Deep Else: A Critical Framework for AI Art

From a small community of pioneering artists who experimented with artificial intelligence (AI) in the 1970s, AI art has expanded, gained visibility, and attained socio-cultural relevance since the second half of the 2010s. Its topics, methodologies, presentational formats, and implications are closely related to a range of disciplines engaged in the research and application of AI. In this paper, I present a comprehensive framework for the critical exploration of AI art. It comprises the context of AI art, its prominent poetic features, major issues, and possible directions. I address the poetic, expressive, and ethical layers of AI art practices within the context of contemporary art, AI research, and related disciplines. I focus on the works that exemplify poetic complexity and manifest the epistemic or political ambiguities indicative of a broader milieu of contemporary culture, AI science/technology, economy, and society. By comparing, acknowledging, and contextualizing both their accomplishments and shortcomings, I outline the prospective strategies to advance the field. The aim of this framework is to expand the existing critical discourse of AI art with new perspectives which can be used to examine the creative attributes of emerging practices and to assess their cultural significance and socio-political impact. It contributes to rethinking and redefining the art/science/technology critique in the age when the arts, together with science and technology, are becoming increasingly responsible for changing ecologies, shaping cultural values, and political normalization.

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Obsolescence

PMLA ◽

10.1632/pmla.2008.123.3.718 ◽

2008 ◽

Vol 123 (3) ◽

pp. 718-722 ◽

Cited By ~ 1

Author(s):

Kathleen Fitzpatrick

Keyword(s):

United States ◽

Graduate Students ◽

National Endowment ◽

The Novel ◽

Contemporary Culture ◽

American Novel ◽

The Arts ◽

The Status ◽

Material State ◽

Different Response

I was invited by the MLA committee on the status of graduate students in the profession to speak at a convention workshop entitled “Keywords for a Digital Profession.” My keyword was obsolescence, a catchall term for a multiplicity of conditions; there are material obsolescences, institutional obsolescences, and purely theoretical obsolescences, each type demanding a different response. I spent years pondering theoretical obsolescence while writing The Anxiety of Obsolescence: The American Novel in the Age of Television. The book argues, in part, that claims about the obsolescence of cultural forms often say more about those doing the claiming than they do about the objects of the claims. Neither the novel in particular nor the book more broadly nor print in general is dead, and agonized announcements of the death of such technologies and genres often serve to re-create an elite cadre of cultural producers and consumers, ostensibly operating on the margins of contemporary culture and profiting from their claims of marginality by creating a sense that their own values, once mainstream and now decaying, must be protected. Two oft-cited reports of the National Endowment for the Arts, Reading at Risk (2004) and To Read or Not to Read (2007), come to mind; like numerous other expressions of anxiety about the supposed decline of reading, each rhetorically creates a cultural wildlife preserve in which the apparently obsolete can flourish (United States). These texts suggest that obsolescence is, in this case at least, less a material state than a political project.

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Artisans, Objects and Everyday Life in Renaissance Italy

10.5117/9789463722629 ◽

2020 ◽

Author(s):

Paula Hohti Erichsen

Keyword(s):

Sixteenth Century ◽

Way Of Life ◽

Contemporary Culture ◽

Luxury Goods ◽

Men And Women ◽

Household Economies ◽

The Arts ◽

Cultural Renaissance ◽

Renaissance Italy ◽

History Books

Did ordinary Italians have a ‘Renaissance’? This book presents the first in-depth exploration of how artisans and small local traders experienced the material and cultural Renaissance. Drawing on a rich blend of sixteenth-century visual and archival evidence, it examines how individuals and families at artisanal levels (such as shoemakers, barbers, bakers and innkeepers) lived and worked, managed their household economies and consumption, socialised in their homes, and engaged with the arts and the markets for luxury goods. It demonstrates that although the economic and social status of local craftsmen and traders was relatively low, their material possessions show how these men and women who rarely make it into the history books were fully engaged with contemporary culture, cultural customs and the urban way of life.

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INTERDISCIPLINARY ART PRACTICES IN INDIA

International Journal of Research -GRANTHAALAYAH ◽

10.29121/granthaalayah.v4.i8.2016.2576 ◽

2016 ◽

Vol 4 (8) ◽

pp. 168-175

Author(s):

Rafi Saba ◽

Furqan Ahmad

Keyword(s):

Information Technology ◽

Science Technology ◽

Art Practices ◽

Recent Developments ◽

Almost All ◽

Changing World

Today in this fastest changing world of science, technology, inventions and information technology, every field is connected to one another in some way. Science technology and innovations are affecting almost all the facets of life and disciplines of knowledge hence art is not the exception. Today art is not limited to the paint and canvases instead it has different aspects. This study was conducted, referring to the changes in the art practices and examines some recent developments in contemporary Indian Arts. Interdisciplinary means combining, connecting or involving two or more academic, scientific, or artistic disciplines. It represents the fusion of two or more professions, technologies, departments, or the like.

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Accidents Happen: An Art Autopathography on Mental Disability

Disability Studies Quarterly ◽

10.18061/dsq.v33i1.3441 ◽

2012 ◽

Vol 33 (1) ◽

Author(s):

John Derby

Keyword(s):

Mental Illness ◽

Creative Writing ◽

Conceptual Framework ◽

Mental Disability ◽

Font Size ◽

Research Practices ◽

The Arts ◽

Art Practices ◽

Institutional Contexts ◽

Literary Arts

This essay uses Couser’s presentation of autopathography as a frame for disseminating creative autoethnographic research practices. The preface outlines the conceptual framework for the research, which critically explores personal, cultural, and institutional contexts of mental disability discourses in response to Foucault’s thesis that the arts dismantle normalizing myths about mental disability. Following Foucault’s treatment of visual, performing, and literary arts as a homogeneous entity, the ensuing story demonstrates how traditional and emerging art practices and creative writing can be hybridized to create complex representations of disability that challenge ableist, normalizing discourses.keywords: art, autopathography, hybridity, mental illness, mental disability

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AN EXPLORATION OF GRAFFITI ON UNIVERSITY’S WALLS: A CORPUS-BASED DISCOURSE ANALYSIS STUDY

Indonesian Journal of Applied Linguistics ◽

10.17509/ijal.v7i1.6856 ◽

2017 ◽

Vol 7 (1) ◽

pp. 29 ◽

Cited By ~ 2

Author(s):

Nisreen Naji Al-Khawaldeh ◽

Imad Khawaldeh ◽

Baker Bani-Khair ◽

Amal Al-Khawaldeh

Keyword(s):

Discourse Analysis ◽

Critical Discourse Analysis ◽

Cultural Values ◽

Critical Discourse ◽

Linguistic Features ◽

Language Functions ◽

Analysis Technique ◽

Teachers And Parents ◽

The University ◽

Hashemite University

Graffiti have received a great attention from scholars as they have been considered a vital cultural phenomenon for many years (Trahan, 2011; Divsalar & Nemati, 2012; Zakareviciute, 2014; Farnia, 2014; El-Nashar & Nayef; 2016). Although there are extensive contemporary researches on graffiti in many disciplines, such as linguistics, cultural studies, politics, art, and communication (Pietrosanti, 2010; Farnia, 2014; Oganda, 2015), there are few studies exploring graffiti on classrooms’ walls in higher education milieus (Farnia, 2014). To the best knowledge of the researchers, very few studies were done on the Jordanian context (e.g. Al-Haj Eid, 2008; Abu-Jaber, et al., 2012) and none was done on the Jordanian universities. Therefore, this study aims at analysing the content and communicative features of writings found on universities’ classrooms’ walls, corridors, and washrooms and their relation to the socio-cultural values of the society in order to explore how universities help students voice their attitudes and thoughts. The linguistic features that characterise these writings were also examined. Graffiti-writings, which were collected from the University of Jordan and the Hashemite University, were coded and analysed using the thematic content analysis technique (Braun & Clarke, 2006) and Critical Discourse Analysis (Fairclough, 1995). The analysis of the data has shown that graffiti serve different communicative language functions related to personal, social, national, religious, political, and taboo matters. The most salient linguistic features of these graffiti are simplicity and variation. It can be concluded that graffiti are distinctive and silent ways of communication, particularly in students’ society. The study will be of great importance to linguists, sociologists, educators, administrators, teachers and parents. It is enrichment to the available literature on linguistic studies.

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Integrating STEM with Music

10.1093/oso/9780197546772.001.0001 ◽

2021 ◽

Author(s):

Shawna Longo ◽

Zachary Gates

Keyword(s):

Digital Media ◽

Stem Learning ◽

Positive Direction ◽

Content Areas ◽

Media Arts ◽

Science Technology ◽

The Arts ◽

Mixed Messages ◽

K 12 ◽

Creativity And Innovation

This book explores how science, technology, engineering, and mathematics (or STEM) initiatives are becoming more common in our educational system while depicting what it means to teach not only the students of today, but the citizens of tomorrow. This resource will provide 15 fully-developed and classroom-vetted instructional plans with assessments that are aligned to articulate learning from kindergarten through grade 12. With these instructional lessons and adaptations for K-12 music and STEM classes, pre-service educators, in-service educators, and administrators can better understand and immediately use tools for planning, assessing, and the practical integrating of STEM with Music. The arts, which includes music, visual art, dance, theater, and digital/media arts, bring creativity and innovation to the forefront in STEM learning. STEM learning can move teachers of the arts in a positive direction, but there are mixed messages about what that means and looks like. Many natural connections can be made between science, technology, engineering, math, and music. Twenty-first century learning skills and career-ready practices are framed so that the creativity and innovation necessary to succeed in STEM content areas and careers can be directly addressed by the educational community. The connection that is made between STEM content areas and music stimulates inquiry, dialogue, and critical thinking.

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Conclusion: between image, act, body and language

The gestures of participatory art ◽

10.7228/manchester/9781526100771.003.0007 ◽

2018 ◽

pp. 136-141

Author(s):

Sruti Bala

Keyword(s):

Social Impact ◽

The Other ◽

Participatory Art ◽

Other Hand ◽

The Arts ◽

The Social ◽

Art Practices ◽

Participatory Practice ◽

The One ◽

Historical Legacies

I have argued throughout this study that participatory art practices need to be understood in conjunction with the anxieties and contradictions that accompany them. Whether or not this is a formally constitutive characteristic worthy of naming as a genre is, in my view, less important than finding ways to account for and be responsive to the questions it poses. This is the place that this study departed from, yet oddly, it also the place it finds itself arriving at. For if this study has inquired into some of the conditions for and articulations of participation in the arts, it has also turned out to be an investigation of the ways in which participation is already circumscribed by the questions we ask of it, such as the social impact of participatory art, or its specific aesthetic features. The frictions in this endeavour will have become apparent to the perceptive reader: on the one hand I attempt to identify commonalities and systematic coherences in a field named as participatory art, and on the other hand I seek to analyse it in terms of its deviations from, and incommensurability with, a systematic narrative, in the emphasis of unruly, subtle, non-formalizable modes of participation. I treat participatory art as an inherited category, looking at its diverse, specific operations, or disciplinary routes and historical legacies. At the same time, I try to alter the terms of received wisdom by extrapolating principles and observations from the confines of one disciplinary arena into another. I search for ways in which affiliation to a given type of participatory practice might be described, only to find that formal coherences are perforated by aspects that exceed those same terms of affiliation. The analysis of participatory art and the conceptualization of participation in and through art thereby become intertwined in complex ways....

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Cultural Heritage and Adaptive Reuse as a Contributor to Well-Being

Advances in Media, Entertainment, and the Arts - Well-Being Design and Frameworks for Interior Space ◽

10.4018/978-1-7998-4231-6.ch010 ◽

2020 ◽

pp. 248-272

Keyword(s):

Cultural Heritage ◽

Cultural Values ◽

Real Life ◽

Well Being ◽

Cultural Significance ◽

Conservation Practice ◽

Heritage Buildings ◽

Point Interior ◽

Interior Environments ◽

Cultural Belonging

This chapter aims to discuss the dialectic relationship between interior environments of heritage buildings and users and the importance of preserving interior elements as communicators of cultural significance. Today the conservation practice and reuse proposals focus on preserving the architectural envelope of buildings rather than interior aspects. Conversely, interiors need specific safeguard and care, not only due to their cultural significance but also because they are the part most closely connected to the real life of users. In the perspective of cultural conservation, existing buildings represent the continuity of cultural values from the past to the future, and at this point, interior architecture is crucial as it provides an authentic interaction between users and spaces conveying all these values. Therefore, the conservation of interior envelope and interior elements rises as a very important issue to be discussed, affecting the occupant's well-being in a very subjective and sometimes unconscious way (considering the cultural belonging).

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Planetary Health: A New Reality

Challenges ◽

10.3390/challe10010007 ◽

2019 ◽

Vol 10 (1) ◽

pp. 7 ◽

Cited By ~ 2

Author(s):

Jonathan Salk

Keyword(s):

International Relations ◽

Communicable Disease ◽

Well Being ◽

Effective Vaccine ◽

Planetary Health ◽

Science Technology ◽

The Arts ◽

Disease Rates ◽

Health And Well Being ◽

Non Communicable Disease

The grand challenges of our time—climate change, biodiversity losses, and global non-communicable disease rates—underscore that humanity and the planet are in crisis. Planetary health provides a unifying concept wherein efforts toward remediation and survival can be concentrated. Evidence derived from the animal kingdom and from human demography suggest that there is cause for optimism in planetary health. With proper navigation, a transition toward a new epoch—one of symbiotic flourishing—is possible. Responses to the current challenges can usher in a new reality, one in which the core value is the well-being of all. This paper presents the philosophies and perspectives of renown biophilosopher, Jonas Salk, who—after developing the first effective vaccine to prevent polio, one of the great achievements in public health—expanded his vision beyond the prevention of individual diseases to that of addressing the basic problems of humankind. This vision is very much in line with our current understanding of and approach to planetary health. In response to changing conditions, planetary limits, and evolutionary pressure, new values, new communities, and new modes of interacting will likely emerge and be integrated with developments in science, technology, economics, the arts, and international relations, resulting in our survival and enhanced health and well-being.

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Branches from the same tree: The case for integration in higher education

Proceedings of the National Academy of Sciences ◽

10.1073/pnas.1807201115 ◽

2019 ◽

Vol 116 (6) ◽

pp. 1865-1869 ◽

Cited By ~ 1

Author(s):

David Skorton

Keyword(s):

Higher Education ◽

Undergraduate Students ◽

Albert Einstein ◽

The United States ◽

The Public ◽

Arts And Humanities ◽

Science Technology ◽

The Arts ◽

Integration Of Disciplines ◽

And Mathematics

The nature of work is changing rapidly in the digital age, increasing the demand for skills in specific disciplines. Across the United States and beyond, this evolution has led to an increased emphasis on science, technology, engineering, and mathematics (STEM) education at every level. Meanwhile, at US institutions of higher education, the proportion of undergraduate students who earn a degree in the humanities is declining. However, while the public discussion often pits the disciplines against one another, the sciences, arts, and humanities are—as Albert Einstein once wrote—“branches of the same tree” [(2006)The Einstein Reader]. They are mutually reinforcing. Therefore, the best way to prepare the next generation for the future of work, life, and citizenship is to provide broad, holistic educational experiences that integrate the STEM disciplines with the arts and humanities. A new study from the Board on Higher Education and Workforce of the National Academies of Sciences, Engineering, and Medicine bolsters the case for such an approach, finding considerable evidence that the mutual integration of disciplines leads to improved educational and career outcomes for undergraduate and graduate students.

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