Next weekend I will be attending Inmersiones 2019, an independent project in the city of Vitoria-Gasteiz, to talk about Art and Artificial Intelligence. This is an event created to meet baque artistic and cultural productions that require new spaces for broadcast. Here you can read a preview of what I will be presenting… > INMERSIONES 2019, The […]Read More The art of the future / The future of art.
Not only we need cultural artifacts as a critique of industrialized use of Artificial Intelligence, but also a strict criteria in order to review contemporary art made with Machine Learning techniques… Those that argue against the potential for Computational Creativity believe that “simulating artistic techniques means also simulating human thinking and reasoning” (…) and conclude that “this […]Read More A critique of contemporary AI art.
Computational aesthetics is a subfield of Artificial Intelligence, concerned with the computational assessment of beauty in domains of human creative expression which bridges science and art. As an emerging and new interdisciplinary field, the seed of today’s Computational Aesthetics can be traced as far back as 1928, when American mathematician George David Birkhoff proposed the […]Read More Computational Aesthetics: the beholder needs eyes?
Last year when I resigned my stable job to focus in finishing my PhD about Artificial Intelligence I was looked with an staring glance by my coworkers who thought I was trying to accomplish something impossible… It’s no wonder that some people can’t imagine that synthetic creative thinking might be achieved with the current developments in Cognitive Computing. As […]Read More My PhD in Artificial Intelligence is on the right track!
Edmond de Belamy is a 2018 painting created using a type of Artificial Intelligence algorithms called Generative Adversarial Networks. The work which is part of a series of images titled La Famille de Belamy -made by french collective Obvious– was expected to be sold for $7,000-$10,000 at Christie’s auction house in New York, however the painting […]Read More Who is Edmond de Belamy?
Recently I wrote about Generative Adversarial Networks, a revolutionary class of AI algorithms used in unsupervised Machine Learning, and their importat relation with the research in Computational Creativity. This type of framework for the design of Artificial Intelligences was invented by Ian Goodfellow in 2014. The system consist of one network that generates new data after learning from a training […]Read More Machine Learning as Art Practice.
Computational Creativity is a new academic field devoted to the study and modeling of computational processes that achieve creative tasks. Its main duties are the study of computational models of (human) creativity, designing artificially creative systems, and also to deploy computational systems for supporting creativity. Understanding brain processes behind creativity and modeling them using computational means […]Read More The machine will have the idea…
From one point of view, for a work of art to be considered Algorithmic Art its creation must include a process based on an algorithm devised by the artist. Here, an algorithm is simply a detailed recipe for the design and possibly execution of an artwork, which may include computer code, functions, expressions, or other […]Read More Algorithmic Art is a recipe for Creativity.
Glitch art takes temporary pixelations, interruptions, bugs and errors in multimedia files and turns them into visually arresting pieces, questioning the forms and traditions of art using digital techniques. Wikipedia says that what is called “glitch art” typically is made by either “capturing” an image of a glitch as it randomly happens, or more often […]Read More Glitch Art: Digital Teratologies & Computational Aestethics.
A Virtual Assistant -also called digital assistant or chatbot- is an software agent that understands human voice commands and is able to complete tasks for the user. It´s been a long time since IBM Shoebox, the first tool enabled to perform digital speech, was presented to the general public in 1962. This machine would recognize 16 words […]Read More Talking Artifacts as Caregivers.