As a work prior to the writing of my doctoral thesis, I have been doing a master’s degree in philosophy and science for which I have carried out a final thesis based on a theoretical-practical investigation. Since the human mind and therefore our artistic processes are intrinsic parts of biological matter, my hypothesis is that a Neuroscience […]Read More HOLOBIONTia VR expo online now!
AusArt, the journal on research in contemporary art from a multidisciplinary perspective, has published my paper “A critique of contemporary artificial intelligence art: Who is Edmond de Belamy?“. This academic magazine, published by the Fine Arts University of the Basque Country in the city if Bilbao, is an open-access publication with a JCR quartile of […]Read More Article published in AusArt Magazine.
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.
According to cultural critic and filmmaker Michael Betancourt we live in the New Aesthetic era, a new conceptual framework that talks about the way in which the digital universe and the internet interact with the physical world. Based on the relationship between production and human control described by Karl Marx, the machines that we currently […]Read More Did Marx Dream of Artificial Intelligence?
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?
Although some people see AI as a simply tool that artists can use to augment and enhance their pieces, some other as me consider algorithms as a partner during the creative process. Artisans may have thought that there was no avenue for machines to take over their ethereal reins since something soulless and emotionless do […]Read More Artificial Intelligence: a revolution in the art world.
“Arts-based research” means that the investigator uses his own artistic expression as means of enquiry (“artistic knowing”) or as an action-oriented research that aims a “change through art”. This type of exploration carried out by artists, designers, curators, architects, writers and musicians contributes new concepts, methods and models in order to produce new and original […]Read More Machine Learning Art as Scientific Research.
“This is a cycle. The only difference with what we have been seeing throughout human history is that now, machines are coming after people with college degrees, political influence, and Twitter accounts. (…) Let’s look at this historical process. Machines that replace manual labor, they have allowed us to focus on developing our minds. More […]Read More Machines are coming after people with college degrees.
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?