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Towards future routines of post-creative making?

Publikation: KonferencebidragPaperForskning

Standard

Towards future routines of post-creative making? / Stephensen, Jan Løhmann.

2018. Paper præsenteret ved Appropriating technologies, København, Danmark.

Publikation: KonferencebidragPaperForskning

Harvard

Stephensen, JL 2018, 'Towards future routines of post-creative making?', Paper fremlagt ved Appropriating technologies, København, Danmark, 24/09/2018 - 25/09/2018.

APA

Stephensen, J. L. (2018). Towards future routines of post-creative making?. Paper præsenteret ved Appropriating technologies, København, Danmark.

CBE

Stephensen JL. 2018. Towards future routines of post-creative making?. Paper præsenteret ved Appropriating technologies, København, Danmark.

MLA

Stephensen, Jan Løhmann Towards future routines of post-creative making?. Appropriating technologies, 24 sep. 2018, København, Danmark, Paper, 2018.

Vancouver

Stephensen JL. Towards future routines of post-creative making?. 2018. Paper præsenteret ved Appropriating technologies, København, Danmark.

Author

Stephensen, Jan Løhmann. / Towards future routines of post-creative making?. Paper præsenteret ved Appropriating technologies, København, Danmark.

Bibtex

@conference{116db515b0954325b254aa1833277df9,
title = "Towards future routines of post-creative making?",
abstract = "In discussions on AI, the emerging experimental subfield of artificial creativity—that is, acts of creativity performed (semi-)autonomously by algorithmic/software robots—poses a particular set of problems. First of all, the prospect of a robotic/algorithmic creativity relatively independent of human intervention fundamentally conflicts with the anthropocentric ways in which we have historically invented {\textquoteleft}creativity{\textquoteright}; as something uniquely and quintessentially human. Secondly, while recognisability and predictability are parameters that are usually held as vital for the success of robots that in some way or the other are to be enmeshed in a future sociality comprised of Men and Machines, our expectations of what constitutes something we might label 'creative{\textquoteright} deeply hinges upon the exact opposite, namely: an imperative of unpredictability and the somewhat unrecognisable (cf. reigning {\textquoteleft}creativity standards' of openness, originality, newness, surprise, unconventionality, even the exceptional). Ideas, that are not just being celebrated within pedagogy and psychology (as a means to self-actualisation, etc.) but also as part of a global political economy of invention and (creative) disruption. This paper will engage with the question how we might reinvent {\textquoteleft}invention{\textquoteright}, recreate {\textquoteleft}creativity{\textquoteright}. How could we accommodate for a potential artificial creativity, and how can it become routinised both in our thinking and doing/making? Various anthropologies, sociologies and philosophies of technology, materiality, things and stuff (cf. Ingold, Latour, Verbeek, Bennett, Marres, Boscaglia, etc.) have given us a fairly apt vocabulary for conceptualising these various human-technology entanglements and the (quasi-)agency of our nonhuman tools and milieus. Drawing on these theories, this paper will examine the Flow Machines-project, an AI-research project on popular music composition, which has recently released the album “HelloWorld” under the alias SKYGGE. We will look at its affordances, its actual outcomes (creative products) as well as the discursive framing that seeks to position it in relation to both an anthropocentric creativity and a future post-(anthropocentric) creativity, theoretically and in practice.",
author = "Stephensen, {Jan L{\o}hmann}",
year = "2018",
month = sep,
day = "25",
language = "English",
note = "null ; Conference date: 24-09-2018 Through 25-09-2018",
url = "https://www.antech.aau.dk/Events/2nd+Seminar/",

}

RIS

TY - CONF

T1 - Towards future routines of post-creative making?

AU - Stephensen, Jan Løhmann

N1 - Conference code: 2

PY - 2018/9/25

Y1 - 2018/9/25

N2 - In discussions on AI, the emerging experimental subfield of artificial creativity—that is, acts of creativity performed (semi-)autonomously by algorithmic/software robots—poses a particular set of problems. First of all, the prospect of a robotic/algorithmic creativity relatively independent of human intervention fundamentally conflicts with the anthropocentric ways in which we have historically invented ‘creativity’; as something uniquely and quintessentially human. Secondly, while recognisability and predictability are parameters that are usually held as vital for the success of robots that in some way or the other are to be enmeshed in a future sociality comprised of Men and Machines, our expectations of what constitutes something we might label 'creative’ deeply hinges upon the exact opposite, namely: an imperative of unpredictability and the somewhat unrecognisable (cf. reigning ‘creativity standards' of openness, originality, newness, surprise, unconventionality, even the exceptional). Ideas, that are not just being celebrated within pedagogy and psychology (as a means to self-actualisation, etc.) but also as part of a global political economy of invention and (creative) disruption. This paper will engage with the question how we might reinvent ‘invention’, recreate ‘creativity’. How could we accommodate for a potential artificial creativity, and how can it become routinised both in our thinking and doing/making? Various anthropologies, sociologies and philosophies of technology, materiality, things and stuff (cf. Ingold, Latour, Verbeek, Bennett, Marres, Boscaglia, etc.) have given us a fairly apt vocabulary for conceptualising these various human-technology entanglements and the (quasi-)agency of our nonhuman tools and milieus. Drawing on these theories, this paper will examine the Flow Machines-project, an AI-research project on popular music composition, which has recently released the album “HelloWorld” under the alias SKYGGE. We will look at its affordances, its actual outcomes (creative products) as well as the discursive framing that seeks to position it in relation to both an anthropocentric creativity and a future post-(anthropocentric) creativity, theoretically and in practice.

AB - In discussions on AI, the emerging experimental subfield of artificial creativity—that is, acts of creativity performed (semi-)autonomously by algorithmic/software robots—poses a particular set of problems. First of all, the prospect of a robotic/algorithmic creativity relatively independent of human intervention fundamentally conflicts with the anthropocentric ways in which we have historically invented ‘creativity’; as something uniquely and quintessentially human. Secondly, while recognisability and predictability are parameters that are usually held as vital for the success of robots that in some way or the other are to be enmeshed in a future sociality comprised of Men and Machines, our expectations of what constitutes something we might label 'creative’ deeply hinges upon the exact opposite, namely: an imperative of unpredictability and the somewhat unrecognisable (cf. reigning ‘creativity standards' of openness, originality, newness, surprise, unconventionality, even the exceptional). Ideas, that are not just being celebrated within pedagogy and psychology (as a means to self-actualisation, etc.) but also as part of a global political economy of invention and (creative) disruption. This paper will engage with the question how we might reinvent ‘invention’, recreate ‘creativity’. How could we accommodate for a potential artificial creativity, and how can it become routinised both in our thinking and doing/making? Various anthropologies, sociologies and philosophies of technology, materiality, things and stuff (cf. Ingold, Latour, Verbeek, Bennett, Marres, Boscaglia, etc.) have given us a fairly apt vocabulary for conceptualising these various human-technology entanglements and the (quasi-)agency of our nonhuman tools and milieus. Drawing on these theories, this paper will examine the Flow Machines-project, an AI-research project on popular music composition, which has recently released the album “HelloWorld” under the alias SKYGGE. We will look at its affordances, its actual outcomes (creative products) as well as the discursive framing that seeks to position it in relation to both an anthropocentric creativity and a future post-(anthropocentric) creativity, theoretically and in practice.

UR - https://www.conferencemanager.dk/AppropriatingTechnologies/program.html

M3 - Paper

Y2 - 24 September 2018 through 25 September 2018

ER -