Interrogating The Black Female Image In AI

Two documentaries at the Sundance Film Festival raise questions about digital depictions of Black women — underscoring that representation is not enough.

PARK CITY, Utah — Much has been written about how many Hollywood projects make strides in representation but lack the experience or creative input from those represented to pull off culturally convincing art that engages with the realities that plague those communities. The same is true when it comes to artificial intelligence, and the issue is just as pressing.

In an effort to address the lack of more culturally inclusive AI, not enough attention has been paid to what, for example, it means to have a Black female image as its face. Is it just about marking off an empty effort toward diversity? Is it another example of cashing in on the trend of Black images? Or is it to actually reflect and connect with Black girls and women?

A lot of those answers point to a problem with the people behind these products, mostly white men, who too often don’t recognize risks like perpetuating or glossing over stereotypes or cultural exploitation that could impact the already vulnerable human inspirations.

Or, on the flip side of that, what success among Black female consumers could mean if the AI wasn’t created with them in mind, despite their likeness being a selling point? Two documentaries that premiered at this year’s Sundance Film Festival raise these issues and more, with varying results.

“Seeking Mavis Beacon,” directed by Jazmin Jones, examines the impact of “Mavis Beacon Teaches Typing,” a product launched in 1987 that used the face of Haitian American model Renee L’Esperance to sell products that taught people how to type and use the computer. None of the audio, the brand’s name, the instruction or anything beyond her image was actually hers.