The Intersection of Art, Technology, and Society
In a world increasingly shaped by artificial intelligence, the boundaries between reality and fiction are blurring. One artist, Hiromi Ozaki—better known as Sputniko!—has taken this concept to new heights with her AI-driven project that explores the influence of technology on society. Her work, “Tech Bro Debates Humanity #2,” offers a thought-provoking look at how the future is being shaped by a small group of powerful individuals.
Sputniko! created six AI-generated characters, each representing a stereotypical “tech bro” figure. These avatars, based on her own face and voice, were reimagined as white men and trained on the philosophies of tech billionaires like Elon Musk and Peter Thiel. The result is a chilling video installation where these characters debate topics ranging from the future of democracy to the role of free will in an algorithm-driven world.
The project debuted at Ozaki’s solo show in Tokyo last year, just days before the U.S. Presidential election and the subsequent creation of the Musk-led Department of Government Efficiency (DOGE). It has since traveled to the Ars Electronica Festival in Austria and will be showcased at The Art Gallery at Brooklyn College in New York. The timing of the exhibition underscores the growing relevance of Ozaki’s work in today’s technological landscape.
Ozaki’s journey from a technophile to a tech-fatigued artist reflects a broader shift in public sentiment. Once drawn to the potential of technology to change society, she now sees its growing impact as a source of concern. Her recent solo exhibition, “Can I Believe in a Fortunate Tomorrow?” includes several thought-provoking video installations that explore the implications of AI-driven efficiency.
One of the works, titled “Can I Believe in a Fortunate Tomorrow?” uses AI to simulate the optical phenomenon known as “saiun”—when sunlight passes through iridescent clouds, creating streams of rainbow-colored light. This rare natural occurrence is often associated with good luck in some Asian cultures. By using AI to replicate this phenomenon, Ozaki raises questions about the value of rarity, chance, and surprise in our digital age.
Another piece, “Drone in Search for a Four-Leaf Clover,” features a drone scanning a field of clovers, identifying four-leaf versions hidden among the grass. In Celtic cultures, the four-leaf clover is a symbol of good luck and happiness. However, the use of AI to find these rare occurrences prompts deeper reflection on whether the joy comes from the discovery itself or the effort required to find it. 
Ozaki’s work evokes the cliché often attributed to American philosopher Ralph Waldo Emerson: “Life is a journey, not a destination.” In the era of AI, how much of the journey are we still partaking in? This question is particularly relevant as more people, especially Gen Z and Millennials, experience digital burnout and seek to disconnect from their devices.
The rise of digital burnout is a growing concern, with many young people rejecting the so-called “hustle culture” that has become synonymous with long working hours and constant connectivity. While technology was once hailed as a way to reduce workload, the reality is far different. Economists note that work hours have stagnated or even increased in many developed nations, with the digitalization of work contributing to this trend.
Ozaki sees the rejection of hustle culture as a recognition of an unequal system that benefits wealthy stakeholders rather than workers. She points out that despite significant technological progress, we do not work 15-hour weeks as economist John Maynard Keynes predicted in 1930. Instead, we produce more, with the benefits going to those in power.
Beyond her artistic work, Ozaki has also used technology to address social inequalities. In 2019, she co-founded Cradle, a startup aimed at improving women’s healthcare services in Japan. The company partners with major corporations to provide employees with better resources for their wellbeing, including e-seminars on health topics, virtual medical consultations, and employer-subsidized coupons at partner clinics.
Cradle’s services, launched in 2022, initially focused on women but have since expanded to include men and trans people. For employers, the platform helps identify gaps in healthcare coverage and advises on improving health and DEI policies. Ozaki hopes to float Cradle on the Tokyo Stock Exchange in the next few years, viewing it as a medium for expressing her values and exploring ideas.
Despite her concerns about the impact of technology on society, Ozaki acknowledges the paradox of being an anti-capitalist “artist activist” who also owns a business and works with major corporations. She started her career hating capitalism but decided to understand and use it as a tool for social change. 
Ozaki’s work serves as a reminder of the complex relationship between art, technology, and society. As AI continues to shape our world, artists like her play a crucial role in questioning its implications and challenging the status quo. Through her innovative use of technology, Ozaki not only critiques the current state of affairs but also offers a vision of what could be possible if we choose to use technology for the greater good.
