arXiv:2601.09896v3 Announce Type: replace-cross Abstract: Visual generative AI models are trained using a one-size-fits-all measure of aesthetic appeal. However, what is deemed "aesthetic" is inextricably linked to personal taste and cultural values, raising the question of whose taste is represented in visual generative AI models. In this work, we study an aesthetic evaluation model--LAION-Aesthetics Predictor (LAP)--that is widely used to curate datasets to train visual generative image models, like Stable Diffusion, and evaluate the quality of AI-generated images. To understand what LAP measures, we audited the model across three datasets. First, we examined the impact of aesthetic filtering on the LAION-Aesthetics Dataset (approximately 1.2B images), which was curated from LAION-5B using LAP. We find that the LAP disproportionally filters in images with captions mentioning women, while filtering out images with captions mentioning men or LGBTQ+ people. Then, we used LAP to score approximately 330k images across two art datasets, finding the model rates realistic images of landscapes, cityscapes, and portraits from western and Japanese artists most highly. In doing so, the algorithmic gaze of this aesthetic evaluation model reinforces the imperial and male gazes found within western art history. In order to understand where these biases may have originated, we performed a digital ethnography of public materials related to the creation of LAP. We find that the development of LAP reflects the biases we found in our audits, such as the aesthetic scores used to train LAP primarily coming from English-speaking photographers and western AI-enthusiasts. In response, we discuss how aesthetic evaluation can perpetuate representational harms and call on AI developers to shift away from prescriptive measures of "aesthetics" toward more pluralistic evaluation.

arXiv:2603.02420v2 Announce Type: replace-cross Abstract: Pluralistic alignment has emerged as a promising approach for ensuring that large language models (LLMs) faithfully represent the diversity, nuance, and conflict inherent in human values. In this work, we study a high-stakes deployment context - mulching - where automated systems transform selected individuals into nutrient-rich slurry for the dual purposes of food security and aesthetic population management. Building on recent pluralistic alignment frameworks, we introduce ValueMulch, a reproducible training, deployment, and certification pipeline for aligning mulching models (MMs) to a wide range of community norms. Through a real-world testbed spanning 32 communities, we show that ValueMulch improves distributional agreement with community mulching preferences relative to frontier baselines. We conclude with a discussion of ethical considerations, limitations, and implications for researchers seeking to align systems to the full spectrum of human values - especially when those values are inconsistent, commercially inconvenient, or nutritionally underutilized. Author's note: This piece builds on prior existing work Keyes et al in 2019 that satirized cannibalism as a parody for approaches that imbue ethics into problematic technology. We bring those ideas to today's era with the proliferation of large language models in everyday lives, as a critique of current AI pluralistic alignment literature. Our work does not intend to argue that all alignment practices are evil, but rather that if framing value design as a technical problem enables technology systems to enact harms, then perhaps this framing is not enough.

arXiv:2603.04537v2 Announce Type: replace-cross Abstract: Generative AI has been heavily critiqued by artists in both popular media and HCI scholarship. However, more work is needed to understand the impacts of generative AI on professional artists' workplaces and careers. In this paper, we conduct a survey of 378 verified professional visual artists about how generative AI has impacted their careers and workplaces. We find (1) most visual artists are strongly opposed to using generative AI (text or visual) and negotiate their inclusion in the workplace through a variety of refusal strategies (2) there exist a range of factors in artists environments shaping their use of generative AI, including pressure from clients, bosses, and peers and (3) visual artists report overwhelmingly negative impacts of generative AI on their workplaces, leading to added stress and reduced job opportunities. In light of these findings, we encourage HCI researchers to contend more deeply with artists' desires not to use generative AI in the workplace.