IBM Design & Branding Art With Watson by Ogilvy & Mather New York

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Art With Watson

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Industry Computers & Computer Accessories
Media Design & Branding
Market United States
Agency Ogilvy & Mather New York
Associate Creative Director James Chana, Juliane Hadem, Eddie Pak
Executive Creative Director Jeff Curry
Creative Director Matt Chapman
Art Director Dennis Kung
Copywriter Stephanie Cajucom
Designer Emily Rinehart, Blake Rutledge
Photographer Kevin Trageser
Account Supervisor Tim Graves
Released March 2016


Cannes Lions 2016
Design Communication Design: Posters Gold Lion

Credits & Description

Agency: Ogilvy & Mather
Brand: Ibm
Country: USA
Advertising Agency: Ogilvy & Mather, New York
Entrant Company: Ogilvy & Mather, New York
Media Agency: Ogilvy & Mather, New York
Pr Agency: Ogilvy & Mather, New York
Production Company: Ogilvy & Mather, New York
Additional Company: Ogilvy & Mather, New York
Design Agency: Ogilvy & Mather, New York
Art Content Producer: Ashley Holmes (Ogilvy New York)
Art Director: Dennis Kung (Ogilvy New York)
Planning Director: Eva Augustyn (Ogilvy New York)
Associate Creative Director: James Chana (Ogilvy New York)
Executive Creative Director: Jeff Curry (Ogilvy New York)
Copywriter: Stephanie Cajucom (Ogilvy New York)
Worldwide Chief Creative Officer: Tham Khai Meng (Ogilvy New York)
Artists: Chris Rowson (Ogilvy New York)
Account Executive: Emilia Pittelli (Ogilvy New York)
Digital Producer: Erica Rehbock (Ogilvy New York)
Artists: Jake Chessum (Ogilvy New York)
Senior Producer Content Production: Jason Way (Ogilvy New York)
Builder: Shawn Patrick Anderson (Ogilvy New York)
Chief Creative Officer, North America: Steve Simpson (Ogilvy New York)
Worldwide Planning Director: Dan Ng (Ogilvy New York)
Director Of Drm & Licensing: Gloira Hall (Ogilvy New York)
Creative Director: Matt Chapman (Ogilvy New York)
Assistant Account Executive: Mina Mukherjee (Ogilvy New York)
Associate Creative Director: Eddie Pak (Ogilvy New York)
Designer: Emily Rinehart (Ogilvy New York)
Photographer: Kevin Trageser (Ogilvy New York)
Artists: Ruslan Khasanov (Ogilvy New York)
Worldwide Design Director: Sid Tomkins (Ogilvy New York)
Account Supervisor: Tim Graves (Ogilvy New York)
Associate Director, Print Production: Don Hanson (Ogilvy New York)
Associate Creative Director: Juliane Hadem (Ogilvy New York)
Managing Director: Liam Parker (Ogilvy New York)
Artists: Zeitguised (Ogilvy New York)
Senior Copywriter: Aaron Griffiths (Ogilvy New York)
Artists: Mike Hahn (Ogilvy New York)
Designer: Blake Rutledge (Ogilvy New York)
Artists: Craig Cutler (Ogilvy New York)
Ep Content Production: Elizabeth Lucas (Ogilvy New York)
Assoicate Director, Print Project Management: Eric Makar (Ogilvy New York)
Artists: Oleg Soroko (Ogilvy New York)
Artists: Robyn Makinson (Ogilvy New York)
Here’s how it worked. First, six artists were exposed to Watson’s various programs. (These are called API’s) The artists interpreted Watson’s API’s in an original composition. Then, we had Watson process the work of the artist. And create an original composition based on Watson’s impressions of that artist’s work. A true partnership of creative expression and artificial intelligence. Artist and Watson creating together. Often based on their mutual impressions of one another. We reproduced the resulting artwork as a widely distributed poster series.
Campaign Description:
“That whorehouse on 53rd Street.”—MOMA as described by Francis Henry Taylor, Director, Metropolitan Museum of Art—© 1950’s Up till now, the creation of art has been a purely human pursuit. But art is also about constantly pushing the boundaries of “art”. So we decided to do what no one else had—have artists interpret Watson. And Watson interpret these artists. The result was the world’s first artistic collaboration between artist and machine. Would it really be art in the end? That, of course, is debatable. The quotation above illustrates that point. But involving Watson in the creation of art— and the debate of it’s creation—would be a major success for a technology that’s considered cold, inhuman and sinister. Even more importantly, it might encourage people to collaborate with Watson in other ways. Which is essential to growing our business.
How is Watson useful? The surprising answer is: We don’t fully know. Watson’s abilities are growing constantly. But it’s only through fearless experimentation that we discover new and surprising uses for the insights that Watson delivers. We can guess at a lot of it. But really what IBM needs is for people to experiment and play with Watson. Business is where our money is made. But it’s through something like art that a much wider audience can begin to understand how broadly useful artificial intelligence can be. In short, we need to enlist people to help IBM envision what Watson can do—with us. Modern art is really just the next step in the process of exploring and widening the definition of what Watson can do.
-Created a poster series for 400,000 IBM employees and the world at large.-Taught Watson more about the nature of humanity and art. (Watson learns from every interaction.)-Taught humans to be more open-minded about the non-dystopian possibilities of A.I.-Pushed the boundaries of art—outward.-Created an entirely new collaborative art form between artist and AI.
Much of IBM’s future depends on the success of its artificially intelligent platform for business—“Watson.” Artificial intelligence (or A.I.) has never hurt anyone. But that hasn’t stopped a wide cross-section of America from thinking that A.I. is sinister. We must change this perception, if we want Watson to gain wider acceptance. Watson learns from people. So far, people have taught Watson to solve complicated problems for business. But what if people taught Watson to do something A.I. has never done before? What if people taught Watson to do something selfless. And expressive? And uniquely human? Something that would make the world see A.I. and Watson—very differently?