Results for 'ai art'

981 found
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  1. AI Art is Theft: Labour, Extraction, and Exploitation, Or, On the Dangers of Stochastic Pollocks.Trystan S. Goetze - 2024 - Proceedings of the 2024 Acm Conference on Fairness, Accountability, and Transparency:186-196.
    Since the launch of applications such as DALL-E, Midjourney, and Stable Diffusion, generative artificial intelligence has been controversial as a tool for creating artwork. While some have presented longtermist worries about these technologies as harbingers of fully automated futures to come, more pressing is the impact of generative AI on creative labour in the present. Already, business leaders have begun replacing human artistic labour with AI-generated images. In response, the artistic community has launched a protest movement, which argues that AI (...)
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  2. AI-generated art and fiction: signifying everything, meaning nothing?Steven R. Kraaijeveld - forthcoming - AI and Society:1-3.
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  3. Interpreting AI-Generated Art: Arthur Danto’s Perspective on Intention, Authorship, and Creative Traditions in the Age of Artificial Intelligence.Raquel Cascales - 2023 - Polish Journal of Aesthetics 71 (4):17-29.
    Arthur C. Danto did not live to witness the proliferation of AI in artistic creation. However, his philosophy of art offers key ideas about art that can provide an interesting perspective on artwork generated by artificial intelligence (AI). In this article, I analyze how his ideas about contemporary art, intention, interpretation, and authorship could be applied to the ongoing debate about AI and artistic creation. At the same time, it is also interesting to consider whether the incorporation of AI into (...)
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  4. Generative AI in the Creative Industries: Revolutionizing Art, Music, and Media.Mohammed F. El-Habibi, Mohammed A. Hamed, Raed Z. Sababa, Mones M. Al-Hanjori, Bassem S. Abu-Nasser & Samy S. Abu-Naser - 2024 - International Journal of Academic Engineering Research(Ijaer) 8 (10):71-74.
    Abstract: Generative AI is transforming the creative industries by redefining how art, music, and media are produced and experienced. This paper explores the profound impact of generative AI technologies, such as deep learning models and neural networks, on creative processes. By enabling artists, musicians, and content creators to collaborate with AI, these systems enhance creativity, speed up production, and generate novel forms of expression. The paper also addresses ethical considerations, including intellectual property rights, the role of human creativity in AI-assisted (...)
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  5. Artificial Intelligence as Art – What the Philosophy of Art can offer the understanding of AI and Consciousness.Hutan Ashrafian - manuscript
    Defining Artificial Intelligence and Artificial General Intelligence remain controversial and disputed. They stem from a longer-standing controversy of what is the definition of consciousness, which if solved could possibly offer a solution to defining AI and AGI. Central to these problems is the paradox that appraising AI and Consciousness requires epistemological objectivity of domains that are ontologically subjective. I propose that applying the philosophy of art, which also aims to define art through a lens of epistemological objectivity where the domains (...)
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  6. Tool, Collaborator, or Participant: AI and Artistic Agency.Anthony Cross - forthcoming - British Journal of Aesthetics.
    Artificial intelligence is now capable of generating sophisticated and compelling images from simple text prompts. In this paper, I focus specifically on how artists might make use of AI to create art. Most existing discourse analogizes AI to a tool or collaborator; this focuses our attention on AI’s contribution to the production of an artistically significant output. I propose an alternative approach, the exploration paradigm, which suggests that artists instead relate to AI as a participant: artists create a space for (...)
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  7. AI-aesthetics and the artificial author.Emanuele Arielli - forthcoming - Proceedings of the European Society for Aesthetics.
    ABSTRACT. Consider this scenario: you discover that an artwork you greatly admire, or a captivating novel that deeply moved you, is in fact the product of artificial intelligence, not a human’s work. Would your aesthetic judgment shift? Would you perceive the work differently? If so, why? The advent of artificial intelligence (AI) in the realm of art has sparked numerous philosophical questions related to the authorship and artistic intent behind AI-generated works. This paper explores the debate between viewing AI as (...)
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  8. In Praise of Normative Science: Arts and Humanities in the Age of Artificial Intelligence (2nd edition).Helen Titilola Olojede & Etaoghene Paul Polo - 2025 - International Journal of Social Sciences and Humanities: Africa Research Corps Network (Arcn) Journals 11 (2):1-9.
    The advent of Artificial Intelligence (AI) and other digital technologies is touted as ushering in the fourth industrial revolution (4IR). 4IR, also known as ‘Industry 4.0,’ pertains to the burning internet connectivity, sophisticated analytics and production, and automation’s transformative impacts on the world. The surge of change in the production arena started in the second half of 2010 and has continued to increase astronomically, with a remarkable probability of shaping the future of manufacturing and humanity. The 4IR is thus heralding (...)
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  9.  33
    Inverted Ekphrasis and Hallucinating Stochastic Parrots: Deleuzean Insights into AI and Art in Daily Life.Lenka Lee & Jakub Mácha - 2024 - Itinera 28:141-156.
    This study explores the potential of contemporary large language models (LLMs) to achieve Gilles Deleuze’s goal of integrating art into daily life. Deleuze’s philosophy, with its focus on creative repetition, finds a parallel in LLMs, which replicate and innovate artistic styles by transforming text prompts into various artistic expressions. Although LLMs can very effectively blend and mimic these styles, they remain mere tools – as suggested by the metaphor of a stochastic parrot; the true creative force remains the human artist. (...)
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  10. (1 other version)Can Artificial Intelligence Make Art?Elzė Sigutė Mikalonytė & Markus Kneer - 2022 - ACM Transactions on Human-Robot Interactions.
    In two experiments (total N=693) we explored whether people are willing to consider paintings made by AI-driven robots as art, and robots as artists. Across the two experiments, we manipulated three factors: (i) agent type (AI-driven robot v. human agent), (ii) behavior type (intentional creation of a painting v. accidental creation), and (iii) object type (abstract v. representational painting). We found that people judge robot paintings and human painting as art to roughly the same extent. However, people are much less (...)
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  11. AI-aesthetics and the Anthropocentric Myth of Creativity.Emanuele Arielli & Lev Manovich - 2022 - NODES 1 (19-20).
    Since the beginning of the 21st century, technologies like neural networks, deep learning and “artificial intelligence” (AI) have gradually entered the artistic realm. We witness the development of systems that aim to assess, evaluate and appreciate artifacts according to artistic and aesthetic criteria or by observing people’s preferences. In addition to that, AI is now used to generate new synthetic artifacts. When a machine paints a Rembrandt, composes a Bach sonata, or completes a Beethoven symphony, we say that this is (...)
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  12.  98
    A New Harmonisation of Art and Technology: Philosophic Interpretations of Artificial Intelligence Art.Tao Feng - 2022 - Critical Arts 36 (1-2):110-125.
    Artificial intelligence (AI) art is the product of AI technology applied to art. In terms of technical application, AI art has two methods: symbolism and connectivism. In terms of the human-machine system, there are three levels: human using machine, human guiding machine and human-machine separation. AI art is a special form, existing between natural beauty and human art: AI art, first of all, is not a natural aesthetic object, given that it is the product of artefacts. Its appreciation is mixed (...)
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  13. AI-Completeness: Using Deep Learning to Eliminate the Human Factor.Kristina Šekrst - 2020 - In Sandro Skansi (ed.), Guide to Deep Learning Basics. Springer. pp. 117-130.
    Computational complexity is a discipline of computer science and mathematics which classifies computational problems depending on their inherent difficulty, i.e. categorizes algorithms according to their performance, and relates these classes to each other. P problems are a class of computational problems that can be solved in polynomial time using a deterministic Turing machine while solutions to NP problems can be verified in polynomial time, but we still do not know whether they can be solved in polynomial time as well. A (...)
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  14. AI Ethics by Design: Implementing Customizable Guardrails for Responsible AI Development.Kristina Sekrst, Jeremy McHugh & Jonathan Rodriguez Cefalu - manuscript
    This paper explores the development of an ethical guardrail framework for AI systems, emphasizing the importance of customizable guardrails that align with diverse user values and underlying ethics. We address the challenges of AI ethics by proposing a structure that integrates rules, policies, and AI assistants to ensure responsible AI behavior, while comparing the proposed framework to the existing state-of-the-art guardrails. By focusing on practical mechanisms for implementing ethical standards, we aim to enhance transparency, user autonomy, and continuous improvement in (...)
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  15. Generative AI and photographic transparency.P. D. Magnus - forthcoming - AI and Society:1-6.
    There is a history of thinking that photographs provide a special kind of access to the objects depicted in them, beyond the access that would be provided by a painting or drawing. What is included in the photograph does not depend on the photographer’s beliefs about what is in front of the camera. This feature leads Kendall Walton to argue that photographs literally allow us to see the objects which appear in them. Current generative algorithms produce images in response to (...)
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  16. Excavating “Excavating AI”: The Elephant in the Gallery.Michael J. Lyons - 2020 - arXiv 2009:1-15.
    Two art exhibitions, “Training Humans” and “Making Faces,” and the accompanying essay “Excavating AI: The politics of images in machine learning training sets” by Kate Crawford and Trevor Paglen, are making substantial impact on discourse taking place in the social and mass media networks, and some scholarly circles. Critical scrutiny reveals, however, a self-contradictory stance regarding informed consent for the use of facial images, as well as serious flaws in their critique of ML training sets. Our analysis underlines the non-negotiability (...)
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  17. Turning queries into questions: For a plurality of perspectives in the age of AI and other frameworks with limited (mind)sets.Claudia Westermann & Tanu Gupta - 2023 - Technoetic Arts 21 (1):3-13.
    The editorial introduces issue 21.1 of Technoetic Arts via a critical reflection on the artificial intelligence hype (AI hype) that emerged in 2022. Tracing the history of the critique of Large Language Models, the editorial underscores that there are substantial ethical challenges related to bias in the training data, copyright issues, as well as ecological challenges which the technology industry has consistently downplayed over the years. -/- The editorial highlights the distinction between the current AI technology’s reliance on extensive pre-existing (...)
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  18. AI as IA: The use and abuse of artificial intelligence (AI) for human enhancement through intellectual augmentation (IA).Alexandre Erler & Vincent C. Müller - 2023 - In Fabrice Jotterand & Marcello Ienca (eds.), The Routledge Handbook of the Ethics of Human Enhancement. Routledge. pp. 187-199.
    This paper offers an overview of the prospects and ethics of using AI to achieve human enhancement, and more broadly what we call intellectual augmentation (IA). After explaining the central notions of human enhancement, IA, and AI, we discuss the state of the art in terms of the main technologies for IA, with or without brain-computer interfaces. Given this picture, we discuss potential ethical problems, namely inadequate performance, safety, coercion and manipulation, privacy, cognitive liberty, authenticity, and fairness in more detail. (...)
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  19. Review of Marcus du Sautoy's The Creativity Code: Art and Innovation in the Age of AI. [REVIEW]Scott H. Hawley - 2020 - Perspectives on Science and Christian Faith 72 (1):52-54.
    A review of Marcus du Sautoy's 2019 book, THE CREATIVITY CODE: Art and Innovation in the Age of AI, Cambridge, MA: Belknap (Harvard) Press, 2019. ISBN: 9780674988132.
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  20. AI’s Role in Creative Processes: A Functionalist Approach.Leonardo Arriagada & Gabriela Arriagada-Bruneau - 2022 - Odradek. Studies in Philosophy of Literature, Aesthetics, and New Media Theories 8 (1):77-110.
    From 1950 onwards, the study of creativity has not stopped. Today, AI has revitalised debates on the subject. That is especially controversial in the artworld, as the 21st century already features AI-generated artworks. Without discussing issues about AI agency, this article argues for AI’s creativity. For this, we first present a new functionalist understanding of Margaret Boden’s definition of creativity. This is followed by an analysis of empirical evidence on anthropocentric barriers in the perception of AI’s creative capabilities, which is (...)
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  21. AI language models cannot replace human research participants.Jacqueline Harding, William D’Alessandro, N. G. Laskowski & Robert Long - 2024 - AI and Society 39 (5):2603-2605.
    In a recent letter, Dillion et. al (2023) make various suggestions regarding the idea of artificially intelligent systems, such as large language models, replacing human subjects in empirical moral psychology. We argue that human subjects are in various ways indispensable.
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  22. “Excavating AI” Re-excavated: Debunking a Fallacious Account of the JAFFE Dataset.Michael J. Lyons - 2021 - arXiv 2107:1-20.
    Twenty-five years ago, my colleagues Miyuki Kamachi and Jiro Gyoba and I designed and photographed JAFFE, a set of facial expression images intended for use in a study of face perception. In 2019, without seeking permission or informing us, Kate Crawford and Trevor Paglen exhibited JAFFE in two widely publicized art shows. In addition, they published a nonfactual account of the images in the essay “Excavating AI: The Politics of Images in Machine Learning Training Sets.” The present article recounts the (...)
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  23. Can ChatGPT be an author? Generative AI creative writing assistance and perceptions of authorship, creatorship, responsibility, and disclosure.Paul Formosa, Sarah Bankins, Rita Matulionyte & Omid Ghasemi - forthcoming - AI and Society.
    The increasing use of Generative AI raises many ethical, philosophical, and legal issues. A key issue here is uncertainties about how different degrees of Generative AI assistance in the production of text impacts assessments of the human authorship of that text. To explore this issue, we developed an experimental mixed methods survey study (N = 602) asking participants to reflect on a scenario of a human author receiving assistance to write a short novel as part of a 3 (high, medium, (...)
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  24. Unveiling the Creation of AI-Generated Artworks: Broadening Worringerian Abstraction and Empathy Beyond Contemplation.Leonardo Arriagada - 2024 - Estudios Artísticos 10 (16):142-158.
    In his groundbreaking work, Abstraction and Empathy, Wilhelm Worringer delved into the intricacies of various abstract and figurative artworks, contending that they evoke distinct impulses in the human audience—specifically, the urges towards abstraction and empathy. This article asserts the presence of empirical evidence supporting the extension of Worringer’s concepts beyond the realm of art appreciation to the domain of art-making. Consequently, it posits that abstraction and empathy serve as foundational principles guiding the production of both abstract and figurative art. This (...)
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  25. The art, poetics, and grammar of technological innovation as practice, process, and performance.Coeckelbergh Mark - 2018 - AI and Society 33 (4):501-510.
    Usually technological innovation and artistic work are seen as very distinctive practices, and innovation of technologies is understood in terms of design and human intention. Moreover, thinking about technological innovation is usually categorized as “technical” and disconnected from thinking about culture and the social. Drawing on work by Dewey, Heidegger, Latour, and Wittgenstein and responding to academic discourses about craft and design, ethics and responsible innovation, transdisciplinarity, and participation, this essay questions these assumptions and examines what kind of knowledge and (...)
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  26. An Unconventional Look at AI: Why Today’s Machine Learning Systems are not Intelligent.Nancy Salay - 2020 - In LINKs: The Art of Linking, an Annual Transdisciplinary Review, Special Edition 1, Unconventional Computing. pp. 62-67.
    Machine learning systems (MLS) that model low-level processes are the cornerstones of current AI systems. These ‘indirect’ learners are good at classifying kinds that are distinguished solely by their manifest physical properties. But the more a kind is a function of spatio-temporally extended properties — words, situation-types, social norms — the less likely an MLS will be able to track it. Systems that can interact with objects at the individual level, on the other hand, and that can sustain this interaction, (...)
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  27.  90
    From AI to Octopi and Back. AI Systems as Responsive and Contested Scaffolds.Giacomo Figà-Talamanca - forthcoming - In Vincent C. Müller, Aliya R. Dewey, Leonard Dung & Guido Löhr (eds.), Philosophy of Artificial Intelligence: The State of the Art. Berlin: SpringerNature.
    In this paper, I argue against the view that existing AI systems can be deemed agents comparably to human beings or other organisms. I especially focus on the criteria of interactivity, autonomy, and adaptivity, provided by the seminal work of Luciano Floridi and José Sanders to determine whether an artificial system can be considered an agent. I argue that the tentacles of octopuses also fit those criteria. However, I argue that octopuses’ tentacles cannot be attributed agency because their behavior can (...)
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  28. Debate: What is Personhood in the Age of AI?David J. Gunkel & Jordan Joseph Wales - 2021 - AI and Society 36 (2):473–486.
    In a friendly interdisciplinary debate, we interrogate from several vantage points the question of “personhood” in light of contemporary and near-future forms of social AI. David J. Gunkel approaches the matter from a philosophical and legal standpoint, while Jordan Wales offers reflections theological and psychological. Attending to metaphysical, moral, social, and legal understandings of personhood, we ask about the position of apparently personal artificial intelligences in our society and individual lives. Re-examining the “person” and questioning prominent construals of that category, (...)
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  29. “Even an AI could do that”.Emanuele Arielli - forthcoming - Http://Manovich.Net/Index.Php/Projects/Artificial-Aesthetics.
    Chapter 1 of the ongoing online publication "Artificial Aesthetics: A Critical Guide to AI, Media and Design", Lev Manovich and Emanuele Arielli -/- Book information: Assume you're a designer, an architect, a photographer, a videographer, a curator, an art historian, a musician, a writer, an artist, or any other creative professional or student. Perhaps you're a digital content creator who works across multiple platforms. Alternatively, you could be an art historian, curator, or museum professional. -/- You may be wondering how (...)
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  30. Exploring the Intersection of Rationality, Reality, and Theory of Mind in AI Reasoning: An Analysis of GPT-4's Responses to Paradoxes and ToM Tests.Lucas Freund - manuscript
    This paper investigates the responses of GPT-4, a state-of-the-art AI language model, to ten prominent philosophical paradoxes, and evaluates its capacity to reason and make decisions in complex and uncertain situations. In addition to analyzing GPT-4's solutions to the paradoxes, this paper assesses the model's Theory of Mind (ToM) capabilities by testing its understanding of mental states, intentions, and beliefs in scenarios ranging from classic ToM tests to complex, real-world simulations. Through these tests, we gain insight into AI's potential for (...)
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  31. The role of robotics and AI in technologically mediated human evolution: a constructive proposal.Jeffrey White - 2020 - AI and Society 35 (1):177-185.
    This paper proposes that existing computational modeling research programs may be combined into platforms for the information of public policy. The main idea is that computational models at select levels of organization may be integrated in natural terms describing biological cognition, thereby normalizing a platform for predictive simulations able to account for both human and environmental costs associated with different action plans and institutional arrangements over short and long time spans while minimizing computational requirements. Building from established research programs, the (...)
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  32. Investigating some ethical issues of artificial intelligence in art (طرح و بررسی برخی از مسائلِ اخلاقیِ هوش مصنوعی در هنر).Ashouri Kisomi Mohammad Ali - 2024 - Metaphysics 16 (1):93-110.
    هدف از پژوهش حاضر، بررسی مسائل اخلاق هوش مصنوعی در حوزۀ هنر است. به‌این‌منظور، با تکیه بر فلسفه و اخلاق هوش مصنوعی، موضوعات اخلاقی که می‌تواند در حوزۀ هنر تأثیرگذار باشد، بررسی شده است. باتوجه‌به رشد و توسعۀ استفاده از هوش مصنوعی و ورود آن به حوزۀ هنر، نیاز است تا مباحث اخلاقی دقیق‌تر مورد توجه پژوهشگران هنر و فلسفه قرار گیرد. برای دست‌یابی به هدف پژوهش، با استفاده از روش تحلیلی‌ـ‌توصیفی، مفاهیمی همچون هوش مصنوعی، برخی تکنیک‌های آن و موضوعات (...)
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  33.  87
    A participatory, qualitative analysis of the use of MagicSchool AI for course design.Shantanu Tilak, Jesse Lincoln, Tara Miner, Natasha Christensen, Judy Jankowski & Kadie Kennedy - 2024 - Journal of Sociocybernetics 19 (1):43-106.
    This participatory study recounts conversational practices occurring between three teachers, a head of school, and a researcher during a month-long curriculum design workshop mediated by the MagicSchool AI technology to create social studies, language arts, science, and mathematics lessons for a virtual special education program. A social paradigm of AI-mediated educational practices is presented, wherein teachers interact with AI tools by embodying co-agency and a spirit of inquiry. Collective practices are interpreted using Gordon Pask’s conversation theory framework, showcasing how to (...)
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  34.  56
    Risks Deriving from the Agential Profiles of Modern AI Systems.Barnaby Crook - forthcoming - In Vincent C. Müller, Aliya R. Dewey, Leonard Dung & Guido Löhr (eds.), Philosophy of Artificial Intelligence: The State of the Art. Berlin: SpringerNature.
    Modern AI systems based on deep learning are neither traditional tools nor full-blown agents. Rather, they are characterised by idiosyncratic agential profiles, i.e., combinations of agency-relevant properties. Modern AI systems lack superficial features which enable people to recognise agents but possess sophisticated information processing capabilities which can undermine human goals. I argue that systems fitting this description, when they are adversarial with respect to human users, pose particular risks to those users. To explicate my argument, I provide conditions under which (...)
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  35. Texts Without Authors: Ascribing Literary Meaning in the Case of AI.Sofie Vlaad - forthcoming - Journal of Aesthetics and Art Criticism.
    With the increasing popularity of Large Language Models (LLMs), there has been an increase in the number of AI generated literary works. In the absence of clear authors, and assuming such works have meaning, there lies a puzzle in determining who or what fixes the meaning of such texts. I give an overview of six leading theories for ascribing meaning to literary works. These are Extreme Actual Intentionalism, Modest Actual Intentionalism (1 & 2), Conventionalism, Actual Author Hypothetical Intentionalism, and Postulated (...)
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  36. Every dog has its day: An in-depth analysis of the creative ability of visual generative AI.Maria Hedblom - 2024 - Cosmos+Taxis 12 (5-6):88-103.
    The recent remarkable success of generative AI models to create text and images has already started altering our perspective of intelligence and the “uniqueness” of humanity in this world. Simultaneously, arguments on why AI will never exceed human intelligence are ever-present as seen in Landgrebe and Smith (2022). To address whether machines may rule the world after all, this paper zooms in on one of the aspects of intelligence Landgrebe and Smith (2022) neglected to consider: creativity. Using Rhodes four Ps (...)
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  37. The Expressive Import of Degradation and Decay in Contemporary Art.Sherri Irvin - 2022 - In Peter Miller & Soon Kai Poh (eds.), Conserving Active Matter. Bard Graduate Center - Cultura. pp. 65-79.
    Many contemporary artworks include active matter along with rules for conservation that are designed to either facilitate or prevent that matter’s degradation or decay. I discuss the mechanisms through which actual or potential states of material decay contribute to the work’s expressive import. Nelson Goodman and Catherine Elgin introduce the concepts of literal and metaphorical exemplification, which are critical to expression: a work literally exemplifies a property when it both possesses and highlights that property, and it metaphorically exemplifies a property (...)
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  38. Prosthetic Godhood and Lacan’s Alethosphere: The Psychoanalytic Significance of the Interplay of Randomness and Structure in Generative Art.Rayan Magon - 2023 - 26Th Generative Art Conference.
    Psychoanalysis, particularly as articulated by figures like Freud and Lacan, highlights the inherent division within the human subject—a schism between the conscious and unconscious mind. It could be said that this suggests that such an internal division becomes amplified in the context of generative art, where technology and algorithms are used to generate artistic expressions that are meant to emerge from the depths of the unconscious. Here, we encounter the tension between the conscious artist and the generative process itself, which (...)
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  39.  98
    Harnessing Artificial Intelligence for Sikhism: Opportunities and Risks.Devinder Pal Singh - 2024 - Understanding Sikhism - The Research Journal 26 (1):25-34.
    Artificial Intelligence (AI) holds transformative potential for Sikhism, enhancing access to Gurbani, preserving history, and fostering global community connections. AI platforms can translate and recommend passages from the Guru Granth Sahib, broadening understanding across languages and contexts. Digitizing historical Sikh texts and artifacts safeguards them for future generations, while virtual congregation platforms and AI-powered tools can connect Sikhs worldwide, promoting spiritual growth and unity. Additionally, social media tools can amplify Sikh values like equality and Seva. However, these advancements carry risks. (...)
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  40. The Artificial Sublime.Regina Rini - manuscript
    Generative AI systems like ChatGPT and Midjourney can produce prose or images. But can they produce art? I argue that this question, though natural and intriguing, is the wrong one to ask. A better question is this: can generative AI yield distinct or novel forms of aesthetic value? And I argue that the answer is yes. Generative AI can be used to put us in contact with the artificial sublime – a type of aesthetic value that Kant famously argues is (...)
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  41. Reflections of a 21st-Century Writer.Rex Eloquens - 2025 - Medium 1:7.
    An essay whose sole purpose is to be the output, criticism, and reflection surrounding matters of art and writing in the 21st century. It is thoroughly blunt and at times can be quite crass, but perhaps there is meaning and value to be found in these reflections, which come from a creative spirit, in a time when creativity is meant as nothing more than a means to profit. Thus, here are the Reflections of a 21st-Century Writer, where ruminations on technology (...)
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  42.  91
    Yapay Zekâ Görüntü Üretme Modelleri ile Film Yapımı.Doga Col - 2024 - In Ali Büyükaslan & Başak Gezmen (eds.), Edebiyat, Sinema ve İletişim. İstanbul: Çizgi Kitabevi. pp. 217 -233.
    Filmmaking with Artificial Intelligence Image Generation Models In just about one year, OpenAI’s release of ChatGPT 4 has caused panic in our daily lives. After a year, OpenAI introduced Sora, a moving image-generating model from text, similar to DALL-E for still images. Even though Sora is not yet available to the public, the very potential itself has raised issues in film production from the perspectives of producers and studios, as well as directors, actors, writers, and editors. In this chapter, the (...)
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  43. The Specter of Representation: Computational Images and Algorithmic Capitalism.Samine Joudat - 2024 - Dissertation, Claremont Graduate University
    The processes of computation and automation that produce digitized objects have displaced the concept of an image once conceived through optical devices such as a photographic plate or a camera mirror that were invented to accommodate the human eye. Computational images exist as information within networks mediated by machines. They are increasingly less about what art history understands as representation or photography considers indexing and more an operational product of data processing. Through genealogical, theoretical, and practice-based investigation, this dissertation project (...)
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  44. Artificial Intelligence, Creativity, and the Precarity of Human Connection.Lindsay Brainard - forthcoming - Oxford Intersections: Ai in Society.
    There is an underappreciated respect in which the widespread availability of generative artificial intelligence (AI) models poses a threat to human connection. My central contention is that human creativity is especially capable of helping us connect to others in a valuable way, but the widespread availability of generative AI models reduces our incentives to engage in various sorts of creative work in the arts and sciences. I argue that creative endeavors must be motivated by curiosity, and so they must disclose (...)
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  45. Editorial: On modes of participation.Ioannis Bardakos, Dalila Honorato, Claudia Jacques, Claudia Westermann & Primavera de Filippi - 2021 - Technoetic Arts 19 (3):221-225.
    In nature validation for physiological and emotional bonding becomes a mode for supporting social connectivity. Similarly, in the blockchain ecosystem, cryptographic validation becomes the substrate for all interactions. In the dialogue between human and artificial intelligence (AI) agents, between the real and the virtual, one can distinguish threads of physical or mental entanglements allowing different modes of participation. One could even suggest that in all types of realities there exist frameworks that are to some extent equivalent and act as validation (...)
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  46.  67
    Face: An Insufficient Technology of the Subject.Srajana Kaikini - 2024 - Sambhāṣaṇ 4 (3):19-33.
    In this paper, I explore the philosophical apprehension of the face through art history in order to signal a moment of rupture in the contemporary times of the face and its signifying relationship to the subject. Drawing from Francis Galton’s nineteenth century photographic experiments on analytical portraiture, one sees how the face when conceived as an atlas, functions very differently for the subject and its recognition than when understood as a mere image. With the advent of futuristic technology like AI (...)
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  47.  47
    Vedere la musica.Alessandro Bertinetto - 2011 - Estetica, Studi e Ricerche 1:93-123.
    A fine Settecento, quando l’ingresso della musica nel «sistema delle arti» era un evento ancora recente, il fondatore della Allgemeine Musikalische Zeitung, Friedrich Rochlitz, individuava il motivo della maggiore discrepanza nei giudizi in materia musica le rispetto alle altre arti nel fatto che essa sarebbe priva di punti di riferimento visibili. «La musica», egli affermava, «nulla ha divisibile (Sichtbares) cui si possano confrontare le sue opere, o da cui possa scaturire una qualche concordanza nelle valutazioni». Mentre per esempio possiamo valutare (...)
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  48. Criatividade, Transhumanismo e a metáfora Co-criador Criado.Eduardo R. Cruz - 2017 - Quaerentibus 5 (9):42-64.
    The goal of Transhumanism is to change the human condition through radical enhancement of its positive traits and through AI (Artificial Intelligence). Among these traits the transhumanists highlight creativity. Here we first describe human creativity at more fundamental levels than those related to the arts and sciences when, for example, childhood is taken into account. We then admit that creativity is experienced on both its bright and dark sides. In a second moment we describe attempts to improve creativity both at (...)
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  49. Hacking the Simulation: From the Red Pill to the Red Team.Roman V. Yampolskiy - manuscript
    Many researchers have conjectured that the humankind is simulated along with the rest of the physical universe – a Simulation Hypothesis. In this paper, we do not evaluate evidence for or against such claim, but instead ask a computer science question, namely: Can we hack the simulation? More formally the question could be phrased as: Could generally intelligent agents placed in virtual environments find a way to jailbreak out of them. Given that the state-of-the-art literature on AI containment answers in (...)
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  50. Guest editor's introduction: artificial intelligence.Varol Akman - 2001 - Turkish Journal of Electrical Engineering and Computer Sciences 9 (1).
    Founded in 1993, ELEKTRIK: Turkish Journal of Electrical Engineering and Computer Sciences, has gradually become better known and is fast establishing itself as a research oriented publication outlet with high academic standards. In a modest attempt to advance this trend, this special issue of ELEKTRIK brings together five papers exemplifying the state of the art in artificial intelligence (AI). Written by experts, the papers are especially aimed at readers interested in gaining a better appraisal of the applications side of the (...)
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