espanolEste articulo utiliza la exposicion "Infinite Skulls", que se inauguro en Paris a principios de 2019, como punto de partida para hablar sobre el arte creado por la inteligencia artificial y, por extension, sobre las piezas de arte unicas generadas por algoritmos. Se centra en el desarrollo de DCGAN, la red neuronal de aprendizaje profundo utilizada en el programa, desde su origen cibernetico. Se describe el espectaculo y su proceso de creacion, identificando elementos de creatividad y tecnica, asi como la autoria de obras basadas en codigo abierto, en particular "Edouard de Belamy", la pintura realizada a partir de inteligencia artificial que se vendio en una subasta de Christie's por 432 000 dolares estadounidenses. Tambien se enmarcan estos trabajos en el contexto del arte generativo, senalando afinidades y diferencias, asi como los problemas de representacion mediante procedimientos y abstracciones. Describe el gran avance de la red neuronal para imagenes tecnicas como la capacidad de representar categorias a traves de una abstraccion, en lugar de imagenes en si mismas. Por ultimo, trata de entender las redes neuronales como una herramienta para los artistas, mas que como una obra de arte per se. catalaAquest article utilitza l’exposicio Infinite Skulls, que es va inaugurar a Paris a principis de 2019, com a punt de partida per parlar sobre l’art creat per la intel·ligencia artificial i, per extensio, sobre les peces d’art uniques generades per algorismes. Se centra en el desenvolupament de DCGAN, la xarxa neuronal d’aprenentatge profund utilitzada en el programa des del seu origen cibernetic. Descriu l’espectacle i el seu proces de creacio, identificant elements de creativitat i tecnica, i tambe l’autoria d’obres basades en codi obert, en particular, Edouard de Belamy, pintura realitzada a partir de la intel·ligencia artificial que es va vendre en una subhasta de Christie’s per 432.000 dolars estatunidencs. Tambe emmarca aquests treballs en el context de l’art generatiu, assenyalant les afinitats i les diferencies, a mes dels problemes de representacio mitjancant procediments i abstraccions. Descriu el gran avenc de la xarxa neuronal per a les imatges tecniques, com ara la capacitat de representar categories per mitja d’una abstraccio, enlloc d’imatges en si mateixes. Finalment, tracta d’entendre les xarxes neuronals com una eina per als artistes mes que com una obra d’art per se. EnglishThis 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.

Generative Art: Between the Nodes of Neuron Networks

Recent scholarship has revisited conceptual art in light of its ongoing influence on contemporary art, arguing against earlier accounts of the practice which gave a restricted account of its scope and stressed its historical foreclosure. Yet conceptual art remains both historically and theoretically underspecified, its
multiple and often conflicting genealogies have not all been convincingly traced. This thesis argues for the importance of a systems genealogy of conceptual art—culminating in a distinctive mode of systematic conceptual art—as a primary determinant of the conceptual genealogy of contemporary art. It claims that from the perspective of post-postmodern, relational and context art, the contemporary significance of conceptual art can best be understood in light of its “systematic” mode. The distinctiveness of contemporary art, and the problems associated with its uncertain critical character, have to be understood in relation to the unresolved problems raised by conceptual art and the implications that these have held for art’s post-conceptual trajectory.
Consequently, the thesis reconsiders the nascence, emergence, consolidation and putative historical supersession of conceptual art from the perspective of
the present. The significance of the historical problem of postformalism is reemphasised and the nascence of conceptual art located in relation to it. A
neglected historical category of systems art is recovered and its significance for the emergence of conceptual art demonstrated. The consolidation of conceptual art is reconsidered by distinguishing its multiple modes. Here, a
“systematic” mode of conceptual art is argued to be of greater current critical importance than the more established “analytic” mode. Finally, the supersession of conceptual art is revisited from the perspective of the present in order to demonstrate that contemporary context and relational practices recover problems first articulated by systematic conceptual art. It is from
systematic conceptual art that relational and context art inherit their focus on the social relations and the social context of art. By recovering the systems genealogy and systematic mode of conceptual art we provide a richer
conceptual genealogy of contemporary art.

Systems, contexts, relations: an alternative genealogy of conceptual art.

The authors have prepared a bibliography of texts dealing either explicitly or implicitly with interrelationships between the visual arts, science and technology, but excluding the scientific restoration of art works, the detection of forgeries and the properties and hazards of art materials. The items listed are mainly secondary sources from the 20th century.
	 The authors hope that the bibliography will provide a starting point for a study of this subject in depth.

Interrelationships between the Visual Arts, Science and Technology: A Bibliography

The Exhibition Cybernetic Serendipity (London 1968) is often considered to be the first major exhibition of computer art. Nearly forgotten, is an exhibition in Zagreb that also took place in August 1968 connected to an international Colloquy "Computers and Visual Research. Zagreb August 3-4, 1968". Both dealt in a systematically different way with the possibilities of computer art. While the show in London tried to give a wide range of possibilities, the 'visual researchers' in Zagreb bridged computer art with social and political implications, as well as with new philosophical and aesthetical theories on Information aesthetics. For a further scientific analysis of the first phase of graphical computer art, a deeper look into the events in Zagreb will be indispensable.

The summer 1968 in London and Zagreb: starting or end point for computer art?

Event One was the first major public activity of the Computer Arts Society (CAS) founded in 1969 "to promote the creative use of computers in the arts". Now celebrating its fortieth year, this paper will examine the concepts behind the aims and objectives of CAS through this exhibition staged in March 1969 at the Royal College of Art. Participants from the realms of fine art and computer programming, among others offered a range of visitor experiences from graphics to live performance. Event One heralded the collaborative, cross-disciplinary nature of working which came to signify the early period of media arts.

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William Andrews Clark Memorial Library

Papers

Automata in History