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<p>This text interrogates the theory and practice of AI as an artistic material through close analysis of an exhibition themed around human health and disability. Highlighting the project <i>Art Beyond Humanity: AI x Human Collaborations</i> (2023), this analysis explores three key questions regarding the (1) social and ethical impact of GenAI tools on artistic labor, (2) the relational process of co-creation between humans and algorithms, and (3) the aesthetic&#xa0;potential of AI as a creative medium. Led by curator Melanie Wilmink, mathematician Eric Dolores Cuenca, and artist/health advocate Justus Harris, alongside students from Yonsei and Woosong Universities in South Korea, the project used research-creation methodologies to provoke ethical questions about copyright, access to corporately controlled systems, and artistic tactics for production. In this paper, concerns about GenAI impacts on artistic labor are contextualized by art historical precedent and discussion about the limitations of algorithmic creativity. Subsequent sections articulate GenAI images as an assemblage of human and machine perception that embed bias but also hold the potential to draw attention to social issues, while outlining the techniques that artists can use to manipulate GenAI outputs. This can occur through code and database training, but also through the shaping of text prompts since GenAI images are imbricated with language. By exploring how GenAI produces images—as both material and conceptual—artists have the power to generate critical discourse about the social and the ethical impacts of these new technologies in the world.</p>

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Art Beyond Humanity: exploring the human through machine creation

  • 期刊论文

  • 发表日期：

    2025年5月17日

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  • Melanie Wilmink

摘要

This text interrogates the theory and practice of AI as an artistic material through close analysis of an exhibition themed around human health and disability. Highlighting the project Art Beyond Humanity: AI x Human Collaborations (2023), this analysis explores three key questions regarding the (1) social and ethical impact of GenAI tools on artistic labor, (2) the relational process of co-creation between humans and algorithms, and (3) the aesthetic potential of AI as a creative medium. Led by curator Melanie Wilmink, mathematician Eric Dolores Cuenca, and artist/health advocate Justus Harris, alongside students from Yonsei and Woosong Universities in South Korea, the project used research-creation methodologies to provoke ethical questions about copyright, access to corporately controlled systems, and artistic tactics for production. In this paper, concerns about GenAI impacts on artistic labor are contextualized by art historical precedent and discussion about the limitations of algorithmic creativity. Subsequent sections articulate GenAI images as an assemblage of human and machine perception that embed bias but also hold the potential to draw attention to social issues, while outlining the techniques that artists can use to manipulate GenAI outputs. This can occur through code and database training, but also through the shaping of text prompts since GenAI images are imbricated with language. By exploring how GenAI produces images—as both material and conceptual—artists have the power to generate critical discourse about the social and the ethical impacts of these new technologies in the world.