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Can computers be creative? Is algorithmic art just a form of Candy Crush? Cutting through the smoke and mirrors surrounding computation, robotics and artificial intelligence,Joanna Zylinska argues that, to understand the promise of AI for the creative fields, we must not confine ourselves solely to the realm of aesthetics. Instead, we need to address the role and position of the human in the current technical setup - including the associated issues of labour, robotisation and, last but not least, extinction. Offering a critique of the socio-political underpinnings of AI, AI Art: Machine Visions and Warped Dreams raises poignant questions about the conditions of art making and creativity today. The book critically examines artworks that use AI, be it in the form of visual style transfer, algorithmic experiment or critical commentary. It also engages with their predecessors, including robotic art and net art. AI Art includes a project from Zylinska's own art practice titled 'View from the Window', which explores human and nonhuman forms of intelligence, perception and action. The book closes with speculation on future art - and on art's future.

Art and computers.

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The advent of Artificial Intelligence (AI) as an "autonomous author" urges the law to rethink authorship, originality, creativity. AI-generated artworks are in search of an author because current copyright laws offer as a solution only public domain or fragile regulatory mechanisms. During the 20th century visual artists have been posing persistent challenges to the law world: Conceptual Art favoured legal mechanisms alternative to copyright law. The case of AI-art is, however, different: for the first time the artworld is discovering the prospective of an art without human authors. Rather than preserving the status quo in the law world, policy makers should consider a reformative conception of AI in copyright law and take inspiration from innovative theories in the field of robot law, where new frames for a legal personhood of artificial agents are proposed. This would have a spill-over effect also on copyright regulations.

Copyright --- Law and art. --- Art and computers.

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Executing Pracitces brings together artists, curators, programmers, theorists and heavy internet browsers, all of whose practices make a critical intervention into the broad concept of execution. It draws attention to their political strategies, asking: who and what is involved with those practices, and for whom or what are these practices performed, and how? From the contestable politics of emoji modifier mechanisms and micro-temporalities of computational processes to genomic exploitation and the curating of digital content, the chapters account for gendered, racialized, spatial, violent, erotic, artistic and other embedded forms of execution. Together they highlight a range of ways in which execution emerges and how it participates within networked forms of liveliness.

Art and computers. --- Curatorship --- Data curation. --- Political aspects.

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The overriding question discussed in this Element can be stated simply as: can computers create art? This Element presents an overview of the controversies raised by various answers to this question. A major difficulty is that the technology is developing rapidly, and there are still many uncertainties and knowledge gaps as to what is possible today and in the near future. But a number of controversial issues are identified and discussed. The position taken on controversial issues will depend on assumptions made about the technology, about the nature and location of consciousness, about art and creativity. Therefore, a number of hypothetical answers are outlined, related to the assumptions made.

Art and computers. --- Artificial intelligence. --- Art --- Creative ability. --- Philosophy.

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Executing Pracitces brings together artists, curators, programmers, theorists and heavy internet browsers, all of whose practices make a critical intervention into the broad concept of execution. It draws attention to their political strategies, asking: who and what is involved with those practices, and for whom or what are these practices performed, and how? From the contestable politics of emoji modifier mechanisms and micro-temporalities of computational processes to genomic exploitation and the curating of digital content, the chapters account for gendered, racialized, spatial, violent, erotic, artistic and other embedded forms of execution. Together they highlight a range of ways in which execution emerges and how it participates within networked forms of liveliness.

Art and computers. --- Curatorship --- Data curation. --- Political aspects.