Ontology, Phenomenology, and other Aesthetic Conflicts of Generative Art (original) (raw)
Artificial Intelligence is bustling on its way to becoming an indelible part of the human cultural evolution. The stock imagery redolent of bygone science fiction, which prophesied of a dystopian society operating at the whims of misanthropist sentient robots, is not anywhere in sight but despite being in an early stage of its gestation, the technologies supporting Artificial Intelligence have become functionally ubiquitous. Of these, the most notable are Artificial Neural Networks (ANN), the system that loosely imitates how the biological brain processes and utilises information, thus employing a connectionist paradigm rather than the procedural one used in conventional programming. The technology is being applied in diverse fields, leading to predictions that around 40 percent of the existing jobs in the labour market will become obsolete as they become automated and are relegated to AI systems. At this point, it seems unintuitive to champion that an AI system could possess the kind of creative capabilities that humans are naturally endowed with; perhaps artists will never lose their ‘jobs’ entirely to technological automation, but certain recent innovations have made it inevitable to take into consideration the possible ways in which artificial intelligence can influence the future of visual arts. The purpose of this paper is to identify the ontological composition of generative art, with a focus on AI based artworks which function on ANN principles, and rival its structure with products of traditional artistic media to establish its legitimacy as an Art object and hence contend for the developing a plurality of frameworks that will make their aesthetic analysis possible. On the foundation carved by the analysis of its origination, a phenomenology of aesthetic experience that is particular to these new media artworks can be constructed in contrast to and building upon the existing analog archetypes.
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