Bruno Caldas Vianna

The idea of disobedient machines is developed from the perspective of artificial intelligence, rather than fiction. Misbehavior in humans and machines is presented as a one of the skills which are indispensable for natural intelligence. Different approaches to AI are presented, from symbolism to emergism. The limits of computational formalism are presented, together with Hofsdtader’s theory of consciousness. It is argued that a machine cannot reach human intelligence unless it is also able to disobey. Hence, an exploration of algorithmic misbehavior is urgent for further development of AI for the arts and society in general.

This article uses the exhibition “Infinite Skulls”, which happened in Paris in the beginning of 2019, as a starting point to discuss art created by artificial intelligence and, by extension, unique pieces of art generated by algorithms. We detail the development of DCGAN, the deep learning neural network used in the show, from its cybernetics origin. The show and its creation process are described, identifying elements of creativity and technique, as well as question of the authorship of works. Then it frames these works in the context of generative art, pointing affinities and differences, and the issues of representing through procedures and abstractions. It describes the major breakthrough of neural network for technical images as the ability to represent categories through an abstraction, rather than images themselves. Finally, it tries to understand neural networks more as a tool for artists than an autonomous art creator.

This paper depicts a dialogue between art and technology, by examining coincidences and differences between artworks and inventions, their conditions and stakes. By examining these categories through the same lenses, this approach hopes to build bridges between the two, or even propose that they stop being seen as separate institutions.The text starts by looking at how the separation between art and science occurred in terms of etymology. It then builds upon the idea of skill, which is not far from art’s original meaning. We look at how different they might be for science and art, in terms of intellectual and bodily skills.Since both fields have high stakes in originality and uniqueness, the paper looks into the issues of each one and the systems put in place by society to assure rights for artists and inventors.A turn towards knowledge as a raw material for art has been happening for a least a century, and was accelerated in the last decades by practices which incorporated several aspects of science and technology into the creative arts. To account for these practices, the categories of discrete art and invention art are proposed, and existing ones such as conceptual art are explored.The paper does not draw hard conclusions. It instead proposes a few leads to understand new stances within art and technology, and leaves the definition of knowledge art as an open concept.