Italiano [English below]

 

Dopo aver visitato la mostra “L’opera d’arte nell’epoca dell’Intelligenza Artificiale” (Parma, 6 Aprile – 19 Maggio 2024, Palazzo Pigorini e Torrione Visconteo), a cura di Chiara Canali, Rebecca Pedrazzi e Davide Sarchioni, sono stato invitato a partecipare al convegno omonimo, il 17 Maggio presso il Palazzo del Governatore. Il convegno è stato realizzato in collaborazione con l’evento internazionale “Art & AI – International Forum Art & Innovation”, promosso e organizzato dall’Accademia di Belle Arti di Lecce.

L’incontro tra il convegno di Parma e il forum presso l’Accademia di Belle Arti di Lecce è stato molto interessante soprattutto grazie a un’idea di Derrick de Kerckhove – insieme al quale nel Febbraio 2024 abbiamo realizzato il workshop “fivewordsforthefuture” su arte e IA all’Accademia delle Arti e Nuove Tecnologie (AANT) di Roma (ne ho scritto qui). De Kerckhove ha infatti chiesto ad alcuni dei partecipati, tra i quali il sottoscritto, di condividere dei punti salienti su cui imperniare la riflessione. Il sottoscritto ha proposto questi:

1. “In the beginning was the Word (Lògos/Λόγος), and the Word was with God and the Word was God” (John 1,1-18). The symbolic world as the total (human) world
2. Life in the symbolic realm between humanity and physical world
3. Example of generative AI: the word as a starting global common tool to create anything (pictures, movies, music, texts…)
4. Ongoing relativization of humanity
5. Externalization of human activities and faculties outside the body
6. The Third Life as the life forms created by the human culture. Outsourcing life (A-Life/A-Volve)
7. Holistic theories, complex ideas of Nature
8. Non-human intelligence, creativity, and cooperation
9. “Art” with/for/from the non-human
10. More complex meanings/states/projections of existence, mortality, and immortality

Il mio intervento, in apertura del secondo giorno, è stato prevalentemente focalizzato su due direttrici. Da un lato ha proposto e analizzato quali aspetti e argomenti – di natura artistica, tecnologica, teorica e pratica – dovrebbero essere affrontati per integrare l’Intelligenza Artificiale generativa nei percorsi formativi delle istituzioni d’arte, tenendo conto della formazione sostanzialmente umanistica dei fruitori. Dall’altro ha cercato di mostrare come gli esiti artistici dell’Intelligenza Artificiale generativa si situino all’interno di un percorso storico-artistico, tecnologico e culturale che, almeno a partire dagli anni ‘60 del ‘900 e dall’Arte Generativa, “istituzionalizzata” dal 1998, ha sempre più delegato a strumenti tecnologici aspetti crescenti della creazione artistica.

 

 

English

 

After visiting the exhibition “L’opera d’arte nell’epoca dell’Intelligenza Artificiale” (“The Work of Art in the Age of Artificial Intelligence”, Parma, April 6 – May 19, 2024, Palazzo Pigorini and Torrione Visconteo), curated by Chiara Canali, Rebecca Pedrazzi, and Davide Sarchioni, I was invited to participate in the conference of the same name, on May 17 at the Palazzo del Governatore. The conference was held in collaboration with the international event “Art & AI – International Forum Art & Innovation,” promoted and organized by the Academy of Fine Arts in Lecce.

The meeting between the Parma conference and the forum at the Academy of Fine Arts in Lecce was very interesting, especially thanks to an idea by Derrick de Kerckhove – with whom in February 2024 we held the “fivewordsforthefuture” workshop on art and AI at the Academy of Arts and New Technologies (AANT) in Rome (I wrote about it here). De Kerckhove asked some of the participants, including myself, to share key points to anchor the debate. I proposed the following:

1. “In the beginning was the Word (Lògos/Λόγος), and the Word was with God and the Word was God” (John 1,1-18). The symbolic world as the total (human) world.
2. Life in the symbolic realm between humanity and the physical world.
3. Example of generative AI: the word as a starting global common tool to create anything (pictures, movies, music, texts…).
4. Ongoing relativization of humanity.
5. Externalization of human activities and faculties outside the body.
6. The Third Life as the life forms created by human culture. Outsourcing life (A-Life/A-Volve).
7. Holistic theories, complex ideas of Nature.
8. Non-human intelligence, creativity, and cooperation.
9. “Art” with/for/from the non-human.
10. More complex meanings/states/projections of existence, mortality, and immortality.

Anyway my intervention, at the opening of the second day, was predominantly focused on two directions. On one hand, it proposed and analyzed which aspects and topics – of an artistic, technological, theoretical, and practical nature – should be addressed to integrate generative Artificial Intelligence into the educational paths of art institutions, taking into account the substantially humanistic training of the users. On the other hand, it sought to show how the artistic outcomes of generative Artificial Intelligence are situated as the most recent result within a historical-artistic, technological, and cultural path that, at least since the 1960s and Generative Art, “institutionalized” since 1998, has increasingly delegated growing aspects of artistic creation to technological tools.