The question of to what degree algorithms are tools, as opposed to active collaborators, is a very interesting debate in which the artists can contribute interesting reflections. Fanboys of Frankfurt School of critical theory may argue -in a clear romantic stance- that modern means of artistic production and reproduction like photography and video destroyed the aesthetic, […]Read More Autonomous Artificial Artists.
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.
“Just as water, gas, and electricity are brought into our houses from far off to satisfy our needs in response to a minimal effort, so we shall be supplied with visual or auditory images, which will appear and disappear at a simple movement of the hand, hardly more than a sign”. Extract from “The Conquest […]Read More The Conquest of Ubiquity.
Back in the late 1970s Dieter Rams arrived to the conclusion that a good design cannot be measured in a finite way. The german industrial designer popularized an approach summarized in the expression “less but better”, and wrote the 10 most important principles for what he considered was good design… 1) Good design is innovative The possibilities for innovation are […]Read More 10 Principles for Good Design.
Architect and designer Neri Oxman proposes in her “Krebs Cycle of Creaivity” a map for four domains of creative exploration—Science, Engineering, Design and Art—in an attempt to represent the antidisciplinary hypothesis: knowledge can no longer produced within, disciplinary boundaries, but is entirely entangled. Inspired by the philosophical work of designer John Maeda this circular approach […]Read More Antidisciplinary Attitude is the Way.