BirthMark proposes an artificial intelligence model of an audience to evaluate and anticipate the audience reaction to media art. In BirthMark, human cognitive process of appreciating artwork is defined in three stages: "camouflage," "solution" and "insight." In other words, understanding the intention (solution) from hidden images (camouflage) and realizing its meaning (insight). Watching the archive video clips featuring different works by 16 artists, the A.I. in BirthMark tries to appreciate works of art in a similar way to humans. YOLO-9000, an object detection system, tracks objects in the images of the works, while ACT-R, a cognitive architecture designed to mimic the structure of the brain, reads and perceives them. The A.I.'s process of recognizing works is shown in the video and the keywords of the works found in this process appear on a small screen. At the same time, an old slide projector shows what the A.I. understands semantically about the artists' interpretations of their own work. The A.I.'s cognitive process seems to be similar to the human act of appreciating art at a glance. But in reality, the keywords that it accurately analyzes from the images are only 2 to 5 out of 300 words. The more abstract the work is, the worse the A.I's intelligibility gets. As the "birthmark" in a short story of the same title by Nathaniel Hawthorne represents, BirthMark implies that there is a realm of humans that can be hardly explained through scientific methodology.
{"title":"BirthMark","authors":"Jooyoung Oh","doi":"10.1145/3414686.3427146","DOIUrl":"https://doi.org/10.1145/3414686.3427146","url":null,"abstract":"BirthMark proposes an artificial intelligence model of an audience to evaluate and anticipate the audience reaction to media art. In BirthMark, human cognitive process of appreciating artwork is defined in three stages: \"camouflage,\" \"solution\" and \"insight.\" In other words, understanding the intention (solution) from hidden images (camouflage) and realizing its meaning (insight). Watching the archive video clips featuring different works by 16 artists, the A.I. in BirthMark tries to appreciate works of art in a similar way to humans. YOLO-9000, an object detection system, tracks objects in the images of the works, while ACT-R, a cognitive architecture designed to mimic the structure of the brain, reads and perceives them. The A.I.'s process of recognizing works is shown in the video and the keywords of the works found in this process appear on a small screen. At the same time, an old slide projector shows what the A.I. understands semantically about the artists' interpretations of their own work. The A.I.'s cognitive process seems to be similar to the human act of appreciating art at a glance. But in reality, the keywords that it accurately analyzes from the images are only 2 to 5 out of 300 words. The more abstract the work is, the worse the A.I's intelligibility gets. As the \"birthmark\" in a short story of the same title by Nathaniel Hawthorne represents, BirthMark implies that there is a realm of humans that can be hardly explained through scientific methodology.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"122 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124655261","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Viewporter is an interactive installation that displays a computer-generated video of a city. Viewers can rotate the screen attached to a device that resembles a telescope to accelerate the playback speed of the video. In this project, the deep learning technique with images capturing the Seoul skyline was used to train and generate the artificial city skyline. As one of the most developed metropolitan cities, Seoul has been under continuous development and construction of highrise buildings over the past decades. While the image of the skyscraper-packed skyline has been portrayed by the mainstream media to symbolize the utopian dream of the city, the lives of the residents with mundane duties have been far-fetched from the attractive image promoted through the propagandistic videos on the media. Viewporter uses the analogy of a telescope in tourist attractions to emphasize the distance between the idealized and the real and have viewers re-think the illusion and fantasy promoted by the images of development programs.
{"title":"Viewporter","authors":"J. Chu","doi":"10.1145/3414686.3427140","DOIUrl":"https://doi.org/10.1145/3414686.3427140","url":null,"abstract":"Viewporter is an interactive installation that displays a computer-generated video of a city. Viewers can rotate the screen attached to a device that resembles a telescope to accelerate the playback speed of the video. In this project, the deep learning technique with images capturing the Seoul skyline was used to train and generate the artificial city skyline. As one of the most developed metropolitan cities, Seoul has been under continuous development and construction of highrise buildings over the past decades. While the image of the skyscraper-packed skyline has been portrayed by the mainstream media to symbolize the utopian dream of the city, the lives of the residents with mundane duties have been far-fetched from the attractive image promoted through the propagandistic videos on the media. Viewporter uses the analogy of a telescope in tourist attractions to emphasize the distance between the idealized and the real and have viewers re-think the illusion and fantasy promoted by the images of development programs.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128404261","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Searching All Sources of White presents the error as the landscape. It is an interactive video installation examining the idea of the limitation of seeing. The projector projects a blue screen while a white spot falls in the middle. Blue is often seen in a digital display namely default screen, calibration screen, sleep mode, and 'Blue Screen of Death'. In an exhibition setting, this work gives the impression of a failure in the display when the projector displays a blue, standbymode. Standby is a component mode in which a system is kept readily available in case an unexpected event occurs. A system may be on standby in case of failure, shortage, or other similar events. The interaction is analogue rather than digital. The work invites the audience's body movement as a variation in the scene. The blue landscape is an illusion to the audience that the display device is having a malfunction situation. The switching text on the bottom first misleads the audience that it is a common standby mode text searching for the input source. It invites the audience to step into the projection area. When the blue light source from the projector is blocked by a body, a yellow light appears. The white spot in the middle is never a white light source. The white results from the addition of complementary-colour light source - yellow and blue. In the RGB colour system, mixing the primary colour blue with the complementary colour yellow would produce the colour white. There is a limitation of the human eyes which cannot analyse a mixture of complementary-colour light, results in perceiving it in white. The malfunction scene and the illusion of colour in human eyes encourage the audience to reflect on the limitations in the spectrum of human visual perception.
{"title":"Searching all sources of white","authors":"Gi Wai Echo Hui","doi":"10.1145/3414686.3427131","DOIUrl":"https://doi.org/10.1145/3414686.3427131","url":null,"abstract":"Searching All Sources of White presents the error as the landscape. It is an interactive video installation examining the idea of the limitation of seeing. The projector projects a blue screen while a white spot falls in the middle. Blue is often seen in a digital display namely default screen, calibration screen, sleep mode, and 'Blue Screen of Death'. In an exhibition setting, this work gives the impression of a failure in the display when the projector displays a blue, standbymode. Standby is a component mode in which a system is kept readily available in case an unexpected event occurs. A system may be on standby in case of failure, shortage, or other similar events. The interaction is analogue rather than digital. The work invites the audience's body movement as a variation in the scene. The blue landscape is an illusion to the audience that the display device is having a malfunction situation. The switching text on the bottom first misleads the audience that it is a common standby mode text searching for the input source. It invites the audience to step into the projection area. When the blue light source from the projector is blocked by a body, a yellow light appears. The white spot in the middle is never a white light source. The white results from the addition of complementary-colour light source - yellow and blue. In the RGB colour system, mixing the primary colour blue with the complementary colour yellow would produce the colour white. There is a limitation of the human eyes which cannot analyse a mixture of complementary-colour light, results in perceiving it in white. The malfunction scene and the illusion of colour in human eyes encourage the audience to reflect on the limitations in the spectrum of human visual perception.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132430437","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
주마간산走馬看山 is a four-character chinese idiom that means to look at the scenery while horse riding, and it means to skim through the outer surface of things. , a collaboration between photographer Kim Hun Soo and painter Kwack Youn Soo, captures the scenery of the city as viewed from various perspectives while traveling by various transportations. They live in a city, use the same transportation, and look at similar landscapes, but each person's gaze varies. Even if it is a passing impression, the landscapes that contain each image are piled up and accumulated in the time and space of the city in which we live.
{"title":"주마간산 (jumagansan)","authors":"Youn Soo Kwack, Hun Soo Kim","doi":"10.1145/3414686.3427160","DOIUrl":"https://doi.org/10.1145/3414686.3427160","url":null,"abstract":"주마간산走馬看山 is a four-character chinese idiom that means to look at the scenery while horse riding, and it means to skim through the outer surface of things. , a collaboration between photographer Kim Hun Soo and painter Kwack Youn Soo, captures the scenery of the city as viewed from various perspectives while traveling by various transportations. They live in a city, use the same transportation, and look at similar landscapes, but each person's gaze varies. Even if it is a passing impression, the landscapes that contain each image are piled up and accumulated in the time and space of the city in which we live.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"110 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114275928","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
BOX is an interactive installation, consisting on an everyday object augmented by artificial intelligence. The piece reflects on the power asymmetries that technology instantiates, aiming at providing with a reflection on the aesthetics of our relationship with it. The artwork also aims to showcasing the advancements and limitations in computer vision and artificial intelligence, allowing the public to experience in person its power as well as its inherent biases. Recent advances in computer vision and artificial intelligence, have allowed the creation of systems able to infer (predict) information on a person from camera data, including facial recognition, facial expressions, ethnicity, among others. Nowadays, several companies provide image processing services that include these predictions, among several others. In spite of potential benefits that face recognition proposes, its widespread application entails several risks, from privacy breaches to systematic discrimination in areas such as hiring, policing, benefits assignment, marketing, and other purposes. BOX consists of a gumball machine that, using computer vision and machine learning, predicts its user's ethnicity, delivering free candy only to white users. The artwork showcases a possible use of computer vision making explicit the fact that every technological implantation crystallises a political worldview, allowing the general public to experience in person the power of these new technologies, while simultaneously providing a tool for participatory observation, as well as ethnographic and technographic research. Our project aims to raise awareness on discrimination, ethics, and accountability in AI among practitioners and the general public.
{"title":"Box","authors":"Tomás Laurenzo, Katia Vega","doi":"10.1145/3414686.3427178","DOIUrl":"https://doi.org/10.1145/3414686.3427178","url":null,"abstract":"BOX is an interactive installation, consisting on an everyday object augmented by artificial intelligence. The piece reflects on the power asymmetries that technology instantiates, aiming at providing with a reflection on the aesthetics of our relationship with it. The artwork also aims to showcasing the advancements and limitations in computer vision and artificial intelligence, allowing the public to experience in person its power as well as its inherent biases. Recent advances in computer vision and artificial intelligence, have allowed the creation of systems able to infer (predict) information on a person from camera data, including facial recognition, facial expressions, ethnicity, among others. Nowadays, several companies provide image processing services that include these predictions, among several others. In spite of potential benefits that face recognition proposes, its widespread application entails several risks, from privacy breaches to systematic discrimination in areas such as hiring, policing, benefits assignment, marketing, and other purposes. BOX consists of a gumball machine that, using computer vision and machine learning, predicts its user's ethnicity, delivering free candy only to white users. The artwork showcases a possible use of computer vision making explicit the fact that every technological implantation crystallises a political worldview, allowing the general public to experience in person the power of these new technologies, while simultaneously providing a tool for participatory observation, as well as ethnographic and technographic research. Our project aims to raise awareness on discrimination, ethics, and accountability in AI among practitioners and the general public.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125094039","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The extension of Nanography to Cinematic Projection (various experiments based on the act of "seeing") the works prove that the attempt to present a new perspective on the act of seeing are made in various stages. Major works are motivated by comparing the images of old and new Hanji (traditional Korean paper) taken by an electron microscope. In the image of the old Hanji, Mother Nature is engrained with the traces of time accumulated. The image resembles the scenery of mountain in that there are soil, trees grow, flowers bloom and fruits are born. With this motive, the background of this work turns to the nature. The photo works are harvested in the process of shooting all over the country by time and season. They highlight the contingency rather than intentionality and enhance fictitiousness by blurring the line between the actual forest and the virtual reality synthesized with a nano-image. Why don't we imagine that the screen-like image in the wild nature is the screen of an outdoor theater? By stimulating the emotional code of a fictional drama, it spurs us to recall movies based on a specific situation. This work led to an opportunity for the artist to naturally develop the sense of improvisation and direction in the field and to integrate it into other cultural areas. My nano-image was projected behind a scene on a stage of a documentary film starring a pianist, as part of a theater stage set, on a small village in Jeju island, and on a house designed by H-Sang, Seung 's 18 years ago. The space of life and the space of fiction become more romantic because of the fictional clothes that are worn for a while. As the project progresses, the cultural sensitivity becomes more intense against the back drop of science.
{"title":"Invisible spot","authors":"Ho-Jun Ji","doi":"10.1145/3414686.3427141","DOIUrl":"https://doi.org/10.1145/3414686.3427141","url":null,"abstract":"The extension of Nanography to Cinematic Projection (various experiments based on the act of \"seeing\") the works prove that the attempt to present a new perspective on the act of seeing are made in various stages. Major works are motivated by comparing the images of old and new Hanji (traditional Korean paper) taken by an electron microscope. In the image of the old Hanji, Mother Nature is engrained with the traces of time accumulated. The image resembles the scenery of mountain in that there are soil, trees grow, flowers bloom and fruits are born. With this motive, the background of this work turns to the nature. The photo works are harvested in the process of shooting all over the country by time and season. They highlight the contingency rather than intentionality and enhance fictitiousness by blurring the line between the actual forest and the virtual reality synthesized with a nano-image. Why don't we imagine that the screen-like image in the wild nature is the screen of an outdoor theater? By stimulating the emotional code of a fictional drama, it spurs us to recall movies based on a specific situation. This work led to an opportunity for the artist to naturally develop the sense of improvisation and direction in the field and to integrate it into other cultural areas. My nano-image was projected behind a scene on a stage of a documentary film starring a pianist, as part of a theater stage set, on a small village in Jeju island, and on a house designed by H-Sang, Seung 's 18 years ago. The space of life and the space of fiction become more romantic because of the fictional clothes that are worn for a while. As the project progresses, the cultural sensitivity becomes more intense against the back drop of science.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"18 7","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"113979453","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Point Nemo is the name of the Oceanic pole of inaccessibility. The nearest terrestrial human life is located approximately 1,000 miles away; often, the nearest humans are located in space, approximately 250 miles away, aboard the International Space Station. The composition of this work draws inspiration from Théodore Géricault's painting, "The Raft of Medusa" (1818--19). Situated at a sublime intersect of sea and sky, this work represents a meditation on human desire --- the poetics that drive human exploration and the urgencies that underly human migration.
尼莫点是大洋中难以到达的极点的名字。离地球最近的人类生命大约在1000英里之外;通常，离我们最近的人类都在太空中，大约250英里外的国际空间站上。这幅作品的构图灵感来自thsamodore gsamricault的画作“The Raft of Medusa”(1818- 19)。这个作品坐落在海洋和天空的崇高交叉点上，代表了对人类欲望的思考——推动人类探索的诗意和人类迁徙的紧迫性。
{"title":"Point Nemo | sea [sic]","authors":"J. DeYoung, Jack Vees","doi":"10.1145/3414686.3427115","DOIUrl":"https://doi.org/10.1145/3414686.3427115","url":null,"abstract":"Point Nemo is the name of the Oceanic pole of inaccessibility. The nearest terrestrial human life is located approximately 1,000 miles away; often, the nearest humans are located in space, approximately 250 miles away, aboard the International Space Station. The composition of this work draws inspiration from Théodore Géricault's painting, \"The Raft of Medusa\" (1818--19). Situated at a sublime intersect of sea and sky, this work represents a meditation on human desire --- the poetics that drive human exploration and the urgencies that underly human migration.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"89 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134475983","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Deconstructing Whiteness is an interactive AI performance. It examines the visibility of race in general, and 'whiteness' in particular, through the lens of AI. The performance reveals some underlying racial constructs which compose the technological visibility of race. The artist uses an off-the-shelf face recognition program to resist her own visibility as a 'white' person. By utilizing a performative behavior she slightly changes her facial expressions and her hair style. These actions modify the confidence level by which the machine recognizes her as 'White'. Face recognition algorithms are becoming increasingly prevalent in our environment. They are embedded in products and services we use on a daily basis. Recent studies demonstrate that many of these algorithms reflect social disparities and biases which may harshly impact people's lives. This is especially true for people from underrepresented groups. Scholar Paul Preciado claims that if machine vision algorithms can guess facets of our identity based on our external appearance, it is not because these facets are natural features to be read, it is simply because we are teaching our machines the language of techno-patriarchal binarism and racism. However, it is important to remember that these systems are not 'things-of-themselves'; there is no reason for them to be outside of our reach. We are able to intermingle with these systems so that we better understand the coupling between the information and our own bodies. This entanglement, as seen in the performance, reveals our own agency and ability to act. In Deconstructing Whiteness the 'White' and 'Non-white' dichotomy is ditched in favor of a flow of probabilities which are meant to resist, confuse and sabotage the machinic vision and its underlying structural racism. The performance is also a call for others to become curious regarding their own visibility and to pursue a similar exploration.
{"title":"Deconstructing whiteness","authors":"Avital Meshi","doi":"10.1145/3414686.3427135","DOIUrl":"https://doi.org/10.1145/3414686.3427135","url":null,"abstract":"Deconstructing Whiteness is an interactive AI performance. It examines the visibility of race in general, and 'whiteness' in particular, through the lens of AI. The performance reveals some underlying racial constructs which compose the technological visibility of race. The artist uses an off-the-shelf face recognition program to resist her own visibility as a 'white' person. By utilizing a performative behavior she slightly changes her facial expressions and her hair style. These actions modify the confidence level by which the machine recognizes her as 'White'. Face recognition algorithms are becoming increasingly prevalent in our environment. They are embedded in products and services we use on a daily basis. Recent studies demonstrate that many of these algorithms reflect social disparities and biases which may harshly impact people's lives. This is especially true for people from underrepresented groups. Scholar Paul Preciado claims that if machine vision algorithms can guess facets of our identity based on our external appearance, it is not because these facets are natural features to be read, it is simply because we are teaching our machines the language of techno-patriarchal binarism and racism. However, it is important to remember that these systems are not 'things-of-themselves'; there is no reason for them to be outside of our reach. We are able to intermingle with these systems so that we better understand the coupling between the information and our own bodies. This entanglement, as seen in the performance, reveals our own agency and ability to act. In Deconstructing Whiteness the 'White' and 'Non-white' dichotomy is ditched in favor of a flow of probabilities which are meant to resist, confuse and sabotage the machinic vision and its underlying structural racism. The performance is also a call for others to become curious regarding their own visibility and to pursue a similar exploration.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"103 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131828281","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Predrag K. Nikolić, Mohd Razali Md Tomari, M. Jovanović
The recent development in the machine learning field encounters interesting robots' creative responses and becoming a challenging artistic medium. They are two possible directions in the future development of robots' creativity, replicating the human mental processes, or liberating machine creativity itself. At the SIGGRAPH Asia, we would like to present the artwork "Botorikko, Machine Created State" conceptualized with the intention to point on Post-Algorithmic Society where we are going to lose control over technology by been obsessed with the idea of using it to serves humanity. In our aesthetical approach, we incline to the 21st-century avant-garde conceptual tradition. We intend to draw parallels between Dadaism and machine-made content and encompass technological singularity and Dadaism into one, Singularity Dadaism, as a human-less paradigm of uncontrollable creative practice closely related to AI aesthetic and machine abstraction phenomena. Creativity and the act of creating art are some of the greatest challenges the new generation of artificial intelligence models are exposed. Nevertheless, by creating AI agents to achieve and exceed the performances of humans, we need to accept the evolution of their creativity too. Hence, there are two possible directions toward the future development of robots' creativity, either to replicate the mental processes characteristic for humans or liberate machine creativity and leave them to evolve their own creative practices. In the artistic origination of the artwork "Botorikko, Machine Created State," the appearance and generated dialogues between Machiavelli and Sun Tzu artificial intelligence clones resembles Aristotle's Mimesis as human's natural love of imitation and the pleasure in recognizing likenesses and Dadaistic ideas linked to strong social criticism against antiprogressive thinking. We are trying to shift AI as a creative medium beyond traditional artistic approaches and interpretations, and possibly to accept it as co-creative rather than only assistive in the age of AI and Post-Algorithmic Society.
{"title":"Botorikko, machine created state","authors":"Predrag K. Nikolić, Mohd Razali Md Tomari, M. Jovanović","doi":"10.1145/3414686.3427101","DOIUrl":"https://doi.org/10.1145/3414686.3427101","url":null,"abstract":"The recent development in the machine learning field encounters interesting robots' creative responses and becoming a challenging artistic medium. They are two possible directions in the future development of robots' creativity, replicating the human mental processes, or liberating machine creativity itself. At the SIGGRAPH Asia, we would like to present the artwork \"Botorikko, Machine Created State\" conceptualized with the intention to point on Post-Algorithmic Society where we are going to lose control over technology by been obsessed with the idea of using it to serves humanity. In our aesthetical approach, we incline to the 21st-century avant-garde conceptual tradition. We intend to draw parallels between Dadaism and machine-made content and encompass technological singularity and Dadaism into one, Singularity Dadaism, as a human-less paradigm of uncontrollable creative practice closely related to AI aesthetic and machine abstraction phenomena. Creativity and the act of creating art are some of the greatest challenges the new generation of artificial intelligence models are exposed. Nevertheless, by creating AI agents to achieve and exceed the performances of humans, we need to accept the evolution of their creativity too. Hence, there are two possible directions toward the future development of robots' creativity, either to replicate the mental processes characteristic for humans or liberate machine creativity and leave them to evolve their own creative practices. In the artistic origination of the artwork \"Botorikko, Machine Created State,\" the appearance and generated dialogues between Machiavelli and Sun Tzu artificial intelligence clones resembles Aristotle's Mimesis as human's natural love of imitation and the pleasure in recognizing likenesses and Dadaistic ideas linked to strong social criticism against antiprogressive thinking. We are trying to shift AI as a creative medium beyond traditional artistic approaches and interpretations, and possibly to accept it as co-creative rather than only assistive in the age of AI and Post-Algorithmic Society.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"81 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131150917","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Room View is a piece documenting the view outside of my room in Manhattan, from April to March 2020. I recorded the sound in 30 days of quarantine (including radio, sirens, people clapping for the essential workers, etc.), and several views of the Chrysler Building in different weather conditions. The melting of photographs or videos is triggered by the sounds. Depicting the state of mind when I was absorbed by the view, quiet and slow. As time passing by, the sound became a way I rely on to know what is happening outside my room - in the real world. The portrait mode of the photographs inherits from the idea of how we receive and send out the information through mobile devices. The virtual view becomes our new reality.
{"title":"Room view","authors":"Yalan Wen","doi":"10.1145/3414686.3427122","DOIUrl":"https://doi.org/10.1145/3414686.3427122","url":null,"abstract":"Room View is a piece documenting the view outside of my room in Manhattan, from April to March 2020. I recorded the sound in 30 days of quarantine (including radio, sirens, people clapping for the essential workers, etc.), and several views of the Chrysler Building in different weather conditions. The melting of photographs or videos is triggered by the sounds. Depicting the state of mind when I was absorbed by the view, quiet and slow. As time passing by, the sound became a way I rely on to know what is happening outside my room - in the real world. The portrait mode of the photographs inherits from the idea of how we receive and send out the information through mobile devices. The virtual view becomes our new reality.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128987459","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：