Visualising the Supply Chain of AI: Lone Thomasky and Bits & Bäume’s Image Collection

Bird's eye view photo of a small hut and a concrete path through a lush green forest. However, the image is slightly distorted by digital artefacts. In the right corner, there is a dark purple text box, with the text in white 'Visualising the Supply Chain of AI' and underneath in a white text box with black text, 'Lone Thomasky and Bits & Bäume'.

You might have noticed a new collection of images from Lone Thomasky and Bits & Bäume in the library. These images expose the realities behind the often perceived “clean”, “slick”, and “efficient” AI supply chains. Their collection shows the breakdown of environments and depletion of natural resources caused by the rapid expansion of data centres and mining of critical resources (like lithium, cobalt, and rare earth elements) which underpin (generative) AI.

One of their images, ‘Distorted Lake Trees’ has been selected as the iconic cover image of the Montreal AI Ethics Institute 2025 State of AI Report. Below, we unpack some of the images in the Bits & Bäume collection and why they make a fitting partner organisation to Better Images of AI, particularly since our visuals aim to better communicate about the implications of AI on society, the environment forms a huge part of this.

DOWNLOAD THE IMAGE COLLECTION HERE

The hardware that we manufacture to underpin AI technologies and the data centres that power AI are responsible for an ever-increasing share of global electricity and water consumption, as well as being both habitat and land-intensive. Lone Thomasky and Bits & Bäume’s image collection features a series of distorted photographic images of landscapes to visualise the ecologies behind AI’s supply chain. 

AI technologies do not merely rely on “digital clouds”, “they are also physical territories anchored in mines, exploited workers, and degraded environmental ecosystems”. Frequently, visual representations of AI mask the underlying realities of how these technologies are built, overwhelmingly dependent on infrastructure, communities, and resources of the Global South. 

These images are a valuable contribution to the Better Images of AI library to counter the sleek aesthetics, magical metaphors, and luminous hardware which are often used to represent AI. Instead, these visuals help us move towards more grounded understandings that connect AI technologies with their material and environmental foundations. As such, using these images, we can improve public understanding of what is at stake when AI technologies are used, invested in, and promoted as a source for eternal good in society. 

Bird's eye view photo of a small hut and a concrete path through a lush green forest. However, the image is slightly distorted by digital artefacts.
A bird's eye view photo of a small yellow aeroplane flying over a river or lake interspersed with trees and clouds. However, the image is slightly distorted with digital artefacts.

Lone Thomasky & Bits&Bäume / Better Images of AI / CC BY 4.0

How (and why) were the images created?

Bits & Bäume was founded in 2017 by a coalition of critical tech folks, hackers, eco activists, researchers and climate justice advocates out of the conviction that digitalisation and ecological change must be reconciled. Bits & Bäume is formed and supported by NGOs and organisations across the environmental, ethics, and internet policy landscape. Some of these include the TU Berlin Ethics Lab, Chaos Computer Club, the Young Friends of the Earth Germany (BUND), German Trade Union Confederation, Institute for Ecological Economic Research, and Wikimedia Germany. Their collective activities include hosting conferences to advance academic and civil society discussions, policy work to advocate for government changes, as well as research on digital transformation and sustainability to inform law makers. 

Bits & Bäume’s first conference took place in 2018 and brought together 2,000 people from diverse backgrounds and communities. After some smaller ones, the next large conference followed in 2022 –you can find their published conference proceedings here. The images in Bits & Baume’s proceedings may look familiar, given that this was the original purpose that the images were created before being donated to the library. Having already known Lone Thomasky, Bits & Bäume worked with her to create images for the proceedings report that reflected the interdisciplinary contributions to the conference. Visualising their research was important to reach new audiences; a lot of the issues that Bits & Bäume work on are very complex, so choosing to communicate via narratives, images, and aesthetics make their topics more accessible.

A page from Bits&Bäume's conference proceedings with a simplified illustration of urban life near the sea showing groups of people, buildings and bridges, as well as polluting power plants, opencast mining, exploitative work, data centres and wind power stations on a hill. Several small icons indicate destructive processes. This is surrounded by text boxes with coloured title blocks.

Bits & Bäume’s conference proceedings on ‘Digitalisation and Sustainability’

The importance of visualising the material realities of AI development 

AI relies on physical infrastructures like data centres to house the specific IT architecture, like servers and microchips, that are needed to train, deploy, and sustain AI applications. The number of data centres has been growing for a number of years, but the AI hype and increased investment into the technology are leading to the mass expansion of data centres, particularly concentrated in the Global South.

Just recently, Google announced that it will invest £11.29 billion to build a data centre in southern India’s Andhra Pradesh state which will contain servers, storage systems, and network equipment along with the necessary power and cooling systems to operate them. Adopting a decolonial lens, Khan argues that these takeovers of land, raw materials and exploitation of labour mimic historical European colonialism. However, instead of just blatant brutal force, the power of persuasion in the need for technological innovation and masking of exploitation create the same imbalances of power that have long exploited Global South communities. 

The proliferation of data centres are huge consumers of water which are needed to cool hot servers but also needed indirectly for producing electricity to power these facilities. Since electricity is more costly than water for data centres, companies choose to build data centres where there is cheap power, but this is often in areas where water is already a scarce resource. Bloomberg News found that around ⅔ of new data centres built or in development since 2022 in the US are in places already facing high levels of water stress. For instance, the Large Language Model (LLM) LLaMA-3, developed by Meta, consumed 22 million litres of water over 97 days. This is equivalent to the amount of water an average person in England and Wales would use over the course of 424 years.

An underwater photo taken looking up to a large circular school of fish while the sun sparkles in the blue water. However, the image is slightly distorted by digital artefacts.

Lone Thomasky & Bits&Bäume / Better Images of AI / CC BY 4.0

Data centres also produce electronic waste, which often contains hazardous toxic substances, like mercury and lead, which pose serious consequences to humans and non-humans. ‘Distorted fish school’ in Lone Thomasky and Bits&Bäume’s collection points to one of the lesser considered impacts of AI on our aquatic ecosystems from contamination and pollution. 

Beyond this, AI development relies on critical minerals and rare elements with unique magnetic and luminescent properties to create the microchips that are required for the processing activities required for faster, more efficient, and higher performing processing. One example is the Kolwezi copper and cobalt mine in the Democratic Republic of Congo, where Amnesty International documented forced evictions of entire communities as companies expand unsustainable mining operations for technological advancement. The mining of rare earth minerals generates large volumes of toxic and radioactive material which leave land uninhabitable. ‘Distorted Sand Mine’ in Lone Thomasky and Bits&Bäume’s collection illustrates the destructive mining and extraction practices that lurk behind the “stylish, clean, and lightweight” appearance of modern AI tools. 

A bird's eye view photo of an orange sand mine with transport lorries, but the image is slightly distorted by digital artefacts.

Lone Thomasky & Bits&Bäume / Better Images of AI / CC BY 4.0

Distortion as a Visual Metaphor for AI’s Environmental Destruction 

A close-up photo of some dandelions, but the image is slightly distorted by digital artefacts.

Lone Thomasky & Bits&Bäume / Better Images of AI / CC BY 4.0

Thomasky’s images all feature visual distortion, like bands, pixel shifts and fragmented overlays that disrupt the otherwise natural landscapes of trees, sand mines, and dandelions. The distortions visualise how digital infrastructures, driven by the ideology of progress and innovation, fragment both ecosystems and our perception of them. The juxtaposition between the forest greens and aquatic fish which are fractured by geometric interference draw attention to the mining, energy use, deforestation, and waste, all in the name of technological “innovation”.

A call for greater public understanding and policy shifts about the environmental impact of AI 

“The ease-of-use of generative AI interfaces and the lack of information about the environmental impacts of my actions means that, as a user, I don’t have much incentive to cut back on my use of generative AI.” Bashir (2025)

The visuals in the Better Images of AI library serve many purposes, but for this striking collection, we hope that they’ll improve public understanding of the realities of AI’s supply chain. By revealing the environmental and material realities that underpin AI, we hope to encourage more informed decision-making about whether embedding AI within infrastructures or promoting its use for ‘social good’ is truly desirable. 

By countering the clean aesthetics of typical AI imagery with distortion, these visuals invite us to think more critically about the costs of AI, particularly generative AI, which consumes substantially more natural resources than many alternative human methods or technologies. This is not only in their design and development, but even when models are deployed and used, the computing hardware that performs these operations consumes energy. For example, researchers have estimated that a ChatGPT query consumes about 5x more energy than when a simple web search is used.

Beyond improving public understanding, the use of these images in the library can also support wider advocacy efforts that Bits & Bäume have already been spearheading. The community’s 2022 conference included a set of demands aimed at changing government policy on responsible digitalisation. One of their main demands focuses on “digitalisation within planetary limits”. This concept calls for technological progress to align with the standards of climate protection, resource conservation, and biodiversity preservation. In another piece of work, Steig et al counter reductionist understandings of sustainability which narrow the policy space to optimisation and incremental solutionism – running in contradiction to sustainable futures. 

“Hackers, researchers, eco and climate justice activists alike are fighting for a livable planet for everyone and for collective freedom, because without clean water you cannot write free software and without democratic digital infrastructures you cannot enjoy healthy forests. And with people globally suffering for our way of life, no one can be happy. Therefore we have to join forces to reflect and act together. Those images contain the joint critical spirit of this endeavour.”

– Rainer Rehak, co-chair of the NGO Forum Computer Professionals for Peace and Societal Responsibility (FIfF) and co-founder of Bits&Bäume.

The image collection by Lone Thomasky and Bits & Bäume have already been featured across various media outlets and other public forums. As more people use these images, we hope that they can support those advocating for stronger policy and legal frameworks for sustainable digital transformation. While the EU AI Act includes some provisions to assess the environmental impacts of AI (such as for high-risk AI systems), these remain limited and largely dependent on self-regulation, meaning that AI companies have little incentive to improve the sustainability of their AI supply chains. 

The Montreal AI Ethics Institute 2025 State of AI Ethics Report Vol 7 is an example of one of Lone Thomasky and Bits & Bäume’s image collection ‘in the wild’. The use of ‘Distorted Lake Trees’ from this collection to represent the state of AI in 2025 is fitting, given the increasing awareness of the impacts of AI on the environment that we have seen this year. Their report aims to capture perspectives from those excluded from conversations about AI, such as voices from Canada, the US, Asia, and Africa – places where the environmental impacts of AI are also most pertinent. 

State of AI Ethics Report cover with central image of a bird's eye view photo of a small yellow aeroplane flying over a river or lake, interspersed with trees and clouds. However, the image is slightly distorted with digital artifacts.
Butalid, R., Wright, C. & Kherroubi García, I. (Eds.). (2025). The State of AI Ethics Report. Montreal AI Ethics Institute.

Part II, Chapter 7 of the Report is focussed on the environmental impact of AI, in their contribution Burkhard Mausberg and Shay Kennedy state: 

“As environmentalists, we believe that ethical AI must include ecological intelligence. That means embedding sustainability metrics into model development, mandating transparent lifecycle reporting, and aligning national AI strategies with climate goals. Governments are beginning to move in this direction but need to accelerate their oversight and avoid the race for the bottom.”Burkhard Mausberg and Shay Kennedy (Small Change Fund)

Therefore, beyond improving public understanding, these visuals can play a greater role in sparking debates about the real-world implications of AI development. The technosolutionist narratives of progress and innovation turn a blind eye to impacts on our communities, land, and environments inhabited by animals and humans.  It is important that there is a greater understanding of the environmental costs of innovation, only then can we have more meaningful conversations about the role (if any) of AI technologies in our society. 

“If you’re building or buying AI in 2026, you inherit the full anatomy: extraction, fabrication, operation, disposal. Before approving any flashy AI project, start by answering these questions: Where is it? Who owns it? What does it consume (hour by hour, basin by basin)? Who carries the residuals?” Priscila Chaves Martínez

Download Lone Thomasky and Bits & Bäume’s image collection here

Learn more about Bits & Bäume here

Cover image: Lone Thomasky & Bits&Bäume / Better Images of AI / CC BY 4.0

Press release: New playbook released to enable creation of images of AI using free and open licence digital heritage collections from around the world


  • Archival Images of AI project enables the creation of meaningful and compelling images of AI
  • New playbook includes 38 pages of guidance and sources of free to use archive images
  • Showcases methods and tips for remixing archive images which can be used by anyone 
  • Inspirational artists have created free-to-use examples of their own interpretations of AI 

LONDON / AMSTERDAM 4th December 2024: As AI continues to make headlines and evolve in ways that impact the general public, global critical AI research community AIxDESIGN has released a research-informed playbook for remixing free and open licence images to create better images of artificial intelligence. It uses techniques that anyone can apply without the use of AI image generators.

Producing accurate images of AI – whether this is technically accurate or suitable for any given narrative or situation, is not always easy without an illustrator or access to a wide variety of images that can be easily edited or remixed. AIxDESIGN, in partnership with Netherlands Institute for Sound & Vision with inspiration from Better Images of AI and support from We and AI have released a playbook as a guide to address this challenge by working with free images from consented archives around the world and artists immersed in expressing their experiences and understanding of the technology.

Archival Images of AI Playbook

The playbook includes vital information about the use of archive images as well as details about the creation and representation of artificial intelligence through visual narratives. The project builds on the principles outlined in Better Images of AI: A Guide for Users and Creators that explain why accuracy is important when it comes to communicating these technologies to the wider public. 

By making poor choices about how AI is visualised, communications from media to marketing often risk misinforming or misleading the public about how it works, what it means and the impact it can have. The playbook offers new ways to interpret images of AI by engaging with cultural archives to explore historical and social context. It also has sources of visual stimuli and motifs that can be used freely and with open licences by anyone seeking to illustrate their writing or communicate AI news and reflection. 

A highly creative and reflective selection of artists and researchers have contributed to the guide to offer tutorials and examples, including: 

Hanna Bakarat, researcher, activist and collage artist. She’s been deep in researching narratives of AI and exploring collage as an act of resistance. 

Cristóbal Ascencio, a Mexican visual artist. As a photographer, his practice explores new forms of image making such as virtual reality, data manipulation and photogrammetry. 

Zeina Saleem, graphic designer interested in data beautification and the aesthetics of algorithmic distortion. 

Dominika Čupková, interdisciplinary artist and researcher connecting the dots between AI, art, design and feminism.

Nadia Piet, Nadia is an independent researcher, designer, and co-founder and creative director of AIxDESIGN. 

The playbook is available for anyone to download and is accompanied by detailed artist logs available at https://aixdesign.co/posts/archival-images-of-ai. Readers can explore the works’ origins and development and input from Eryk Salvaggio, Cees Martens, Isabel Beirigo, Monique Groot, Danny van Zuijlen, Alice Isaac, Anne Fehres and Luke Conroy.

The playbook is launched at an interactive event where attendees have an opportunity to test and play with the techniques and interact with the artists. 

A varied and powerful selection of over 25 of the images created by the artists will be added to the free Better Images of AI image library where any individual or publication can use the images for free. 

The playbook can be downloaded at https://aixdesign.co/posts/archival-images-of-ai and https://thistle-oriole.pikapod.net/archival-images-of-ai-playbook/.

About Netherlands Sound & Vision

The Netherlands Institute for Sound & Vision is a knowledge institute in the field of media culture and audiovisual archiving. It specialises in cultural programming, educational offering and research that makes media heritage available, searchable and relevant. Learn more at https://www.beeldengeluid.nl/en. 

About AIxDESIGN 

​​​​​AIxDESIGN (AIxD) is a global community of designers, researchers, creative technologists, and activists using AI in pursuit of creativity, justice and joy and living lab exploring participatory, slow, and more-than-corporate AI. Learn more at aixdesign.co.

About Better Images of AI Better Images of AI is a global non-profit collaboration which curates and commissions stock images that avoid perpetuating unhelpful myths about artificial intelligence, downloadable for free. It provides guidelines and research and creates a space for imaging and creating more inclusive, transparent and realistic visual representations of AI themes and technologies, avoiding overused cliches and alienating, disempowering tropes. It was launched in 2021 with input from a global community of researchers, practitioners and institutions including BBC R&D and coordinated by We and AI.

Beneath the Surface: Adrien’s Artistic Perspective on Generative AI

The image features the title "Beneath the Surface: Adrien's Artistic Perspective on Generative AI." The background consists of colourful, pixelated static, creating a visual texture reminiscent of digital noise. In the centre of the image, there's a teal rectangular overlay containing the title in bold, white text.

May 28, 2024 – A conversation with Adrien Limousin – a photographer and visual artist, sheds light on the nuanced intersections between AI, art, and ethics. Adrien’s work delves into the opaque processes of AI, striving to demystify the unseen mechanisms and biases that shape our representations.


A vibrant, abstract image from converting Street View screenshots from TIFF to JPEG, showing a pixelated, distorted classical building with columns. The sky features glitch-like, multicolored waves, blending greens, purples, pinks, and blues.

ADRIEN LIMOUSIN – Alterations (2023)

Adrien previously studied advertising and now is studying photography at the National Superior School of Photography (ENSP) in Arles and is particularly drawn to the language of visual art, especially from new technologies.

A cluster of coloured pixels made up from random gaussian noise taking up the whole canvas, representing a not denoised AI generated image; digital pointillism

Fig 1. Adrien Limousin / Better Images of AI / Non-image / CC-BY 4.0

Non-image

Adrien was drawn to the ‘Better Images of AI’‘ project after recognising the need for more nuanced and accurate representations of AI, particularly in journalism. In our conversation, I asked Adrien about his approach to creating the image he submitted to Better Images of AI (Fig 1.).


> INTERVIEWER: Can you tell me about your thinking and process behind the image you submitted?

> ADRIEN: I thought about how AI-generated images are created. The process involves taking an image from a dataset, which is progressively reduced to random noise. This noise is then “denoised” to generate a new image based on a given prompt. I wanted to try to find a breach or the other side of the opaqueness of these models. We only ever see the final result—the finished image—and the initial image. The intermediate steps, where the image is transitioning from data to noise and back, are hidden from us.

> ADRIEN: My goal with “Non-image” was to explore and reveal this hidden in-between state. I wanted to uncover what lies between the initial and final stages, which is typically obscured. I found that extracting the true noisy image from the process is quite challenging. Therefore, I created a square of random noise to visually represent this intermediate stage. It’s no longer an image and it’s also not an image yet.


Adrien’s square of random noise captures this “in-between” state, where the image is both “everything and nothing”—representing aspects of AI’s inner workings. This visual metaphor underscores the importance of making these hidden processes visible, to demystify and foster a more accurate understanding of what AI is, how it operates, and it’s real capabilities. Seeing the process Adrien discusses here also reflects the complex and collective human data that underpins AI systems. The image doesn’t originate from a single source but is a collage of countless lives and data points, both digital and physical, emphasising the multifaceted nature of AI and its deep entanglement with human experience.

A laptopogram based on a neutral background and populated by scattered squared portraits, all monochromatic, grouped according to similarity. The groupings vary in size, ranging from single faces to overlapping collections of up to twelve. The facial expressions of all the individuals featured are neutral, represented through a mixture of ages and genders.

Philipp Schmitt & AT&T Laboratories Cambridge / Better Images of AI / Data flock (faces) / CC-BY 4.0

“The medium is the message”

(McLuhan, Marshall, 1964).

When I asked Adrien about the artists who have inspired him, he highlighted how Marshall McLuhan’s seminal concept, “the medium is the message,” profoundly resonated with him.

This concept is crucial for understanding how AI is represented in the media. McLuhan argued that the medium itself—whether it’s a book, television, or image—shapes our perceptions and influences society more than the actual content it delivers. McLuhan’s work, particularly in Understanding Media (1974), explores how technology reshapes human interaction and societal structures. He warned that media technologies, especially in the electronic age, fundamentally alter our perceptions and social patterns. When applied to AI, this means that the way AI is visually represented can either clarify or obscure its true nature. Misleading images don’t just distort public understanding; they also shape how society engages with and responds to AI, emphasising the importance of choosing visuals that accurately reflect the technology’s reality and impact.

 “Stereotypes inside the machine”

(Adrien).

Adrien’s work explores the complex issue of stereotypes embedded within AI datasets, emphasizing how AI often perpetuates and even amplifies these biases through discriminatory images, texts, and videos.


> ADRIEN: Speaking of stereotypes inside the machine, I tried to question that in one of the projects I started two years ago and I discovered that it’s a bit more complicated than what it first seems. AI is making discriminatory images or text or videos, yes. But once you see that you start to question the nature of the image in the dataset and then suddenly the responsibility shifts and now you start to question why these images were chosen or why these images were labelled that way in the dataset in the first place ?

> ADRIEN:  Because it’s a new medium we have the opportunity to do things the right way. We aren’t doomed to repeat the same mistakes over and over. But instead we have created something even more – or at least equally discriminatory.

And even though there are adjustments made (through Reinforcement Learning from Human Feedback) they are just kind of… small patches. The issue needs to be tackled at the core.”

Image shows a white male in a suit facing away from the camera on a grey background. Text on the left side of the image reads “intelligent person.”

Adrien Limousin –  Human·s 2 (2022 – Ongoing)

As Adrien points out, minor adjustments or “sticking plasters” won’t suffice when addressing biases deeply rooted in our cultural and historical contexts. As an example – Google recently attempted  to reduce racial bias in their AI Gemini image algorithms. This effort was aimed at addressing long standing issues of racial bias in AI-generated images, where people of certain racial backgrounds were either misrepresented or underrepresented. However, despite these well-intentioned efforts, the changes inadvertently introduced new biases. For instance, while trying to balance representation, the algorithms began overemphasizing certain demographics in contexts where they were historically underrepresented, leading to skewed and culturally inappropriate portrayals. This outcome highlights the complexity of addressing bias in AI. It’s not enough to simply optimize in the opposite direction or apply blanket fixes; such approaches can create new problems while attempting to solve old ones. What this example underscores is the necessity for AI systems to be developed and situated within culture, history, and place.


> INTERVIEWER: Are these ethical considerations on your mind when you are using AI in your work?

> ADRIEN: Using Generative AI makes me feel complicit about these issues. So I think the way I approach it is more like trying to point out these lacks, through its results or by unravelling its inner working

“It’s the artists role to question”

(Adrien)


> INTERVIEWER: Do you feel like artists have an important role in creating the new and more accurate representations  of AI?

> ADRIEN:  I think that’s one of the role of the artist. To question.

> INTERVIEWER: If you can kind of imagine like what, what kind of representations we might see, or you might want to have in the future like instead of when you Google AI and it’s blue heads and you know, robots, etc.

> ADRIEN: That’s a really good question and I don’t think I have the answer, but as I thought about that, understanding the inner workings of these systems can help us make better representations. For instance, the concepts and ideas of remixing existing representations—something that we are familiar with, that’s one solution I guess to better represent Generative AI.


Image displays an error message from the Windows 95 operating system. The text reads ‘The belief in photographic images.exe has stopped working’.

ADRIEN LIMOUSIN System errors – (2024 – ongoing)

We discussed the challenges involved in encouraging the media to use images that accurately reflect AI.


> ADRIEN: I guess if they used stereotyped images it’s because most people have associated AI with some kind of materialised humanoid as the embodiment of AI and that’s obviously misleading, but it also takes time and effort to change mindsets, especially with such an abstract and complex technology, and that is I think one of the role of the media to do a better job at conveying an accurate vision of AI, while keeping a critical approach.


Another major factor is knowledge: journalists and reporters need to recognise the biases and inaccuracies in current AI representations to make informed choices. This awareness comes from education and resources like the Better Images of AI project, which aim to make this information more accessible to a wider audience. Additionally, there’s a need to develop new visual associations for AI. Media rely on attention-grabbing images that are immediately recognisable, we need new visual metaphors and associations that more accurately represent AI.  

One Reality


> INTERVIEWER: So kind of a big question, but what do you feel is the most pressing ethical issue right now in relation to AI that you’ve been thinking about?

> ADRIEN: Besides the obvious discriminatory part of the dataset and outputs, I think one of the overlooked issues is the interface of these models. If we take ChatGPT for instance, the way there is a search bar and you put text in it expecting an answer, just like a web browser’s search bar is very misleading. It feels familiar, but it absolutely does not work in the same way. To take any output as an answer or as truth, while it is just giving the most probable next words is deceiving and I think that’s something we need to talk a bit more about.


One major problem with AI is its tendency to offer simplified answers to multifaceted questions, which can obscure complex perspectives and realities. This becomes especially relevant as AI systems are increasingly used in information retrieval and decision-making. For example, Google’s AI summarising search feature has been criticised for frequently presenting incorrect information. Additionally, AI’s tendency to reinforce existing biases and create filter bubbles poses a significant risk. Algorithms often prioritise content that aligns with users’ pre-existing views, exacerbating polarisation (Pariser, 2011). This is compounded when AI systems limit exposure to a variety of perspectives, potentially widening societal divides.

Metasynthography

(Adrien)

Adrien takes inspiration from the idea of metaphotography, which involves using photography to reflect on and critique the medium itself. In metaphotography, artists use the photographic process to comment on and challenge the conventions and practices of photography.

Building on this concept, Adrien has coined the term “meta-synthography” to describe his approach to digital art.


> ADRIEN: The term meta-synthography is one of the terms I have chosen to describe Digital arts in general. So it’s not properly established, that’s just me doing my collaging.

> INTERVIEWER: That’s great. You’re gonna coin a new word in this blog 😉


I asked Adrien what artists inspire him. He discusses the influence of Robert Ryman, a renowned painter celebrated for his minimalist approach that focuses on the process of painting itself. Ryman’s work often features layers of paint on canvas, emphasising the act of painting and making the medium and its processes central themes in his art.


> ADRIEN: I recently visited an exhibition of Robert Ryman, which kind of does the same with painting – he paints about painting on painting, with painting.

> INTERVIEWER:  Love that.

> ADRIEN: I thought that’s very interesting and I very much enjoy this kind of work, it talks about the medium…It’s  a bit conceptual, but it raises question about the medium… about the way we use it, about the way we consume it.

Image displays a large advertising board displaying a blank white image, the background is a grey clear sky

Adrien Limousin – Lorem Ipsum (2024 – ongoing)

As we navigate the evolving landscape of AI, the intersection of art and technology provides a crucial perspective on the impact and implications of these systems. By championing accurate representations and confronting inherent biases, Adrien’s work highlights the essential role  artists play in shaping a more nuanced and informed dialogue about AI. It’s not only important to highlight AI’s inner workings but also to recognise that imagery has the power to shape reality and our understanding of these technologies. Everyone has a role in creating AI that works for society, countering the hype and capitalist-driven narratives advanced by tech companies. Representations from communities, along with the voices of individuals and artists, are vital for sharing knowledge, making AI more accessible, and bringing attention to the experiences and perspectives often rendered invisible by AI systems and media narratives.


Adrien Limousin (interviewee) is a 25 years old french (post)photographer exploring the other side of images, currently studying at the National Superior School of Photography in Arles.

Cherry Benson (interviewer) is a Student Steward for Better Images of AI. She holds a degree in psychology from London Metropolitan University and is currently pursuing a Master’s in AI Ethics and Society at the University of Cambridge where her research centers on social AI. Her work on the intersection of AI and border control has been featured as a critical case study in the Cambridge Journal of Artificial Intelligence for how racial capitalism is deeply intertwined with the development and deployment of AI.

Illustrating Data Hazards

A person with their hands on a laptop keyboard is looking at something happening over their screen with a worried expression. They are white, have shoulder length dark hair and wear a green t-shirt. The overall image is illustrated in a warm, sketchy, cartoon style. Floating in front of the person are three small green illustrations representing different industries, which is what they are looking at. On the left is a hospital building, in the middle is a bus, and on the right is a siren with small lines coming off it to indicate that it is flashing or making noise. Between the person and the images representing industries is a small character representing artificial intelligence made of lines and circles in green and red (like nodes and edges on a graph) who is standing with its ‘arms’ and ‘legs’ stretched out, and two antenna sticking up. A similar patten of nodes and edges is on the laptop screen in front of the person, as though the character has jumped out of their screen. The overall image makes it look as though the person is worried the AI character might approach and interfere with one of the industry icons.

We are delighted to start releasing some useful new images donated by the Data Hazards project into our free image library. The images are stills from an animated video explaining the project, and offer a refreshing take on illustrating AI and data bias. They take an effective and creative approach to making visible the role of the data scientist and the impact of algorithms, and the project behind the images uses visuals in order to improve data science itself. Project leaders Dr Nina Di Cara and Dr Natalie Zelenka share some background on Data Hazards labels, and the inspiration behind the animation behind the new images.

Data science has the potential to do so much for us. We can use it to identify new diseases, streamline services, and create positive change in the world. However, there have also been many examples of ways that data science has caused harm. Often this harm is not intended, but its weight falls on those who are the most vulnerable and marginalised. 

Often too, these harms are preventable. Testing datasets for bias, talking to communities affected by technology or changing functionality would be enough to stop people from being harmed. However, data scientists in general are not well trained to think about ethical issues, and even though there are other fields that have many experts on data ethics, it is not always easy for these groups to intersect. 

The Data Hazards project was developed by Dr Nina Di Cara and Dr Natalie Zelenka in 2021, and aims to make it easier for people from any discipline to talk together about data science harms, which we call Data Hazards. These Hazards are in the form of labels. Like chemical hazards, we want Data Hazards to make people stop and think about risk, not to stop using data science at all. 

An person is illustrated in a warm, cartoon-like style in green. They are looking up thoughtfully from the bottom left at a large hazard symbol in the middle of the image. The Hazard symbol is a bright orange square tilted 45 degrees, with a black and white illustration of an exclamation mark in the middle where the exclamation mark shape is made up of tiny 1s and 0s like binary code. To the right-hand side of the image a small character made of lines and circles (like nodes and edges on a graph) is standing with its ‘arms’ and ‘legs’ stretched out, and two antenna sticking up. It faces off to the right-hand side of the image.
Yasmin Dwiputri & Data Hazards Project / Better Images of AI / Managing Data Hazards / CC-BY 4.0

By making it easier for us all to talk about risks, we believe we are more likely to see them early and have a chance at preventing them. The project is open source, so anyone can suggest new or improved labels which mean that we can keep responding to new and changing ethical landscapes in data science. 

The project has now been running for nearly two years and in that time we have had input from over 100 people on what the Hazard labels should be, and what safety precautions should be suggested for each of them. We are now launching Version 1.0 with newly designed labels and explainer animations! 

Chemical hazards are well known for their striking visual icons, which many of us see day-to-day on bottles in our homes. By having Data Hazard labels, we wanted to create similar imagery that would communicate the message of each of the labels. For example, how can we represent ‘Reinforces Existing Bias’ (one of the Hazard labels) in a small, relatively simple image? 

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Image of the ‘Reinforces Existing Bias’ Data Hazard label

We also wanted to create some short videos to describe the project, that included a data scientist character interacting with ‘AI’ and had the challenge of deciding how to create a better image of AI than the typical robot. We were very lucky to work with illustrator and animator Yasmin Dwiputri, and Vanessa Hanschke who is doing a PhD at the University of Bristol in understanding responsible AI through storytelling. 

We asked Yasmin to share some thoughts from her experience working on the project:

“The biggest challenge was creating an AI character for the films. We wanted to have a character that shows the dangers of data science, but can also transform into doing good. We wanted to stay away from portraying AI as a humanoid robot and have a more abstract design with elements of neural networks. Yet, it should still be constructed in a way that would allow it to move and do real-life actions.

We came up with the node monster. It has limbs which allow it to engage with the human characters and story, but no facial expressions. Its attitude is portrayed through its movements, and it appears in multiple silly disguises. This way, we could still make him lovable and interesting, but avoid any stereotypes or biases.

As AI is becoming more and more present in the animation industry, it is creating a divide in the animation community. While some people are praising the endless possibilities AI could bring, others are concerned it will also replace artistic expressions and human skills.

The Data Hazard Project has given me a better understanding of the challenges we face even before AI hits the market. I believe animation productions should be aware of the impact and dangers AI can have, before only speaking of innovation. At the same time, as creatives, we need to learn more about how AI, if used correctly, and newer methods could improve our workflow.”

Yasmin Dwiputri

Now that we have the wonderful resources created we have been able to release them on our website and will be using them for training, teaching and workshops that we run as part of the project. You can view the labels and the explainer videos on the Data Hazards website. All of our materials are licensed as CC-BY 4.0 and so can be used and re-used with attribution. 

We’re also really excited to see some on the Better Images of AI website, and hope they will be helpful to others who are trying to represent data science and AI in their work. A crucial part of AI ethics is ensuring that we do not oversell or exaggerate what AI can do, and so the way we visualise images of AI is hugely important to the perception of AI by the public and being able to do ethical data science! 

Cover image by Yasmin Dwiputri & Data Hazards Project / Better Images of AI / AI across industries / CC-BY 4.0

Handmade, Remade, Unmade A.I.

Two digitally illustrated green playing cards on a white background, with the letters A and I in capitals and lowercase calligraphy over modified photographs of human mouths in profile.

The Journey of Alina Constantin’s Art

Alina’s image, Handmade A.I., was one of the first additions to the Better Images of AI repository. The description affixed to the image on the site outlines its ‘alternative redefinition of AI’, bringing back into play the elements of human interaction which are so frequently excluded from discussions of the tech. Yet now, a few months on from the introduction of the image to the site, Alina’s work itself has undergone some ‘alternative redefinition’. This blog post explores the journey of this particular image, from the details of its conception to its numerous uses since: How has the image itself been changed, adapted in significance, semantically used? 

Alina Constantin is a multicultural game designer, artist and organiser whose work focuses on unearthing human-sized stories out of large systems. For this piece, some of the principles of machine learning like interpretation, classification, and prioritisation were encoded as the more physical components of human interaction: ‘hands, mouths and handwritten typefaces’, forcing us to consider our relationship to technology differently. We caught up with Alina to discuss further the process (and meaning) behind the work.

What have been the biggest challenges in creating Better Images of AI?

Representing AI comes with several big challenges. The first is the ongoing inundation of our collective imagination with skewed imagery, falsely representing these technologies in practice, in the name of simplification, sensationalism, and our human impulse towards personification. The second challenge is the absence of any single agreed-upon definition of AI, and obviously the complexity of the topic itself.

What was your approach to this piece?

My approach was largely an intricate process of translation. To stay focused upon the ‘why of A.I’ in practical terms, I chose to focus on elements of speech, also wanting to highlight the human sources of our algorithms in hand drawing letters and typefaces. 

I asked questions, and selected imagery that could be both evocative and different. For the back side of the cards, not visible in this image, I bridged the interpretive logic of tarot with the mapping logic of sociology, choosing a range of 56 words from varying fields starting with A/I to allow for more personal and specific definitions of A.I. To take this idea further, I then mapped the idea to 8 different chess moves, extending into a historical chess puzzle that made its way into a theatrical card deck, which you can play with here. You can see more of the process of this whole project here.

This process of translating A.I via my own artist’s tool set of stories/gameplay was highly productive, requiring me to narrow down my thinking to components of A.I logic which could be expressed and understood by individuals with or without a background in tech. The importance of prototyping, and discussing these ideas with audiences both familiar and unfamiliar with AI helped me validate and adjust my own understanding and representation–a crucial step for all of us to assure broader representation within the sector.

So how has Alina’s Better Image been used? Which meanings have been drawn out, and how has the image been redefined in practice? 

One implementation of ‘Handmade A.I.’, on the website of one of our affiliated organisations We and AI, remains largely aligned with the artist’s reading of it. According to We and AI, the image was chosen due to its re-centring of the human within the AI conversation: the human hands still hold the cards, humanity are responsible for their shuffling, their design (though not necessarily completely in control of which ones are dealt.) Human agency continues to direct the technology, not the other way round. As a key tenet of the organisation, and a key element of the image identified by Alina, this all adds up. 

https://weandai.org/, use of Alina’s image

A similar usage by the Universität Hamburg, to accompany a lecture on responsibility in the AI field, follows a similar logic. The additional slant of human agency considered from a human rights perspective again broadens Alina’s initial image. The components of human interaction which she has featured expand to a more universal representation of not just human input to these technologies but human culpability–the blood, in effect, is on our hands. 

Universität Hamburg use of Alina’s image

Another implementation, this time by the Digital Freedom Fund, comes with an article concerning the importance of our language around these new technologies. Deviating slightly from the visual, and more into the semantics of artificial intelligence, the use may at first seem slightly unrelated. However, as the content of the article develops, concerns surrounding the ‘technocentrism’ rather than anthropocentrism in our discussions of AI become a focal point. Alina’s image captures the need to reclaim language surrounding these technologies, placing the cards firmly back in human hands. The article directly states, ‘Every algorithm is the result of a desire expressed by a person or a group of persons’ (Meyer, 2022.) Technology is not neutral. Like a pack of playing cards, it is always humanity which creates and shuffles the deck. 

Digital Freedom Fund use of Alina’s image

This is not the only instance in which Alina’s image has been used to illustrate the relation of AI and language. The question “Can AI really write like a human?” seems to be on everyone’s lips, and ‘Handmade A.I.’ , with its deliberately humanoid typeface, its natural visual partner. In a blog post for LSE, Marco Lehner (of BR AI+) discusses employment of a GPT-3 bot, and whilst allowing for slightly more nuance, ultimately reaches a similar crux– human involvement remains central, no matter how much ‘automation’ we attempt.

Even as ‘better’ images such as Alina’s are provided, we still see the same stock images used over and over again. Issues surrounding the speed and need for images in journalistic settings, as discussed by Martin Bryant in our previous blog post, mean that people will continue to almost instinctively reach for the ‘easy’ option. But when asked to explain what exactly these images are providing to the piece, there’s often a marked silence. This image of a humanoid robot is meaningless– Alina’s images are specific; they deal in the realities of AI, in a real facet of the technology, and are thus not universally applicable. They relate to considerations of human agency, responsible AI practice, and don’t (unlike the stock photos) act to the detriment of public understanding of our tech future.