Retrofuturism Series: The Assault on Authenticity

AI-generated image created by Eli Kuslansky

We’re excited to share the second article in our Retrofuturism series, a timely reflection on the challenges and opportunities facing cultural institutions in the digital age. Fresh from our 2024 SEGD Xlab, where discussions explored themes like “The Speed of Trust” and “Navigating AI: Balancing Personalization with Privacy and Ethics,” this article dives deeper into a critical conversation: How do designers ensure authenticity and trust in an increasingly artificial world?

As AI advances, the boundaries between reality and simulation blur, raising urgent questions about the role of museums, cultural institutions, and the experiences we design. Are museums, as this article provocatively suggests, our modern-day Thermopylae – the last defenders of authenticity amidst overwhelming technological forces? And how can we, as designers, balance innovation with integrity to maintain the public’s trust in the stories we tell?

The Assault on Authenticity

In 480 BCE, on Kolonos Hill, a narrow mountain pass roughly 85 miles northwest of Athens, 300 Spartan warriors fought valiantly against an overwhelming Persian army of over 100,000 troops, sacrificing their lives to delay the enemy’s advance.

This act of defiance – though not a direct analogy – resonates with contemporary challenges facing cultural institutions today. Authenticity itself is under siege by powerful forces, including the pervasive influence of advanced AI. As AI enables the simulation, reconstruction, or even creation of historical experiences, the boundaries of authenticity blur. This shift could impact the public’s confidence in museums as credible sources of information.

This existential struggle raises an urgent question: Are museums our modern-day Thermopylae, standing as the last bastions of authenticity in an increasingly artificial world?

Nearly 90% of people worldwide trust museums as sources of information due to their commitment to factual accuracy, authentic artifacts, and research-driven approaches to exhibitions and programs. Museums are more than repositories of artifacts; they preserve collective memory and the tangible and intangible heritage of diverse societies. They shape our national identity and inform our future.

As museums come under assault, our defense lies in the exhibits, programs, messaging, and experiences we create. While our tools are not dory spears or xiphos swords, but Unreal Engine, Rhino, Revit, and Adobe Suite (and yes, pencils too), we must stand resilient. What’s at stake is the integrity of museums as the world’s most trusted sources of information – even when, sometimes, we respectfully need to bend the rules.

Take, for example, an immersive experience for a history museum. Content from the 19th and early 20th centuries – like historic photographs or films – is often low-resolution, runs too fast due to its low frame rate, and is in black and white. For a contemporary audience, the challenge is: How do we adapt this media to the right speed, resolution, and color for an impactful experience while still preserving historical accuracy?

Do you:

  • Show the media in its original form?
  • Add a sign: “We took liberties for visual clarity”?
  • Present the original first, then segue into the modern interpretation?
AI-generated image created by Eli Kuslansky

AI can smooth frame rates, adjust aspect ratios, and add color – but this raises bigger questions. Can history become too malleable? What happens when AI-generated voices speak for historical figures, even when source materials are thin? Trust in photographs and videos is already eroding due to deep fakes, but not all is lost.

Designers wield significant power in shaping public narratives. Through thoughtful collaborations with credible institutions, we can create exhibits, branded experiences, and digital displays that engage audiences intellectually and emotionally while safeguarding trust.

In this digital age, museums must embrace transparency – clearly distinguishing between authentic artifacts and AI-enhanced elements. Balancing technological innovation with authenticity will be critical for preserving museums’ reputations as trusted cultural anchors.

As Margaret Mead said, “Never underestimate the power of a small group of committed people to change the world. In fact, it is the only thing that ever has.”

Join in the Conversation!

Questions to Ponder and Discuss

The article poses vital questions for all of us:

  • How far can we ethically go in enhancing historical artifacts (e.g., frame rates, colorization) without compromising authenticity?
  • Should we flag AI-modified elements or digital enhancements in museum exhibits? How transparent is transparent enough?
  • How do we, as experience designers, ensure that immersive exhibits inspire engagement while safeguarding credibility?
  • Are there examples where AI has successfully strengthened authenticity rather than weakened it?

This conversation is far from over, and we want to hear from you !If there is topic or themes you’d like us to cover, or have any comments, questions or thoughts, or if there are methodologies or inspirations, or any project where the aesthetics of Retrofuturism could apply, and want to share it with us — email us at segd@segd.org with the subject line, “Retrofuturism.”

About Eli Kuslansky

Eli Kuslansky is a Brooklyn-born artist, co-host of the Art Movez radio show and podcast, and a  Partner and Chief Strategist at Unified Field, an international award-winning creative innovation firm.  He is an internationally recognized thought leader on the use of digital media and artificial intelligence in museums and experience design, cultural institutions of the future, and the evolution of Legible  Cities, the humanistic smart city.

About SEGD

We are designers of experiences connecting people to place. SEGD is a multidisciplinary community collectively shaping the future of experience design. We are a thought leader and an amplifier in the practice of experience design. Learn more at segd.org.

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