Art as Open Source Intelligence.pdf

Challenging Organizations and Society, 2020

Artists explore new territories in their work by exploring new media, imagining new futures, contextualizing ideas, creating aesthetic investigations into new environments, or posing questions and leading theoretical discussions. Interaction among art, science and technology can contribute to the creation of future societies – of future realities – on many levels, e.g., it can contribute to communication, create experience, enrich discussions, feed into scientific processes and support personal learning. Especially when it comes to something influential like current developments in Artificial Intelligence, contributions of artscience collaboration can be essential for designing a positive future reality for our society. Supporting collaborations in organizations through well-structured formats in the organization supports the realization of elaborate art on the topic that contributes to important developments in the organization as well as to an informed discussion with broad audiences and shareholder groups.

2019

Intelligence Everywhere: What artistic explorations can tell us through and about technological development presented on Sept 18 2019 during the Humanities and Public Life Conference at Dawson College, Montréal, Canada Recent developments in machine learning and what John McCarthy has named artificial intelligence in 1956 have repeatedly been portrayed in the media as competing with human creativity. Binary narratives that (narcissistically) anthropomorphize and present technological advancements as either miraculous or antagonistic spread fear and fascination amongst the public. Machines, some threaten, will take your job as an artist, a lawyer, a taxi driver, a doctor, an accountant, and govern us … In this presentation I wish to draw a historical lineage between ideas that were at the roots of the British branch of cybernetics comparing and contrasting the worldview that underlined it with the approach taken by the founders of the Artificial Intelligence project in 1956. I wish to establish the link between the cybernetic worldview and the recent developments in machine learning that we commonly refer to as Artificial Intelligence. (AI) These powerful discoveries are currently used to generate images, natural language, soundscapes and videos that can be mistaken to have been produced by people. This has pushed some to declare that the machines were themselves creative. I will argue that while the tools do display what N.Katherine Hayles calls non-conscious cognition, a process that is found everywhere in nature, creativity, in the realm of art, is a concept rooted in the self-reflexive sense-making ability of the person orchestrating it as well as in the social, cultural and political context in which it is being examined. Presenting creativity from the point of view of the art world, I will argue that the definition of art does not lie solely in the formal aesthetics of the object produced but is a shifting culturally constructed concept that is by no means negated by machine “imagination” or “creativity”. The notion of authorship in relation with automation in the creative process have been explored thoroughly in the realm of art ever since, for example, Marcel Duchamp presented his readymade, Walter Benjamin published his famous text in 1937 and Roland Barth examined aspects of the topic in 1967. Early cybernetic prototypes that displayed cognitive behaviours as well as artworks that use automation in their creative process will be presented as well as a selection of recent art practises that explore and comment on the use of statistical models or what Hunger calls “enhanced pattern recognition” systems such as artificial neural networks and adversarial neural networks. (Hunger 2017) These artworks often present advanced technical tools as one component of a network (Latour) /agencement (Deleuze) in which humans interact with them in complex and intricate ways. Through the examination of a selection of projects by artists from various backgrounds, such as the recent work and writings by indigenous artists as well as local and international artists, I wish to point to some of the shortcomings they bring to light as well as how they engage us into some much-needed reflection about the technologies we generate and how they hold the potential to redefine us and the environment.

Arts

The interrelationship among art, intelligence, and machine has important implications for the visual arts as part of a general education. Here, Frederic Fol Leymarie (FFL), a computer scientist and engineer at Goldsmiths College, and Seymour Simmons III (SS3), an artist and art educator from Winthrop University, South Carolina, discuss these issues and the value of sustained cross-disciplinary conversations in addressing challenges in the 21st century.

EAI Endorsed Transactions on Creative Technologies

The present work deals with the incorporation of artificial intelligence in the process of artistic creation.

EDULEARN24 Proceedings, IATED, 2024

Artificial Intelligence (AI) 's emergence in art has significantly transformed the creative process. As a result, it has raised questions related to artistic autonomy and the role of AI in shaping the art landscape. The impact of AI on art and museum education is a hotly debated topic, and it represents a significant paradigm shift with far-reaching implications. For example, AI-generated art, created by entities like DALL•E and Midjourney, challenges traditional notions of creativity and carries significant cultural and economic consequences for the creative sectors. This article aims to explore the philosophical, practical, and legal aspects that arise from AI-generated art. It analyses the impact of AI on creativity, motivation, self-awareness, and emotion, delving into the fundamental elements of artistic expression. It emphasises the importance of understanding the influence of AI on art education and society and its impact on learning activities and educational motivation in art pedagogy. While some argue that AI-generated art undermines the authenticity and originality of human creativity, leading to a homogenisation of artistic expression, others contend that AI has the potential to nurture creativity, enhance learning experiences, and prepare students for a future where AI will be pervasive in the art landscape. This debate seeks to provide students and future creators with an awareness of the challenges of AI and its appropriate use in educational settings at all levels. It also explores the critical conundrum of intellectual property and copyright that arises in the context of AI-generated art, analysing the legal implications and presenting relevant case studies and practical examples to recognise creativity and innovation. Defining "artwork" to understand the property rules for AI-generated art becomes crucial for identifying creativity and innovation options. Therefore, this article highlights ways to thoughtfully and ethically adopt AI technologies to address contemporary concerns.

Artnodes, 2020

What can art do for artificial intelligence? This essay circles around this question from a viewpoint grounded in the embodied knowledge base of contemporary art. The author employs the term “feelthink” to refer to the shifting webs of perception, emotion, thought, and action probed by artists engaging AI. Tracing several metaphors used by artists to consider AI, the author identifies points where the metaphors delaminate, pulling away from the phenomena to which they refer. The author advocates for these partial and imagistic understandings of AI as probes which, despite or because of their flaws, contribute important ideas for the development and cultural positioning of AI entities. The author further questions the limited scope of art ideas addressed in AI research and proposes a thought experiment in which art joins industry as a source of questions for developing artificial intelligences. In conclusion, the essay’s structuring metaphor is described as an example of “feelthink” ...

2021

Arts, 2019

Our essay discusses an AI process developed for making art (AICAN), and the issues AI creativity raises for understanding art and artists in the 21st century. Backed by our training in computer science (Elgammal) and art history (Mazzone), we argue for the consideration of AICAN’s works as art, relate AICAN works to the contemporary art context, and urge a reconsideration of how we might define human and machine creativity. Our work in developing AI processes for art making, style analysis, and detecting large-scale style patterns in art history has led us to carefully consider the history and dynamics of human art-making and to examine how those patterns can be modeled and taught to the machine. We advocate for a connection between machine creativity and art broadly defined as parallel to but not in conflict with human artists and their emotional and social intentions of art making. Rather, we urge a partnership between human and machine creativity when called for, seeing in this collaboration a means to maximize both partners’ creative strengths.

Keynote Talk; AIFA - Artificial Intelligence and the Future of Arts, 2021