The algorithmic colonisation of art. A critique from Moral philosophy (original) (raw)
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Journal of Aesthetics, Design, and Art Management, 2022
This paper aims to reflect on the use of Artificial Intelligence (AI) in works of art, examining its impact on the creative process, aesthetics, and audience reception, then provide a critical reflection on the use of AI in works of art, examining its potential benefits and drawbacks and exploring the ethical considerations involved. The paper examines the use of AI in works of art, with a focus on the methodologies and case studies that demonstrate the potential and challenges of this emerging field. Research methods: The paper presents case studies of notable artworks that utilize AI, discusses the potential benefits and drawbacks of AI in art, and explores the ethical considerations involved. Through a review of the literature and analysis of six case studies, we explore the aesthetic, technical, and social dimensions of AI-generated art, as well as the ethical and critical debates surrounding its production and reception. Findings: The paper concludes by emphasizing the importance of critical engagement and continued reflection on the use of AI in art. Our findings suggest that AI can offer new modes of creative expression and engagement, but also raise questions about the role of human agency and interpretation in the artistic process. Implications: AI-generated art offers new opportunities and challenges for artists, scholars, and audiences, and future research should focus on developing ethical guidelines, exploring collaborative practices, and examining the social and political implications of AI-based art. Case studies of AI-generated art can help us understand the potentials and limitations of this field by providing specific examples of how AI is being used to create art, and how artists and audiences are engaging with these works. These studies can provide insights into the creative processes, technical challenges, and social implications of AI-generated art.
A Digital Aesthetics? Artificial Intelligence and the Future of the Art
Artificial intelligence has brought about significant changes in various creative domains, sparking discussions about the nature of art and its authenticity in the era of AI. Some scholars assert that the computer monitor now serves as a canvas, a brush, a musical instrument, and even an art tutor, leading us to explore deeper connections between AI and creativity. However, in this presentation, we wish to emphasize the humanistic dimension of creative processes once more. we acknowledge the role of AI in enhancing creative endeavors, but we firmly believe that human creativity remains paramount in the production of artistic works. The current notion of machines replacing artists is, in our view, more of a media sensation than a reality. Examining the history of electronic arts, our paper argues that claims of AI's artistic superiority are not novel; they echo similar trends from the past. The current enthusiasm mirrors earlier media frenzies. While the sciences have made significant strides in unraveling the mysteries of the human brain, our understanding of the intricacies of our remarkably creative minds, their origins, and their fulfillment in our brains This is an open access article distributed under the terms of the Creative Commons Attribution Non-Commercial License (CC BY NC), which permits distribution and reproduction in any medium, provided the original work is properly cited and is not used for commercial purposes.
Paratactical use of algorithmic agencies in artistic practice
Yetiskin, E. (2018). Paratactical use of algorithmic agencies in artistic practice, Technoetic Arts, 16 (3) pp. 353–362.
This article aims at making a distinction among contemporary artworks that use algorithmic technologies. Departing from Science, Technology and Society (STS) studies, the focus is given to artworks that use algorithmic agencies, as assemblages of human and nonhuman entities. Making an ethno-methodological analysis of three artworks, The Pitiful Story of Deniz Yılmaz (2015-present) of Bager Akbay, Artificial Intelligence for Governance, the Kitty AI (2016) of Pınar Yoldaş and Plantoid (2015) of Primavera Di Filippi, the article examines paratactical use of algorithmic agencies in contemporary artistic practice. Exploring, revealing and learning from the tactics used by platforms, corporations and institutions that control and govern, paratactical use of algorithmic agencies generates a self-reflexive perspective on such tactics of control. Paratactical works also explore absurdities and contingencies embedded in algorithmic technologies. They work within failures and errors, and perform subversive ways of thinking, acting and enacting. In conclusion , paratactical works deal with the reproduction, distribution and normalization of ignorance, extinction, degeneration, corruption and destruction.
Art, AI and Culture, 2022
This is a low resolution preview of a book. If you find it useful or interesting, please consider buying a copy. Art, AI and Culture interrogates the aesthetic heritage of Modernism as it informs contemporary cultural applications of AI which demonstrate there is no escape from the kaleidoscopic lineage of colonialism where the status of "human" and all the rights that entails were withheld from the colonized in general, and from slaves, labor, and women specifically. This analysis theorizes the social identity threat posed by AI's challenges to existing social, cultural, political, and economic orders. Digital technology is not exempt from this historical lineage that transforms familiar questions of economic displacement caused by machine learning and digital automation into new battles in an on-going conflict over social status and position. This cultural approach to AI reveals the ways that it transforms expressions of identity, leisure and luxury into opportunities for profit extraction. Social phenomena, (including racism, sexism, and nationalism), capture individuals in a web of systemic control where digital automation provides a mechanism preserving the existing hierarchies and social status that it might otherwise challenge. Drawing on a reconception of capitalism as a proxy for social status and position, this study critiques the fantasy that replacing all human labor will create a fully automated luxury utopia without bias, oppression, or social change.
Artificial intelligence (A.I.) and Art
Artificial intelligence (A.I.) and Art, 2022
Technosphere is characterized by a switch from nature into a new, machine operated, realm of technology. What humanity is facing in its modernity is the transition from a human to a posthuman state of rule which is run by artificial intelligence (A.I.) and performed by artificial life (A.L.). In his work “The Inhuman”, Jean-Francois Lyotard reflects on the dominance of a new logic of techno-science over mankind. That notion binds the idea of the end of mankind as we know it. Technology is not neutral, it’s not simply a way of transmitting information in the service of mankind, it’s more than that, technology forms its new own being and with it a new technological language. Contemporary society is no longer determined by the concept of the spirit, or what Walter Benjamin calls “aura”, but rather by the logic of techno-science in its total rule over the entire space and time of the world. With the technologies of the new digital era a new question arises in the field of philosophy of art which until their appearance was considered as sublime. Artificial intelligence (A.I.) and artificial life (A.L.), through the connection of biotechnology and computing machines, appear as a new immaterial creation of life. Their space of action is virtual space, their time of action is instantaneous
Poetics of Artificial Intelligence in Art Practice
Poetics of Artificial Intelligence in Art Practice: (Mis)apprehended Bodies Remixed as Language, 2022
With a focus on the last five years, art employing artificial intelligence (AI) has been defined by a spectrum of activity, from the deep learning explorations of neural network researchers to artists critiquing the broader social implications of AI technology. There is an emergence of and increasing access to new tools and techniques for repurposing and manipulating material in unprecedented ways in art. At the same time, there is a dearth of language outside the scientific domain with which to discuss it. A combination of contextual review, comparison of artistic approaches, and practical projects explore speculation that the conceptual repertoire for remix studies can open up to art enabled by AI and machine learning (ML).
The Ethics of AI generated artworks
Zenodo (CERN European Organization for Nuclear Research), 2022
were three influential scholars who wrote extensively about the impact of mechanical and technical reproduction on the arts. In this research paper, we will explore their teachings and examine the ways in which AI generative art relates to their ideas. John Berger was a British art critic, novelist, and painter who is best known for his 1972 book Ways of Seeing. In this book, Berger argued that mechanical reproduction, such as photography and film, had fundamentally changed the way that people saw and interacted with art. According to Berger, mechanical reproduction had made art more accessible to the masses, but it had also diminished the unique qualities of individual works of art. Walter Benjamin was a German philosopher, cultural critic, and translator who is best known for his 1936 essay The Work of Art in the Age of Mechanical Reproduction. In this essay, Benjamin argued that mechanical reproduction had fundamentally changed the way that people experienced art. According to Benjamin, mechanical reproduction had made art more democratic, but it had also diminished its aura, or the sense of uniqueness and authenticity that an original work of art possesses. André Bazin was a French film critic and theorist who is best known for his books What is Cinema? and The Myth of Total Cinema. In these books, Bazin explored the impact of technical reproduction, such as sound and color, on the medium of film. According to Bazin, technical reproduction had greatly expanded the expressive possibilities of cinema, but it had also led to a loss of realism and verisimilitude.
Redefining the role of Artificial Intelligence in artistic production
Since the development of Artificial Intelligence (AI) systems, their pervasiveness has rapidly grown to the point of gaining access to one of the most typical among human activities, the one of art. In the latest years we have indeed witnessed advances outlining AI’s “creative” abilities, now finding applications in the fields of visual art, literature, poetry, and music. As a matter of fact, in many cases, people are no longer able to easily discern what is AI-made from what is human-made and show often a negative bias towards artistic products that are declared to be AI-made. Even though such technologies are capable of rapidly and efficiently generating images, texts, and music, that often are also pleasant, the history of art and aesthetics suggests that the works of art – those that we recognize as such over the centuries – have little to do with technical ability, and rather rely on aesthetic principles, of which the artwork per se is merely representative. We therefore propos...