Software Art

Tekst był publikowany w: "Konteksty. Polska Sztuka Ludowa" 2025, nr 2 (349), s. 209-216.

Ekspansja sztucznej inteligencji, zwłaszcza po zaprezentowaniu przez OpenAI modelu GPT w listopadzie 2022 roku, doczekała się szeregu omówień i różnych interpretacji, przede wszystkim w odniesieniu do
rozwiązań wykorzystujących sztuczne sieci neuronowe (artificial neural network) oraz głębokie uczenie (deep learning). Autor nawiązuje do tych dyskusji, ale stara się przede wszystkim skupić na kulturowych i filozoficznych konsekwencjach rozwoju nowych technologii związanych z AI. Namysł nad relacjami pomiędzy ludzką i nieludzką inteligencją, reinterpretacja Serresowskiej koncepcji pasożytnictwa, przemyślenie
zagrożeń, jakie można zarysować w obszarze środowiska człowieka, epistemologii, dominacji algorytmów – to tylko niektóre z podejmowanych zagadnień. Perspektywa kulturoznawczo-filozoficzna, wykorzystująca
wiedzę na temat technologiczno-informatycznych aspektów AI, stanowi dla autora rodzaj metodologicznej ramy dla rozpatrywanych zjawisk.

Informatics Art Education (Infopoetics) is an open pedagogy for computing that uses daily palpable artscrafts examples, like cooking from recipes and music composing from scores, to teach the procedures involved in computational logics and programming operations development (DevOps). It was created due to the request of partners of the United Nations Children Fund (UNICEF) Apprentice School Neighborhood project that were starting information technology (IT) literacy program in favela slums community telecenters in the peripheries of São Paulo.

Short reviews of articles about net art and net conditions (published on the net without paywalls). The reviews in alphabetical order were a part of IASLonline Lessons in NetArt. Links refer to texts with informations on the history of NetArt and web specific, for NetArt relevant problems since April 2002. The list was expanded in March 2003 with links to platforms, portals, mailing lists and newsgroups with actual informations on NetArt, net conditions and activism, databases for Intermedia Art and book reviews in "IASLonline Rezensionen". Subject-oriented websites are considered as platforms if they are more than curated links and contain artistic projects in their database. The links to articles on actual aspects of NetArt are added since February 2004. The dates of the entries are listed in brackets (month/year). Since May 2015 the links are not only listed in alphabetical order, but in chronological order, too (see below). The last reviews are from September 2022. If you download the PDF then you can use the links. URL: https://iasl.uni-muenchen.de/links/NALinke.html

Esej podejmuje refleksję nad zmieniającym się rozumieniem twórczości w kontekście historycznym oraz współczesnym, z naciskiem na rolę sztucznej inteligencji w procesie tworzenia. Autorka analizuje ewolucję pojęć takich jak „twórczość”, „oryginalność” czy „plagiat”, przywołując filozoficzne i estetyczne koncepcje od starożytności po współczesność. Porównuje działanie AI do techniki kolażu, wskazując na podobieństwa w sposobie łączenia istniejących elementów w nowe formy. Rozważa również kwestię autorstwa w przypadku dzieł generowanych przy pomocy AI oraz granicę pomiędzy inspiracją, kopiowaniem a plagiatem. Esej przywołuje przykłady współczesnych artystów (m.in. Mariusz Waras, Norman Leto), by zilustrować, jak AI jest wykorzystywana jako narzędzie wspomagające, a nie zastępujące twórcę. Autorka kończy refleksją nad niepowtarzalnością ludzkiej ekspresji i znaczeniem osobistego gestu w rysunku, stawiając pytania o autentyczność i wartość dzieł w erze cyfrowej.

Prezentowany tekst jest wywiadem dotykającym modnych ostatnio problemów sztucznej inteligencji. Wywiad na zamówienie wydawnictwa Sigma NOT przeprowadził reaktor Marek Bielski, ale warto nadmienić, że stwierdzeń zawartych w pytaniach, pochodziło z wcześniejszej dyskusji z prof. Ryszardem Tadeusiewiczem, który w związku z tym jest odpowiedzialny za przynajmniej 80% merytorycznej treści. Wywiad został wykorzystany w Terminarzu Technika na 2025 roku wydanym przez Sigma NOT.

The rapid technological development is infiltrating human experience in virtually every possible area of life. Computerization and digitization, along with the development of artificial intelligence systems, are transforming the way humans spend their leisure time and fulfill their professional duties. New technologies are also entering the life of the Church. Therefore, there is a need for prudent consideration of technological innovations, including AI systems, within the ec￾clesiastical space. This article attempts to address these issues. In the first part, it outlines the currently existing types of artificial intelligence systems. It strives
to present how AI systems are understood and what the classification of these technologies is. The second part presents the possible application of language models, specifically in this case ChatGPT, in the pastoral space. It demonstrates to the reader and analyzes a possible conversation with ChatGPT, where it is used as an assistant in creating a thematic sermon. The article aims to show the real and concrete application of new technologies, not as something that replaces humans, but as something that becomes their support. This includes the space of the Church’s life.

Tate is actively involved in the conservation of software-based artworks in its collection. This paper builds on research carried out at Tate over the past twelve years, bringing together the investigation of significant properties with more recent work focused on understanding dependencies and developing strategies to mitigate the risks associated with technical obsolescence. The research described in this paper is based both on the day-to-day practice in Time-based Media Conservation and on results of Tate’s participation in the European research project PERICLES, which was a four-year European funded project focusing on evaluating and representing the risks for long-term preservation of digital resources.1

We begin by proposing a function-based typology for software-based artworks to aid in describing the artworks, and will then proceed by introducing two case studies that illustrate our findings. In the following section, we describe the key concepts of significant property and dependency as a way of informing decisions about what is important to preserve. After a short technical explanation of disk imaging and virtualization, we proceed to contextualize it within our conservation practice, by explaining in more detail the dependencies specific to these artworks, and the strategies that we are developing related to virtualization to address these dependencies.

piotr przybySz wIęcej nIż "trudny probLem śwIadomoścI": o możLIwoścI powStanIa śwIadomej Sztucznej InteLIgencjI abStraCt. piotr przybysz, Więcej niż "trudny problem świadomości": o możliwości powstania świadomej sztucznej inteligencji [more than the "hard problem of consciousness": on the possibility of creating conscious artificial intelligence] edited by

El Live Coding es una práctica en la que convergen texto, imagen, sonido, improvisación, retroalimentación y exploración. A estas palabras-clave hay que agregar que su soporte mediático principal es una computadora, su destinatario, una audiencia colectiva, y su presentación, en vivo. Se trata de una práctica de programación, y más específicamente,
de programación en tiempo real en la que, por un lado, el compositor-programador escribe y modifica los algoritmos al mismo tiempo que se ejecutan, mientras por el otro el público accede a la visualización de la escritura del código fuente que es proyectado en una pantalla. A contrapelo de la opacidad con la que se nos presentan hoy las tecnologías infocomunicacionales, de las que sólo conocemos los datos que ingresan y los datos que salen, en tanto no tenemos acceso a su sistema interno de funcionamiento, el live coding exhibe su proceso interno y el tratamiento que se hace de la información, y al hacerlo trastoca el contexto y la forma habitual en que funcionan estas tecnologías.

Time Mutations (Buffalo) is the second in a two-part series of exhibitions of new artworks collaboratively curated between the Media Art & Design Program at the Bauhaus-Universität Weimar and the department of Media Study at SUNY Buffalo. The initiating exhibition took place in August of 2011 in Weimar, Germany. The exhibition explores the concepts, challenges, and potentials of the "broken timeline"-the linear and apportioned perception of time that electronic communications, digital editing, and global travel continually dismantles. In each of these works the concept of time as linear or location as static is challenged, manipulated or collapsed, giving way to alternative experiences and constructions of time, space, and place. Uneasy navigations of technologically mediated time, in which the subject feels adrift between the shores of absolute and relative space-time, are particularly germane to an interaction between institutions separated by language, nationality, and time zones, but connected by a deep historical investment in experimental media practice.

The purpose of this paper is to acknowledge Planking-performances and their photographs as works of art, in particular of Conceptual Art, by examining both the ontology of artworks as well as the specific characteristics of Conceptual Art. Even if there is no artistic intention, the learned viewer has the potentiality to classify a non artistic entity as an artistic one, by using his\her philosophical and art-historical knowledge. During this procedure he/she functions as a conceptual artist himself/herself, as he\she creates a new way of thinking about the certain work and re-ignites the relationship between art and cognition. According to the traditional definitions of art, the triptych “artist-artwork-perceiver” has always functioned as a necessary condition of the artistic procedure. The artist, even as the manipulated executor of certain orders [1], has always been the absolute starting point for the creation of the artwork. Even during the modernistic revolution the fundamenta...

Autor definiuje sztuczną inteligencję jako maszynę, czyli sztuczny, złożony cybernetyczny system komputer-oprogramowanie-osprzęt, o architekturze poznawczo-funkcjonalnej i własnej lub odpowiednio dostępnej (przyłączonej) mocy obliczeniowej o wymaganych pojemnościach i szybkości, pozwalający na wykonywanie zachowań wymagających procesu uczenia się i uwzględniania nowych okoliczności w toku rozwiązywania danego problemu i który może w różnym stopniu-w zależności od konfiguracji-działać autonomicznie oraz wchodzić w interakcje z otoczeniem Maszyna będąca sztuczną inteligencją jest systemem informatycznym z logiką operacyjną (modele algorytmów) oraz aparatem wykonawczym, które łączą spójne relacje. Prezentuje jej kluczowe elementy algorytmy, sposoby uczenia maszynowego i wspomina o roli niezbędnych do uczenia dużych zbiorów danych. W oparciu o dane źródłowe i przykłady prezentuje wybrane możliwości ataku na systemy AI oraz możliwości niebezpiecznego wykorzystania aplikacji AI. Słowa kluczowe: Sztuczna inteligencja (AI), zagrożenia dla sztucznej inteligencji, bezpieczeństwo sztucznej nteligencji (AI-Safety), przestępczość związana ze sztuczną inteligencją (AI-Crime

Art involving computers, computation, computational logic, or their architectures is commonly known by various terms such as Media Art, Software Art, or New Media. Digital Art specifically references the digit as the medium for transmitting and encapsulating information. Software Art integrates both the digit and artistic expression within the programming process. The code or software, constrained by the limitations of the machine, becomes the raw material of art, influencing the creative process and production methodology. This amalgamation of Fine Arts and Technology facilitates a dialogue between divergent methods of research and knowledge production. Utilizing computer programming as an artistic medium introduces novel aesthetics and fosters innovative scientific and conceptual inquiries.

The success of aquascape maintenance lies in certain critical factors, including temperatures, lights and water filtration, which should be constantly monitored; but at some point, these keys are not well monitored, causing correctional action being taken too late and creating damage. Using an online control system as an IoT device can assist in control and automation functions, while an online feature provides monitoring, remote access, and remote override as other benefits that would help maintain an aquascape. This research’s subject involves designing an IoT device as an online control system that would automatically control temperatures, lights and water filtration using an Arduino-compatible board based on an ATMega328/P microcontroller connected to web services and a web portal for a monitoring and management interface. This control system uses Wi-Fi as a communication line with the web service. API is a bridge from the control system and the web service, and the portal’s fro...

Bitcoin is a decentralized blockchain-based cryptocurrency that has taken the world by storm. Since its introduction in 2009, it has grown tremendously in terms of popularity and market cap. The idea of having a decentralized public ledger while maintaining anonymity and security attracted the attention of developers and customers alike. Special nodes in the bitcoin network, called miners, are responsible for making the network secure by using a concept called proof-of-work. A certain degree of anonymity is also maintained as no personally identifiable information of a person, like name, address, etc., is linked to the bitcoin wallet. In terms of bitcoin, a user is anonymous if different interactions of the user cannot be linked to each other or the user. Recent research shows that bitcoin is not as anonymous as it appears to be. The inherently public nature of blockchain technology makes it difficult to achieve privacy. The purpose of this paper is to review how varying degrees of ...

The essay introduces a new line of research at the ZKM | Center for Art and Media Karlsruhe that examines the role and experiments with museum applications of information technology, specifically artificial intelligence (AI) and extended reality technologies (e.g., augmented, mixed, and virtual realities). Currently, two projects at the ZKM have taken up the initiative to start practice-based research: Beyond Matter and intelligent.museum. These projects are discussed in this essay with the aim of demonstrating that the museum is being successively transformed into a cognitive system of human and non-human actors. Drawing on the institutional experience of the ZKM, we present a new approach towards the notion of the museum: one that takes computation into consideration.
To cite this item: Nolasco-Rozsas L; Hofmann Y (2021) The Museum as a Cognitive System of Human and Non-Human Actors. The Garage Journal: Studies in Art, Museums & Culture, 03: 1–15. DOI: 10.35074/GJ.2021.87.92.003

Net art is one of the most viewed and experienced artforms, yet some net artworks stop functioning in less than five months. At the heart of this research lies the question of net art's survival. While net art is hardly accounted for in museum collections-the traditional keepers of cultural heritage-this dissertation explores the material and behaviour of net art. Using a broad range of interdisciplinary resources the chapters open up key theoretical issues that rethink museum practices. Among others, this includes notions of authenticity, authorship, documentation and documents, networks, open source, performativity and processual. Arguing for the need to reconsider traditional attitudes in museums and notions of static conservation as well as acknowledging decentralised and community-based approaches, this dissertation describes an expanded practice of conservation in the computational age. It shows how net art operates through often imperceptible or ambiguous performance of processes and is networked in various ways. It then examines the way these strategies are used and fold back into notions of authenticity, documentation and variability. It is in addressing and answering some of the challenges facing net art that this dissertation makes a distinctive contribution to the field of conservation, curatorial studies as well as to cultural and museum analysis. At the same time, an exploration of net art's intersections with conservation puts studies on net art into a new perspective. Consequently, the study enables more informed decisions when responding to, critically analysing or working with net art, in particular software-based processes. Surviving FOREVER means embracing rather then fearing ephemerality, loss and obsolescence.

This paper explores the problems of maintaining accessibility to electronic works of art over time. It examines the various hardware and software issues surrounding digital longevity, then discusses the special characteristics of electronic art that make it much more problematic to preserve than more conventional types of works. Finally, the author offers up a new paradigm for approaching preservation of these types of works, and suggests some concrete/pragmatic steps that can be taken to preserve this type of material.

It is a pleasure to be invited to offer a short preface to this second volume in the POCOS series. POCOS is an outward-looking and thoughtful project which addresses topics of significant complexity for the preservation of digital collections. Preservation is challenging enough for relatively well-understood and self-contained data types like images and documents but the digital estate is increasingly about sophisticated interactions and interdependencies between software, hardware and people. Our digital memory is growing in scale, our interactions with it are growing more sophisticated, and the ways in which elements are constructed are growing ever more subtle. So the challenge is not necessarily getting easier the more we know about it. Those concerned with safeguarding our digital legacy must never fall into the trap of constraining digital creativity-but nor should they be so complacent as to think they can afford to ignore change. Instead of waiting for inspiration to come through introspection or individual genius, POCOS invited, persuaded and cajoled many people to consider the transience of our digital heritage. Three symposia followed, on broad themes of visualisation, software art and virtual worlds. Creators, policy makers, conservators and collection managers shared their aspirations, expectations, priorities and limitations. The resulting reports will become a lasting contribution-perhaps even a roadmap-for research and development. Although those behind it would never be so grand to claim it themselves, it has all the best elements of a 'grand challenges' initiative. This volume considers the preservation of software art. At first inspection, preservation of software art may seem like an esoteric concern for ephemeral objects. But, as with all of POCOS, it challenges many of our expectations about collection management and preservation. There are complex technical challenges about the interdependencies of software, operating systems, hardware and users. It introduces the inter-subjectivity of meaning and the contexts of performance which defy simplistic approaches to documentation and representation. It crosses the boundaries of institutional genre and raises disconcerting questions about policy and competence. So there is a real sense that software art is a topic for the avant-garde of digital preservation: it pushes the boundaries not for its own sake but in order that all can progress, It was appropriate that the POCOS symposium on software art should assemble at The Lighthouse in Glasgow. Formerly the home to the Glasgow Herald newspaper, The Lighthouse was designed by John Keppie whose able apprentice-Charles Rennie Mackintosh-has created an enduring legacy of innovation in design in the City. But the venue did not simply cause participants to consider excellence in design: in his welcoming remarks Mark O'Neill made explicit the connection between cultural enterprise, heritage and regeneration, introducing as he did so the relationship between culture, well-being and the economy. Glasgow has spent 18 million pounds on new storage for its museum collections in the last decade: ensuring its protection but also making it available for new kinds of creativity and ensuring that this vast asset is an active contributor to the city's economy. Impact, he noted, follows from visionary alliances and well-developed infrastructures and a determined effort to understand

We introduce the special issue on the question 'Isn't all art performed?' We believe the affirmative answer is obvious, but the way the issue is often addressed in the philosophical literature presents a tension worth exploring. Perhaps some misunderstanding regarding what is considered an artwork has led to some misunderstanding regarding what performances are and how important they are ontologically. The working intuition in most contributions to this issue is that an artwork does not exist unless it is performed.

We introduce the special issue on the question 'Isn't all art performed?' We believe the affirmative answer is obvious, but the way the issue is often addressed in the philosophical literature presents a tension worth exploring. Perhaps some misunderstanding regarding what is considered an artwork has led to some misunderstanding regarding what performances are and how important they are ontologically. The working intuition in most contributions to this issue is that an artwork does not exist unless it is performed.

Bitcoin is a decentralized blockchain-based cryptocurrency that has taken the world by storm. Since its introduction in 2009, it has grown tremendously in terms of popularity and market cap. The idea of having a decentralized public ledger while maintaining anonymity and security attracted the attention of developers and customers alike. Special nodes in the bitcoin network, called miners, are responsible for making the network secure by using a concept called proof-of-work. A certain degree of anonymity is also maintained as no personally identifiable information of a person, like name, address, etc., is linked to the bitcoin wallet. In terms of bitcoin, a user is anonymous if different interactions of the user cannot be linked to each other or the user. Recent research shows that bitcoin is not as anonymous as it appears to be. The inherently public nature of blockchain technology makes it difficult to achieve privacy. The purpose of this paper is to review how varying degrees of user privacy is maintained in bitcoin cryptocurrency. This paper is divided into two main segments. The first segment explores privacyenhancing techniques adopted in bitcoin. The second segment critically analyzes these techniques.

The purpose of this paper is to acknowledge Planking-performances and their photographs as works of art, in particular of Conceptual Art, by examining both the ontology of artworks as well as the specific characteristics of Conceptual Art. Even if there is no artistic intention, the learned viewer has the potentiality to classify a non artistic entity as an artistic one, by using his\her philosophical and art-historical knowledge. During this procedure he/she functions as a conceptual artist himself/herself, as he\she creates a new way of thinking about the certain work and re-ignites the relationship between art and cognition. According to the traditional definitions of art, the triptych "artist-artwork-perceiver" has always functioned as a necessary condition of the artistic procedure. The artist, even as the manipulated executor of certain orders [1], has always been the absolute starting point for the creation of the artwork. Even during the modernistic revolution the fundamental changes that were promoted concerned mostly the ontology of the artwork and never its identity as the product of an artist: artworks were released from their traditional boundaries of beauty, imitation and perfection in technical matters, and often transformed into common, disgusting or even incorporeal objects, but they still continued to be fundamentally connected to a creator with artistic intention.

Tese (doutorado)—Universidade de Brasília, Instituto de Artes, Programa de Pós-Graduação em Arte, 2014.No diálogo da dança experimental contemporânea com propostas dos estudos sociotécnicos, que questionam a supremacia do gênero humano sobre as outras agências, compõe-se este trabalho de pesquisa. A partir do estudo de duas instalações coreográficas – Vestígios, proposta por Marta Soares e Verdades Inventadas, por Thembi Rosa – discutem-se noções e práticas de pesquisa de movimento, coreografia, improvisação e composição, levando em conta humanos e não/humanos como sócios socialmente/artisticamente ativos. Com essa abordagem, ―objetos‖ passam a ser pensados como não/humanos, criando tensão na separação hierarquizante entre sujeito e objeto, sociedade e natureza. Os não/humanos, que sempre permearam as danças, são considerados co-coreógrafos de corpos e danças. É nesse sentido que a tese propõe composições ―coletivas‖, onde humanos e não/humanos têm possibilidade de devir, co-constit...

In this article, I write about knowledge production in artistic research and the opportunities and challenges the discipline offers, interweaving theoretical considerations with examples from practice. I consider what constitutes artistic research and how it differs from other academic disciplines or the process of art making itself. I am interested in the conditions necessary for the production of knowledge in artistic research and how, on the one hand, a multi-layered interpretation is fostered on research results expressed through art and artistic practice, but on the other hand, research results can also become ambiguous, making them vulnerable or sometimes questionable from the perspective of traditional academia or even within the discipline.

Bitcoin is a decentralized blockchain-based cryptocurrency that has taken the world by storm. Since its introduction in 2009, it has grown tremendously in terms of popularity and market cap. The idea of having a decentralized public ledger while maintaining anonymity and security attracted the attention of developers and customers alike. Special nodes in the bitcoin network, called miners, are responsible for making the network secure by using a concept called proof-of-work. A certain degree of anonymity is also maintained as no personally identifiable information of a person, like name, address, etc., is linked to the bitcoin wallet. In terms of bitcoin, a user is anonymous if different interactions of the user cannot be linked to each other or the user. Recent research shows that bitcoin is not as anonymous as it appears to be. The inherently public nature of blockchain technology makes it difficult to achieve privacy. The purpose of this paper is to review how varying degrees of ...

Se acabó nuestro último consuelo en las conversaciones familiares de por qué dedicarnos al arte; las personas que trabajan en campos creativos no se habían preocupado antes porque una computadora les quite el trabajo. Se pensaba que las tareas como ilustrador, diseñador, fotógrafo, escritor, editor y otras similares eran demasiado “humanas”, artísticas y requerían imaginación para que una maquina los reemplazara. Sin embargo, actualmente existen inteligencias artificiales (IA) como Dall-E 2 en el caso de la producción de imagen y GPT5 en la producción de texto que están asustando a todos por su capacidad de creación. No nos queda más que preguntarnos ¿Nos quitaran las IAs nuestros trabajos creativos?

  Integrative development between arts, science, and technology is evident. The birth of the computer era has influenced these matters since the 1990s. In the twenty-first century, various novelties and possibilities in the realm of digital arts had surfaced, whether it be in the realm of art creation or art appreciation. In this paper, the authors aim to analyze the matter of creativity in digital art by observing and utilizing Processing. org, an integrated development environment (IDE) software based on JavaScript, commonly used for visual coding. Qualitative methodology through literature review, data observation, and discourse analysis were applied through this research. The data obtained consists of JavaScript syntax and visual outputs generated by the command prompts. In analyzing the obtained data, generative art theory and computational creativity theory were utilized. Throughout the analysis, authors managed to note several functions—or command prompts—in Processing.org as...

The paper reviews developments in the implications of software programming in art practice whilst pointing to a recognition of the art in programming. The concerns in software-based art are significantly more conceptual than was often the case before. Following the Russian constructivist artists, the software artist is more concerned with the plan for making the work than for conventional rules of composition. The paper reviews a history of the author's use of various software representations in his art practice and proposes that art is all the richer for embracing software but, in so doing, the challenge to the artist is to be at least as deeply involved in software as in any other aspect of their practice.

Time-based media art (TBMA), art that utilizes technology and has a distinct beginning and end (video, film, slides, audio, or computer-based) is a popular medium among artists. The preservation of TBMA presents a unique set of challenges for museums, because TBMA relies on ever-changing technological components that can become obsolete if not properly cared for. For this paper, staff members from art museums in Georgia were interviewed to determine the current state of the collection of TBMA across Georgia’s museums, including reasons given for not collecting TBMA and relevant preservation methods. The research focuses on a specific state, Georgia, so that relationships between art museums in a common geographical region can be studied, focusing on common goals and initiatives concerning TBMA. The paper concludes with a section offering recommendations for resources that could be beneficial to museums that have not started acquiring TBMA, and also discusses ways that museums in Geo...

How does erasure execute knowledge production? The following is a tour through a collection of erasure that provides a glimpse into the many directions that this question may take us, through the lens of a series of artistic interventions, academic research, experiments and artefacts. I present these items from a collector’s point of view. For achieving completion of this collection of erasures would be, in the words of Jean Baudrillard, like death. That is to say that the desire to complete the series, to achieve the perfection of its imaginary ending, is that which creates the elusive object of desire. As such, in the same way that a collection can always extend itself laterally, or spark a new one ([1968] 1996, 113), I am presenting it as an object of desire, fuelled by the impetus of neoliberal growth, which can never be complete and will forever expand into new meanings of execution, always towards the elusive erasure of death

In Xunjiansi, a remote village in Wuyuan County, Jiangxi Province, a quadcopter photographed a rape flower field and a group of assembling homestays. The photograph suggests what future rural habitats will look like in an era of Artificial Intelligence (AI) in designers' mind. Guests can book their lodging and other services via smartphones; driverless cars will pick guests up from the high-speed train station; smart rooms will have the room temperature adjusted to guests' needs before their arriving; quadcopters can deliver hot coffee to the door whenever needed. As revealed by the movie Ready Player One, the virtual reality landscape experience will play an important role in the smart age. But at the end of the movie, to everyone's surprise, people were encouraged to return to the real life and real landscape experience by the new owner of "Oasis." So it is believed that creating reality landscapes with dreamlike experiences will be a competitive field in the age of AI-it is exactly what landscape architects' work is.

The text describes the research Geopartitura executed by the team MidiaLab Computer art research laboratory, that raises the thought about social artists and urban space. As a work of art it can be considered activist action. As a system, it is composed by software, database, locative media and mobile devices. The work was created to be performed as urban interactive cyberintervention, in order to interact with passers-by, a bias of social inclusion, transforming the urban landscape and its noises, at a dimension of open space for discussion. As active and engaged art, presents the artist as social citizen. introduCtion GeoPartitura is collaborative art that aims to stimulate the contemplation and thought of the participants through experience with computer art. People of all ages and social classes are benefited. The target audience of school community includes students, teachers, staff and parents. The target audience of urban community includes people who are informed about the activities

Se me hace difícil hacer una reflexión estética sobre glitch, no sé si reducirla a un simple afán por el hecho de ver y constatar cómo todo lo "glitcheado" (fallado) hoy es una vieja/nueva forma de arte que me interesa investigar; o además me parece que nos encontramos frente al lúdico y aleatorio juego con la data de un archivo digital que luego de que la misma es hackeada, corrompida y/o reescrita, generará una estética nueva a la cual bien podría llamársele estética del "fallo".

We present a digital twin-based Mixed Reality platform for arts curators. Despite the rising presence of exhibitions in varying digital formats, the virtual engagement of arts curators has been nearly disabled. To replicate and enhance the professional capability of arts curators in the virtual realm, our system integrates a digital twin art space and 3D authoring techniques, aided with spatial and semantic metadata. Our user evaluation proves the system's usability, and its capacity to support curatorial activities. With this, we aim to provide a groundwork to similar systems that also extend arts curator's creativity and outreach beyond time and space.

El presente trabajo consta de la performance de live coding ‘Nuevas Canciones de Bandidxs’ y del análisis de las prácticas artísticas englobadas bajo este término, enfocando en la relación intrínseca del live coding con la composición algorítmica en tiempo real. Para esto se aborda la comprensión de la lógica algorítmica como objeto digital artístico basado en los conceptos que presenta Carlos Gutiérrez López en su trabajo. A su vez se estudia al live coding musical enmarcado en una algorave como ámbito de difusión de estas obras. Se presenta el análisis de cinco elementos sintácticos de Tidal Cycles presentes en la performance antedicha.Facultad de Arte

The article presents artistic works developed at the Computational Art Research Laboratory Media Lab / UnB, carried out as a team, under my coordination. The artistic and theoretical production sought to defend the idea that computational art is a new form of appreciated art, based on the assumption that it contains many of the components of a complete philosophy of an art form, which can be summarized in four basic references: one definition, an ontology, aesthetic characteristics, and the recognition of its status as art. What is currently called computational art is based on the observation that experiments in this domain involve more general common issues, in statu nascendi, to the artistic and technoscientific domains, which provide the structuring modes, the methodology and the programming techniques, introduced in the process. Computational art does not always use the computer, sometimes it is based on logical-mathematical operations only. However, computers had a profound impact on the arts, and in order to carry out a partial synthesis, based on a global theory of aesthetics today, a set of artistic works was selected that encompass the following subjects: the computer as an amplifier complexity (computational methods of creation); computational language; the developer artist; computational art as art of

We present the results of a reflective, practice-based study with creative practitioners who contributed to the Art Track at Creativity & Cognition 2021. We investigate curating an interactive online gallery in the context of the COVID-19 pandemic, focusing on the opportunities afforded and design constraints imposed by the Gather.Town platform and the experiences of the participating practitioners. We present auto-ethnographic reflections from Author 1, who created the online gallery space. We draw on the experience of Author 2 in curatorial research to analyze the experience of emerging practice through interviews with participating artists and curators. Results show that many of the artists were positively surprised by the platform engagement opportunities and conference attendees' engagement with the artworks at the gallery opening, and appreciated the equitable, global reach. Further analysis reveals a desire for future iterations, and an exploration of the platform in a hybrid context, alongside an in-person exhibition.