Why Spinoza Had No Aesthetics
01 Sep 1989-The Journal of Aesthetics and Art Criticism (Oxford Academic)-Vol. 47, Iss: 4, pp 359-365
About: This article is published in The Journal of Aesthetics and Art Criticism.The article was published on 1989-09-01. It has received 20 citations till now.
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20 Jul 2020
TL;DR: In this article, the authors describe the development of DCGAN, the neural network used in the Infinite Skulls exhibition in 2019, as well as its creation process and its ability to identify elements of creativity and neural network technique.
Abstract: 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.
37 citations
01 Jan 2017
TL;DR: In this article, a basic interpretive framework for philosophy in general, one that is independent of and cutting across such unfruitful divisions as the time-honored interpretive distinction between rationalists and empiricists, is presented.
Abstract: ----ISBN 978-963-284-820-4 BTK There is no need to argue for the relevance of affectivity in early modern philosophy. When doing research and conceptualizing affectivity in this period, we hope to attain a basic interpretive framework for philosophy in general, one that is independent of and cutting across such unfruitful divisions as the time-honored interpretive distinction between “rationalists” and “empiricists”, which we consider untenable when applied to 17th-century thinkers.
28 citations
TL;DR: The authors argue that Spinoza allowed that there are "good" and "bad" fictions and that belief cannot be compelled by fictions, and that the potential of certain kinds of fiction to be not only compelling but also edifying.
Abstract: Spinoza took it to be an important psychological fact that belief cannot be compelled. At the same time, he was well aware of the compelling power that religious and political fictions can have on the formation of our beliefs. I argue that Spinoza allows that there are ‘good’ and ‘bad’ fictions. His complex account of the imagination and fiction, and their disabling or enabling roles in gaining knowledge of Nature, is a site of disagreement among commentators. The novels of George Eliot (who translated Spinoza's works) represent a significant development for those who aim to resolve such disagreement in favour of the epistemic value of the imagination and fiction. Although Eliot agreed with Spinoza that belief cannot be compelled, she nevertheless affirmed the potential of certain kinds of fiction to be not only compelling but also edifying. The parallel reading of Eliot and Spinoza offered here raises the question of whether his philosophy can accommodate a theory of art in which the artist is seen to be capable of attaining and imparting dependable knowledge.
25 citations
TL;DR: The authors argued that Spinoza's philosophy has nothing to offer aesthetics and argued that the special talent of the artist should be understood in terms of the entirely natural expression of the conatus.
Abstract: Some critics have claimed that Spinoza's philosophy has nothing to offer aesthetics. I argue that within his conception of an ars vivendi one can discern a nascent theory of art (ars). I bring the figure of the prophet in relation to that of the artist and, alongside a consideration of Spinoza's views on goodness and beauty, show that the special talent of the artist should be understood in terms of the entirely natural expression of the conatus.
13 citations
TL;DR: The authors adopt a dialogic approach to examine narratives on ethics in leadership and do this through an ethno-narrative re-reading of writing on the Enron case informed by Bakhtin's id...
Abstract: In this article, we adopt a dialogic approach to examining narratives on ethics in leadership. We do this through an ethno-narrative re-reading of writing on the Enron case informed by Bakhtin’s id...
11 citations