Del guardare tecnologico. Modelli d’arte contemporanea e IA
DOI:
https://doi.org/10.13129/2281-8138/2024.0.193-208Palabras clave:
Visual arts, Experimentation, Avant-garde, Visual studies, Cultural criticismResumen
Technological Watching. Contemporary art models and AI.
The beginning of the technical reproducibility of the work and the consequent end of the concept of ‘aura’ (Benjamin, 1936) represents the seed of an ongoing process of artistic innovation, which has found its greatest capacity for action in the experiments made possible by artificial intelligence. The digital turn has accelerated the ongoing artistic transformations, both in terms of content and creative processes. In recent years, the debate on the identity of the artist and the value of art has gained more and more strength, especially from the imaginary that revolves around these issues. The aim of the article is to analyze the transformations taking place in contemporary art, reviewing some case studies to provide a clear picture of the current state of art. It will start with the first painting realised with artificial intelligence: ‘The Next Rembrandt’ and will continue with the first sale of an artwork realised with artificial intelligence at an auction house, the painting realised by the French collective Obvious. Finally, the works of some AI-artists who are exploring the potential of new technologies will be analyzed. Mario Kinglemann, a German artist who in his work ‘Memories of Passerby’ makes the algorithm more independent; Anna Ridler, a British artist who realizes a work of co-creation with the machine; Lynn Hershman Leeson, an American artist who took part in the 2022 Venice Biennial, addressing the theme of the importance of technology in today's life and the great impact that artificial intelligence in particular has in our time.
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