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Artificial Intelligence and the Democratization of Art

Authors:

Abstract

After a long time of neglect, Artificial Intelligence is once again at the center of most of our political, economic, and socio-cultural debates. Recent advances in the field of Artifical Neural Networks have led to a renaissance of dystopian and utopian speculations on an AI-rendered future. Algorithmic technologies are deployed for identifying potential terrorists through vast surveillance networks, for producing sentencing guidelines and recidivism risk profiles in criminal justice systems, for demographic and psychographic targeting of bodies for advertising or propaganda, and more generally for automating the analysis of language, text, and images. Against this background, the aim of this book is to discuss the heterogenous conditions, implications, and effects of modern AI and Internet technologies in terms of their political dimension: What does it mean to critically investigate efforts of net politics in the age of machine learning algorithms?
Artificial Intelligence and the Democratization of Art
Jens Schröter
I want to be a machine
Andy Warhol
I. Introduction
-

           
       -
   


      
 





See the fundamenta l critique of the idea of machine cre ativity by Mersc h (2019).
 
Jens Schröter
298





Artificial Intelligence and the Democratization of Art 299
Portrait
of Edmond de Belamy
 
-


  -

  -
  
artiness-
    



-
    





 


    -
     
automatization of artistic work





 
  
transgre ss notions of realism in a way.
               -
    


Jens Schröter
300
   
       by-
 with  
    

-

II. Short Remarks on Information Aesthetics
           

    





      -


-

     

         

-
ple would be Aaron -
    -

          -

 
 
paper most contributions in this volume de-socialize and de-historicize the question of the pos-
sible creativit y of machines.
Artificial Intelligence and the Democratization of Art 301




 
(1917) and a computer-generated picture composed of pseudorandom elements
  
apparently placed the vertical and horizontal bars in his painting in a careful and
orderly manner, the bars in the computer-generated picture were placed accord-
ing to a pseudorandom number generator with statistics chosen to approximate

of the two pictures were presented, side by side, to 100 subjects with educations

            
were asked which picture they preferred and also which picture of the pair they

      
the picture produced by Mondrian. In general, these people seemed to associate
      

Jens Schröter
302
the randomness of the computer-generated pic ture with human creativity where-
as the orderly bar placement of the Mondrian painting seemed to them machine-
            




               




      
-
    
    

Artificial Intelligence and the Democratization of Art 303


 






     -





     

   

Jens Schröter
304
    


-


     
-
 
             
-
-



-


-

    

     
     


III. Art, knowledge and work
           

      -

      -
         
 
value is not derived from the relative historic al position of the artefact and not (only) of its for-
mal, internal str ucture.
 
Artificial Intelligence and the Democratization of Art 305

         
           
      

-


  

    
     
       

   

 
     -




itself 
      


      

-
-

 

   -
produzierbarkeit, 
product, the work of art 
reproducibility of the work that produces the work of art -

     

Jens Schröter
306
 





     
 
too complex-

-

  
-
-


 


     
-


    

Port rait of Edmond de Belamy

 

       

     -
edge and a false body     
 


        

 
Artificial Intelligence and the Democratization of Art 307
 

FlowersFlowers
Warhol Flowers
Flowers, is frequently quoted for saying
      -
      
         

   


    -




FlowersFlowers-

Flowers

-



  

 
-
Flowers



-

  -
-
     
relationship bet ween original and copy in ar t.
Jens Schröter
308
On the other hand, however, whenever autonomous art has seriously set out to
  -
dustrialization of art, its undiminished adaptation to the achieved technical stan-



 -

IV. Conclusion
       
-




     

      -

     
      -

-







      
      
  -


 
Artificial Intelligence and the Democratization of Art 309

    
Looking Backwar d 2000-1887
-
     
 

-

-

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
        

          

          



   


         -

   

    


-

-
   
        
   

Jens Schröter
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 


         -
 -
-


     -

       

  

         

   -
-


     

   -

-
   -
 
 -

   



        -
   

         -
 
 


Artificial Intelligence and the Democratization of Art 311
         -
 



 -
        
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Chapter
Mit der Ausbreitung immer ‚smarterer‘ digitaler Technologien taucht erneut eine Frage auf, die schon seit dem 19. Jahrhundert gestellt wird: Kann es eine „technologische Arbeitslosigkeit“ geben und was bedeutet diese für die gegenwärtigen Gesellschaften? Es wird kontrovers diskutiert, ob das bisherige, langfristige und gesamtgesellschaftliche (scheinbare?) Ausbleiben einer technologischen Massenarbeitslosigkeit als Argument gegen die Annahme der Existenz dieses Phänomens verwendet werden kann. Der Artikel betont, dass insbesondere die Differenz digitaler zu bisherigen Technologien ein wesentlicher zu beachtender Punkt ist, der die Diskussion um ‚post-kapitalistische‘ Alternativen antreibt. Da die zu diskutierenden Technologien wesentlich Medientechnologien sind, insofern sie Information prozessieren, sind die hier verhandelten Fragen ein vorzüglicher Gegenstand der Medienwissenschaft.
Article
This article critically examines the neoclassical approach to scarcity as well as critiques of neoclassical economics that focus either on the formation of people’s wants (the demand side of scarcity) or on the production and distribution of the goods needed to satisfy these wants (the supply side). I argue that critiques of the neoclassical approach are right to emphasize the relationship between the determinants of scarcity and the economic system as a whole but are less convincing when they project the possibility of overcoming neoclassical scarcity altogether. JEL Codes: A10, P10, Z13
Article
We examine how susceptible jobs are to computerisation. To assess this, we begin by implementing a novel methodology to estimate the probability of computerisation for 702 detailed occupations, using a Gaussian process classifier. Based on these estimates, we examine expected impacts of future computerisation on US labour market outcomes, with the primary objective of analysing the number of jobs at risk and the relationship between an occupations probability of computerisation, wages and educational attainment.
Article
Digital computers are now being used to produce musical sounds and to generate artistic visual images. The artist or composer interacts directly with the computer through a console. This article explores the possibilities of the computer as an artistic medium and makes some predictions about the art of the future.
Article
Man-computer symbiosis is an expected development in cooperative interaction between men and electronic computers. It will involve very close coupling between the human and the electronic members of the partnership. The main aims are 1) to let computers facilitate formulative thinking as they now facilitate the solution of formulated problems, and 2) to enable men and computers to cooperate in making decisions and controlling complex situations without inflexible dependence on predetermined programs. In the anticipated symbiotic partnership, men will set the goals, formulate the hypotheses, determine the criteria, and perform the evaluations. Computing machines will do the routinizable work that must be done to prepare the way for insights and decisions in technical and scientific thinking. Preliminary analyses indicate that the symbiotic partnership will perform intellectual operations much more effectively than man alone can perform them. Prerequisites for the achievement of the effective, cooperative association include developments in computer time sharing, in memory components, in memory organization, in programming languages, and in input and output equipment.
Art and Value. Arts Economic Exceptionalism in Classical
  • Dave Beech
Beech, Dave (2015): Art and Value. Arts Economic Exceptionalism in Classical, Neoclassical and Marxist Economics, Leiden and Boston: Brill.
The Al-Art Gold Rush Is Here. An artificial intelligence 'artist' got a solo show at a Chelsea gallery. Will it reinvent art or destroy it?
  • Ian Bogost
Bogost, Ian (2019): "The Al-Art Gold Rush Is Here. An artificial intelligence 'artist' got a solo show at a Chelsea gallery. Will it reinvent art or destroy it?" In: The Atlantic March 3 (https://www.theatlantic.com/technology/archive/2019/03/ ai-created-art-invades-chelsea-gallery-scene/584134/).