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of human imagination, whose aesthetics are determined by the content R E F E R E N C E S
of the dataset on which the tool was trained. Current AI tools are virtuoso
imitators of the results of human creativity, but their computational power Alexander, A. (2022). What the Robot Saw? Retrieved from https://what-the-robot-saw.com/
can compensate for their limitations to a certain extent. The authors of
AI for Arts provided a list of the essentially primitive operations on which Dekker, A. (2015). Harm van den Dorpel: Choosing Complexity. Metropolis M. Dec/Jan
2015/2016. Retrieved from https://www.metropolism.com/nl/features/24054_harm_
AI-assisted image generation is based: “Analyse and summarise; generate; van_den_dorpel
imitate; translate (mostly relevant for literature.” (Hageback – Hedblom,
2022, p. 50) Ariellie described this modern phenomenon of generative Dekker, A. (2018). Collecting and Conserving Net Art. Moving beyond Conventional
art computer mannerism because these AI software outputs only “mimic Methods. Routledge: London and New York.
existing styles and are not creative at all. In those instances, computers Dekker, A. & Tedone, G. (2019). Networked Co-Curation: An Exploration of the So-
receive pre-existing examples and generate variants conforming to their cio-Technical Specificities of Online Curation, Arts 2019, 8(3), 86. Retrieved from
patterns, while trying to introduce some level of variation. These algorithms https://doi.org/10.3390/arts8030086
do not generate styles of music or painting that are entirely new, instead, Ghidini, M. (2019). Curating on the Web: The Evolution of Platforms as Spaces for Pro-
they are instances of what we might call computational mannerism.” ducing and Disseminating Web-Based Art. Retrieved from https://www.researchgate.
(Manovich – Arielli, 2021, p. 7) Joanna Zylinska refers to the mainstream net/publication/334154862_Curating_on_the_Web_The_Evolution_of_Platforms_as_
production of AI images, sounds, and texts based on the uncritical use Spaces_for_Producing_and_Disseminating_Web-Based_Art
of the tool as crowdsourced beauty. (Zylinska, 2020, p. 51). According to
her, this is an art production that uses AI tools and arouses the most at- Goriunova, O. (2012). Art Platforms and Cultural Production on the Internet.
New York: Routledge.
tention from the general public, whose aesthetic qualities do not exceed
the ambition to look beautiful, i.e., “symmetrical, mesmerising, garish, Grau, O. (ed.) et al. (2017). Museum and Archive on the Move, Changing Cultural Insti-
and, first of all, similar to what already exists.” (Zylinska, 2020, p. 51) tutions in The Digital Era. Berlin/Boston: De Gruyter, 2017.
Currently, however, artists are emerging on the art scene who manage to Grau, O. & Coones, W. (2018). The Living Archive of Digital Arts – Web 2.0 & 3.0 and
use AI tools in a truly innovative way, respecting the specifics of materi- the Bridging Thesaurus. In EVA Berlin 2018. Electronic Media & Art, Culture, and Histo-
ality and functional properties of the chosen medium. The most notable ry (proceedings). Berlin, pp. 230 – 237.
art projects using AI software straddle the line between curatorial and
authorial approaches. Notable names include Memo Akten, Refik Anadol Hageback, N. & Hedblom, D. (2022). AI for Arts. CRC Press.
and Mario Klingemann. Joler, V. & Pasquinelli, M. (2020). Nooscope. The Rise of AI Statistical Modelsas Instru-
ments of Knowledge and Diagram of Machine Learning Errors, Biases and Limitations.
Retrieved from https://nooscope.ai/NOOSCOPE.pdf
Krysa, J. (2006). Curating Immateriality. The Work of the Curator in the Age of Network
Systems. Autonomedia (DATA browser 03).
Krysa, J. (2008). Software Curating: The Politics of Curating in/as (an) Open Sys-
tem(s). Ph.D. dissertation. University of Plymouth.

Krysa, J. & Impett, L. (2021). The Next Biennial Should be Curated by a Machine –
A Research Proposition. Retrieved from https://www.biennial.com/journal/issue-9/
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Manovich, L. & Arielli, E. (2021). Artificial Aesthetic. A Critical Guide to AI, media and
design. Retrieved from http://manovich.net/content/04-projects/165-artificial-aes-
thetics-book/artificial_aesthetics.chapter_1.pdf
Pasquinelli, M. (2019). Three thousand years of algorithmic rituals. e-fux, Issue #101.
Retrieved from http://worker01.e-flux.com/pdf/article_273221.pdf (cit. 26. 12. 2022)
Pasquinelli, M. & Joler, V. (2021). The Nooscope Manifested: Artificial Intelligence as
Instrument of Knowledge Extractivism. AI & Soc 36, 1263–1280 (2021).
https://doi.org/10.1007/s00146-020-01097-6

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