In this article, we trace the analogies, parallels and affinities between bio-inspired generative art and bio art practices with strong generative flavour. We look at the creative and expressive features in these two fields, compare their shared interests in the design and development of life, and discuss the strategies they apply to communicate and engage the audience. With respect to the existing literature, which relates bio and generative art primarily within a historical context, we compare these two (...) fields focusing on generativity as their common poetic driver. We indicate their shared impetus for rendering distinctive visions of nature in order to identify, contemplate or provoke dramatic changes in the era when biological processes become programmable and living matter can be instrumentalized for various forms of labour. We also examine the epistemological and practical effectiveness of the two fields within a broader socio-technical perspective, which leads us to their constructive critique. (shrink)

Artists and designers working in the fields of generative and bio art frequently focus on designing speculative visions of how nature can be reimagined with the use of computational media and synthetic biology. Centered on the unique artistic strategies of reimagining life forms, this paper analyzes and compares a selection of generative software-based projects, in which artists are mimicking different natural phenomena and have the tendency to beautify nature and life, with bio art projects, where ethical considerations are (...) prioritized over other aspects of the work. Experimenting with software and producing code-based generative art can be a relatively accessible creative endeavor while working with synthetic biology requires more demanding and controlled workplace conditions and specialized equipment. Despite the differences in accessibility and usability, both fields of generative and bio art challenge the boundaries of contemporary artistic practice and research by mapping, provoking and contemplating the dramatic changes of life forms, in the era when living matter can be re-engineered into a new material capable of computing. (shrink)

This paper investigates the transformative influence of generative AI on the arts, connecting it with Walter Benjamin's insights regarding the aura of art in the mechanical reproduction era. It scrutinizes how generative AI not only redefines art's traditional aura but also introduces a dynamic interplay between technological liberation and dependency. The analysis extends to the democratization of artistic expression and its broader societal impacts, highlighting a shift in art creation, perception, and interpretation in the digital age. This research (...) encapsulates the evolving nature of authenticity, creativity, and human–machine collaboration, marking a significant paradigm shift in art's conception and its role in society. (shrink)

This text analyses how generative AI systems are being employed in current artistic practice to question certain historical visual narratives, creating representations that challenge some conventional perceptions of the past and thus opening up new perspectives on the experience of temporality. In this regard, special emphasis will be placed on some artistic projects based on generative historical photography practices. These are works that develop new ways around ‘archival aesthetics’ (Sekula in October 39:3–64 1986; Buchloh in Deep storage. collecting, (...) storing and archiving in art [Exhibition catalog]. P.S.1, Nueva York, 1999; Guasch in Arte y archivo, 1920-2010. Genealogías, tipologías y discontinuidades. Akal, Madrid, 2015, etc.) by producing visual archives that do not exist or are alternatives to others. We will therefore analyse works that critically examine how these generative systems can contribute to a revision and re-evaluation of the past, as well as to the problematisation of the ways in which photography has been used for the historical record. These poetics invite subtle reflections on the role of the visual archive in the processes of shaping subjectivity and personal and communal identity. In the final part of the text, we will deal with the study of some artists who, through appropriationist strategies and remakes assisted by generative AI models, revise artistic works from the past, specifically from the photoconceptualism of the 1970s. In these strategies, the thematisation of the relations between photographic register and temporality also plays a leading role. (shrink)

Zero-shot learning is dedicated to solving the classification problem of unseen categories, while generalized zero-shot learning aims to classify the samples selected from both seen classes and unseen classes, in which “seen” and “unseen” classes indicate whether they can be used in the training process, and if so, they indicate seen classes, and vice versa. Nowadays, with the promotion of deep learning technology, the performance of zero-shot learning has been greatly improved. Generalized zero-shot learning is a challenging topic that has (...) promising prospects in many realistic scenarios. Although the zero-shot learning task has made gratifying progress, there is still a strong deviation between seen classes and unseen classes in the existing methods. Recent methods focus on learning a unified semantic-aligned visual representation to transfer knowledge between two domains, while ignoring the intrinsic characteristics of visual features which are discriminative enough to be classified by itself. To solve the above problems, we propose a novel model that uses the discriminative information of visual features to optimize the generative module, in which the generative module is a dual generation network framework composed of conditional VAE and improved WGAN. Specifically, the model uses the discrimination information of visual features, according to the relevant semantic embedding, synthesizes the visual features of unseen categories by using the learned generator, and then trains the final softmax classifier by using the generated visual features, thus realizing the recognition of unseen categories. In addition, this paper also analyzes the effect of the additional classifiers with different structures on the transmission of discriminative information. We have conducted a lot of experiments on six commonly used benchmark datasets. The experimental results show that our model outperforms several state-of-the-art methods for both traditional as well as generalized zero-shot learning. (shrink)

In Art of the Ordinary, Deming brings together the arts, philosophy, and psychology in new and compelling ways so as to offer generative, provocative insights into how we think and represent the world to others as well as to ourselves.

Generative art theory involves any artistic practice where an artist uses external systems (rules, algorithms, organic processes) to complete an artwork. Commonly utilized in video game design, gen...

What happens when a gallery space dedicated to exhibiting European art is interrupted by introducing African art objects? This essay reviews a temporary exhibition that introduced works of art from Africa, the property of Berlin’s Ethnologisches Museum, into the exhibition space of the Bode Museum, whose collection consists of European art objects from the Classical to the Baroque periods. I offer a reading that is quite different than the curators’, proposing art museums as institutions where philosophies are expressed in the (...) form of art objects. (shrink)

This paper considers recent experiments in art and artificial intelligence that crystallize around training algorithms to generate artworks based on datasets derived from the Western art historical canon. Over the last decade, a shift towards the rejection of canonicity has begun to take shape in art historical discourse. At the same time, algorithmically enabled practices in the US and Europe have emerged that entrench the Western canon as a locus and guarantor of aesthetic value. Operating within the epistemic framework of (...) a “view from nowhere,” this tendency in generative art inherits the coloniality of both art history and artificial intelligence. Producing “art histories from nowhere,” this tendency conflates the conceptual category of visual art with the histories of Western cultural production. It reproduces a set of aesthetic values that entrench the mythology of the artist-genius and his imputed whiteness and masculinity; the extolment of innovation and novelty as self-evident virtues; disembodied Cartesian models of knowing and sensing; and the erasure of contributions that have been occluded from canonical visibility. As we encounter systems trained on particular visions of art history and of the artist, how might we remain attentive to the specific lens through which they are taught to see? This essay addresses that question by bringing the coloniality of recent experiments into view, bridging data feminisms and decolonial studies to formulate alternative visions of encounters between art and AI. (shrink)

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 users’ text prompts. Depending on the parameters, the output can resemble specific people or things which are named in the prompt. This resemblance does not depend on the user’s beliefs, so generated images are in this sense like photographs. Given this parallel, how should we think about AI-generated images? (shrink)

The new wave of ‘foundation models’—general-purpose generative AI models, for production of text (e.g., ChatGPT) or images (e.g., MidJourney)—represent a dramatic advance in the state of the art for AI. But their use also introduces a range of new risks, which has prompted an ongoing conversation about possible regulatory mechanisms. Here we propose a specific principle that should be incorporated into legislation: that any organization developing a foundation model intended for public use must demonstrate a reliable detection mechanism for (...) the content it generates, as a condition of its public release. The detection mechanism should be made publicly available in a tool that allows users to query, for an arbitrary item of content, whether the item was generated (wholly or partly) by the model. In this paper, we argue that this requirement is technically feasible and would play an important role in reducing certain risks from new AI models in many domains. We also outline a number of options for the tool’s design, and summarize a number of points where further input from policymakers and researchers would be required. (shrink)

Generative AI has captured the public imagination as a tool that promises access to expertise beyond the technical jargon and expense that traditionally characterize such infospheres as those of medicine and law. Largely absent from the current literature, however, are interrogations of generative AI’s abilities to deal in culturally responsive communication, or the expertise interwoven with culturally aware, socially responsible, and personally sensitive communication best practices. To interrogate the possibilities of cultural responsiveness in generative AI, we examine (...) the patterns of response that characterize ChatGPT-3.5’s advice for coming out. Specifically, we submitted 100 prompts soliciting coming out advice to GPT-3.5, variegating each of those prompts slightly to account for intersectional identities. From the analysis, we find that, while the responses are largely in-line with best practices, there are also instances that might represent problematics concerning the interpellation of the user or the persons to whom one is coming out. (shrink)

This essay does not aim to investigate film-novel relationships per se, although the fact that the two genres now share certain generative procedures may be further evidence that fiction in print and on film lie to a great extent in a unified field not only of diegesis but also of structure. A diachronic or historical approach to the theory of fictional generators would show that, with the shifts which have occurred on present-day aesthetic thought, much of what once was (...) considered to be a static analysis of retrospective rules or established forms could now be regarded as the disguised beginning of generative theory. Aristotle's seemingly static doctrines of dramatic structure, involving such notions as peripeteia, discovery, or unity of action, to the extent that dramatists had consciously or unconsciously followed such doctrines, obviously served the production of their works, as well as their later analysis. In fact, any sort of artistic intentionality constitutes a kind of "generator," as does the deliberate adherence to outward forms as rhyme schemes, stanzas, cantos, or chapters. As we shall see, it is not always easy to distinguish between generative formulas and self-imposed forms or limits, such as the sonnet with its fourteen lines, its quatrains, and its tercets. Although the most advanced practitioners of generative theory, like Jean Ricardou, seem to view their work as a radical break with the past and the discovery of an entirely new domain of fiction, literary history would provide innumerable examples of precedents, from antiquity through the Grands Rhétoriqueurs, the Gongorists and Baroque poets, and many subsequent groups of writers down to and including the pre-modern and modern periods. Bruce Morrissette has published widely on French fiction of the classical period, Rimbaud and the Symbolist movement, the Nouveau Roman and Robbe-Grillet, and on contemporary film. He is the Sunny Distinguished Service Professor and Chairman of Romance Languages and Literatures at the University of Chicago. He translated Alain Robbe-Grillet's "ARTISTS ON ART: Order and Disorder in Film and Fiction" for the Autumn 1977 issue of Critical Inquiry. (shrink)

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 image generation is a kind of theft. This paper analyzes, substantiates, and critiques these arguments, concluding that AI image generators involve an unethical kind of labour theft. If correct, many other AI applications also rely upon theft. (shrink)

The revolution of artificial intelligence (AI), particularly generative AI, and its implications for human–robot interaction (HRI) opened up the debate on crucial regulatory, business, societal, and ethical considerations. This paper explores essential issues from the anthropomorphic perspective, examining the complex interplay between humans and AI models in societal and corporate contexts. We provided a comprehensive review of existing literature on HRI, with a special emphasis on the impact of generative models such as ChatGPT. The scientometric study posits that (...) due to their advanced linguistic capabilities and ability to mimic human-like behavior, generative AIs like ChatGPT will continue to grow in popularity in pair with human rational empathy, tendency for personification and their advanced linguistic capabilities and ability to mimic human-like behavior. As they blur the boundaries between humans and robots, these models introduce fresh moral and philosophical dilemmas. Our research aims to extrapolate key trends and unique factors in HRI and to elucidate the technical aspects of generative AI that enhance its effectiveness in this field compared to traditional rule-based AI systems. We further discuss the challenges and limitations of applying generative AI in HRI, providing a future research agenda for AI optimization in diverse applications, including education, entertainment, and healthcare. (shrink)

This article examines the work of internet activist and artist Paolo Cirio, whose practice intersects with matters of copyright, privacy, transparency and corporate finance. His project Loophole for All, for example, exposes the practice of tax evasion in the Cayman Islands by counterfeiting Certificate of Incorporation documents. An important aspect of Cirio’s work is how he names himself in the process. Placed within our contemporary ‘data turn’, his work is framed critically in this article in terms of a ‘new structuralist’ (...) account of culture and society. The article attends to the view that power increasingly comes through the algorithm, but argues that we risk reifying so-called generative rules, which may simply be algorithms out of sight. Cirio’s art practice helps focus on what it means to make a critique of contemporary and ubiquitous algorithm structures. As part of this, the article considers how ‘anonymity’ underlies subversive art practices of the 20th century and contemporary protest groups, but that this anonymity arguably undermines attempts to effect change. (shrink)

Artworks are seen here as presenting themselves as a means by which to navigate and plot the city for a writing interlocutor; The examples discussed reveat a plethora of emergent forms which are concentrated into three key modalities of urban arts practice in the twenty-first century walking play and cultural memory walking includes the talked walks of artist such as Richard Wentworth, the generative street incursions of Francis Alys, and the walking spectator at a site-based event, including works by (...) Gustv Metzger, Mark Wallinger and Pavel Althamer. Play embraces popular instances of mass public mobilisation in the form of flash mobs and mobile clubbing as well as ̀creative interventions such as free ranning, graffin writing and video sniffing, which reveal themselves to be engaged increasingly in a dialogue with the ̀high art' of artists like Antony Gomely, Mark Quinn and Carsten Holler. Cultural memory is considered via the burgeoning cases of holocaust installations, interrogating two of the best-known- and controversial-European urban sites from the point of view of the physical encounters that they implicity invite Peter Eisenman's memorial in Bertin and Rachel Whitereads' in Vienna. --Book Jacket. (shrink)

How do individuals and communities respond to negative aesthetic experience? Historically, philosophical aesthetics has devoted much thought to positive aesthetic experience, including the beautiful, agreeable, charming, and tasteful. But this is only a partial picture. Some aesthetic experience displeases: the ugly, disgusting, and horrific are but a few examples with which aestheticians have grappled in recent decades. The aversive and visceral nature of disgust has generated particular interest. But as Carolyn Korsmeyer points out in _Savoring Disgust: The Foul & the (...) Fair in Aesthetics_, there is also a paradoxical attraction to that which arouses disgust. Following Kant and Korsmeyer from the Western philosophical tradition, I claim that the aversive-attractive response is integral to disgust’s power to motivate aesthetic engagement. On the one hand, people might feel its force and refuse to engage with that which disgusts. On the other hand, unshakeable interest may spur active responses including the exchange of judgments of taste; protests of a given artist, work, or exhibition; or even violent actions intended to damage or destroy a particular work. While the negative dimension of disgust response is often regarded as a liability from an aesthetic standpoint, disgust also has a corresponding productive dimension that has important implications for communities. In this chapter, I coin the term “generative disgust” in order to explain the productive capacity of disgust to inspire communal, often subcultural, activity. On my view, generative disgust has two orientations – destructive and constructive. Both forms activate the community in question based upon the valence of the group’s comportment towards a particular work of art. As such, destructive generative disgust galvanizes the community and spurs increased activity based upon negative response to art, whereas constructive generative disgust galvanizes the community and spurs increased activity based upon positive response to art. I explore two examples that reveal the dual character of generative disgust in communities: Andres Serrano’s _Immersion (Piss Christ)_ (destructive deployment) and Bryan Fuller’s _Hannibal_ (constructive deployment). In the case of _Piss Christ_, the intensity of generative disgust spurred some Christians to police moral-religious boundaries and restrict aesthetic expression in order to protect a community. Their activity culminated in vandalism and destruction of Serrano’s photograph. In the case of Hannibal, the intensity of generative disgust, combined with hedonic ambivalence inspired the “Fannibals” (the Hannibal fandom) to forge community, make art, and to try to find the show a new home when it was not renewed by NBC. Both instances manifest how generative disgust can incite aesthetic engagement and increase organized activity on the part of subcultural groups. (shrink)

The article critically analyzes how contemporary image practices involving generative artificial intelligence are entangled with processes of democratization. We demonstrate and discuss how generative artificial intelligence images raise questions of democratization and citizenship in terms of access, skills, validation, truths, and diversity. First, the article establishes a theoretical framework, which includes theory on democratization and aesthetics and lays the foundations for the analytical concepts of ‘formative’ and ‘generative’ visual citizenship. Next, we argue for the use of explorative (...) and collaborative methods to investigate contemporary image practice, before analyzing the central part of our investigation, which takes the form of four collaborative workshops conducted in 2023 with external partners in different domains (the art scene, art therapy, education, and the news media). After analyzing insights from these workshops, the article significantly nuances how visual citizenship is at work in different manners depending on the different concrete image practices using generative artificial intelligence. Finally, we conclude that an aesthetic perspective offers valuable insights into foundational aspects of belonging to contemporary visual communities. (shrink)

In this paper, I describe my artistic project, Igùn—a StyleGAN series trained to animate the research question: what bronze objects could have been produced should the 1897 British invasion not have occurred in the Benin Kingdom? In addition to looting over 3000 palace-commissioned artworks, I surmise that the invasion resulted in a 17-year (1897–1914) artistic decline. Although post-invasion colonial reports referred to a thriving art scene and increased colonial art patronage, there is a dearth of visual documentation to identify objects (...) created during this period. Considering this absence, I propose Igùn, a series of StyleGAN models trained on a dataset of looted Benin Bronzes. This project is informed by the Igún Eronmwon’s (the royal guild of bronze casters) artistic protocols. Finally, I present three prototypes based on emergent themes—infancy and facial expressions, which were underexplored in Benin’s classical bronze casting tradition. (shrink)

Felix Guattari was a modernist. He not only liked a lot of modernist artists, but his ‘aesthetic paradigm’ found its generative diagram in modern art. The most important aspect of this diagram was its insistence on the production of the new, the way it produced a utopian projection of a ‘people to come’, and so a politics whose only horizon was the future. Also important for Guattari's diagram of the ‘modern’ were the forces of abstraction, autonomy and immanent critique. (...) Together these elements construct an artwork that is radically singular and separate, composed of a-signifying, a-temporal and invisible forces, sensations that go beyond our human conditions of possibility. In this Guattari's modernism must be understood as being quite different from his co-option by contemporary art theorists influenced by post-Operaist thought. Post-Operaism understands politics as ‘being-against’, a dialectical form of negation that finds its political condition of possibility in what already exists. Because such thought sees modern art as being entirely subsumed by the institutions and markets that contain it, art itself must be negated in order for aesthetic powers to become political. This has lead post-Operaist thought to align itself strongly with the avant-garde positions of institutional-critique and art-into-life, or ‘non-art’. Guattari's modernism takes him in a very different direction, affirming modern art despite its institutional enframing, because art is forever in the process of escaping itself. This makes modern art the model in Guattari's thought for politics itself. (shrink)

This paper proposes a prolegomenal model for the mechanisms through which new styles and schools of art – Cubism or conceptual art, for example – undergo the catalytic, evental transition from potential to actual. The model proposed herein, of fine art as a complex adaptive system that emerges and grows in a manner analogous to that of certain specific forms of biological organization, is predicated on a shift from the residual traces of Greenbergian disciplinary and mediumistic differentiation – grounded in (...) an analytic autonomy – to modes of interaction and aesthetic signal exchange emergent from an autopoietic autonomy – a systemic process of autocatalysis and transformation similar to the recursively generative feedback relations seen in cell metabolism and in ecosystems. This conceptual recalibration leads to a model of artistic eventalization and change that algorithmically unfolds from the adjacent possible as an emergent phenomenon, analogous to the aggregative and spontaneous, self-organizational swarm behavior seen in the flocking of birds or the schooling of fish, applied here to schools of art. (shrink)

Yi-Ping Ong's The Art of Being: Poetics of the Novel and Existentialist Philosophy is a highly innovative book. It teases out from essays by Søren Kierkegaard, Jean-Paul Sartre, and Simone de Beauvoir an existentialist poetics of the novel, which then inspires thoughtful readings of freedom and self-consciousness, situated worldhood, and unfinished works of art in nineteenth-century novels. At every step, Ong carefully articulates the insights that set her study apart from established ways of understanding the novel as form, the legacy (...) of existentialism, and the generative potential of literary form for philosophy. This book will likely delight and intrigue in equal measure. The argument is bold, the scholarship... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art as PerformanceMichael WehArt As Performance, by David Davies. Oxford: Blackwell Publishing, 2004, 278 pp.If we accepted the claims that David Davies makes in his Art as Performance, we would have to rigorously revise our conception of what kinds of entities artworks are. Art as Performance is a study in the ontology of art, and whereas other well-known theories about the ontological status of artworks say that artworks are (...) to be identified with, forexample, types, classes, or kinds, Davies holds that they are performances that lead to the production of a "focus of appreciation" — the latter being the objects we usually take to be artworks. So according to Davies, a painting presented in a museum or a novel we can buy in a bookshop is in fact not the artwork x.The artwork is rather the performance that cumulated in bringing x into existence.Davies characterizes our "common sense theory" of art as including views about the epistemology, ontology,axiology, and definition of art. It maintains that in order to appreciate an artwork, a direct experiential encounter with it is sufficient; that artworks are those things that are exhibited in our museums or performed on stages; that the value of artworks lies in immediately experiencing them; and that artworks differ from other objects by virtue of possessing aesthetic properties. But the common sense theory conflicts with many, if not most, of the art phenomena of the twentieth century. The puzzlement of audiences in the face of certain contemporary pieces of art is caused by the incompatibility of the common sense theory with those artworks. A philosopher of art can try to solve this problem by either accommodating modern art to the common sense theory or by dismissing the theory as inappropriate. With his performance theory, Davies goes for the [End Page 114] second option, while at the same time constraining his theory to the principle that an ontology of art should not contradict our dealing with art — at least after we have critically revised it — too excessively.Davies's first major step in elaborating his theory is a discussion of whether it is necessary to take contextual properties of artworks into account in order to be able to appreciate and understand them. Defenders of "aesthetic empiricism" (a term coined by Gregory Currie) deny that an artwork's history of production is relevant and would be the philosophical business partners of the common sense theory. According to empiricism, only an artwork's manifest properties matter. The context of an artwork's making is at best of art-historical interest. Building upon the works of Currie, Jerrold Levinson, Arthur Danto, and others, Davies forcefully argues against empiricism in defense of a contextualist epistemology of art. And since he takes an artwork's history of production to be epistemologically indispensable, Davies infers that it also has to be considered concerning the ontology of art.Davies's ontology of art is monistic. He claims that all artworks are not the products of creative activities, but rather "intentionally guided generative performances that eventuate in contextualized structures or objects...or events...performances completed by what I am terming a focus of appreciation" (p. 98). The focus of appreciation, in turn, is defined as "an artistic statement as articulated in an artistic medium realized in a vehicle" (p. 60). Davies understands an artistic medium as a set of social conventions or understandings of how to describe the way an artist articulated his statement — for example by manipulating a physical object. The vehicle can be — as in the case of painting — exactly that physical object, or, for example, an action in the case of conceptual art. The main point is that the focus of appreciation is not the artwork. The focus of appreciation — for example, the object Les Demoiselles d'Avignon — completes the performance that was carried out by the artist, and that performance is the artwork.If artworks are performances, it is clear that artworks possess the properties on whose existence contextualism insists and that are ignored by empiricism. But though Davies emphasizes the role of the properties an artwork has due to its provenance, he is also concerned about the weaknesses of... (shrink)

Substantial research over the last ten years has indicated that many generative artificial intelligence systems (“GAI”) have the potential to produce biased results, particularly with respect to gender. This potential for bias has grown progressively more important in recent years as GAI has become increasingly integrated in multiple critical sectors, such as healthcare, consumer lending, and employment. While much of the study of gender bias in popular GAI systems is focused on text-based GAI such as OpenAI’s ChatGPT and Google’s (...) Gemini (formerly Bard), this article describes the results of a confirmatory experiment of gender bias in visual GAI systems. The authors argue that the potential for gender bias in visual GAI systems is potentially more troubling than bias in textual GAI because of the superior memorability of images and the capacity for emotional communication that images represent. They go on to offer four potential approaches to gender bias in visual GAI based on the roles visual GAI could play in modern society. The article concludes with a discussion of how dominant societal values could influence a choice between those four potential approaches to gender bias in visual GAI and some suggestions for further research. (shrink)

The paper relates two different fields of research: the historiography of generative linguistics and argumentation theory, a central topic of which is the investigation of fallacies. Relating the two fields is a challenge: Since fallacies seem to be at the heart of the historiography of generative linguistics, any thorough evaluation of its present state of the art also involves accounting for fallacies. The paper applies Kertész and Rákosi’s p-model of plausible argumentation to a case study on heated discussions (...) in the historiography of generative linguistics. As a result, basic properties of fallacious argumentation are revealed and delimited from plausible argumentation in linguistic historiography. In addition, the paper also draws generalizable conclusions that may affect the historiography of other human sciences as well. (shrink)

The patterns of ecological devastation that mark the present unexpectedly enable an ancient and many-storied question to resurface with renewed force: the question of the arts of living — that is, of learning how to live and die well with others on a precarious Earth. Modernity has all but forgotten this question, which has long been buried under the dreams of progress and infinite growth, colonial projects, and the enthroning of technoscience. But what might it mean to reclaim the question (...) of the arts of living today? In this article Martin Savransky reclaims the connection between pragmatism, education, and the arts of living by proposing both that (1) William James's pragmatist philosophy can be read as an ongoing and unfinished experiment in weaving a certain art of living, and (2) James's pragmatism might provide us with uniquely generative elements to begin to experiment with the profoundly educational and ecological challenge of learning to inhabit the Earth otherwise. (shrink)

The integration of generative artificial intelligence (AI), particularly large language models like ChatGPT, presents new challenges as well as possibilities for scientific authorship. This paper draws on social systems theory to offer a nuanced understanding of the interplay between technology, individuals, society and scholarly authorial practices. This contrasts with orthodoxy, where individuals and technology are treated as essentialized entities. This approach offers a critique of the binary positions of sociotechnological determinism and accelerationist instrumentality while still acknowledging that generative (...) AI presents profound challenges to existing practices and meaning making in scientific scholarship. This holistic treatment of authorship, integrity, and technology involves comprehending the historical and evolutionary entanglement of scientific individuality, scientific practices, and meaning making with technological innovation. This addresses current needs for more robust theoretical approaches to address the challenges confronted by academicians, institutions, peer review, and publication processes. Our analysis aims to contribute to a more sophisticated discourse on the ethical and practical implications of AI in scientific research. (shrink)

To what extent, and on what grounds, can we ethically evaluate art from a generative context that is at some significant distance from our present reception context—at enough distance, at least, so that the two contexts differ, in important ways, in aspects of their moral outlooks? This paper has four aims. The modest task of the paper is to show that this question is much more difficult than has been recognised. The somewhat more ambitious goal is a methodological intervention: (...) it is to highlight the need for interdisciplinary research that illuminates the socio-historical specificities of remote generative contexts in a way that allows us to see the relevant ways in which the moral outlooks overlap with ours (or do not). In relation, the third aim of the paper is to argue, with reference to Bernard Williams’s ‘relativism of distance’, that there are some cases in which the moral outlooks of a work’s generative and reception contexts differ so significantly that the warrant for our moral judgments of remote artworks is attenuated—if it exists at all. Finally, we try to demonstrate how the sort of interdisciplinary collaboration we’re advocating might inform our moral judgments of art—more specifically, in a way that invites a degree of quietude or uncertainty about remote artworks that are deeply morally troubling in our present reception context. We do this with reference to the paintings of Titian. (shrink)

Teleological variations of non-deterministic processes are defined. The immediate past of a system defines the state from which the ordinary (non-teleological) dynamical law governing the system derives different possible present states. For every possible present state, again a number of possible states for the next time step can be defined, and so on. After k time steps, a selection criterion is applied. The present state leading to the selected state after k time steps is taken to be the effective present (...) state. Hence, the present state of a system is defined by its past in the sense that the past determines the possible states that are to be considered, and by its future in the sense that the selection of a possible future state determines the effective present state. A system that obeys this type of teleological dynamics may have significantly better performance than its non-teleological counterpart. The basic reason is that evolutions that are less optimal for the present time step, but which lead to a higher optimality after k time steps, may be preferred. This abstract concept of teleology is implemented for two concrete systems. First, it is applied to a general method for function approximation and classification problems. The method at issue treats all problems handled by conventional connectionism, and is suited for information with inner structure also. Second, it is applied to a dynamics in which forms of maximal homogeneity have to be produced. The relevance of the latter dynamics for generative art is illustrated. The teleology is `deep' in the sense that it is situated at the cellular level, in contradistinction with the teleology that is usually met in cognitive contexts, and which refers to macroscopic processes such as making plans. It is conjectured that deep level teleology is useful for machines, even though the issue if natural systems use this teleology is left open. (shrink)

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, or low degrees of assistance) X 2 (human or AI assistant) factorial design. We found that, for a human author, the degree of assistance they receive matters for our assessments of their level of authorship, creatorship, and responsibility, but not what or who rendered that assistance, although it was more important to disclose human rather than AI assistance. However, in our assessments of the assisting agent, human assistants were viewed as warranting higher rates of authorship, creatorship, and responsibility, compared to AI assistants rendering the same level of support. These results help us to better understand emerging norms around collaborative human-AI generated text, with implications for other types of collaborative content creation. (shrink)

The arche–arte dualism (concrete–abstract) is fundamental and basic, due to its universality and comprehensive generative function. This duality characterizes our actions in every dimension, and is thus necessarily involved in cognitive and creative acts. The “arteic” includes the categories of consciousness, consideration, calculation, ordering, knowledge, intellect, and artificiality. On the other hand, the “archeic” refers to that which is, in us, subconscious, eternal, primordial, innate, instinctive, and natural. When this basic duality is posited at the outset, it furnishes an (...) analytical‑interpretative‑synthesizing tool that can be applied to diverse facts. The omnipresence and explanatory potential of the arche‑arte dualism are illustrated through musical examples. The dual nature of sound is thereby revealed to be a structural model for the subconscious sensations that music evokes in us. (shrink)

Until now, the mass spread of fake news and its negative consequences have implied mainly textual content towards a loss of citizens' trust in institutions. Recently, a new type of machine learning framework has arisen, Generative Adversarial Networks (GANs) – a class of deep neural network models capable of creating multimedia content (photos, videos, audio) that simulate accurate content with extreme precision. While there are several areas of worthwhile application of GANs – e.g., in the field of audio-visual production, (...) human-computer interactions, satire, and artistic creativity – their deceptive uses, at least as currently foreseeable, are just as numerous and worrying. The main concern is linked to the so-called “deepfakes”, fake images or videos that simulate real events with extreme precision. When trained on a human face, GANs can make the face assume hyper-realistic movements, expressions and (verbal and non-verbal) communication abilities. This technology poses an urgent threat to the governance of democratic processes concerning the production of public opinions and political discourses, with significant potential for reality-altering and disinformation. After a short introduction of their current technical state-of-the-art, in this paper we want to enquire the GANs` socio-technical system alongside different and intertwined philosophical accounts. Firstly, we will argue about the conditions that make perceived a GANs-generated content as trustworthy, arguing also about the general effects GANs might have on the perceived trustworthiness of individuals. Thereafter, we will discuss about the inadequacy to approach GANs only as perception-altering technology. Against this backdrop, we will propose a theoretical turn that considers the human-machine relationships of trustworthiness as elements of a broader hybrid socio-technical systems. This turn come up with political repercussions that we will discuss in the last part of the paper. (shrink)

This article explores the challenges surrounding generative artificial intelligence (GenAI) in public administrations and its impact on human‒machine interactions within the public sector. First, it aims to deconstruct the reasons for distrust in GenAI in public administrations. The risks currently linked to GenAI in the public sector are often similar to those of conventional AI. However, while some risks remain pertinent, others are less so because GenAI has limited explainability, which, in return, limits its uses in public administrations. Confidentiality, (...) marking of GenAI outputs and errors are specific matters for which responses should be technical as well as cultural, as they are pushing the boundaries of our instrumental conceptions of machines. Second, this article proposes some paradigm shifts in the perspective of using GenAI in public administrations due to the radical change caused by its language-based nature. GenAI represents a profound break from the “numerical” nature of AI systems implemented in public administrations to date. The transformative impact of GenAI on the intellectual production of the state raises fears of the replacement, or rather enslavement, of civil servants to machines. The article argues for the development of critical thinking as a specific skill for civil servants who have become highly specialized and will have to think with a machine that is eclectic by nature. It anticipates a transformation in the political nature of public administrations, which should lead to more considerations for the strategic stake related to training corpus and for our conceptualization of the neutrality of AI. (shrink)

Accurate skin lesion segmentation is an important task in dermatology for facilitating early diagnosis and treatment planning. The challenges in skin lesion segmentation comprehend the variability in lesion, low contrast, heterogeneous backgrounds, overlapping or connected lesions, noise and certain artifacts. Despite of these challenges, Deep learning models accomplish remarkable results for skin lesion segmentation by automatically learning discriminative features. The current research introduces a novel approach utilizing the ASSP-based Deeplabv3+ for skin lesion segmentation along with other UNET-based learners while employing (...) VGG-16, VGG-19 and Dense nets as encoders. In addition, an analysis is conducted on GAN-UNET to evaluate the potential of Generative Artificial Intelligence in generating segmented images of skin lesions. Three benchmark medical image datasets, namely ISIC-2016, ISIC-2018, and HAM10000 Lesion Boundary Segmentation, are used to evaluate all five models. The models are trained exclusively on the ISIC-2018 dataset. A comparative analysis is performed, comparing the performance of these models against state-of-the-art segmentation methods, focusing on standard computer vision metrics. The proposed Deeplabv3+ model outperforms by showcasing its ability to accurately delineate skin lesions and surpassing existing techniques in terms of segmentation accuracy as 0.97, Jaccard coefficient as 0.84 and dice coefficient as 0.91. (shrink)

The attributes that characterize the compelling world-view of Philip Galanter’s Complexism constitute a rich array that spans complexity theory, biological systems, cybernetics, computation and the phenomenology of affect. An ever-growing movement of transdisciplinary artists who engage and synthesize the unique combination of fields, theories and practices associated with Complexism suggests that this model – particularly its embrace of complexity theory – holds promise in the problem space of art and science. This article examines three contemporary artists and their collaborative teams, (...) each of whose work embodies a unique attitude and synthesizing model that expresses the ethos of Complexism. Their work arguably contributes to a higher synthesis of modernism and postmodernism and the coalescence of art and science through the progression of ideas that emerge from this union in direct correspondence to the larger culture. Furthermore, they do so through the embrace of evolutionary and generative processes, connectionist networks, and participatory practices that engender new discourse about contemporary life, moving us beyond the space of postmodernity. (shrink)

Hepburn argues that all education, and so Arts Education, educates a person's subjectivity, his or her Lebenswelt; though the sciences take the ‘objectifying way’ they too educate our subjectivity. I show why there can be no decision procedures, involving the use of logical operators for interpreting a work of art, but argue that Hepburn's view that music etc. can furnish ‘authoritative imaginative realisations’, nevertheless presupposes a ‘soft’ objectivist position. Whilst Hepburn is right in thinking that the subjective provides the context (...) for objectifying procedures in education (and more generally), it cannot be the case, as he implies, that aesthetic criteria could have a role in the selection of preferred scientific explanations and theories. It is, however, argued that the aesthetic can be generative of objectifying ways, or theoryenabling. (shrink)

Amidst the surge in AI-oriented commercial ventures, music is a site of intensive efforts to innovate. A number of companies are seeking to apply AI to music production and consumption, and amongst them several are seeking to reinvent the music listening experience as adaptive, interactive, functional and infinitely generative. These are bold objectives, having no clear roadmap for what designs, technologies and use cases, if any, will be successful. Thus each company relies on speculative product visions. Through four case (...) studies of such companies, I consider how product visions must carefully provide a clear plan for developers and investors, whilst also remaining open to agile user-centred product development strategies, which I discuss in terms of the ‘blind search’ nature of innovation. I suggest that innovation in this area needs to be understood in terms of technological emergence, which is neither technologically determinist nor driven entirely by the visions of founders, but through a complex of interacting forces. I also consider, through these cases, how, through the accumulation of residual value, all such start-up work risks being exapted for more familiar extractive capitalist agendas under the general process that Doctorow calls “enshittification”. Lastly, I consider a number of other more specific ways in which these projects, if their growth is achieved, could influence music culture more broadly. (shrink)

The recognition and incorporation of evidence-based neuroscientific concepts into creative arts therapeutic knowledge and practice seem valuable and advantageous for the purpose of integration and professional development. Moreover, exhilarating insights from the field of neuroscience coincide with the nature, conceptualization, goals, and methods of Creative Arts Therapies, enabling comprehensive understandings of the clinical landscape, from a translational perspective. This paper contextualizes and discusses dynamic brain functions that have been suggested to lie at the heart of intra- and inter-personal processes. Touching (...) upon fundamental aspects of the self and self-other interaction, the state-of-the-art neuroscientific-informed views will shed light on mechanisms of the embodied, predictive and relational brain. The conceptual analysis introduces and interweaves the following contemporary perspectives of brain function: firstly, the grounding of mental activity in the lived, bodily experience will be delineated; secondly, the enactive account of internal models, or generative predictive representations, shaped by experience, will be defined and extensively deliberated; and thirdly, the interpersonal simulation and synchronization mechanisms that support empathy and mentalization will be thoroughly considered. Throughout the paper, the cross-talks between the brain and the body, within the brain through functionally connected neural networks and in the context of agent-environment dynamics, will be addressed. These communicative patterns will be elaborated on to unfold psychophysiological linkage, as well as psychopathological shifts, concluding with the neuroplastic change associated with the formulation of CATs. The manuscript suggests an integrative view of the brain-body-mind in contexts relevant to the therapeutic potential of the expressive creative arts and the main avenues by which neuroscience may ground, enlighten and enrich the clinical psychotherapeutic practice. (shrink)

Posthumanism has come to synthesize philosophical, literary, and artistic responses to the pressures of technology, globalization, and mass extinction in the Anthropocene. It asks what it can mean to be human in an increasingly more-than-human world that has lost faith in the ideal of humanism, the autonomous, rational subject, and it models generative alternatives cognizant of the demands of social and ecological justice. Posthumanism in Art and Science is an anthology of indispensable statements and artworks that provide an unprecedented (...) mapping of this intellectual and aesthetic shift in a global context. It extends across a broad range of fields such as art theory, media studies, continental philosophy, natural science, literary studies, aesthetics, psychoanalysis, environmental humanities, social and political theory, and animal studies. The reader features a diverse sampling of major thinkers including Donna Haraway, Rosi Braidotti, Michael Marder, Karen Barad, Alexander Weheliye, Jay Prosser, Anna Tsing, Graham Harman, Timothy Morton, N. Katherine Hayles, Jane Bennett, Bruno Latour, Francesca Ferrando, and Cary Wolfe, as well as innovative, acclaimed artists and curators such as Yvonne Rainer, Chus Martínez, William Wegman, Nandipha Mntambo, Cassils, Pauline Oliveros, Doo-sung Yoo, and Gavin Steingo. Their provocative and compelling works, including previously unpublished interviews and essays, speak to the ongoing conceptual and political challenge of posthuman theories in a time of unprecedented cultural and environmental crises. An essential primer and reference for educators, students, artists, and art enthusiasts, this volume offers a powerful framework for rethinking anthropocentric certitudes and reenvisioning equitable and sustainable futures. (shrink)