Is Nanoart collective or individual art?
Congratulations, Dear Friends. We are conducting research in which we reflect on the authorship of scientific art, namely, the Nanoart genre. Nanoart is the presentation of microscopic images as a cultural and artistic product. Microscope images are usually black and white. They are often coloured to give the image more aesthetic. In our research, we aim to answer the question: Is Nanoart collective or individual art? Who is the author of such a picture: a nanotechnologist (who created the nanostructure) or an artist (who painted it)? The opinions of experts, participants, and just viewers are important to us.
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Dear Yana, your question is related to an important fundamental discussion in contemporary art philosophy, art theory and aesthetics.
In the structural upheaval towards a digital, knowledge-based network society, social cohesion and social participation are more than ever being developed through artistic identifications, everyday aesthetic performances and expressive stylizations (cyber identities, virtual life designs, digital alter egos, etc.). Algorithmic matchings and self-learning artificial intelligences and are exponentially gaining in importance and influence in high, high ridge, and elite cultures as well as in mass, pop, and lifestyle cultures. The use of algorithms, Deep Learning, Artificial Intelligence, and now Nano structures requires trust from people in collecting, sharing, gathering, and interpreting data. The widespread notion that the use of AI-powered tools and nano microscopic processes merely facilitates the analysis of large amounts of data, Big Data, without in turn entailing determinations, is simply proving to be false. It is feared that large tech companies, using smart programming techniques and their exorbitant computing capacities, will be able to create complex virtual worlds without humans being able to decide whether they are simulations or not.
In the preceding process of social transformation, formerly supposed and/ or actual demarcations are apparently becoming invalid. The spectacular applications of artificial intelligence in the field of music and art, literature and aesthetics, culture and media, as they can be observed in recent years, open up the space for a new aesthetics: an artificial intelligence aesthetics with far-reaching consequences for the arts, life worlds and everyday practices. In analogy to how advances in computed tomography led to the establishment of Neuroaesthetics two decades ago, we assume that, as a result of Deep Learning, there will be the formation of an AI aesthetics and Nanoaesthetics with its own research questions. The primary goal of the interdisciplinary research is to provide evidence, through an interdisciplinary investigation, that an independent AI-aesthetic and Nano-based phenomena sector with specific aesthetic problems is contouring itself. Insofar as artificial intelligence or developments in the area of nanoparticles will permanently define and modify both arts and life practices, AI-aesthetics and Neuaesthetics see itself as a scientific discipline that systematically researches these changes, but also the change potentials and options associated with the technology.
Dear Christian!
Thank you sincerely for an interesting discussion on my question. Indeed, today there is a transformation of ideas about art and the role of AI in it.
When we began our study of authorship in Nanoart, we had in mind two categories of participants in the creative process: the nanotechnologist and the graphic designer. However, we did not take into account the role of other technical/creative workers, as well as large creative teams.
And indeed, during the research, we tried to generate Nanoart using a neural network. We got a very interesting result and information to think about. Who is the author in this case? Is this art? What is the role of the designer now?
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