Byeong Sam Jeon
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On the Human Role in Generative Art: a Case
ON THE HUMAN ROLE IN GENERATIVE ART: A CASE STUDY OF AI-DRIVEN LIVE CODING ANTONIO POŠĆIĆ Independent Scholar [email protected] GORDAN KREKOVIĆ Visage Technologies [email protected] https://doi.org/10.34632/jsta.2020.9488 ABSTRACT The constant evolution of philosophical views on art is interwoven with trajectories of accelerating technological development. In the current vehement emergence of generative algorithms there is an immediate need for making sense of modern technologies that increasingly seem to step in the realm that has been reserved for humans – creativity. This paper aims to understand the role of the human in generative art by demystifying Vol. 12, n. 3 (2020): pp. 45-62 implications of black-box generative algorithms and their applications for artistic purposes. First, we present examples of current practice and research in generative art with a special interest in music that served as foundation for our work. Then, we introduce Anastatica (2020), a part performance, part installation built on the basis of data-driven generative live coding. Finally, we discuss the various implications of AI in art through a case study rooted in Anastatica’s development and performance. Here we trace the path from algorithms to intelligence, applying both musical and computer science theory to a practical case of generating a live coding musical performance, with special focus given to aesthetic, compositional, conceptual, and phenomenological implications. Journal of Science and Technology of the Arts, of the Journal of Science and Technology Keywords: Artificial intelligence; Generative art; Live coding; Generative music; Computer art. 46 1. INTRODUCTION In broad terms, artificial intelligence (AI) is any sort of intelligence exhibited by machines (Nilsson 1998). -
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Media-N | The Journal of the New Media Caucus 2019: Volume 15, Issue 1, Pages 69–81 ISSN: 1942-017X Media-N | The Machines Wave Back CHAD M. EBY Assistant Professor, Herron School of Art + Design, IUPUI ABSTRACT This paper examines notions of autonomy and agency in the context of understanding artist and rules system relationships within an Autonomous Art System (AAS). The concept of Create / Read / Update / Delete is borrowed from computer engineering as a metaphor for a role-based (rather than medium-based) framework for classifying AASs and, combined with the discussion of autonomy and agency, forms the basis for a new taxonomic system of Autonomous Art Systems for analysis, categorization and comparison. “A chipped pebble is almost part of the hand it never leaves. A thrown spear declares a sort of independence the moment it is released.” – Isaac Asimov, “The machine and the robot” in Robot Visions “The machines aren’t very smart yet, but we’re teaching them this stuff all the time. We’re giving them eyes and ears and we’re giving them access to our world. We’re sharing our social spaces with them increasingly. They increasingly live like the render ghosts, on the borders of our world, and they’re starting to share it with (us). – James Bridle, “Waving at the Machines” INTRODUCTION The purpose of this paper is to propose a way to describe degrees of autonomy and agency in Autonomous Art Systems (hereafter, AAS) to aid in analysis, categorization and comparison of such systems, and to consider their boundary conditions in an art-making context. -
The Creativity of Artificial Intelligence in Art
The Creativity of Artificial Intelligence in Art Mingyong Cheng Duke University October 19th, 2020 Abstract New technologies, especially in the field of artificial intelligence, are dynamic in transforming the creative space. AI-enabled programs are rapidly contributing to areas like architecture, music, arts, science, and so on. The recent Christie's auction on the Portrait of Edmond has transformed the contemporary perception of A.I. art, giving rise to questions such as the creativity of this art. This research paper acknowledges the persistent problem, "Can A.I. art be considered as creative?" In this light, the study draws on the various applications of A.I., varied attitudes on A.I. art, and the processes of generating A.I. art to establish an argument that A.I. is capable of achieving artistic creativity. 1 Table of Contents Chapter One ..................................................................................................................................... 4 1.1 Introduction ............................................................................................................................ 4 2.1 Overview ................................................................................................................................ 7 2.2 Defining Artificial Intelligence .............................................................................................. 8 2.3 Application of AI in Various Fields .................................................................................... 10 2.3.1 Music ............................................................................................................................ -
Corporate Hierarchies, Genres of Management, and Shifting Control in South Korea’S Corporate World
Ranks & Files: Corporate Hierarchies, Genres of Management, and Shifting Control in South Korea’s Corporate World by Michael Morgan Prentice A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Anthropology) in The University of Michigan 2017 Doctoral Committee: Associate Professor Matthew Hull, Chair Associate Professor Juhn Young Ahn Professor Gerald F. Davis Associate Professor Michael Paul Lempert Professor Barbra A. Meek Professor Erik A. Mueggler Michael Morgan Prentice [email protected] ORCID: 0000-0003-2981-7850 © Michael Morgan Prentice 2017 Acknowledgments A doctoral program is inexorably linked to the document – this one – that summarizes the education, research, and development of a student and their ideas over the course of many years. The single authorship of such documents is often an aftereffect only once a text is completed. Indeed, while I have written all the words on these pages and am responsible for them, the influences behind the words extend to many people and places over the course of many years whose myriad contributions must be mentioned. This dissertation project has been generously funded at various stages. Prefield work research and coursework were funded through summer and academic year FLAS Grants from the University of Michigan, a Korea Foundation pre-doctoral fellowship, and a SeAH-Haiam Arts & Sciences summer fellowship. Research in South Korea was aided by a Korea Foundation Language Grant, a Fulbright-IIE Research grant, a Wenner-Gren Dissertation Fieldwork Grant, and a Rackham Centennial Award. The dissertation writing stage was supported by the Rackham Humanities fellowship, a Social Sciences Research Council Korean Studies Dissertation Workshop, and the Core University Program for Korean Studies through the Ministry of Education of the Republic of Korea and Korean Studies Promotion Service of the Academy of Korean Studies (AKS-2016-OLU-2240001). -
Check Our Catalog Book Here
2020-2021 data-ai.design 2020-2021 2020-2021 2 Data+AI+Design pring 2021 Index 2021 02.1 Intro To Exquisite 2PM–6PM 3D Printing Lecture + Camella Dahn Gim Workshop (UCLA) About the program 6-7 03.04 Creative AI: From 6PM–7PM Expressive Mimicry Lecture To Critical Inquiry Events Angus Forbes (UC Santa Cruz) 01 Future Artifact Design 8-15 04.30 Exploring 02 Mobile App Design 16-25 10AM–12PM Machine Learning Applications For Workshop 03 Intro to Exquisite 3D Printing 26-29 Art and Design Angus Forbes (UC Santa Cruz) 04 Creative AI: From Expressive Mimicry to 30-31 Critical Inquiry 03.12 Artificial Natures // 05 Artificial Natures // Games of Life 32-35 10AM–11AM Games Of Life Lecture 06 I Learn Humanities by Making Art with AI 36-39 [Autonomous Complexity 12PM–3PM in Life & Machines: Happy Students! 40-41 Workshop Cellular Automata] Haru Ji (OCAD University) & Acknowledgements & Organizers 42 Graham Wakefield (York University) Fall 2020 04.0 I Learn Humanities By 2020 11.0 Future Artifact 6PM–7PM Making Art With AI 3PM–5PM Design Lecture Eunsu Kang (Carnegie Mellon University) Final Online Presentation From BFA Graphic Design Students, In collaboration with the Chemical and Engineering Department 04.0 Co-Creating Art With AI 12.11 Mobile App 11AM–2PM Using Machine Learning 12PM–2PM Design Workshop Eunsu Kang (Carnegie Mellon University) Final Online Presentation From BFA Graphic Design Students; Mentors: Bloomberg NYC Interaction Designers 4 5 About the program Series of Six Events 01 Future Artifact Design 02 Mobile App Sponsored by Artistic Excellence Programming Grant 2020-2021 Sep 22-Nov 5, 2020 Oct 29-Dec 11, 2020 from College of Humanities and the Arts, San José State University In collaboration with chemical and materials Mentors: Anthony Viviano, Linda Le, Lucy Chen engineering department and Prof. -
A Companion to Digital Art WILEY BLACKWELL COMPANIONS to ART HISTORY
A Companion to Digital Art WILEY BLACKWELL COMPANIONS TO ART HISTORY These invigorating reference volumes chart the influence of key ideas, discourses, and theories on art, and the way that it is taught, thought of, and talked about throughout the English‐speaking world. Each volume brings together a team of respected international scholars to debate the state of research within traditional subfields of art history as well as in more innovative, thematic configurations. Representing the best of the scholarship governing the field and pointing toward future trends and across disciplines, the Blackwell Companions to Art History series provides a magisterial, state‐ of‐the‐art synthesis of art history. 1 A Companion to Contemporary Art since 1945 edited by Amelia Jones 2 A Companion to Medieval Art edited by Conrad Rudolph 3 A Companion to Asian Art and Architecture edited by Rebecca M. Brown and Deborah S. Hutton 4 A Companion to Renaissance and Baroque Art edited by Babette Bohn and James M. Saslow 5 A Companion to British Art: 1600 to the Present edited by Dana Arnold and David Peters Corbett 6 A Companion to Modern African Art edited by Gitti Salami and Monica Blackmun Visonà 7 A Companion to Chinese Art edited by Martin J. Powers and Katherine R. Tsiang 8 A Companion to American Art edited by John Davis, Jennifer A. Greenhill and Jason D. LaFountain 9 A Companion to Digital Art edited by Christiane Paul 10 A Companion to Public Art edited by Cher Krause Knight and Harriet F. Senie A Companion to Digital Art Edited by Christiane Paul -
TOBY JULIFF & TRAVIS COX the Post-Display Condition Of
Toby Juliff & Travis Cox, The Post-Display Condition of Contemporary Computer Art TOBY JULIFF & TRAVIS COX The Post-display Condition of Contemporary Computer Art ABSTRACT Recent exhibition attempts to recuperate and revise Conceptual Art — ‘Open Systems’ (2005), ‘Invisible: Art About the Unseen’ (2012) — have brought to the fore wider discursive concerns regarding coding, interfaces and artistic intentionality. Taking its lead from Rosalind Krauss’ seminal work on the post-medium condition, this paper argues that the continued privileging of interface/display-user inherent within artistic discourse belies a more nuanced reading of the critical relationship between artist and code. Furthermore, this paper explores new practices in Computer Art and its related theorisation by Tanaka-Ishii and Dominic Lopes, with a view to re-conceptualising the relationship between artistic intentionality, coding, interface and user input. Based on this re-conceptualisation we identify the ‘post- display condition of contemporary computer art’, a condition that neither privileges user- display communication, nor the space between code and user, but rather envelopes meaning production between all elements of an artwork. 1.1 Open Systems In 2005 an exhibition entitled ‘Open Systems: Rethinking Art c.1970’ opened at the Tate Modern with the intention of examining how international artists rethought the object of art in the late 1960s and early 1970s.1 Drawing together work from artists such as Carl Andre, John Baldessari, Lygia Clark and Sol LeWitt — much of it already iconic and enshrined within the histories of Conceptual Art — ‘Open Systems’ sought to evoke, revise and revitalise discursive histories of Minimalism, Post- Minimalism and early Conceptual Art. -
Digital Meets Creativity
Conference Digital meets Creativity Monday, 12 September 2016 16:00 - 18:00 UNESCO HOUSE - Room II # supportcreativity INTRODUCTION This panel discussion is organized by the Permanent Delegation of the Republic of Korea to UNESCO to accompany the contemporary media arts exhibit “Technology in Contemporary Art”, featuring artists Han Ho and Byeong Sam Jeon and presented at UNESCO from 12th to 23rd September 2016 on the occasion of the “KOREA-UNESCO week”. Organized in advance of the 10th Ordinary session of the Intergovernmental Committee for the Convention on the Protection and Promotion of the Diversity of Cultural Expressions (12-15 December 2016), which will discuss new operational guidelines on digital issues, this conference seeks to discuss how digital technologies have profoundly transformed the cultural and creative industry landscape over the last decade, both in the Global North and South. The digital environment, introducing new forms of creation, production, distribution, access and participation, has brought both opportunities and challenges to the creative chain. What has been the impact of the digital revolution on cultural policies? Who are the new players? And how are artists using digital technology in their work? KEY QUESTIONS FOR DEBATE - How to encourage and support new forms of digital creativity? - What are the ways to ensure access to digital technologies and increased participation in cultural life? - How to promote artistic freedom and the social and economic rights of artists working in the digital environment? -
Interactive Art: Delineations, Crossovers and Differences
GA2012 – XV Generative Art Conference Mag. Oliver Gingrich, Generative Art - Interactive Art: Delineations, Crossovers MA Fine Art and Differences Topic: Interactive Arts In digital art theory, the histories of generative art and interactive art are – Generative Arts considered fundamentally interrelated yet distinctively defined - mutually dependent, yet clearly distinguishable by their respective Authors: discourse domineering definitions. In the practise of digital art, a Mag. Oliver Gingrich, multitude of hybrid art forms challenge both definitions and allow for MA questions on the nature of both artistic currents. Both concepts share a University of long tradition in the arts, yet both concepts have been refined Bournemouth; Centre continuously by scholars and academics over the last decades. for Digital Entertainment Their discussion has recently gained further momentum as both art www.bournemouth.ac.uk forms received heightened attention in artistic institutional discourse, curatorial display and theoretic reception over the last decade. This Dr. Alain Renaud, paper focuses on the two neighbouring fields in the digital arts, their PhD., MSc. respective traditions, their demarcation lines and theoretic concepts as University of well as hybrid cross-overs of these art forms that challenge their current Bournemouth, Centre for definitions. Digital Entertainment References: [1] Renaud, A. (2011), Cueing and composing for long distance network music collaborations. Proceedings of AES 44th Conference on Audio Networking, 18-20 November 2011, University of California, San Diego, USA, November 2011. [2] Gingrich, O (2004) Limits der Computerkunst. http://derstandard.at/1404529/ Limits-der-Computerkunst. [3] Renaud, A., Around the world in five seconds. Challenges and opportunities in designing Sonic Travel. in Performing Technology: User Content and the New Digital Media, Cambridge Scholars, Analema Group: Eugenia Emets et al. -
TOBY JULIFF & TRAVIS COX the Post-Display Condition Of
Toby Juliff & Travis Cox, The Post-Display Condition of Contemporary Computer Art TOBY JULIFF & TRAVIS COX The Post-display Condition of Contemporary Computer Art ABSTRACT Recent exhibition attempts to recuperate and revise Conceptual Art — ‘Open Systems’ (2005), ‘Invisible: Art About the Unseen’ (2012) — have brought to the fore wider discursive concerns regarding coding, interfaces and artistic intentionality. Taking its lead from Rosalind Krauss’ seminal work on the post-medium condition, this paper argues that the continued privileging of interface/display-user inherent within artistic discourse belies a more nuanced reading of the critical relationship between artist and code. Furthermore, this paper explores new practices in Computer Art and its related theorisation by Tanaka-Ishii and Dominic Lopes, with a view to re-conceptualising the relationship between artistic intentionality, coding, interface and user input. Based on this re-conceptualisation we identify the ‘post- display condition of contemporary computer art’, a condition that neither privileges user- display communication, nor the space between code and user, but rather envelopes meaning production between all elements of an artwork. 1.1 Open Systems In 2005 an exhibition entitled ‘Open Systems: Rethinking Art c.1970’ opened at the Tate Modern with the intention of examining how international artists rethought the object of art in the late 1960s and early 1970s.1 Drawing together work from artists such as Carl Andre, John Baldessari, Lygia Clark and Sol LeWitt — much of it already iconic and enshrined within the histories of Conceptual Art — ‘Open Systems’ sought to evoke, revise and revitalise discursive histories of Minimalism, Post- Minimalism and early Conceptual Art. -
What Is Generative Art?
What is Generative Art? Gordon Monro www.gommog.com I describe myself as a generative artist. Generative art is not a widely known practice, so in this article I describe it, give examples from my own practice, and close with a few questions and my answers. What is generative art? Here is a widely used definition: Generative art refers to any art practice where the artist uses a system, such as a set of natural language rules, a computer program, a machine, or other procedural invention, which is set into motion with some degree of autonomy contributing to or resulting in a completed work of art. Philip Galanter, “What is Generative Art?”, 2003 The generative artist is working at one remove: the artist composes the system, and the system generates the work. Generative art has a long history. Wind chimes and aeolian harps (wind harps), both known in ancient times, have been claimed for generative art. A more substantial body of art is the extraordinary geometric art made in the Islamic world, particularly in religious contexts. The best-known example is the Alhambra in Spain (13th-14th century). Much of the geometric work is based on 6-, 8- or 10-sided figures arranged in a systematic manner. A more contemporary example of geometric generative art is Sol LeWitt's wall drawings (1968 on), carried out according to simple written instructions. With the spread of computers generative art expanded enormously in scope. The earliest computer art was necessarily generative, as there were no tools like Photoshop; getting anything out of a computer required writing a program. -
Phd in Computational Media, Arts & Cultures
Computational Media, Arts & Cultures PhD Proposal 19 April 2016/vs 1 PROPOSAL for an Interdisciplinary, Interdepartmental PhD in Computational Media, Arts & Cultures Submitted by: Victoria Szabo, Art History & Visual Studies and Information Science + Studies Mark Hansen, Program in Literature and Art, Art History & Visual Studies Deborah Jenson, Franklin Humanities Institute TABLE OF CONTENTS I. EXECUTIVE SUMMARY ....................................................................................................................................... 4 II. RATIONALE FOR THE PROGRAM .................................................................................................................. 5 A. Introduction ................................................................................................................................... 5 B. History and Background ............................................................................................................ 6 C. An Interdisciplinary, Interdepartmental Program ......................................................... 11 D. The Interdisciplinary Humanities Lab Model .................................................................. 13 E. Characteristics of the Constituting Partners ..................................................................... 15 F. Rationale for a Distinct Program .......................................................................................... 16 G. Unit Sponsor Contributions ...................................................................................................