Unfazed: Cats in Art | The Art Institute of Chicago
By Admin in Art World News
By Admin in Art World News
Art, unfortunately, spends a ridiculous amount of time not being enjoyed. There are great swaths of time in which paintings lie in wait, impotent, in dark and cool crates, until it comes time for them to be displayed or purchased. Many, many brilliant works of art are assigned to this fate, banal and lame, ensconced in plywood. Kathy Grayson, longtime lover of and attendant to art, takes inspiration from this stillness. In curatorial project, Storage Wars, to be debuted at The Hole on La Brea Ave from June 24-August 19, Grayson has stacked these crates to the ceiling and granted visitors access to art that has been kept in the dark.

Featuring masterpieces that just don’t quite fit for some reason, the project invites artists and collectors to display works from storage– whether they be unsold, unpaid or a work that they decided to keep for themselves. Boxes, usually utilized to protect and to withhold, are used as frames upon which art is displayed for consumption. Over twenty artists will be on display in this curatorial exhibition, which aims to negate the often unfortunate side-effects of contemporary art marketing and distribution.

In a recent interview with the Los Angeles Times, Grayson remarked: “Art should be for everybody…You should use your art gallery to broaden the audience of art. Everybody should be able to walk into a contemporary art gallery and have a meaningful experience with art. It should be as popular as music or literature.” Indeed. In order to open art to everyone, sometimes you just have to open the box.
By Admin in Art World News
TIMOTHY A. CLARY/AFP via Getty Images
In 2017, two-time Tony Award winning producer Julie Boardman posed the question: Why isn’t there a museum dedicated to Broadway?
To solve what seemed like an obvious oversight, she approached her friend Diane Nicoletti, founder agency Rubik Marketing. “Almost for fun we started brainstorming and then it just started getting a little more serious,” Nicoletti says.
Nicoletti and Boardman, both 40, met as undergraduates at the University of Southern California and have worked on a series of projects together over the last decade. But they wanted to dig deeper. In November, after five years in the works, they opened the Museum of Broadway in a former Irish pub next to the iconic Lyceum Theatre, the district’s oldest continuously operating theater.
While the museum is for-profit, a portion of every ticket sold (with prices starting from US$39) is donated to Broadway Cares/Equity Fights AIDS. Visitors take a self-guided tour through three floors of Broadway history; many of the original costumes, props, posters, notes, and set pieces are on display from shows ranging from Rent to West Side Story to Cats. There’s even a scale reproduction of the Gershwin Theatre, showing miniature models of the cast and crew from Wicked as they warm up, get dressed, and perform.
Bruce Glikas/Getty Images
“We wanted it to have an experiential vibe to it,” Nicoletti says. “We wanted to immerse guests into the world of Broadway and into the show.”
Penta met co-founders and producers Boardman and Nicoletti at the Museum of Broadway to find out more.
The Museum of Broadway is a love story to Broadway, stuffed with history and original artifacts. How did you fund such an ambitious project?
Boardman: At the beginning it was self-funded. The next step was to get funding in the Broadway community. We had some artists on board [and] meetings with key players in the industry: the licensing companies, the theater owners. We [wanted] to make sure that people were open to it—because it’s a very small community, and if you’re not embraced it’s a little harder to get things off the ground.
The exhibition begins with a walk up a back-stage staircase to the third floor, adorned with photos and text explaining how performers (and, in particular, dancers) use the stairs to warm up. It’s a very intimate beginning…
Boardman: It was a bit of a creative solve to get people to the third floor to start the experience—a lot of people don’t necessarily know or haven’t been backstage.
Each room has a concept. Tell us about the Showboat room, which has an art installation from paper artist Rachel Marks, featuring the scattered pages of a book…
Nicoletti: For Showboat we knew that we wanted some kind of paper art to represent it as one of the first musicals [derived] from a [novel] with a serious topic, so we wanted to find the pages of the book and create an art installation from it.
Most of the exhibitions are celebratory. But a more somber room is dedicated to the performers and Broadway workers who lost their lives during the AIDS epidemic. How did you approach such a sensitive subject?
Nicoletti: It’s a quiet room. … We worked with [American artist] Debbie Millman to create the wallpaper of names [of those who lost their lives]. She did it so beautifully and so respectfully. And then we worked with HotXTea for the red ribbon installation, representing AIDS awareness.
Why is it an important story to tell?
Boardman: As we were crafting the timeline, we show that we stand on the shoulders of those who come before us. So it was important [to include] all the people we lost along the way. Had the AIDS epidemic not happened, the future would have looked very different. It was really important to us to pause, stop, reflect, and remember everyone who we had lost.
The museum opened last November. Who is visiting?
Nicoletti: We knew tourists were going to be a big focus, because New York and Broadway are almost synonymous to each other—so when you do come to New York, you probably have a Broadway element to your visit. So [the museum] becomes an add-on to maybe a show or two that you’ve seen.
Boardman: We’re also seeing all ages. Everybody has a different entry point of when Broadway came into their consciousness. Maybe you started coming in high school or a teacher took you when you were little. It’s interesting to see inter-generational groups come to the museum, the grandparents saying: Oh yeah, I first saw a show in 1965. It’s all about memory and the love of theater.
You focus more on musicals—why?
Nicoletti: As we were developing it, we’d get that question: Why aren’t you incorporating plays? The American musicals are such a big part of American history, whereas plays date back to the Greek or Romans.
Boardman: Plays are there. But it is an experiential museum, so when you walk in you hear the music from the shows. You can’t accomplish that with a play.
What is your favorite room?
Nicoletti: I always say The Phantom of the Opera because it was the first show that I saw, so there’s this nostalgic element to that particular room.
Boardman: Something that excites me is that last major exhibit: the making of a Broadway show. People are being exposed to other jobs—you could be a press agent or report on Broadway. There are so many different ways to be part of it. By going into that exhibit, people are going to inevitably be inspired and maybe that helps change their path, so I’m excited to see what the future holds in terms of the stories that are told.
Are you doing talks, too?
Nicoletti: In February, we did a couple of events around Black History Month, we’ve done talks around Women’s History Month, we invite shows to come and do talks. It allows us to dive deeper into certain topics. For student groups who come in, we have workshops. We even have an educational guide for teachers created by Barrie Gelles, who is getting her doctoral degree in theater.
You worked on the museum during the pandemic, when Broadway itself suffered the longest shut down in its history. That must have been emotional…
Boardman: It shut down and then we could not come back to work for such a long time. There’s nothing like sitting inside a theater and the magic and the energy and what happens on the stage. This is a place where people can come together to celebrate Broadway, to remember.
What has been the largest challenge?
Boardman: At one point it was the real estate, the construction, the supply chain. We had to be very diligent to get this built. Now it is getting people to come. We really hope people like it—and it turns out they do. It’s very moving to see people go through. When people visit after they have seen a show I think they will see [Broadway] in a bit of a different light. We’re hoping to deepen the experience.
This interview has been edited for length and clarity.
By Admin in Art World News
All images © Guardabosques, shared with permission
We’re thrilled that artists Caro Silvero and Juan Elizalde of Guardabosques (previously) will be joining us this August for a papercraft workshop. The Buenos Aires-based pair will show students how to create the entomological display shown above using new templates designed specifically for Colossal. Grab your scissors and glue, and watch butterflies and beetles come to life during the 1.5-hour virtual session.
Register here, and if you’re a Colossal Member, be sure to use the code in your account for $10 off. Ten percent of proceeds from this workshop will be donated to the Center for Biological Diversity.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Join Us for a Colossal Workshop on Crafting Paper Entomology Displays with Guardabosques appeared first on Colossal.
By Admin in Art World News
By Admin in Art World News
Company continues its acquisition spree as part of strategic growth plan
CONSHOHOCKEN, Pa., July 10, 2023 /PRNewswire/ — NSM Insurance Group, the nation’s leading specialty insurance provider with more than $1.5B in premium across 25+ niche insurance programs in the U.S. and U.K., today announced the completion of its acquisition of Shield Commercial Insurance Services. Based in Palm Desert, CA, Shield specializes in insurance solutions for the general contractor and construction liability space.
“We are energized to continue our series of strategic acquisitions in the U.S. and U.K. with Shield,” said Bill McKernan, President of NSM Insurance Group. “Shield is a fast-growing and best-in-class business with exceptional underwriting and a profitable track record. They are a perfect fit for our B2B portfolio of dynamic, specialized businesses. We will accelerate their growth by expanding their geographic footprint and national distribution with our robust network of 15,000+ agent partners across the country.”
Shield is exclusively focused on underwriting business for small and mid-sized contractors, offering coverages for General Liability, Excess Liability, Workers’ Compensation, Inland Marine and Contractors Professional & Pollution Liability.
“We’re thrilled to join the NSM family of specialty insurance brands and further enhance and bolster our offerings to meet the unique needs of contractors,” said Robert Anderson, President and Co-Founder of Shield Commercial Insurance Services. “Over the last two decades, we have delivered innovative products for this niche segment and have built a tremendous reputation with agents and carriers alike — which has fueled our explosive organic growth over the last five years.”
Over the past 33 years, NSM has developed a winning formula for building the industry’s most successful and sustainable programs, consistently outperforming competitors and driving industry-leading growth and profitability over the last four years. This latest acquisition complements NSM’s robust portfolio of specialty insurance programs and brands for the commercial P&C industry and consumer insurance — backed by the company’s state-of-the-art resources, including IT, operations, marketing, HR and finance.
For more information about NSM or for investment opportunities, please visit nsminc.com.
About NSM Insurance Group
NSM Insurance Group is the nation’s leading specialty insurance provider, exclusively focused on building successful insurance programs. For more than 30 years, NSM has been committed to delivering industry-specific insurance programs that help agents meet the unique needs of their customers and fuel market growth through innovative development, underwriting, distribution and claims expertise. The company has built more than $1.5 billion in premium across 25+ specialty insurance programs and brands in the U.S. and U.K. focused on collector cars; pets; social services and behavioral health; addiction treatment; coastal condominiums; towing and garage; trucking; sports and fitness; professional liability for contractors, architects and engineers; habitational; medical stop loss and managed care; staffing; and workers’ compensation. For more information on NSM, visit nsminc.com.
Contact:
Leanne Scott Brown
Head of Marketing & Communications
610.808.9531
[email protected]
SOURCE NSM Insurance Group

By Admin in Art World News
“Dead palm in creek” (2021). All images © Benjamin Dimmitt, shared with permission
In one photo, dead palm leaves dangle from a desiccated trunk and skim the surface of a creek, making the crispy, lifeless fronds soggy with water. In another, a diptych highlights the same shoreline photographed 18 years apart, the latter sparse and sickly in comparison to its thriving predecessor.
Taken in stark black-and-white, these scenes are a few of many captured by Benjamin Dimmitt during the last three decades. They document the immense ecological changes of Chassahowitzka National Wildlife Refuge, approximately 70 miles north of Tampa on Florida’s Gulf Coast, and are now compiled in a forthcoming book that approaches the climate crisis with raw, unwavering honesty.
Slated for release in September from the University of Georgia Press, An Unflinching Look: Elegy for Wetlands highlights how the region has undergone dramatic changes since the 2010s when saltwater began to infiltrate sources of fresh water due to rising sea levels, over-pumping the underground aquifer, and general contamination of the area. “As the climate crisis worsens, my photographs show wetlands that are no longer an ecosystem in transition but now a ruin, a nearly barren, treeless salt marsh,” Dimmitt tells Colossal of his more than three-decade project bearing witness to this destruction. “The only plants thriving now are grasses, salt-loving mangroves, and the toxic algae that has flourished with the increase of phosphates and other fertilizers in the aquifer.”
“View Downstream,” top (2004), bottom (2022)
Although he’s currently based in Asheville, Dimmitt is a Florida native, and his profound respect for the state’s ecosystems and desire to preserve its natural life is evident in his photos. While earlier images show broad swaths of land, today, he primarily focuses on what’s left of the salt-addled forests, zeroing in on the barren limbs and cracked, gnarled roots of downed trees. The images are poignant reminders of the life we’ve already lost due to the climate crisis and that, while much damage has already been done, there’s still more to save.
Pairing more than 90 photos with contributions from scientists and writers, the book is a broad-reaching examination of a damaged ecosystem. It also suggests that what’s happening in Florida is indicative of a much larger problem. “The coastal inundation at the Chassahowitzka is a bellwether for low-lying coasts everywhere,” Dimmitt says. “What I have photographed is happening all around the world. As our planet continues to become warmer, the glacial melting and rising seas will only worsen.”
An exhibition of An Unflinching Look will open the new Wild Space Gallery in St. Petersburg, Florida, for its inaugural show this October and also be on view at Asheville Art Museum in November. Dimmitt will be traveling the southeast U.S. for a book tour this fall, and you can find news about that on his site. Until then, An Unflinching Look: Elegy for Wetlands is available for pre-order.
“Late Sun, Blue Run” (2020)
“View Upstream,” top (2004), bottom (2022)
“Blue Ruin Still Life 2” (2020)
“Diagonal trees in creek” (2021)
“Lower Crawford Creek,” top (1988), bottom (2014)

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article In ‘An Unflinching Look,’ Benjamin Dimmitt Bears Witness to the Ecological Disaster of Florida’s Wetlands appeared first on Colossal.
By Admin in Art World News
In the volatile markets of 2023, with major current affairs occurring day by day, and digital platforms (ChatGPT, Discord, Midjourney and more) disrupting brand engagement, how are organizations expected to stand out in all this noise? Making marketing (and business) efforts sustainable is the key.
Following the same templated format for activity isn’t going to make a significant impact on new audiences. But trying new techniques at random isn’t going to be authentic or effective either.
Instead, stepping out of your marketing box should be done through well-researched and calculated campaigns. Testing out new campaign formats, audiences, platforms or copy may feel like a risk. You could waste investment, lose trust, or destabilize your brand image. But being creative doesn’t need to have a consequence if you’ve done the work.
When backed by data-driven planning and understanding, trying out new ideas will be a valuable boost for brand engagement, lead generation and conversion. This combines to form a natural and essential process of evolution for any organization’s marketing strategy. To ensure that your next marketing “risk” is a confident success — not something you’ll regret — it’s important to follow these four steps:
The first step in successfully taking your next marketing risk is conducting thorough research. This means understanding your target audience’s pain points and needs, as well as the channels and tactics that will effectively reach them. Once you know this, you can better understand the value you can realistically expect to gain from any given activity.
Taking a risk without proper research is just taking an uncalculated guess. You may get lucky, but your chances of success are much lower. For businesses that are unsure of how to begin planning out their next campaign, there are numerous resources available, such as Hubspot’s resource center.
Continue this research process until you can confidently answer these three questions:
By answering these questions, you can ensure that your marketing plan is a calculated risk rather than a poorly thought-out idea.
Related Article: How to Understand What Your Customers Do and Why They Do It
A lack of coherence or consistency can lead to a lack of engagement. It may even be misleading about the brand or service and work against your efforts.
Understanding how your copy will resonate with your target audience is key to the performance of your latest campaign.
It’s important to make sure that your messaging and narrative are tailored to their needs. Online tools such as Answer The Public, Ahrefs, Semrush and Google Trends can give you great insight into your audience. Through these, and many other additional extensions and plugins, you can find out what your audience is commonly searching for, the questions they ask and the best keywords you can use to target them.
Combining these with a formal, definitive matrix of all available personas can help inject clarity and transparency into your latest marketing risk. If you can’t find a tangible link between your newest campaign and these personas, then maybe it’s time to reevaluate.
Related Article: Finding Your Target Audience Through Social Media
Track your results regularly and make changes to your strategy as necessary to help you stay ahead of the curve and avoid making regretful decisions.
One of the biggest advantages of modern marketing is the ability to track and measure the results of your efforts. Instead of relying on intuition or qualitative information, use the data available to you to make informed decisions you know will perform well.
Having the right infrastructure in place, such as a flexible and scalable CRM, is key to tracking your results effectively. It provides clear performance data and informs best practices for future efforts, allowing you to reactively optimize activity. Examples of warning signs to look for include:
With these tools in hand, it’s easy to be confident when taking risks. It won’t always prevent lackluster results, but it will enable you to turn the situation around quickly.
Even the most calculated and well-researched decisions need monitoring and optimization. Be prepared to pivot your strategy as needed — and be willing to make changes that may be uncomfortable at first.
The online landscape, social and search algorithms, and audience sentiment are always changing. Staying up to date and adapting strategies is a full-time task.
Personas naturally shift as their needs evolve, and you may find that your same old social media strategy just isn’t achieving the same level of engagement as it was. When this happens, embrace a mindset that isn’t afraid of adapting, instead of doubling down on traditional marketing efforts.
Just some examples of creative (but achievable) marketing risks include:
Taking risks in marketing is an essential part of driving growth for your business, but it’s important to do so in a way that minimizes the risk of regret or negative impact.
Ultimately, the biggest risk to your marketing is not doing anything new at all. Old processes become stale, boring, and irrelevant, and your engagements and conversions will suffer as a result.
Taking marketing risks is daunting, but they are incredible ways to reach new audiences and grow your business.
Learn how you can join our contributor community.
By Admin in Art World News
As we stand on the precipice of an accelerating artificial intelligence (AI) revolution in the pharma industry, the convergence of AI and practical, real-world applications has taken center stage. On June 8, approximately six months after the launch of OpenAI’s ChatGPT, five industry leaders with expertise in leveraging AI to enhance marketing strategies, customer engagement, data analysis, and commercialization of pharma products came together for a robust discussion.
The roundtable, steered by Sharlene Jenner, vice president of engagement strategy for Abelson Taylor and professor, AI and personalization for digital marketers, at Southern Methodist University, dives into the implications of AI’s rapid evolution through an exploration of present-day applications and the associated ethical and regulatory challenges. The participants shed light on the immediate impact and future potential of AI, offering a fleeting glimpse into the present (things are moving very fast) and a speculative look at how these rapidly evolving technologies could reshape pharmaceutical marketing in the years to come.
JENNER:We’re six months into the latest iteration of AI evolution in pharma, and our entire world is abuzz. Let’s skip theory and immediately talk about the concrete practices all of us are implementing. How are you presently harnessing the power of AI to bolster your own marketing technology strategies?
FARUK CAPAN, CHIEF INNOVATION OFFICER, EVERSANA, AND CEO, EVERSANA INTOUCH: The excitement is real, but practicality is more important. We are in the pharmaceutical industry, which is highly regulated, and patient and HCP (healthcare provider) data is very important.
As an organization, we advise our clients about what to do and not to do. With any new technology, pharma is usually accused of being laggard, but those of you [who have] been around the block know that isn’t true—there are very good reasons for it.
We work with an outside legal firm to make sure that everything we do for our clients is completely regulated and legally correct. We also asked our own teams—different departments, creative teams, [and] strategy—how we can use this technology. After we educated and empowered them, they came up with very concrete examples.
The simplest example, that’s already on the market, involves video production. Instead of video, where you write a script, get it approved, and shoot with experts—which takes a lot of time and money—now, we use generative AI.
We’re able to get the script approved and can change the video because we are using “near real people” online in video production. So, we can do the videos in a couple [of] days rather than months.
JEFF HEADD, VICE PRESIDENT, COMMERCIAL DATA SCIENCE, THE JANSSEN PHARMACEUTICAL COMPANIES OF JOHNSON & JOHNSON: In terms of AI and marketing, we’ve been on a journey for some time thinking about our omnichannel efforts. In the past, we’ve used machine learning to improve how we identify [HCPs] and institutional customers and find patients along their journey that will benefit most from our products. That has allowed us to rethink our strategy of when, where, and how we deploy our field forces as well as our marketing efforts across our digital channels.
Now, when we think about generative AI, there are two areas that come to mind. We’ve built many custom tools that require a lot of software. Generative AI code has the potential to greatly speed up our development cycles, testing, unit testing, etc. We’re experimenting with how we can augment our development teams to move more quickly, in an agile way, to adjust to market conditions. That’s a tremendous application of this technology.
The second area is deriving insights out of rich textual data—that can be publicly available data, medical literature, or treasure troves of market research that we all have in our data stores in pharma companies. So, it’s a mix of driving new and different insights out of what we already have. But what I love about foundation models is the ability to combine internal and external data in unique ways that we’ve not been able to do before and take advantage of the power of those large-scale models.
STEPHEN ONIKORO, SENIOR PRINCIPAL, HEAD OF STRATEGY, PHARMAFORCEIQ: When we started PharmaforceIQ, the original idea was to integrate across the marketing ecosystem in pharma—across sales platforms as well as non-personal promotional platforms. We quickly realized that you can’t orchestrate across those platforms without some sort of machine learning tools. So, we pivoted and dove deep into becoming a true, machine-learning AI company.
We needed to do two things. First, to be able to orchestrate intelligently across the ecosystem, you need to understand your customers very well. What are their preferences when it comes to HCP marketing? That requires building HCP profiles for each individual HCP in your ecosystem. We invested in more than 20 AI models to characterize these HCP preferences across many different types of features that got us rolling as an AI marketing company.
The second aspect came from the first—now that we know their preferences, how can we orchestrate across these ecosystems in an intelligent way? Now, we don’t need to set up rules in a system that says, “This physician needs to get this message.” Instead, we can ask AI to do that for us based on their preferences and some other business rules we apply to it.
ANURAG BANERJEE, CEO AND FOUNDER, QUILT.AI:I always think of business in a bidirectional way. It must be accretive to the P&L—so, it has to make us money, make our clients money, save time, and/or create efficiency. In understanding consumers, patients, and HCPs, the ability of large-scale machine-learning tools to do that is brilliant. It’s very fast, and you don’t need focus groups as much—or at all, in my opinion. You don’t need surveys or require less of them. And even if you have survey data, you can analyze it very quickly. So, there is a speed to market that a pharma company can have that wasn’t true even 12 or 18 months ago.
ChatGPT has made massive strides with each model released—and the other models are great. So, we see that as huge in terms of being able to respond to consumers quickly. The other thing is content curation. Now, you can generate so many different pieces of content—and we have MLR approval to think through. But the truth is: to win on the internet with HCPs or with patients, you must have multiple, personalized pieces of content. And AI allows you to do that—not amazingly today, but [it is] much better than it [was] three months ago. We see true personalization at scale finally being possible. It’s been theoretical for a long time, and now the time is here.
Jenner: Let’s talk about intellectual property and content creation. When AI tools came into the marketplace, the content on the internet became the unwitting trainers of generative AI. At this point, there isn’t compensation for the many articles and journals they’ve consumed, or for the myriad of ways that information is being absorbed to enable these powerful AI platforms. What is going to be the cost to some organizations and content creators as AI continues to absorb our market?
CAPAN: It’s an unfortunate and important topic that will change and evolve, but we need to be very practical right now. There’s a potential for big copyright issues in terms of not getting permission before going to train the set. And this happens with our clients, too, as each company has its own proprietary data [and] information. If you happen to share it with the public, what happens? Obviously, we want to protect our copyright knowledge.
However, [this is for] any profession, any expertise area—AI is not going to replace you. People using AI will replace you if you don’t use it, and I encourage people to be careful but do not stay on the sideline.
But if you’re a good writer (or medical writer) [or] if you have good expertise on any topic, it won’t replace you because AI still needs human feedback. We are not 100% efficient, but AI will definitely help us do our jobs better. For copyright issues, it will evolve, and regulation will be needed to make sure we do things right.
ONIKORO: From the perspective of the human creator—as well as all the content that has already been created—AI is a customer of intellectual property just like a human can be a customer of intellectual property. The question then becomes: is AI going to be a paying customer, and do you need to be paid for your content? Or is AI going to be a non-paying customer? This takes me back to the ’90s when Napster disrupted the music industry. You could download music for free online, but that’s someone’s intellectual property. And now the industry has transformed into Spotify, Pandora, [and] Apple Music to still download and stream music—but paying for it using a method that wasn’t available 25 years ago. I see us moving slowly into that kind of format. AI will always be able to consume information that you don’t want it to consume in many instances, but how do we frame it properly in which owners of the IP are getting credit for it in terms of payments? Once your content is online, AI will pick it up, consume it, and get trained on it. A framework around compensating content owners is the key.
BANERJEE: I gently disagree with Faruk and Steve. The whole construct of content creators on the web—”I wrote a blog and that went into ChatGPT; so, ChatGPT should pay me”—I find that logic flawed. I was taught by somebody; I learned art from somebody else; and I’m making a living. I’m not compensating those people. Yes, I pay taxes, and I buy certain things; but it’s not a customer model as such.
As we see with larger models, over a period of time, they’re extremely general. My colleagues here have probably done thousands of prompts [and] tried to play with the models and API access it; but what truly works well—and probably what works in Jeff’s world—are smaller large language models (LLMs) on tight data, like the Bloomberg Large LLM. Some LLMs that have been released are fascinating on tight data. So, your in-house data is managed and interrogated well.
JENNER: There’s so much legislation and regulation coming into AI. On a national and a global scale, we are starting to see some legislation take shape, especially in the European Union—which, when they introduced GDPR, was at the forefront from a privacy perspective and validated their citizens’ concerns. What are going to be the most significant repercussions or changes from a legislative and regulatory perspective for AI?
BANERJEE: Legislation, sadly, is almost always retroactive. It’s like the tobacco industry saying, “Regulate us.” This is how I think about us in the AI industry saying, “Regulate us,” which is a little duplicitous. Regulation should include four key stakeholders:
My theory is that legislation is going to come in a very draconian way and target small-use cases. Being GDPR-compliant is very defined, and there are ways to manage and optimize to that. And if we follow the GDPR model, it’s an easy model to execute against. I know we don’t have it in the US; but in Europe, it’s an easy model to understand.
As an industry, we shouldn’t jump and say, “Hey, legislate us,” because that sounds unethical and inappropriate. We should remain at an arm’s distance. And while I’m not worried about legislation, it should occur keeping those four stakeholders in view.
HEADD: As Faruk highlighted earlier, it’s a highly regulated industry. So, in the context of global legislation that governs a dynamically evolving capability, a thoughtful approach is essential to ensure quality and compliance remain inherent in the system—and, therefore, in decision-making.
An example of this dynamism is in the large language model and foundational model world, where there are two camps. There are the folks who will argue that bigger is better, and bigger will win. But that’s where one could quickly run into questions such as: ‘What was it trained on, and are we really being compliant, fair, and ethical?’ And that’s difficult to answer.
Then there’s the other side where smaller, focused models are catching up very quickly and probably will soon meet and potentially surpass functionality on a use-case level that we aim to achieve in our industry or any business.
There’s also a push in the open-source community to be declarative of what a model is trained on, getting appropriate permission to use underlying data sets for clearly specified purposes, and having clear traceability of the model inputs and outputs.
These are important conversations about integrity, provenance, and quality, and there’s not one single answer to the questions and issues raised. I think we can continue to look forward to having a rich set of options to consider depending on what the use case is.
JENNER: What do you think are the biggest challenges as we examine ethical concerns, privacy, and data security? And as marketers, what do you think are the biggest challenges we should be aware of as the legislation starts to come into play?
ONIKORO: In pharma, we tread carefully around the use of patient data and identifiable data and put those into our models. As it gets more competitive, you may want to get an edge on identifying the particular patient who has the rare disease, but how exactly is that done? It may take a while for regulators to catch up, but as an industry, we need to make sure we’re policing what we’re doing in terms of privacy and use of data. As a company, we think about this because on the backside of platforms, we need to protect our risk and manage compliance regardless of what the current regulations are.
CAPAN: I feel like a dinosaur [with] 30+ years in pharma on both the client side and agency side. I’ve been through arguments about the font size and type on a website, and [I’ve] been sued by those claiming, “This is our font.” We want to protect our customers, and we don’t want any of them ever being sued.
Right now, the top two important concerns are privacy and data security. We have clients [who] say, “Do not use my data in any shape or form regarding the ChatGPT environment,” which they have a right to say. And we do have to police ourselves. Do not ever use the final product of a ChatGPT-created content or image. Only use it for ideation.
The No. 1 process regarding content, customization, and personalization from a marketing standpoint is medical regulatory. That pipeline process is hard to solve, but we are working on a project to make our regulatory approval associates more efficient by creating private references and creating client environments. Now, we have the right references and wide checks, and we’re making sure the copy and claims are correct.
What’s most important in a regulatory environment is protecting patient, HCP, and client data; so, I highly suggest being careful. As an innovator, you may be the one [who] makes the first mistake, and everyone else picks on it, resulting in a chilling effect. I have seen this on social media and mobile websites in the past. We must be careful, minimize mistakes, minimize risk, and then we can adopt this technology in a better, faster way.
JENNER: Wonderfully said. We’re similar at AbelsonTaylor, where we look at the ways we can use generative AI, ChatGPT, and machine learning in ways that can expand and increase our efficiency from a client, HCP, and patient perspective. But we’re also focusing on where we are to make sure that we’re staying at the forefront of technology.
We always think about how we can make sure we’re bringing the right tools to our clients at the right time very quickly in order to stay ahead.
JENNER: Where will AI make a big change in pharmacy marketing within the next five to 10 years?
HEADD: In two ways. Applied change, transformative change, and changing things at scale have longer timelines than generally assumed. When you think about big companies adopting internet access, using cloud platforms instead of home servers—that took years. The hype cycle will reach a saturation point, and then we’ll get to actual tactical execution. Five years from now, on the marketing side, we should see increased speed and agility. There will be faster paths to producing new content, new campaigns that are very relevant at the individual level that can be turned around very quickly as market conditions change and external events happen or exciting things happen within a company’s own pipeline.
To Anurag’s comment earlier about finding patients with rare diseases—if you look at where the industry’s headed, there’s a lot of focus on personalized medicine and on rare indications. I think that does marry well with this technology when you think of how we can find those patients in order to initially study the disease in the clinic; and once we get a treatment approved, help find other patients earlier in their disease progression so we can help them on their health journey. That’s where we may see a lot of generative methods in production systems so that we can help those patients at those times.
BANERJEE: When I was 19 years old, my grandfather died of lung cancer. I remember Googling tobacco (as he was a chain smoker) and looking at research papers online as a sophomore in university. The information access and availability to the caregiver or patient were inadequate and not easy to navigate.
Conversely, my 13-year-old daughter had her tonsils taken out last summer, and I started explaining to her what the procedure is like, what’s going to happen, and how she was going to get a little ice cream. She said, “Dad, I got this. I saw two TikTok videos. I know what’s going to happen.” Information availability to a patient is much better today.
I’d love for an environment to exist in which personalized information about my health and my conditions were available to me and (as an empowered patient) I could find that information in an easy-to-access generative AI, personalized format.
ONIKORO:From our perspective of helping pharmaceutical marketers in HCP marketing, we see AI becoming more a part of the transactional aspects of what pharmaceutical marketers do. For example, segmentation. We’re not just looking at huge segments of positions, but we’re looking at micro-segments and tailoring messages specifically to them. And that’s where modular content and truly streamlining the ML processes come into play. I look at it more from a transactional level. It might not be a big change, but it’s also getting us faster and more personalized.
CAPAN: This trend is much more accelerated than the internet, mobile, or social acceleration we’ve seen in the past. In five to 10 years, the way we live and work is going to be much different than it is today. I’ll give you an example. Are we still going to need websites, or will we have personalized AI, personalized education, or [personalized] medicine? Will this expertise be available to us [on an] individual level? It’s going to be more about influencing the AI models than building websites or content. There is talk of tools coming very soon that will offer a personalized AI educator, trainer, doctor, [or] legal expertise—everything will be available to us in a much different way.
And we will likely have to be more specialized [as individuals], and jobs will likely be more specialized to be able to compete with AI. It’s exciting, but it’s kind of scary when you think about the things that can really go wrong in five to 10 years, but I like to stay optimistic. If we put our hearts and minds in the right place, we can overcome these challenges together. It’s essential for individuals with good intentions to join this effort, as there’s a likelihood that those with less altruistic motives are already working against our progress.
JENNER: I take a little bit of a more science-fiction approach to it. Within five or 10 years, because technology is moving so quickly, we’re going to get to a place where wearables—like augmented reality [and] virtual reality—become more common. We’re going to see a huge uptick in wearable technology, which is going to help people understand their health in a new way. I think it will provide a new perspective for healthcare providers and people who are in the industry to be able to understand population health on a more global and robust scale. Everyone is attached to their phones. So, if there is a way to implement augmented reality or virtual reality to meet patients exactly where they are and give them information about critical components of their healthcare—to manage symptoms [and have] early detection—it would be helpful.
And I think we’re going to see some healthcare providers really embracing this technology a lot more in research areas and how HCPs can communicate with their patients in a more free and open way. We already have telemedicine. But in the future, will we start seeing things where your healthcare provider is meeting you in a world [of augmented reality] that you maybe hadn’t thought of before? Much like how gaming has merged into an all-world technology.
By Admin in Art World News
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