As an unprecedented collective experience, the 2020 pandemic has come to emphasise the importance of both creatively cognitive character, as well as, universal aspirations constituting a point of intersection between art and science. With respect to the theme of this exhibition, though already present, yet, by unforeseen circumstances, accelerated transfer of digital data, and enforced reliance on artificial intelligence, intensified the interdependent relationship of humans and state of the art machines, making it an everyday occurrence. From the techno-pessimistic perspective, this affects a reinforced control and surveillance of human activities. However, coalescing with art, science succeeds in not only overcoming its self-sufficiency
The Nooscope is a cartography of the limits of artificial intelligence, intended as a provocation to both computer science and the humanities. Any map is a partial perspective, a way to provoke debate. Similarly, this map is a manifesto — of AI dissidents. Its main purpose is to challenge the mystifications of artificial intelligence. The purpose of the Nooscope map is to secularise AI from the ideological status of ‘intelligent machine’ to one of knowledge instruments
Aerosonar is a spatial audio installation which displays air pollution on a macro level in the micro environment of the exhibition space, at the same time emphasizing a human impact on air pollution. Musical composition of the installation allows the air pollution to be experienced largely through the sense of hearing, which is otherwise not the case. Human impact on the installation itself and alternating spatial conditions result in changes in the musical composition, which make visitors become aware of their impact. Greek /āero/ “air” Latin /sono/ “to make a noise, sound”, “to speak/utter”, “to emit sound”
AI/VI is an interdisciplinary pilot project that investigates the artificial intelligence and its roles in modern society. It is created as a pervasive mobile game that uncovers AI, and the accompanying problematics of how humans and AI are being shaped and transformed through their mutual relationship, communication, and use. The aim is to put players in the position to question human and algorithmic decision making and its future consequences.
Running at Frame Rate is a gaming software with frame rate as its core mechanic. The artwork addresses the technological assumption that photo-real representation of the physical world is a constant and exponential hardware and software movement. Herein, the computer is the main character whose primary goal is to render efficiently while reaching its extreme limits. The software continually remembers its performance and reacts to it with various optimizations. It is a world construction exercise through both the pragmatic assembling of it on the screen, while the narrative emerges from the hardware reaction to the software
Are we progressing? Are we fulfilling idea(l)s of our ancestors who had dreamt about bright, rectangular cities run and led by fascinating machines? Did they ever consider matching first something on the opposite side of scale − our invisible counterparts, tiniest of all creatures? So simple and logical that they can be seen as a founding element, as the clear common-sense led intelligence. The one without conscience and meaning, purely existence-driven.
The ecological crisis is a human crisis. Oceans must not be considered as flat blue surfaces which serve as dropping holes where we can let vanish all our anthropogenic remains. There are vast amounts of organisms that live down there and some suffer pain from our waste and noise. Many are aware of mammals such as whales and dolphins but often ignored is the invisible and the inaudible environment to us that is deeply secluded. Therefore, in this installation, we have created
In collaboration with Charles Taylor, bird sounds database courtesy of Jasne Jovićević, 2014-ongoing. The goal of this project is to understand the language of birds − of course not ALL species of birds
Digital Prayer is an award winning project of the art+science AI Lab national selection for 2020; it is realised in collaboration with the Mathematical Institute of the Serbian Academy of Sciences and Arts, under the mentorship of Dr Miloš Milovanović. What is presented here is an art & science concept dealing with the application of one of computer vision methods aiming at generating an image, whose visual product resembles an Orthodox icon. Generating pixels through the use of machine learning techniques, a relation has been established between the canonical structure
Since 2014, CPN has been continuously working on the formation of a sustainable network that brings together scientists and artists, encourages their cooperation and the development of joint projects. a+s+cpn selection is the result of constant reflection on collaboration models and forms of cooperation between professionals from all fields of science and art. Through this program, CPN encourages and supports collaboration, creating new connections, moving or erasing boundaries between disciplines. This year, the focus was on the development of transdisciplinary projects
Kristina’s intent to demystify artificial intelligence brings us a step closer to the mysticism of the Ortodox icon. Applying a statistical method to numerous variegated rules which make her choose side, she asserts that Ortodox icon cannot be reduced to them by any means. In fact, they represent particular iconography which calls for creative interpretation. The relationship of the original and a copy, crucially emphasised in regard to statistical multiplication, corresponds to the increase of causal necessity, which then leads to the decrease of complexity and collapse of original creativity. Inspiration