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1
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Against (Intelligent) Machines? On Art in the Times of Artificial Intelligence

100%
Zawojski P.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
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2020
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vol. 112
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issue 5
109-121
2
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Ogrody Keplera – Ars Electronica 2020

86%
Myoo S.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2021
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vol. 29
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issue 38
283-287
EN
The article presents the content shown at the “Festival of Art, Science and Society - Ars Electronica 2020”, which is organized annually in Linz. The focus was on the awarded and distinguished artistic works, taking into account their interpretation and the workshop in which they were created. In the article are presented i.a. such works of art as computer animation, network art, artificial intelligence art, hybrid art or bioart, which was briefly interpreted in relation to the currently being developed technologies and social contexts that accompanies it. The text was written as a result of the author’s personal participation in the festival, which also allowed to take into account the differences between the festival held mostly by web, as it was in 2020, compared to the stationary participation in it, as it was in previous years.
3
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Między archiwum a bazą danych – o doświadczeniu sztuki nowych mediów

86%
Szykowna S.
Studia Europaea Gnesnensia
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2019
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issue 19
169-182
EN
The essential objective of this paper is to examine the category of archive from the perspective of new media, which transform the model of linear his-torical discourse into a new one, whereby it assumes the form of a database, enabling novel modes of indexing reality
4
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Maszynom (inteligentnym) wbrew? O sztuce w czasach sztucznej inteligencji

72%
Zawojski P.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
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2019
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vol. 104
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issue 1
53-66
EN
The article presents reflections regarding creative machines which use algorithmic principles to create, such as biological algorithms, generative designs, neural networks, learning systems and deep learning as well as robotic tools. One of the most distinctive examples of an artist that constructs autonomous machines capable of creating artistic artifacts is Patrick Tresset and his Paul. The discussion focuses on the recurring question: Is the position of the artist in the times of AI still reserved strictly for humans, or can artistic and aesthetic values be also attributed to works of creative machines?
5
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Wyjście z muzeum – sztuka mediów jako laboratorium rzeczywistości

72%
Szykowna S.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
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2019
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vol. 105
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issue 2
63-75
EN
This article offers an introduction to the complex area of media art laboratories which emerged along with the development of the art of new technologies. They came as a response to the need to search for new methods of cooperation that transgresses beyond disciplines, and to explore the potential of the previously impossible encounters of the world of art with the world of science. The art of new media has developed a completely different model of functioning in the world of art, enriching traditional exhibition practices which now include new educational and research formats. The primary aim of this text is to present a critical reflection on the role of contemporary media art laboratories. While analysing selected examples from the past, the author asks questions about the current challenges faced by art as a laboratory whose main task is to study reality and social relations, also in terms of contemporary culture and its technological aspects.
6
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Ars Electronica 2021 – A New Digital Deal

72%
Myoo S.
Studia Humanistyczne AGH
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2022
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vol. 21
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issue 3
77-84
EN
The review from Ars Electronica 2021 contains information on awarded and distinguished works of new media art, which are presented at the annual Ars Electronica Festival of Art, Science and Society organized in Linz. The festival gathers thousands of artists, interdisciplinary scientists, art theorists and critics from all over the world – it is the largest exhibition of this kind with conference presentations, gathering the latest examples of such art, for example as interactive art, GPS art, bio art, art of artificial intelligence and cyborgization or electronic music. The Ars Electronica Festival is also an opportunity to meet and exchange views between people developing or creating media theory, interested in cyberculture and electronic art. The latest technical developments are also presented here.
PL
Recenzja zawiera informacje dotyczące między innymi nagrodzonych i wyróżnionych prac z zakresu sztuki nowych mediów zaprezentowanych na Ars Electronica – Festiwalu Sztuki, Nauki i Społeczeństwa corocznie organizowanym w Linzu. Festiwal gromadzi tysiące artystów i artystek, interdyscyplinarnych naukowców, teoretyków sztuki i krytyków z całego świata – jest największą tego rodzaju wystawą wraz z konferencyjnymi wystąpieniami, gromadzącą najnowsze przykłady takiej sztuki, jak na przykład sztuka interaktywna, GPS art, bio art, sztuka sztucznej inteligencji i cyborgizacji lub muzyka elektroniczna. Festiwal Ars Electronica to również okazja do spotkań i wymiany poglądów pomiędzy osobami rozwijającymi lub tworzącymi teorię mediów, zainteresowanymi cyberkulturą i sztuką elektroniczną. Prezentowane są tu również najnowsze osiągnięcia techniczne.
7
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Cyfryzacja jako główny czynnik wpływu na nowe formy współczesnej sztuki a ich przynależność do kategorii kultury artystycznej

72%
Szczepaniak M.
Biuletyn Biblioteki Jagiellońskiej
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2018
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vol. 68
151-165
PL
Przedmiotem refleksji w niniejszym artykule jest eksplikacja oddziaływania procesu cyfryzacji na kształt współczesnej sztuki. Analiza koncentruje się wokół dyskusyjności kategoryzacji do dziedzin kultury artystycznej tych rodzajów działalności artystycznej, które wykształciły się w wyniku postępującej technologizacji życia społecznego. Dociekania badawcze obejmują dialog najnowszych technologii z rynkiem sztuki. Wynikająca z niego symbioza, w społeczeństwie konsumpcyjnym skutkuje demokratyzacją sztuki poprzez wysoką dostępność jej najnowszych postaci interaktywnych. Celem rozważań jest próba określenia roli i znaczenia medium w odniesieniu do nowych form uczestnictwa w kulturze, a także problem recepcji sztuki nowych mediów, wyrażony w analizie ich przynależności do kategorii klasycznie definiowanych dziedzin kultury artystycznej. Wnioski obejmują propozycję definiowania cyfryzacji z zachowaniem odrębności znaczeniowej terminu wobec pojęcia digitalizacji, jak również analiza relacji artysta – dzieło w warunkach kultury konwergencji.
EN
The subject of reflection in the paper is the impact of digitalization process on the overall shape of contemporary art. It focuses on the controversies concerning categorization into the fields of artistic culture of those types of artistic activity that have evolved as a result of the ongoing technologicalization of social life. The analysis considers also the dialogue between the latest technologies and the art market. The resulting symbiosis in the consumer society leads to democratization of art through high availability of its latest interactive forms. The author attempts to determine the role and significance of the medium in the new forms of participation in culture, as well as to shed light on the problem of reception of new media art, as revealed through analysis of their affiliation to classically defined fields of artistic expression. The conclusions include a suggestion that digitalization should be regarded as a term distinct from digitization, as well as comprehension of the artist-work relationship within the culture of convergence.
8
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U początków historii filmu interaktywnego (Jeffrey Shaw – Luc Courchesne – Grahame Weinbren)

72%
Kluszczyński R. W.
Postscriptum Polonistyczne
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2014
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issue 2(14)
251-259
EN
Interactive movies are a result of a dialogue between expanded cinema and the art of new media. First examples of this phenomenon were interactive film installations. Jeffrey Shaw, Luc Courchesne and Grahame Weinbren are among the precursors of this trend. Their works are fundamental to the history of interactive movies. Creations of the first two artists were of a visual and immersive character and their artistic projects resulted in creating the idea of interactive participants in film events and the concept of ‘panoramic dispositive’ as a sphere of interactive film experiences. Weinbren created a model of interactive film narration that was available in installation mode. The artists’ interactive film installations are both a continuation of previous artistic activities in the field of cinema as well as a transgression leading
9
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Art as a laboratory – Guy Ben-Ary’s work

62%
Szykowna S.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2019
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vol. 25
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issue 34
PL
Szykowna Sylwia, Art as a laboratory – Guy Ben-Ary’s work. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 115–124. ISSN 1731-450X. DOI 10.14746/i.2019.34.07. The present paper deals with the work of an Israeli artist, Guy Ben-Ary. His work is a prime example of artistic practice in the field of bio art. Bio art provokes critical thinking about the place and role of people in today’s world. The main purpose of the article is to describe changes in contemporary artistic practices within the framework of art as a laboratory, the aim of which is to study reality.
EN
Szykowna Sylwia, Art as a laboratory – Guy Ben-Ary’s work. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 115–124. ISSN 1731-450X. DOI 10.14746/i.2019.34.07. The present paper deals with the work of an Israeli artist, Guy Ben-Ary. His work is a prime example of artistic practice in the field of bio art. Bio art provokes critical thinking about the place and role of people in today’s world. The main purpose of the article is to describe changes in contemporary artistic practices within the framework of art as a laboratory, the aim of which is to study reality.  
10
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Avant-garde against avant-garde

58%
Kluszczyński R.
Art Inquiry. Recherches sur les arts
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2017
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vol. XIX (XXVIII)
33-43
EN
In this paper, new media art, which is fundamentally associated with technology and science, will be discussed as a contemporary form of artistic avant-garde. In my argument, I will focus on its connections to earlier manifestations of avant-garde mindsets and attitudes, that is, to historical avant-garde and neo-avant-garde. I will also address the role of the art world and its institutions in establishing their mutual relationships.
11
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Pomiędzy adaptacją a edukacją. Sztuka mediów jako wprowadzenie do technokultury

58%
Kluszczyński R. W.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
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2019
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vol. 105
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issue 2
12-21
EN
Next to its fundamental artistic and aesthetic properties and functions, perceived as entirely intrinsic and thus developed only through experience that it itself calls into existence, art also serves multiple social purposes. Among the latter, a set of interconnected cognitive, educational and adaptive roles seems to come to the foreground. This article discusses forms in which these functions manifest themselves along with their mutual relationships that may be observed in the field of progressive avant-garde art. It focuses on selected phenomena in the art of experimental cinema, analogue and digital synthesis, as well as contemporary artistic forms that use the techniques of augmented reality and biotechnology, producing a myriad of diversified hybrid constructs.
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