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Artificial Aesthetics: A Critical Guide to AI, Media and Design, 2022
What would be the equivalent of the Turing test for an AI system capable of creating new songs, games, music, visual art, design, architecture, films? This looks like a simple question with an easy answer. If a system can automatically create new works in each media or genre and we cannot tell the difference between those works and those created by humans, it passes the Turing test... If we think further, we quickly realize that this is more complex. To even begin to answer it, we may need to consider ideas from several fields such as philosophical aesthetics, experimental psychology of the arts, histories of the arts, media theory, and software studies. Discussions about a Turing test for artistic creativity have not used perspectives from the last two fields much, and yet in my view they are very important for thinking about AI and creativity questions. This chapters explores the challenges of defining a test for artistic AI in our era when human creators routinely rely on digital assets and creative software which already has been offering AI-type support for long time. In other worlds: what would it mean for “genuine artistic AI” to compete with contemporary artists who already implicitly use AI implemented in their standard tools (operating in Photoshop, Premiere, After Effects, Blender, Unreal and so on behind the scene)?
Architectural Design, 2022
The current discussions about the adoption of AI (artificial intelligence) in visual arts, design, architecture, cinema, music and other arts often rely on widely accepted ideas about art and creativity. These ideas include the following: “Art is the most creative human domain.” “Art and creativity can’t be measured.” “Artists does not follow rules.” It is also commonly assumed that “computers can only follow rules,” and therefore “computers struggle to generate something novel and original.” Taken together, these ideas lead to a new assumption: “generation of original art is a great test of AI progress.” Where do these popular popular ideas about art and its relationship to creativity come from? Historically, they are quite recent. For thousands of years human creators in all human cultures made artifacts that today we put in museums and worship as great art. But their creators did not have modern concepts of art, artist, and creativity. Th goal of this text is to briefly discuss the historical origins of currently popular ideas about art and creativity, and suggest that these ideas limit our vision of cultural AI. There are a few dominant popular understandings of “art” today. Logically, they contradict each other. Despite this, they may perfectly co-exist in a single publication or conversation. Sometimes one idea dominates and others do not appear. But very often, all three are assumed to be valid in the same time. Because these ideas contradict each other, holding them together can lead to feelings of confusion and unease - and also big fears about “creative AI.”
Artificial Aesthetics. Chapter 1 (Emanuele Arielli): “Even an AI could do that”
Artificial Aesthetics: A Critical Guide to AI, Media and Design, 2021
"Artificial Aesthetics. A Critical Guide to AI, Media and Design" is a book by Lev Manovich and Emanuele Arielli. The book is released one chapter at a time on academia.edu, medium.com, and manovich.net. Each chapter will be added to academia.edu as a separate PDF in "Articles" section. Later all chapters will be combined into a single PDF and it will be added to "Books." Book Preface: Suppose you are a designer, an architect, a photographer, a video maker, a musician, a writer, an artist, or a professional or student in any other creative field. Or perhaps you are a digital creator making content in multiple media. You may be wondering how AI will affect your professional area in general and your work and career. This book does not aim to predict the future or tell you exactly what will happen. Instead, we want to offer you a set of intellectual tools to help you better navigate any changes that may come along. These tools come from several different fields: aesthetics, philosophy of art and psychology of art (Emanuele), and media theory, digital culture studies, and data science (Lev). As far as we know, our book is the first to bring together all these different perspectives in thinking about creative AI. We started the work on the book in summer 2019, exchanging numerous messages, commenting on each other ideas, and sharing drafts of sections. The final book is a result of this process. Although each chapter is written by one author, it reflects the discussions we had over 27 months.
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.
Disegno, 2022
Disegno publishes original research papers, essays, and reviews on all aspects of design cultures. We understand the notion of design culture as resolutely broad: our aim is to freely discuss the designed environment as mutually intertwined strands of sociocultural products, practices, and discourses. This attitude traverses the disciplinary boundaries between art, design, and visual culture and is therefore open to all themes related to sociocultural creativity and innovation. Our post-disciplinary endeavour welcomes intellectual contributions from all members of different design cultures. Besides providing a lively platform for debating issues of design culture, our specific aim is to consolidate and enhance the emerging field of design culture studies in the Central European academia by providing criticism of fundamental biases and misleading cultural imprinting with respect to the field of design. All research papers published in Disegno undergo a rigorous double-blind peer review process. This journal does not charge APCs or submission charges.
Journal of Human-Technology Relations, 2023
Artificial intelligence (AI); DALL-E; art; aesthetics; philosophy of technology; process philosophy; performance AI image generators such as DALL-E 2 are deep learning models that enable users to generate digital images based on natural language text prompts. The impressive and often surprising results leave many people puzzled: is this art, and if so, who created the art: the human or the AI? These are not just theoretical questions; they have practical ethical and legal implications, for example when raising authorship and copyright issues. This essay offers two conceptual points of entrance that may help to understand what is going on here. First it briefly discusses the question whether this is art and who or what is the artist based on aesthetics, philosophy of art, and thinking about creativity and computing. Then it asks the question regarding humantechnology relations. It shows that existing notions such as instrument, extension, and (quasi) other are insufficient to conceptualize the use of this technology, and proposes instead to understand what happens as processes and performances, in which artistic subjects, objects, and roles emerge. It is concluded that based on most standard criteria in aesthetics, AI image generation can in principle create art, and that the process can be seen as poietic performances involving humans and non-humans potentially leading to the emergence of new artistic (quasi)subjects and roles in the process.
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.