Skip to main content Accessibility help
×
Hostname: page-component-78c5997874-fbnjt Total loading time: 0 Render date: 2024-11-10T07:41:03.420Z Has data issue: false hasContentIssue false

Art and Artificial Intelligence

Published online by Cambridge University Press:  04 April 2024

Göran Hermerén
Affiliation:
Lunds Universitet, Sweden

Summary

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.
Get access
Type
Element
Information
Online ISBN: 9781009431798
Publisher: Cambridge University Press
Print publication: 02 May 2024

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Agüera y Arcas, Blaise. Art in the Age of Machine Intelligence. Arts 6 (2017): 18. https://doi.org/10.3390/arts6040018.CrossRefGoogle Scholar
ALLEA, All European Academies. European Code of Conduct for Research Integrity. Revised ed. Berlin: ALLEA, 2023.Google Scholar
Bell, Clive. Art. New York: Stokes, 1913.Google Scholar
Berger, John. The Shape of a Pocket. London: Penguin, 2001.Google Scholar
Berlyne, David. Aesthetics and Psychology. New York: Appleton-Century-Crofts of Meredith Corporation, 1971.Google Scholar
Boden, Margaret A. The Creative Mind: Myths and Mechanisms. 2nd ed. London: Routledge, 2004.CrossRefGoogle Scholar
Boden, Margaret A. Creativity and Art: Three Roads to Surprise. Oxford: Oxford University Press, 2010a.Google Scholar
Boden, Margaret A. The Turing Test and Artistic Creativity. Kybernetes 39, 3 (2010b): 409413. https://doi.org/10.1108/03684921011036132.CrossRefGoogle Scholar
Boden, Margaret A. Creativity and Artificial Intelligence: A Contradiction in Terms? In Paul, Elliot Samuel and Kaufman, Scott Barry, eds., The Philosophy of Creativity: New Essays. Oxford: Oxford University Press, 2014: 224244.CrossRefGoogle Scholar
Broussard, Meredith. Artificial Unintelligence: How Computers Misunderstand the World. Cambridge, MA: MIT Press, 2018.CrossRefGoogle Scholar
Browne, Kieran. Who (or What) Is an AI Artist? Leonardo 55, 2 (2002): 130134. https://doi.org/10.1162/leon_a_02092.CrossRefGoogle Scholar
Carroll, Noël, ed. Theories of Art Today. Madison: University of Wisconsin Press, 2000.Google Scholar
Chalmers, David J. The Conscious Mind: In Search of a Fundamental Theory (Philosophy of Mind Series). New York: Oxford University Press, 1996.Google Scholar
Chatterjee, Anjan. Art in an Age of Artificial Intelligence. Frontiers in Psychology 13 (2022): 19. https://doi.org/10.3389/fpsyg.2022.1024449.CrossRefGoogle Scholar
Cohen, Ted. Aesthetics/Non-aesthetics and the Concept of Taste: A Critique of Sibley’s Position . Theoria 39 (1973): 113152.CrossRefGoogle Scholar
Crowther, Paul. Defining Art, Creating the Canon: Artistic Value in an Era of Doubt. Oxford: Oxford University Press, 2007.CrossRefGoogle Scholar
Danto, Arthur. The Transfiguration of the Commonplace. Cambridge, MA: Harvard University Press, 1981.Google Scholar
Danto, Arthur. Beyond the Brillo Box. Berkeley: University of California Press, 1992.Google Scholar
Dennett, Daniel. The Zombic Hunch: Extinction of an Intuition? In O’Hear, A., ed., Philosophy at the New Millennium. Cambridge: Cambridge University Press, 2001: 2743.Google Scholar
Dennett, Daniel. Facing Up to the Hard Question of Consciousness. Philosophical Transactions B 373 (2018): 17. http://dx.doi.org/10.1098/rsb.2017.0342. Accessed 22 August 2023.CrossRefGoogle Scholar
Dickie, George. Aesthetics: An Introduction. Indianapolis: Pegasus, Bobbs-Merrill, 1971.Google Scholar
Dickie, George. Art and the Aesthetic. Ithaca: Cornell University Press, 1974.Google Scholar
Dickie, George. The Art Circle. New York: Haven, 1984.Google Scholar
Dickie, George. Art and Value. Malden, MA: Blackwell, 2001.Google Scholar
Fry, Roger. Cézanne: A Study of His Development. New York: The Noonday Press, 1963.Google Scholar
Galanter, Philip. Towards Ethical Relationships with Machines That Make Art. In Burbano, Andrés and Ruth West, coord. , ‘AI, Arts & Design: Questioning Learning Machines’. Artnodes 26 (2020): 19. UOC. [Accessed 28 July 2023]. http://doi.org/10.7238/a.v0i26.3371.Google Scholar
Gaut, Berys. ‘Art’ as a Cluster Concept. In Carroll, N., ed., Theories of Art Today. Madison: University of Wisconsin Press, 2000: 1544.Google Scholar
Gaut, Berys. The Cluster Account of Art Defended. British Journal of Aesthetics 43 (2005): 273288. Doi:10.1093/aesthj/ayi032.CrossRefGoogle Scholar
Gaut, Berys. Art, Emotion and Ethics. Oxford: Clarendon Press, 2007.CrossRefGoogle Scholar
Gaut, Berys. Review of Margaret A. Boden, Creativity and Art. British Journal of Aesthetics 52 (2012): 116119. https://doi.org/10.1093/aesthj/ayr041.CrossRefGoogle Scholar
Glannon, Walter. Ethics of Consciousness. Cambridge: Cambridge University Press, 2022.CrossRefGoogle Scholar
Goldman, Alan. Aesthetic Value. Boulder, CO: Westview Press, 1995.Google Scholar
Gombrich, Ernst H. Art and Illusion. London: Phaidon, 1960.Google Scholar
Goodfellow, Ian et al. Generative Adversarial Nets. Paper presented at the Advances in Neural Information Processing Systems, Montreal, QC, Canada, 8–13 December 2014.Google Scholar
Gunkel, David J. Special Section: Rethinking Art and Aesthetics in the Age of Creative Machines. Editor’s Introduction. Philosophy & Technology 30 (2017): 263265. https://doi.org/10.1007/s13347-017-0281-3.CrossRefGoogle Scholar
Hanson, Louise. The Reality of (Non-aesthetic) Artistic Value. The Philosophical Quarterly 63, 252 (2013): 492508. https://.jstor.org/stable/24672487.CrossRefGoogle Scholar
Hermerén, Göran. Representation and Meaning in the Visual Arts. Lund: Scandinavian University Books, 1969.Google Scholar
Hermerén, Göran. Aspects of Aesthetics. (Acta Regiae Societatis Humaniorum Litterarum Lundensis LXXVII). Lund: LiberFörlag/Gleerup, 1983.Google Scholar
Hermerén, Göran. The Nature of Aesthetic Qualities. Lund: Lund University Press, 1988.Google Scholar
Hermerén, Göran. Konst, konstvärlden och konstvärden. Lund: Vetenskapssocietetens Årsbok (2022): 6383.Google Scholar
Herzmann, Aaron. Can Computers Create Art? Arts 7, 18 (2018): 125. https://doi.org/10.3390/arts7020018.Google Scholar
Honderich, Ted. How Free Are You? Oxford: Oxford University Press, 1993.Google Scholar
Hong, Joo-Wha and Curran, Nathaniel Ming. Artificial Intelligence, Artists and Art: Attitudes Toward Artwork Produced by Humans vs. Artificial Intelligence. ACM Transactions on Multimedia Computing, Communications, and Applications 15 (2019): 116. https://doi.org/10.1145/3326337.Google Scholar
Johansson, Mats. Empatisk förståelse: Från inlevelse till osjälviskhet. Lund: Filosofiska institutionen, 2004.Google Scholar
Josephson, Ragnar. Konstverkets födelse. Lund: Studentlitteratur, 1991 (first published 1955).Google Scholar
Klee, Paul. Schöpferische Konfession. Berlin: Erich Reiss Verlag, 1920.Google Scholar
Levinson, Jerrold. Music, Art, and Metaphysics. Ithaca: Cornell University Press, 1990.Google Scholar
Levinson, Jerrold, ed. The Oxford Handbook of Aesthetics. Oxford: Oxford University Press, 2003.Google Scholar
Lopes, Dominic McIver. The Myth of (Non-aesthetic) Artistic Value. The Philosophical Quarterly 61, 244 (2011): 518536. https://www.jstor.org/stable/23012980.CrossRefGoogle Scholar
Oliveira, Machado, Andreia, . Future Imaginings in Art and Artificial Intelligence. Journal of Aesthetics and Phenomenology 9, 2 (2022): 209225. https://doi.org/10.1980/20539320.2022.2150467.CrossRefGoogle Scholar
Mackie, John L. The Cement of the Universe. Oxford: Clarendon Press, 1974.Google Scholar
Malina, Roger. The Stone Age of the Digital Arts. Leonardo 35 (2002): 463465. https://doi.org/10.1145/3347092.CrossRefGoogle Scholar
Manovich, Lev. AI Aesthetics. Moscow: Strelka Press, 2019.Google Scholar
Mazzone, Marian and Elgammal, Ahmed. Art, Creativity, and the Potential of Artificial Intelligence. Arts 8 (2019): 19. https://doi.org/10.3390/arts8010026.CrossRefGoogle Scholar
McCormack, Jon, Gifford, Toby and Hutchings, Patrick. Autonomy, Authenticity, Authorship and Intention in Computer Generated Art. arXiv:1903.02166v1 [cs.AI] 6 March 2019. https://doi.org/10.1007/978-3-030-16667-0_3.CrossRefGoogle Scholar
O’Hear, Anthony. Art and Technology: An Old Tension. In Fellows, R., ed., Philosophy and Technology. Cambridge: Cambridge University Press, 1995: 143158.CrossRefGoogle Scholar
Rose, Kevin. An A.I.-Generated Picture Won an Art Prize: Artists Aren’t Happy. The New York Times 2 September 2022.Google Scholar
Sahlin, Nils-Eric. Kreativitetens filosofi. Nora: Nya Doxa, 2006.Google Scholar
Samo, Andrew and Highhouse, Scott. Artificial Intelligence and Art: Identifying the Aesthetic Judgment Factors that Distinguish Human- and Machine-Generated Artwork. Psychology of Aesthetics, Creativity, and the Arts (2023): 115. https://dx.doi.org/10.1037/aca0000570.CrossRefGoogle Scholar
Schellekens, Elisabeth. The Aesthetic Value of Ideas. In Goldie, Peter and Schellekens, Elisabeth, eds., Philosophy and Conceptual Art. Oxford: Oxford University Press, 2007: 7191.CrossRefGoogle Scholar
Schellekens, Elisabeth. Conceptual Art. Stanford Encyclopedia of Philosophy, 2022. https://plato.stanford.edu/entries/conceptual-art/.Google Scholar
Schneider, Tim and Rea, Naomi. Has Artificial Intelligence Given Us the Next Great Art Movement? Experts Say Slow Down, the ‘Field Is in Its Infancy’. Artnet 25 September 2018.Google Scholar
Sibley, Frank. Aesthetic Concepts. Philosophical Review 68 (1959): 421450; reprinted, with revisions, in Joseph Margolis, ed., Philosophy Looks at the Arts. Philadelphia: Temple University Press, 1987; and in his Approach to Aesthetics, ed. John Benson, Betty Redfern and Jeremy Roxbee Cox. Oxford: Clarendon Press, 2001.CrossRefGoogle Scholar
Spalding, Julian. Sell Your Damien Hirsts while You Can. Scotts Valley: CreateSpace Independent Publishing Platform, 2012.Google Scholar
Stecker, Robert. Artistic Value Defended. Journal of Aesthetics and Art Criticism 70, 4 (2012): 355362.CrossRefGoogle Scholar
Tännsjö, Torbjörn. Människan är inte unik. Dagens Nyheter 2 June 2023.Google Scholar
Tolstoy, Leo. What Is Art? London: Penguin, 1995 (first published 1897).Google Scholar
Vaida, Juliana Corina. The Quest for Objectivity: Secondary Qualities and Aesthetic Qualities. Journal of Aesthetics and Art Criticism 56 (1998): 283297. https://www.jstor.org/stable/43496530.CrossRefGoogle Scholar
Van der Steen, Jenny T, Wouden, van der, Johannes C et al. Music-Based Therapeutic Interventions for People with Dementia. Cochrane Database of Systematic Reviews 7 (2018): 199. Art No: CD003477.Google ScholarPubMed
Van Gulick, Robert. Consciousness. The Stanford Encyclopedia of Philosophy (Winter 2022 Edition), Edward N. Zalta & Uri Nodelman (eds.). https://plato.stanford.edu/archives/win2022/entries/consciousness/.Google Scholar
Wind, Edgar. Bellini’s Feast of the Gods. Cambridge, MA: Harvard College Library, 1948.Google Scholar
Wollheim, Richard. Art and Its Objects. 2nd edition. New York: Cambridge University Press, 1980.Google Scholar
Young, Edward. Conjectures on Original Composition. Reprinted: Franklin Classics 2018 (first published in 1759).Google Scholar
Zylinska, Joanna. AI Art: Machine Visions and Warped Dreams. London: Open Humanities Press, 2020.Google Scholar

Save element to Kindle

To save this element to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Art and Artificial Intelligence
Available formats
×

Save element to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Art and Artificial Intelligence
Available formats
×

Save element to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Art and Artificial Intelligence
Available formats
×