Left: 1868: great grandfather with stereoscope
Right: 2024: great grand daughter with tablet
Stepping into the Banksy universe looking for AI
Sydney Town Hall 6 March 2024
Copyright © KLW NFC Imprint 2024
To see which bits of information might be picked up by artificial intelligence (AI) from the internet to produce a passably factual account of Thomas J. Nevin's work as a 19th century photographic artist who worked with police in Tasmania, the Chatbot Copilot (Microsoft) ) was engaged, starting at 6.30 am, Saturday, 20 April 2024, by clicking on the AI Chatbot logo in top right hand corner of the Microsoft Edge browser, home screen. The whole experience lasted 20 minutes.
The human actor's input to start the ball rolling was simply typing the phrase "thomas j nevin tasmanian photographer" on a desktop keyboard.
Options
MODES available in Chatbot panel
- Chat
- Compose
- Insights
Screenshot, Chatbot panel,
Copilot (Microsoft Edge browser)
TONE options:
Professional
Casual
Enthusiastic
Informational
Funny, +.
LENGTH options:
Short Medium Long
MEDIA options
Paragraphs
Ideas
Blog posts
Parameters chosen in Chatbot panel
Our living breathing human actor chose "Compose" which led to the next option, "Write about". The topic chosen to write about by the human actor was "thomas j nevin tasmanian photographer". This was the only topical instruction typed in words by the human actor sitting at a desktop computer during the event. Within a minute a single paragraph, a synopsis of the topic, appeared in the panel box. Chatbot then offered the human actor two types of options: first, to click on "Generate draft" in the blue bar, and second, below the finished text, to generate further information on the chosen topic using suggestions such as "Tell me more about ...." or "What other types of ...."
.
Our human actor chose these tone, length and format options for today's experience:
- Tone - Professional
- Length - Medium
- Media format 1 - Paragraph, short DRAFT like a synopsis of topic
- Media format 2 - Paragraphs, medium length
- Media format 3 - Blog post, medium length
- Media format 4 - Ideas, medium length
- Media format 5 - Email, medium length
Results
Media format 1 - generated as PARAGRAPH, short DRAFT synopsis by Chatbot
Thomas J. Nevin was a notable Tasmanian photographer in the 19th century, renowned for his work as a commercial photographer and his significant contributions to police photography. His work included a wide array of subjects, from portraits and landscapes to the more somber task of photographing prisoners. Nevin's prisoner photographs from the 1870s and 1880s are particularly noteworthy; they represent some of the earliest examples of systematic mugshot photography in Australia. These photographs were not only a tool for law enforcement but have also become valuable historical records, offering insights into the penal history of Tasmania and the lives of convicts during that period. Nevin's role as a government contractor and his innovative approach to photography have cemented his place in the history of photographic practice in Australia.
Media format 2 - generated as PARAGRAPHS, medium length by Chatbot
Thomas J. Nevin was a notable Tasmanian photographer in the 19th century, renowned for his work as a commercial photographer and his significant contributions to police photography. His collection of prisoner photographs from the 1870s and 1880s is particularly noteworthy, as it represents some of the earliest examples of systematic mugshot photography in Australia. Nevin's photographs served not only as a means of identification but also as a part of the colonial penal history. His work extended beyond mugshots; he also produced a large number of stereographs and cartes-de-visite within his commercial practice. Nevin's legacy is preserved through collections held in institutions like the Queen Victoria Museum and Art Gallery and the Tasmanian Museum and Art Gallery, which house many of his photographs, providing a valuable insight into the social and penal history of Tasmania.
Thomas J. Nevin's photographic work extended well beyond his notable prisoner mugshots. He was also adept in capturing the essence of Tasmania through various other forms, such as landscape photography, which included stereographs of Hobart and its surroundings. These stereographs were a popular form of entertainment and education in the 19th century, offering a three-dimensional view of the world. Additionally, Nevin produced cartes-de-visite, which were small portrait photographs mounted on cardstock, commonly used for personal mementos or visiting cards. His commercial studio work included portraits of individuals and families, which were highly valued for their quality and detail. Nevin's diverse portfolio showcases his skill in different photographic techniques and his ability to document the social fabric of his time.
Thomas J. Nevin's landscape photography indeed focused on specific locations, capturing the natural and urban vistas of Tasmania with a keen eye for detail and composition. His work included stereographic images of Hobart and its environs, which provided a three-dimensional perspective of the landscapes during the 19th century. Notably, Nevin produced a stereograph of the Abbatoir on the Queen's Domain in Hobart, which is a testament to his work with the Hobart City Corporation's Lands and Survey Department. Another significant piece is his photograph of the Glenorchy Landslip in 1872, which was documented with the government Royal Arms insignia, indicating his official commission by the Lands and Survey Department. These photographs not only served as important documentary records but also as artistic representations of the Tasmanian landscape, reflecting both the beauty and the utilitarian aspects of the region during that era. Nevin's landscapes are valuable historical documents that offer insights into the environmental and urban development of Tasmania in the late 19th century.
Media format 3 - generated as a BLOG POST by Chatbot
Exploring the Legacy of Thomas J. Nevin: A Tasmanian Photography Pioneer
Thomas J. Nevin was a name synonymous with early Australian photography, particularly in Tasmania during the 19th century. His work not only captured the essence of colonial life but also played a pivotal role in the penal system of the time. Nevin's photographs, especially his prisoner "mugshots," are some of the earliest examples of photographic documentation for law enforcement purposes.
Born in 1842, Nevin's life spanned an era of significant transformation in Tasmania, from its days as a penal colony to its development into a burgeoning society. His career as a photographer began in the 1860s, and he quickly established himself as a skilled practitioner of the art, producing large numbers of stereographs and cartes-de-visite, which were popular forms of photographic media at the time.
One of Nevin's most notable contributions was his work with the Tasmanian police. He was one of the first photographers in Australia to work with law enforcement, creating a collection of prisoner photographs that are now invaluable historical records. These photographs provided a means of identification long before the advent of modern techniques and databases.
Nevin's photographs extend beyond mugshots; they are a window into the past, offering insights into the people, fashion, and culture of 19th-century Tasmania. His portraits are characterized by their clarity and attention to detail, reflecting both the technical limitations and the artistic possibilities of early photography.
The significance of Nevin's work is recognized in various collections, including the Tasmanian Museum and Art Gallery, where many of his photographs are preserved. His legacy is also explored in depth on dedicated blogs and websites, which delve into his life, his work, and the broader context of Tasmanian history.
Thomas J. Nevin's photography is more than just a collection of images; it is a historical archive that tells the story of Tasmania's evolution and the people who lived through it. His work remains a subject of study for historians, photographers, and anyone interested in the rich tapestry of Tasmania's past. For those looking to explore Nevin's work further, there are several online resources that provide detailed analyses and galleries of his photographs. His enduring influence on the field of photography and historical documentation is a testament to his skill and foresight as a pioneer of his craft.
[Chatbot's next prompt chosen by the human actor was this subtopic - :"Who were ....?]:
Contemporaries of Thomas J. Nevin: Pioneers of Photography in the 19th Century
During the time of Thomas J. Nevin, several other photographers were also making their mark in the world of photography. These individuals were contemporaries of Nevin and contributed significantly to the craft, capturing the essence of the era and leaving behind a legacy that provides us with a glimpse into the past.
One such photographer was Charles Nettleton, who was renowned in Victoria, Australia. Nettleton's work is notable for its historical significance, including photographs of the Melbourne streetscape and significant events such as the visit of the Duke of Edinburgh in 1867. His photographs are a valuable record of Victorian society and architecture during the 19th century.
Another contemporary was Samuel Clifford, who was known for his work in Tasmania alongside Nevin. Clifford's photographs include a range of subjects from landscapes to portraits, and like Nevin, he also produced stereographs, which were a popular form of entertainment and education during that period.
Alfred Bock, who preceded Nevin as a photographer in Tasmania, was another significant figure. Bock's studio was where Nevin apprenticed and later took over the business. Bock's contribution to Tasmanian photography includes portraits and scenic views that have been preserved as important historical documents.
Frazer Crawford in South Australia also played a pivotal role during this era. His work with the police, like Nevin's, involved taking photographs of prisoners, which served as an early form of criminal identification.
These photographers, along with Nevin, were instrumental in the development of photography in Australia. They not only documented the people and places of their time but also laid the groundwork for the use of photography in fields such as law enforcement and journalism. Their collective work provides a rich visual history of 19th-century Australia and is a testament to their skills and vision as early pioneers in the field of photography. Their contributions continue to be celebrated and studied, offering inspiration and insight into the power of photography to capture and preserve our history.
[Chatbot's next prompt was this subtopic: "What techniques ..."]
The Art of 19th-Century Photography: Techniques That Captured a Century
The 19th century was a period of great innovation in photography, with several techniques emerging that would define the art form and its capabilities. These techniques not only captured the visual essence of the era but also laid the foundation for the future of photographic expression.
One of the most renowned techniques of the time was the Daguerreotype, named after its inventor, Louis-Jacques-Mandé Daguerre. This process involved a silver-plated copper sheet that was polished to a mirror finish, treated with fumes to make it light-sensitive, and then exposed in a camera. The resulting image was a single, highly detailed positive that could not be replicated.
Another significant technique was the Calotype, developed by William Henry Fox Talbot. This method produced a paper negative from which multiple positives could be printed, allowing for the reproduction of images and a departure from the one-of-a-kind nature of the Daguerreotype.
The Wet Plate Collodion process, introduced in the 1850s, was another milestone. It involved coating a glass plate with collodion and sensitizing it before placing it in the camera while still wet. This technique was valued for its clarity and detail and was widely used for portraiture and landscape photography.
These techniques, among others, were the building blocks of photography as we know it today. They represented a combination of scientific discovery and artistic endeavor, capturing moments in time with a fidelity that had never been seen before. The 19th century's photographers were true pioneers, experimenting with and perfecting these processes to leave behind a legacy that still fascinates and inspires. Their work is a testament to the enduring power of photography to document, communicate, and evoke emotion.
Media format 4 - generated as IDEAS by Chatbot
- Thomas J. Nevin was a notable Tasmanian photographer in the 19th century, recognized for his work in commercial photography and his significant contributions to police photography.
- He is well-known for his prisoner photographs from the 1870s-1880s, which are some of the earliest examples of mugshots used for police records.
- Nevin's photography was not limited to mugshots; he also produced a large number of stereographs and cartes-de-visite within his commercial practice.
- Appointed as the Keeper of the Hobart Town Hall in January 1876, Nevin's role extended beyond photography to include public service.
- His work has historical significance, providing insights into 19th-century penal systems and the early use of photography in law enforcement.
[Chatbot's next prompt was this subtopic: "Tell me more about his stereographs"]
- Thomas J. Nevin's stereographs were a significant part of his photographic work, capturing the essence of Tasmanian life and landscapes in the late 19th century.
- His stereographs often featured notable Tasmanian landmarks, people, and everyday scenes, providing a valuable historical record of the time.
- Nevin collaborated with Samuel Clifford, a fellow photographer, on tours through Tasmania to create these stereographs, which were popular among locals and tourists alike.
- The technique involved taking two photographs from slightly different angles, which when viewed through a stereoscope, gave a three-dimensional effect, immersing the viewer in the scene.
- Some of Nevin's stereographs, such as those depicting Tasmanian ferns and the foothills of Mt. Wellington, are held in collections like the Tasmanian Museum and Art Gallery and are celebrated for their artistic and historical value.
- These works not only showcase Nevin's skill as a photographer but also reflect the early innovation and experimentation in the field of photography during that era.
Media format 5 - generated as EMAIL by Chatbot: compare the following three email responses.
Dear Colleague,
I am reaching out to share some fascinating insights into the work of Thomas J. Nevin, a notable Tasmanian photographer from the 19th century. His contributions to early Australian photography, particularly his prisoner photographs from the 1870s-1880s, are of significant historical value. These photographs not only provide a visual record of that era but also reflect the social and penal history of Tasmania.
Nevin's work with the police as a government contractor produced a collection of mugshots that are among the earliest surviving in public collections. His photography offers a unique glimpse into the lives of individuals during that period and serves as a vital resource for historical research.
For those interested in exploring Nevin's legacy further, I recommend visiting the Tasmanian Museum and Art Gallery, which holds a collection of his photographs. His work is a testament to the rich tapestry of Tasmanian history and the evolution of photographic documentation in the criminal justice system.
Best regards,
[Your Name]
Media format 5 - generated as EMAIL, second example
Dear [Recipient's Name],
I am reaching out to express my admiration for the work of Thomas J. Nevin, a notable Tasmanian photographer whose contributions to 19th-century photography have captured my interest. His extensive work with prisoner photographs during the 1870s and 1880s has provided a unique historical record of that era.
Nevin's role as a government contractor and his collaboration with the police force were pioneering efforts in the use of photography for identification purposes. His collection of prisoner mugshots is not only an artistic endeavor but also an invaluable resource for historical research.
Moreover, Nevin's commercial practice, which produced a significant number of stereographs and cartes-de-visite, showcases his versatility and skill as a photographer. His legacy continues to be a subject of study and appreciation among photography enthusiasts and historians alike.
I would be delighted to discuss Nevin's work further and explore potential collaborations or exhibitions that celebrate his contributions to the field of photography.
Warm regards,
[Your Name]
[Your Contact Information]
Media format 5 - generated as EMAIL, third example
Dear [Recipient's Name],
I hope this message finds you well. I wanted to share some fascinating details about the life of Thomas J. Nevin, a prominent Tasmanian photographer whose work has significantly contributed to historical archives.
Born in 1842, Nevin's career spanned nearly three decades, from the early 1860s to the late 1880s. He was one of the first photographers to collaborate with the police in Australia, creating a comprehensive collection of prisoner mugshots for identification purposes. This innovative approach not only served law enforcement but also created a unique visual record of the era.
Nevin's commercial practice was equally impressive, producing a vast array of stereographs and cartes-de-visite that were popular during his time. His studio at 140 Elizabeth Street, Hobart Town, became a hub for capturing the likenesses of individuals from various walks of life.
His legacy was honored in 1976 when his photographs of Tasmanian prisoners were exhibited at the Centenary of the Art Gallery of New South Wales, Sydney, and at the National Gallery of Victoria, Melbourne. The exhibition highlighted the historical value of Nevin's work and his role in the evolution of photographic practices in the 19th century.
Thomas J. Nevin's contributions have left an indelible mark on the history of photography and continue to be a point of reference for both artists and historians.
Best regards,
[Your Name]
[Your Contact Information]
Feedback from the human actors
So, how did the human actors feel about this experience?
The human actor at this weblog gave these results by Chatbot a rating of 6/10 and with a caveat for the following reasons:
1. Chatbot gave no specific sources such as books and articles in print, nor references to online sites, news feeds, social media etc, despite the chosen tone - "PROFESSIONAL" - which one might expect at some level to pass as academic discourse. The tone was formal, of course, and also respectful.
Human actors, on the other hand, can fail miserably at the level of "respectful". A snarky tenor was adopted by a self-promoting, delusional "professional" in 2015 (Clark, UTAS 2015) to denigrate Thomas J. Nevin, his work, his family and his descendants in a PhD thesis, clearly believing she had made a clever choice.
2. Chatbot in this panel iteration offered no options to include photographs, a particularly significant lacuna since the topic deals with the works of a photographer, many readily available online. A separate Microsoft AI bot deals with images. See this article - "Beware AI generated images of your criminal ancestors!" - regarding the misuse of Tasmanian prisoners' mugshots using AI for exhibitions held at the old Hobart Gaol, Campbell St.
3. Depending on the human actor's requirements for length, a full article of 5-10 pages could be generated in less than 30 minutes on this particular topic "thomas j nevin tasmanian photographer". Chatbot showed an unnervingly intelligent capacity to generate grammatically coherent responses at the first level using the PROFESSIONAL tone option, and cogent prompts for further text at the subtopic level response with modalities such as "Did he have any other notable projects or collaborators...?" or "Tell me about ..." to generate yet more information.
4. Who can argue with the halo effect which Chatbot delivered around Thomas J. Nevin's praiseworthy achievements? A further prompt, provided either from Chatbot or from the human actor, might have balanced the effect with points dealing with some of the adverse events in his life's journey which, like everyone else's, was a struggle to maintain a career and care for family.
5. Chatbot's suggestion that the reader visit the museums in Tasmania holding Nevin's photographs is touristic spin, certainly, and neither realistic nor even necessary. Those institutions have demonstrated (in our human actors' experience) an unwillingness to drag these T. J. Nevin photographic items out of storage for viewing in situ and for copying. Travel for non-residents of Tasmania for purposes suggested by this Chatbot text would most likely result in the same outcome. A good many of T. J. Nevin holdings at the QVMAG and TMAG in Tasmania as well as those at the NLA, Canberra and Mitchell Library, SLNSW have been made available online at web sites and weblogs at these URLS devised and maintained by Thomas Nevin's descendants over two decades at considerable cost to themselves, and at no expense to their readers:
6. Verdict: this was a one-off, once-only attempt using Chatbot at generating information on the topic "thomas j nevin tasmanian photographer" as formal or professional discourse. Any other attempt at any other time would generate different sets of texts with different examples from the information already online and in varying order, depending on the choice of mode, media, tone and length.
This attempt today, we must admit, generated an impressive result if we assume the Chatbot sourced its information from our Thomas J. Nevin weblogs, which obviously it has, repeating our exact phrases in several instances. Even so, each text provided by the Chatbot was freshly expressed, and mostly accurate, so we are wondering if in fact there is just ONE article online somewhere which someone has written which this Chatbot has used as its predominant creditable source. After all, dozens of students doing family history diplomas have requested use of the weblogs; several journalists have put online articles about his work; and academics wishing to progress their careers have openly plagiarised ideas and topoi without so much as a nod to the weblogs' writers.
Another day, another text
What if a different set of options offered by Chatbot were engaged? For example, these modalities were chosen the next day, Sunday 21 April 2024 at 9.32 am, :
The human actor's choices:
compose a short funny blog post about "tasmanian photographer thomas j nevin".
THE RESULT !!
Thomas J. Nevin: The Chuckle Behind the Mugshot
Let's take a whimsical wander back to the 1870s, where Thomas J. Nevin, a Tasmanian photographer, was making a name for himself in a rather peculiar way. You see, Nevin had a knack for capturing the most wanted of subjects – and no, we're not talking about the high society's crème de la crème, but actual convicts!
Nevin's mugshots weren't just your run-of-the-mill "say cheese and look grim" affairs. Oh no, they were the selfies of the 19th century, sans the duck faces and filters. Imagine the surprise of a burly burglar, expecting to be immortalized in a dashing pose, only to find himself staring into Nevin's lens with a number plate dangling around his neck. Talk about a reality check!
But Nevin wasn't just about the gloomy gaol galleries. He also dabbled in stereographs, which were like the virtual reality headsets of yesteryear. With a pair of these bad boys, you could escape the drab confines of your Victorian parlor and leap into a three-dimensional Tasmanian adventure, all from the comfort of your chaise lounge.
So, while Nevin may have been the paparazzo of the penitentiary, he also offered a ticket to a world beyond the bars. From capturing the scowls of scoundrels to providing a portal to the picturesque, Thomas J. Nevin was truly a man of contrasts – and quite the character in the annals of photography.
It is difficult to imagine in which context this result would find favour.
The question most often asked about AI is this: who owns the copyright to Chatbot's generated texts? The answer ought to be made very clear. For today's post we say this: since we human actors published the results online of our one-off Chatbot experiment conducted yesterday and today, we say it is now copyrighted to this weblog, as per this notice:
Blog post title: "What AI told us about "thomas j nevin tasmanian photographer"
Blog post URL: https://tasmanianphotographer.blogspot.com/2024/04/what-ai-told-us-about-thomas-j-nevin.html
Published date: 21 April 2024
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