Practice and Reflection


You must sign in to view content.

Sign In

Sign In

Sign Up

What's the Matter? : On the Materiality and Mediality of Data and Algorithms in Artistic Practices

Paper Presentation in a Themed Session
Juliane Koglin  

Complex data-driven algorithmic systems such as AI are deeply embedded in contemporary culture (Seaver 2017; Seyfert & Roberge 2017; Stalder 2017), for example in the curation of individual social media feeds or personal playlists based on the analysis of vast quantities of unstructured data. Conversely, they exert a direct influence on cultural production (Seaver 2022). This study is dedicated to examining the connection between AI and art. This field is facing a number of challenges, both in terms of concepts such as authorship, intentionality or creativity, as well as in terms of changing conventions of representation and perception in terms of aesthetics (Manovich & Arielli 2024). This submission provides insights into a PhD project that focuses on subjectivation in the context of AI and art (Ahlborn 2020, 2023, 2024). The research design is based on an ethnographic approach (Christin 2020) and draws inspiration from the field of workplace studies (Schmidt 2008), which focuses on the prevailing technological and material conditions. Thus the question arises as to which algorithmic models are used and what role data plays in the development and design of AI art. Furthermore, to what extent can a materiality be ascribed to such systems? To answer these questions, the submission draws on empirical material in the form of detailed workplace descriptions, observation protocols and interview material with a total of 12 artists and creative technologists. The aim is to provide an answer to the question of changing material and medial conditions of complex data-driven algorithmic systems (Bajohr 2022).

What It Means for Art to be AI-Mediated: The Role of AI in (Digital) Art

Paper Presentation in a Themed Session
Michiel Willems  

The digital art world is undergoing a profound transformation due to the advent of new technologies, with AI at the vanguard of this shift. This paper examines the potential of a revised "rhizome" of digital art, which includes AI-mediated art, and how AI can serve as both a tool and a collaborative partner in the creative process. In the context of digital art, the term "rhizome" is used to describe a decentralized and non-hierarchical structure where different components of the creative process are interconnected in complex and fluid ways. The introduction of AI enables this rhizome to expand into a dynamic entanglement of digital elements that are in a state of constant evolution and intersection, thereby fostering new creative possibilities. As AI continues to develop, it enables artists to explore novel forms of expression, engage in real-time collaboration with algorithms, and challenge traditional notions of authorship and creativity. The present paper seeks to address two inquiries by employing the oeuvre of six contemporary artists as case studies: first, why this rhizome will become an increasingly intricate network of the digital, and second, what it means for art to be AI-mediated. In examining these questions, the paper contemplates the ways in which AI can not only enhance artistic procedures but also alter the fundamental essence of artmaking, propelling the frontiers of creativity in a collaborative and generative manner. By incorporating AI, art attains a novel phase where technology and creativity are profoundly intertwined, engendering a more nuanced and intricate creative milieu.

Recontextualising Chinese Peasant Painting in Contemporary China: Media Platforms and Political Visual Culture View Digital Media

Paper Presentation in a Themed Session
Lin Zhou  

This research investigates the recontextualisation of Chinese Peasant Painting (CPP) within the landscape of contemporary political communication in China. Originating in the 1950s, CPP is a form of folk art created by rural artists, traditionally centred on agricultural and rural life. Initially promoted as a tool of state propaganda, CPP later underwent a process of depoliticisation, shifting towards representations of folk traditions and rural aesthetics. Since the commencement of Xi Jinping’s leadership in 2012, CPP has been reintegrated into the state propaganda system. Selected works are used in political propaganda posters promoting state narratives such as the “Chinese Dream,” widely circulated across media platforms including airports, metro stations, bus stops, and village walls. CPP has also been mobilised in broader state-led campaigns, including Party congresses, social governance, and anti-corruption initiatives. This study adopts semiotic and discourse analysis to critically examine the recontextualisation of symbols in CPP within contemporary political communication. It focuses on how traditional folk symbols are inherited and reconfigured to serve as a medium for conveying political ideology in contemporary China. Overall, CPP, when appropriated for propaganda purposes, retains the symbolism of traditional Chinese culture while reinforcing national narratives such as the “Chinese Dream.” This recontextualisation blurs the boundaries between folk aesthetics and official discourse, enhancing the accessibility and communicative power of political messages. It highlights the cultural significance and media function of CPP in China’s mainstream political and cultural landscape.

Digital Media

Discussion board not yet opened and is only available to registered participants.