNG and defence industry, Rashid Al-Mohanadi has supported founding many functions within the ecosystem, including R&D and system development. He currently holds a senior position within business develop-ment. He also runs his consultancy focusing on insurance, anti-economic crime, security and anti-illicit trade advisory services. He holds a Bachelor of Engineering from the University of Surrey, a Master’s in Critical Security Studies from the Doha Institute, and a Master’s in Defense and Security Studies from the Joaan Military Academy.Salim Al-ShuailiOmani award-winning professional Salim Al-Shuaili works in the realm of Information Technology and Artificial Intelligence, with a career spanning 22 years and various sectors, including mining, smart cities, healthcare, educa-tion and media. He has a Ph.D. in ICT, specializing in technology adoption, AI and digital transformation. He cur-rently serves as the Director of the Artificial Intelligence and Advanced Technology Projects Unit, and is also the founder and CEO of MasaraTech, which specializes in consultation, development and training in the technology field.Mohammed Al-SulaitiMohammed Al-Sulaiti recently earned his Ph.D. from the Centre for Environmental Policy at Imperial College London. His thesis examined environmental and climate change leg-islation in Qatar, particularly focusing on the impact of big data science and its associated emissions. During his stud-ies, Al-Sulaiti worked with cloud entities to help design sustainability strategies, aiming to reduce their environ-mental footprint. He is dedicated to understanding and improving environmental policies, hoping his research can contribute to Qatar’s efforts in addressing climate change. Jasmina BondareJasmina Bondare is a Journalism Junior at Northwestern University in Qatar, dedicated to giving a voice to minori-ties and women through writing and film. Her experience as the Vice President of Studio 20Q, as an intern at Qatar Museums’ Public Art curation department and Latvia’s TV24, have developed her storytelling skills. Bondare intends to pursue a Master’s in Human Rights and Global Justice, aiming to advocate for marginalized communities through her future work.Eddy Borges-ReyDigital journalism and emerging media are the subjects to which Eddy Borges-Rey has dedicated his career. With extensive academic expertise in these areas, he is now an Associate Professor at Northwestern University in Qatar. He is the co-editor of the book series Palgrave Studies in Journalism and the Global South, and, prior to obtaining a Master’s and Ph.D. in Media and Communication, Borges-Rey worked as a broadcast journalist, media producer and PR practitioner for almost 15 years.David CaswellDavid Caswell is the founder of StoryFlow Ltd, an innova-tion consultancy focused on AI in journalism. He was previously the Executive Product Manager of BBC News Labs and has held senior roles leading AI initiatives at Yahoo!, Tribune Publishing and The Los Angeles Times. Caswell also publishes peer-reviewed research on compu-tational and automated forms of journalism. He is a frequent speaker and writer about the opportunities and challenges facing journalism in the emerging AI-mediated digital media ecosystem.Alfredo CramerottiA cultural entrepreneur working at the intersection of con-temporary art, media and technology, Alfredo Cramerotti is currently the director of the Media Majlis Museum at Northwestern Qatar. He is president of IKT–International Association Curators of Contemporary Art, chair of the Digital Strategies Committee of AICA–International Association of Art Critics, and advisor to the KSA Visual Art Commission, UK Government Art Collection, British Council Visual Arts Acquisition Committee and the Italian Ministry of Culture. Cramerotti has also written over 200 published texts on contemporary art and media theory.Sashreek GargA student at Northwestern University in Qatar, Sashreek Garg is pursuing a degree in Journalism, Media, and Integrated Marketing Communications, as well as minors in Strategic Communications and Media & Politics. He is pas-sionate about research, documentary filmmaking, marketing and public relations, and has held internships with international and regional media organizations, includ-ing Fox Sports, FIFA, Grey Group, Grayling and Zee Media. He was also a Global Undergraduate Fellow at the Institute for Advanced Study in the Global South.BiographiesBiographies
  10. 132133Katy GillettWith a career spanning almost two decades, Katy Gillett is currently a freelance journalist and editor based in Dubai. She was previously the Head of Arts & Lifestyle at The National and has contributed to a wide range of publica-tions and media outlets including Time Out, British GQ, Conde Nast Traveller, The Unesco Courier, Euronews and British Vogue. She regularly works with the Museum Majlis Museum at Northwestern University in Qatar developing and editing publications for the museum’s exhibitions.Marwan M. KraidyMarwan M. Kraidy is Dean and CEO of Northwestern University in Qatar. Kraidy is also a Professor of Communication and the Anthony Shadid Chair in Global Media, Politics and Culture at Northwestern. In 2021, Kraidy founded the Institute for Advanced Study in the Global South, which is dedicated to evidence-based storytelling on the diverse histories, cultures, societies and media of the Global South. Kraidy has also authored 13 award-winning books and more than 130 articles, essays and chapters, and is the win-ner of over 50 awards for teaching and scholarship.Maria Lisboa-WardOriginally from southern Brazil, Maria Lisboa-Ward is a rising senior studying Journalism and Strategic Communications at Northwestern University in Qatar and a Research Fellow at the Institute for Advanced Study in the Global South, where her research focuses on class and authenticity in Brazilian social media. She moved abroad for the first time at 16 years old, and has since studied and worked in the USA, UK, Middle East and Europe.Iqra Mazhar HussainAs a senior majoring in Journalism at Northwestern University in Qatar, Iqra Mazhar Hussain has had the oppor-tunity to write on topics related to women’s rights, fashion, tourism and other social issues. She has also gained valua-ble experience in news writing and editing while completing an internship at a news broadcasting channel and hopes to continue creating impactful stories. In her free time, she also likes to read, travel and watch Turkish TV shows.Syed MehdiCurrently, Syed Mehdi is the Manager of Technology and Operations at the Media Majlis Museum at Northwestern University in Qatar, and previously worked for FIFA World Cup Qatar 2022™ as an analyst leading the development of appli-cations and dashboards for procurement and operations. He has also worked as a researcher for Carnegie Mellon University Qatar, developing natural language processing tools for the Arabic language. He holds a Bachelor of Science in Information Systems from Carnegie Mellon University.Cheng MeiTechnology news that impacts daily life is what Cheng Mei (Anthony) focuses on in his work, with a lens on China and other Global South regions. He provides in-depth analysis of the relationship between humanity and technology, and he is passionate about inspiring his fellow reporters to keep the human element at the forefront of their storytelling. He is currently a senior at Northwestern University in Qatar, majoring in Journalism.Marc Owen JonesAs an Associate Professor of Media Analytics at Northwestern University in Qatar, Marc Owen Jones lectures and researches on disinformation, digital authoritarianism and political repression. Among his various publications are Political Repression in Bahrain and Disinformation and Deception in the Middle East. Jones regularly appears on channels such as BBC and CBC, and has written for international media outlets, including The Washington Post, CNN, Time magazine, The Independent and the New Statesman, and has a regular col-umn on Al Jazeera English.Maryam Rashid Al-KhaterAward-winning media professional Maryam Rashid Al-Khater is Professor of Media and Digital Communications, and Advisor to the President of Qatar University. Her fields of expertise include media, social media, and political and social movements, and she holds a Ph.D. in Political Communications. She is the Vice Chair of the Media Committee for the Preparation of Media and Journalism Terminologies Dictionary in Arabic. She has published several research papers and books in media and been appointed to various media boards and committees.Farjana SalahuddinAs an interactive and new media artist, Farjana Salahuddin intends to create a bridge between the traditional and digital by blending tangible work with the power of computing and real-time dynamic audiovisual arts through collaborations with artists from various disciplines. Her work has spanned a range of themes and mediums, with showcases in Washington D.C. and Qatar. Salahuddin holds a Master’s in Interactive Digital Media from Trinity College Dublin, and a Bachelor’s in Information Systems from Carnegie Mellon University.Jack Thomas TaylorJack Thomas Taylor is the Curator of Art, Media and Technology at the Media Majlis Museum. He holds an MA and MBA from Central Saint Martins and is currently a Ph.D. researcher at King’s College London. With extensive experience in curating, cultural strategy and publishing across the Arabian Peninsula, Taylor has spearheaded numerous exhibitions exploring contemporary media and cultural themes. Taylor is a founding board member of ICOM Qatar.Wajdi ZaghouaniWajdi Zaghouani is an Associate Professor in Residence in Communication at Northwestern University in Qatar. He holds a Ph.D. in Natural Language Processing and his research in computational linguistics spans Arabic data analytics, linguistic annotation, fake news detection and sentiment analysis. He has secured over $6 million in research grants from QNRF, supporting projects such as the MARSAD Social Media observatory and hate speech detec-tion in Arabic social media. Zaghouani has also consulted for big data companies and organized numerous interna-tional conferences.Amal Zeyad AliWith extensive experience as a museum curator and cul-tural producer based in Qatar, Amal Zeyad Ali is currently the Assistant Curator at the Media Majlis Museum, at Northwestern University in Qatar, and was previously the Programs Associate. She has also served as an Exhibitions Coordinator at the Artist in Residence program at the Fire Station in Doha. She is a graduate of Northwestern University in Qatar, class of 2018.BiographiesBiographies
  11. 134Credits135Artists and lendersAdnan Ayub AgaAmr AlngmahBarjeel Art Foundation, Sharjah, UAEBilge EmirChristto AndrewComputer History Museum,California, USADartmouth College,New Hampshire, USADries DepoorterEntangled Others, Lisbon, PortugalFarjana SalahuddinFeileacan K. McCormickGalerie Hors-Cadre, Paris, FranceGetty ImagesHadeer Omar Hind Al SaadJan ZuiderveldJoey HolderKate CrawfordMathieu Merlet BriandMuseum of Fine Arts, Boston, USAPatrick TressetQatar MuseumsRaqs Media Collective,New Delhi, IndiaRashid Al SulaitiScala Archives, Florence, ItalyShutterstockSofia CrespoVladan JolerWarana, Amsterdam,The NetherlandsExhibition teamAi or Nay? Artificial vs. IntelligentMedia Majlis MuseumNorthwestern Qatar15 January – 15 May, 2025CuratorJack Thomas TaylorResearcherAli Al KubaisiCreative advisoryHind Al Saad, Hadeer OmarFarjana SalahuddinScenographyKhaled Alawadhi andRawan Alkhuzai of fortytwelve, KuwaitCreative directionAndreas Märki, Nils Braun,Pamina Gisler, and Reham Mohamed of Studio Flux, SwitzerlandDigital contentBram Bogaerts, Robin Smits, Casper Schipper and Sjoerd Mol of Superpo-sition, The NetherlandsCopy editingKaty GillettInterpretationClaire DobbinStudent researchersMohammad Shayan Ahmad,Hannah Al Mannai, Jasmina Bondare, Sashreek Garg, Maria Lisboa-Ward, Iqra Mazhar Hussain, Cheng MeiArabic proofreadingSalam Shughry and Hanna MajedMuseum teamMedia Majlis MuseumDirectorAlfredo CramerottiCurator of Art, Media and TechnologyJack Thomas TaylorAssistant CuratorAmal AliCollection Developmentand Care Manager Hicham Al-BakerManager of Integrated Marketing& Digital ContentShahnawaz ZaliManager of Technologyand OperationsSyed MehdiManager of Audienceand Community OutreachSafa ArshadAudience and Front ofHouse AssociateMaha NasrContractorsGWC Logistics, Fine Art Shipment and Installation; Interspace Qatar,Build and Construction; Qatar Translation Center, Translation, Bespoke, Spatial Layout; Astucemedia, Digital User Interface Design; Flint Culture,PR and Communications; Gulfcrafts Co, Branding and Wayfinding;Maktaba Children’s Library, Educational Programming; Artworks Conservation, Facsimile and Replicas; Laurent Jakimow Web Solutions, Digital Labels; Morris Hargreaves McIntyre, Audience Insight & Evaluation.ImprintPreferred citation: when referencing this edited volume in its entirety, please use the following citation:Taylor, J. T. & Gillett, K. eds. (2025) A Glossary: Artificial vs. Intelligent.Italy: Silvana Editoriale.When referencing specific contributions, please use the following format: Surname, Initial(s). (2025) [‘Title of Contribution’], A Glossary: Artificial vs. Intelligent, Taylor, J. T. & Gillett, K., eds. Italy: Silvana Editoriale.[Page Number(s) XX–XX].
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