It is hard to deny that the notions of creativity and intelligence are inherently connected. But what does this correlation amount to? Is creativity a necessary desideratum of intelligence? On the other hand, does the fact of being intelligent necessarily imply being creative as well? The aim of this paper is to explore these questions and to contribute to the discussion regarding the connections between the notions of creativity and intelligence. In order to do so, I draw on the results obtained from a study on the public perceptions and attitudes in relation to the use of AI in the creative sector conducted at the University of Nottingham. Through this discussion I aim to test the hypothesis that the key features of creativity correspond to aspects that are essential for the realization of Artificial General Intelligence, e.g. flexibility, domain knowledge, and common-sense. After having illustrated the parallels between the two concepts, I contend that while creativity is a crucial component of general intelligence, the constituents needed to build an AGI may not be sufficient to design creative artificial systems. I close the paper by tentatively suggesting how the motivations behind the discontent expressed by the participants against creative AI can be explained through the uncanny valley phenomenon.
{"title":"Artificial Creativity and General Intelligence","authors":"Caterina Moruzzi","doi":"10.34632/JSTA.2020.9481","DOIUrl":"https://doi.org/10.34632/JSTA.2020.9481","url":null,"abstract":"It is hard to deny that the notions of creativity and intelligence are inherently connected. But what does this correlation amount to? Is creativity a necessary desideratum of intelligence? On the other hand, does the fact of being intelligent necessarily imply being creative as well? The aim of this paper is to explore these questions and to contribute to the discussion regarding the connections between the notions of creativity and intelligence. In order to do so, I draw on the results obtained from a study on the public perceptions and attitudes in relation to the use of AI in the creative sector conducted at the University of Nottingham. Through this discussion I aim to test the hypothesis that the key features of creativity correspond to aspects that are essential for the realization of Artificial General Intelligence, e.g. flexibility, domain knowledge, and common-sense. After having illustrated the parallels between the two concepts, I contend that while creativity is a crucial component of general intelligence, the constituents needed to build an AGI may not be sufficient to design creative artificial systems. I close the paper by tentatively suggesting how the motivations behind the discontent expressed by the participants against creative AI can be explained through the uncanny valley phenomenon.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"12 1","pages":"84-99"},"PeriodicalIF":0.2,"publicationDate":"2020-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44604899","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}
This paper explores the cognitive aspects of artefactual creativity in new media art. With regards to the diversity of practices in this domain, I focus on generative art projects created primarily by processing the material from cinema, television and the Internet. These projects blend procedural thinking with bricolage, leverage complex technical infrastructures, foster curiosity and encourage vigilance in our critical appreciation of the arts, technology, culture, society, and human nature. I discuss their methodologies, poetic features, cultural and social contexts in three sections which exemplify the effects and consequences of computational paradigm: database logic, statistical abstraction and quantification. Throughout each section, I outline the theoretical considerations that can be educed from the examples, and expand on them in the concluding section which examines the artists’ creative motives and circumstances for analogizing and meaning making in relation to the cognitive and ethical implications of generative new media art.
{"title":"Alpha Version, Delta Signature: Cognitive Aspects of Artefactual Creativity","authors":"Dejan Grba","doi":"10.34632/JSTA.2020.9491","DOIUrl":"https://doi.org/10.34632/JSTA.2020.9491","url":null,"abstract":"This paper explores the cognitive aspects of artefactual creativity in new media art. With regards to the diversity of practices in this domain, I focus on generative art projects created primarily by processing the material from cinema, television and the Internet. These projects blend procedural thinking with bricolage, leverage complex technical infrastructures, foster curiosity and encourage vigilance in our critical appreciation of the arts, technology, culture, society, and human nature. I discuss their methodologies, poetic features, cultural and social contexts in three sections which exemplify the effects and consequences of computational paradigm: database logic, statistical abstraction and quantification. Throughout each section, I outline the theoretical considerations that can be educed from the examples, and expand on them in the concluding section which examines the artists’ creative motives and circumstances for analogizing and meaning making in relation to the cognitive and ethical implications of generative new media art.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"12 1","pages":"63-83"},"PeriodicalIF":0.2,"publicationDate":"2020-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48593527","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}
We present an approach for composition and performance with speculative complex biological systems. This iterative approach engages with both the content and the context of science through generative visual and sound art. We offer a conceptual framing as well as practical exercises, demonstrated in two cases. By distinguishing the system, its representation, and human observer(s), we clarify influences, material artifacts, and sources of tension. In the case of Dismantling, a live performance using a simulation adapted from a model of the acellular slime mold Physarum polycephalum, we explore a shifting locus of agency during the performance between the observer and the representation. In the case of Feed, a visual and sound installation realizing addiction as a multi-scale process, we explore the generative tension of re-use of a representation to engage with different systems. The underlying biological phenomena can be viewed as complex networks with powerful performative agency and multi-scale behaviors.
{"title":"How to Observe the Inner Space of a Complex Biological System through Speculative Simulation","authors":"Sage Jenson, Kit Kuksenok","doi":"10.34632/JSTA.2020.9489","DOIUrl":"https://doi.org/10.34632/JSTA.2020.9489","url":null,"abstract":"We present an approach for composition and performance with speculative complex biological systems. This iterative approach engages with both the content and the context of science through generative visual and sound art. We offer a conceptual framing as well as practical exercises, demonstrated in two cases. By distinguishing the system, its representation, and human observer(s), we clarify influences, material artifacts, and sources of tension. In the case of Dismantling, a live performance using a simulation adapted from a model of the acellular slime mold Physarum polycephalum, we explore a shifting locus of agency during the performance between the observer and the representation. In the case of Feed, a visual and sound installation realizing addiction as a multi-scale process, we explore the generative tension of re-use of a representation to engage with different systems. The underlying biological phenomena can be viewed as complex networks with powerful performative agency and multi-scale behaviors.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"12 1","pages":"9-24"},"PeriodicalIF":0.2,"publicationDate":"2020-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49575836","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 evolution of philosophical views on art is interwoven with trajectories of accelerating technological amelioration. In the emergence of generative algorithms there is a need for making sense of modern technologies that step in a realm previously reserved for humans – creativity. This paper aims to understand the role of the human in generative art by demystifying implications of black-box generative algorithms and their applications for artistic purposes. First, we shortly canvas the current state of practice and research in generative art, especially music. Then, we introduce Anastatica, a part performance, part installation built using data-driven generative live coding. Finally, we discuss implications of AI in art through a case study of Anastatica’s development and performance. We trace the path from algorithms to intelligence, applying musical and computer science theory to a practical case of generating a live coding musical performance, while focusing on aesthetic, compositional, conceptual, and phenomenological implications.
{"title":"On the Human Role in Generative Art: A Case Study of AI-driven Live Coding","authors":"A. Poscic, G. Krekovic","doi":"10.34632/JSTA.2020.9488","DOIUrl":"https://doi.org/10.34632/JSTA.2020.9488","url":null,"abstract":"The evolution of philosophical views on art is interwoven with trajectories of accelerating technological amelioration. In the emergence of generative algorithms there is a need for making sense of modern technologies that step in a realm previously reserved for humans – creativity. This paper aims to understand the role of the human in generative art by demystifying implications of black-box generative algorithms and their applications for artistic purposes. First, we shortly canvas the current state of practice and research in generative art, especially music. Then, we introduce Anastatica, a part performance, part installation built using data-driven generative live coding. Finally, we discuss implications of AI in art through a case study of Anastatica’s development and performance. We trace the path from algorithms to intelligence, applying musical and computer science theory to a practical case of generating a live coding musical performance, while focusing on aesthetic, compositional, conceptual, and phenomenological implications.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"12 1","pages":"45-62"},"PeriodicalIF":0.2,"publicationDate":"2020-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49290087","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}
In this article, we intend to discuss the representation of black people, pointing out how hegemonic images of Brazilian cinema corroborate the structural racism of our society, analysing films (and other visual narratives) from the 2000s, a period considered the “Resumption of Brazilian Cinema”. Cinema produced by black directors emerges as counter-narratives, deepening the way in which Brazilian cinema represents the racial issue in a stereotyped way. To think about this structural racism in the field of cinema we will deepen the concept of racial anthropophagy (Alves, 2018; Paixão, 2015) a kind of aesthetic of the flesh, in which the image of the “other” is appropriated and devoured in the name of art. We will also establish a dialogue with black feminism, emphasizing the importance of this movement and discussing image production around black women in Brazil.
{"title":"Image and racism: Racial anthropophagy and the limits of anti-racist and decolonial cultural production in Brazil","authors":"M. Sales, Bruno Muniz","doi":"10.34632/JSTA.2020.8532","DOIUrl":"https://doi.org/10.34632/JSTA.2020.8532","url":null,"abstract":"In this article, we intend to discuss the representation of black people, pointing out how hegemonic images of Brazilian cinema corroborate the structural racism of our society, analysing films (and other visual narratives) from the 2000s, a period considered the “Resumption of Brazilian Cinema”. Cinema produced by black directors emerges as counter-narratives, deepening the way in which Brazilian cinema represents the racial issue in a stereotyped way. To think about this structural racism in the field of cinema we will deepen the concept of racial anthropophagy (Alves, 2018; Paixão, 2015) a kind of aesthetic of the flesh, in which the image of the “other” is appropriated and devoured in the name of art. We will also establish a dialogue with black feminism, emphasizing the importance of this movement and discussing image production around black women in Brazil.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"12 1","pages":"52-72"},"PeriodicalIF":0.2,"publicationDate":"2020-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46984037","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}
Alfred Hitchcock's Rebecca is part of the series of 1940s gothic films. In this essay, one of the most common tropes of this subgenre of the psychological thriller is identified and analysed: perceptual ambiguity. Based on this element, I justify the formal choices of an (audio)visual essay - "Some Visual Thought about Perception in Rebecca" - made with images and sound from that film, which explores the gothic dimensions of the video-essayistic practice itself: research, contradiction, quotation and evocation.
{"title":"Some Visual Thoughts About Perception in 'Rebecca'","authors":"Ricardo Vieira Lisboa","doi":"10.34632/JSTA.2020.9410","DOIUrl":"https://doi.org/10.34632/JSTA.2020.9410","url":null,"abstract":"Alfred Hitchcock's Rebecca is part of the series of 1940s gothic films. In this essay, one of the most common tropes of this subgenre of the psychological thriller is identified and analysed: perceptual ambiguity. Based on this element, I justify the formal choices of an (audio)visual essay - \"Some Visual Thought about Perception in Rebecca\" - made with images and sound from that film, which explores the gothic dimensions of the video-essayistic practice itself: research, contradiction, quotation and evocation.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"12 1","pages":"124-137"},"PeriodicalIF":0.2,"publicationDate":"2020-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48507007","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}
Today, the importance of sound and music in film is well established and an integral part of professional workflows within the audio-visual production industry. However, Sound and Music Design in film has been explored creatively since the advent of Talkies in the 1920’s. The most well-established practices for the use of sound in film always came from the inspiration of film directors, editors and composers, but in recent years the systematic use of Sound and Music in this media has become increasingly relevant in academic domains, as a subject of study and research. This article proposes a possible direction in addressing challenges presented by this growing academic field, by introducing a process for codifying and systematizing an initial grammar of Sound in Film, entitled the Film Sound Analysis Framework (FSAF). The FSAF is a tool for critical analysis of Sound and Music in Film, that is based on the relationship between Sound Semantics and Syntax from a Taxonomical and Applied perspective. Using the FSAF in longitudinal studies of film, allows for a systematic analysis by the observation of similar variables through the identification and assessment of patterns or trends, when using Sound to convey meaning and foster emotions.
{"title":"The Film Sound Analysis Framework: A Conceptual tool to Interpret the Cinematic Experience","authors":"Á. Barbosa, Kristine Dizon","doi":"10.34632/JSTA.2020.8528","DOIUrl":"https://doi.org/10.34632/JSTA.2020.8528","url":null,"abstract":"Today, the importance of sound and music in film is well established and an integral part of professional workflows within the audio-visual production industry. However, Sound and Music Design in film has been explored creatively since the advent of Talkies in the 1920’s. The most well-established practices for the use of sound in film always came from the inspiration of film directors, editors and composers, but in recent years the systematic use of Sound and Music in this media has become increasingly relevant in academic domains, as a subject of study and research. This article proposes a possible direction in addressing challenges presented by this growing academic field, by introducing a process for codifying and systematizing an initial grammar of Sound in Film, entitled the Film Sound Analysis Framework (FSAF). The FSAF is a tool for critical analysis of Sound and Music in Film, that is based on the relationship between Sound Semantics and Syntax from a Taxonomical and Applied perspective. Using the FSAF in longitudinal studies of film, allows for a systematic analysis by the observation of similar variables through the identification and assessment of patterns or trends, when using Sound to convey meaning and foster emotions.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"12 1","pages":"81-96"},"PeriodicalIF":0.2,"publicationDate":"2020-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45830397","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 beginning of an audiovisual section in the Journal of Science and Technology of the Arts has two main goals: the first one is for contributing for the acceptance of these objects in the academic field, especially within the most common practices and criteria of acceptance, reviewing and publishing. For this, we’ll have in each number a call for audiovisual essays, that will be submitted to a peer-reviewed system of evaluation. Each audiovisual essay will be accompanied by a research statement written by the author, articulating research aims and the process of work. After acceptance, the audiovisual essay and author’s statement will be published alongside the reviewers’ critical evaluation of the work; the second goal of this section will be to create a conceptual discussion around audiovisual essay as a pedagogical and academic tool, in order to generate concepts and criteria for evaluation and scientific consideration.
{"title":"Audiovisual essays: unveiling the mystery behind the object","authors":"Carlos Natálio","doi":"10.34632/JSTA.2020.9393","DOIUrl":"https://doi.org/10.34632/JSTA.2020.9393","url":null,"abstract":"The beginning of an audiovisual section in the Journal of Science and Technology of the Arts has two main goals: the first one is for contributing for the acceptance of these objects in the academic field, especially within the most common practices and criteria of acceptance, reviewing and publishing. For this, we’ll have in each number a call for audiovisual essays, that will be submitted to a peer-reviewed system of evaluation. Each audiovisual essay will be accompanied by a research statement written by the author, articulating research aims and the process of work. After acceptance, the audiovisual essay and author’s statement will be published alongside the reviewers’ critical evaluation of the work; the second goal of this section will be to create a conceptual discussion around audiovisual essay as a pedagogical and academic tool, in order to generate concepts and criteria for evaluation and scientific consideration.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"12 1","pages":"122-123"},"PeriodicalIF":0.2,"publicationDate":"2020-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46383674","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}
This paper problematizes the use of the concept of contemporary to describe a specific modus operandi of a group of directors and films that no longer identify with the characteristics of modern cinema. Using the symbolic date of 9/11 as an historical decisive moment, we take as an example of this cinema, Loong Boonmee raleuk chat, winner of 2010’s Palme D’Or at Cannes Film Festival. In analysing Apichatpong Weerasethakul’s film, we aim at proposing, as a metaphor, a different approach – a logic of the building – in order to describe the specific creative processes in contemporary cinema. In order to describe the Thai filmmaker’s method, we will recuperate Giorgio Agamben’s ideas about what it means to be contemporary, and also the ethical responsibility of cinema in helping to recover the lost gestures of humanity.
{"title":"Contemporary Cinema and the Logic of the Building The Case of Apichatpong Weerasethakul’s \"Loong Boonmee raleuk chat\"","authors":"Carlos Natálio","doi":"10.34632/JSTA.2020.8531","DOIUrl":"https://doi.org/10.34632/JSTA.2020.8531","url":null,"abstract":"This paper problematizes the use of the concept of contemporary to describe a specific modus operandi of a group of directors and films that no longer identify with the characteristics of modern cinema. Using the symbolic date of 9/11 as an historical decisive moment, we take as an example of this cinema, Loong Boonmee raleuk chat, winner of 2010’s Palme D’Or at Cannes Film Festival. In analysing Apichatpong Weerasethakul’s film, we aim at proposing, as a metaphor, a different approach – a logic of the building – in order to describe the specific creative processes in contemporary cinema. In order to describe the Thai filmmaker’s method, we will recuperate Giorgio Agamben’s ideas about what it means to be contemporary, and also the ethical responsibility of cinema in helping to recover the lost gestures of humanity.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47970914","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}
In the view of the continuous transformations in the structures of production, distribution and consumption of images, concepts such as expanded cinema or cinema of exhibition enlarged the spectrum of cinema to the contemporary art, which has also become a space to meditate about the fate of the cinematographic device. From a trans-historical and interdisciplinary approach – going from the pictorial perspectiva artificiallis to the pre-cinematographic instruments, cinema, and contemporary art – this paper seeks to reflect, by using the historical metaphor of the window, on the volatility and multiplicity of contemporary screens and their influence on today’s modes of vision. The paper also addresses the changes undergone in the image’s frames and the consequent paradigm shift in how the viewer physically relates with these images, summoning the work of the Portuguese artist Alexandre Estrela to consider the perceptive, cognitive and topological reconfigurations in the moving-image exhibition formats in museums and art galleries.
{"title":"Between the Screen-Sediment and the Shattered Window: The Deconstruction of the Screens Limits and Frames in Moving Image Installations","authors":"S. Branco","doi":"10.34632/JSTA.2020.8527","DOIUrl":"https://doi.org/10.34632/JSTA.2020.8527","url":null,"abstract":"In the view of the continuous transformations in the structures of production, distribution and consumption of images, concepts such as expanded cinema or cinema of exhibition enlarged the spectrum of cinema to the contemporary art, which has also become a space to meditate about the fate of the cinematographic device. From a trans-historical and interdisciplinary approach – going from the pictorial perspectiva artificiallis to the pre-cinematographic instruments, cinema, and contemporary art – this paper seeks to reflect, by using the historical metaphor of the window, on the volatility and multiplicity of contemporary screens and their influence on today’s modes of vision. The paper also addresses the changes undergone in the image’s frames and the consequent paradigm shift in how the viewer physically relates with these images, summoning the work of the Portuguese artist Alexandre Estrela to consider the perceptive, cognitive and topological reconfigurations in the moving-image exhibition formats in museums and art galleries.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47106882","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}
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