The Artist and Journal of Home Culture 

About: The Artist and Journal of Home Culture is an academic journal. The journal publishes majorly in the area(s): Context (language use) & Architecture. It has an ISSN identifier of 2329-8189. Over the lifetime, 570 publications have been published receiving 2146 citations. The journal is also known as: The artist.

Art, Creativity, and the Potential of Artificial Intelligence

Abstract: Our essay discusses an AI process developed for making art (AICAN), and the issues AI creativity raises for understanding art and artists in the 21st century. Backed by our training in computer science (Elgammal) and art history (Mazzone), we argue for the consideration of AICAN’s works as art, relate AICAN works to the contemporary art context, and urge a reconsideration of how we might define human and machine creativity. Our work in developing AI processes for art making, style analysis, and detecting large-scale style patterns in art history has led us to carefully consider the history and dynamics of human art-making and to examine how those patterns can be modeled and taught to the machine. We advocate for a connection between machine creativity and art broadly defined as parallel to but not in conflict with human artists and their emotional and social intentions of art making. Rather, we urge a partnership between human and machine creativity when called for, seeing in this collaboration a means to maximize both partners’ creative strengths.

Can Computers Create Art

Abstract: This essay discusses whether computers, using Artificial Intelligence (AI), could create art. First, the history of technologies that automated aspects of art is surveyed, including photography and animation. In each case, there were initial fears and denial of the technology, followed by a blossoming of new creative and professional opportunities for artists. The current hype and reality of Artificial Intelligence (AI) tools for art making is then discussed, together with predictions about how AI tools will be used. It is then speculated about whether it could ever happen that AI systems could be credited with authorship of artwork. It is theorized that art is something created by social agents, and so computers cannot be credited with authorship of art in our current understanding. A few ways that this could change are also hypothesized.

The Destructive/Non-Destructive Identification of Enameled Pottery, Glass Artifacts and Associated Pigments—A Brief Overview

Abstract: The birth of Chemistry can be found in two main practices: (i) the Arts du feu (ceramic and glass, metallurgy, i.e., inorganic and solid state chemistry) and (ii) the preparation of remedies, alcohols and perfumes, dyes, i.e., organic and liquid state chemistry). After a brief survey of the history of (glazed) pottery and (enameled) glass artifacts, the development of destructive and non-destructive analytical techniques during the last few centuries is reviewed. Emphasis is put on mobile non-destructive Raman microspectroscopy of pigments and their glass/glaze host matrices for chronological/technological expertise. The techniques of white opacification, blue, yellow, green, red, and black coloring, are used as examples to point out the interest of pigments as chronological/technological markers.

Geometrical Substantiation of Phi , the Golden Ratio and the Baroque of Nature, Architecture, Design and Engineering

Abstract: Golden Proportion or Golden Ratio is usually denoted by the Greek letter Phi (φ) , in lower case, which represents an irrational number, 1.6180339887 approximately. Because of its unique and mystifying properties, many researchers and mathematicians have been studied about the Golden Ratio which is also known as Golden Section. Renaissance architects, artists and designers also studied on this interesting topic, documented and employed the Golden section proportions in eminent works of artifacts, sculptures, paintings and architectures. The Golden Proportion is considered as the most pleasing to human visual sensation and not limited to aesthetic beauty but also be found its existence in natural world through the body proportions of living beings, the growth patterns of many plants, insects and also in the model of enigmatic universe. The properties of Golden Section can be instituted in the pattern of mathematical series and geometrical patterns. This paper seeks to represent a panoptic view of the miraculous Golden Proportion and its relation with the nature, globe, universe, arts, design, mathematics and science. Geometrical substantiation of the equation of Phi, based on the classical geometric relations, is also explicated in this study. Golden Ratio and its chronicle, concept of Golden Mean and its relations with the geometry, various dynamic rectangles and their intimacy with Phi , Golden Ratio in the beauty of nature, Phi ratio in the design, architecture and engineering are also presented in this study in a panoptical manner.

A Search for the Hidden King: Messianism, Prophecies and Royal Epiphanies of the Kings of Aragon (circa 1250–1520)

Abstract: Modern historiography has studied the influence of messianic and millennialist ideas in the Crown of Aragon extensively and, more particularly, how they were linked to the Aragonese monarchy. To date, research in the field of art history has mainly considered royal iconography from a different point of view: through coronation, historical or dynastic images. This article will explore the connections, if any, between millennialist prophetic visions and royal iconography in the Crown of Aragon using both texts and the figurative arts, bearing in mind that sermons, books and images shared a common space in late medieval audiovisual culture, where royal epiphanies took place. The point of departure will be the hypothesis that some royal images and apparently conventional religious images are compatible with readings based on sources of prophetic and apocalyptic thought, which help us to understand the intentions and values behind unique figurative and performative epiphanies of the dynasty that ruled the Crown of Aragon between 1250 and 1516. With this purpose in mind, images will be analysed in their specific context, which is often possible to reconstruct thanks to the abundance and diversity of the written sources available on the subject, with a view to identifying their promoters’ intentions, the function they fulfilled and the reception of these images in the visual culture of this time and place.