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Generative art made with algorithms has existed since the early days of computing in the 1960s. In recent years, a new strand of generative art has emerged: AI-generated art, which leverages the recent progress of artificial intelligence to create artworks. Unlike old-fashioned generative art, AI-generated art is not produced with an explicit set of programming instructions provided by human artists; instead, it involves training an algorithm on a dataset so that it can later produce artworks (images, music, or video clips) using its own internal parameters that have not been explicitly defined by a human. This process raises fascinating questions at the intersection of computer science, art history, and the philosophy of art. At a superficial level of analysis, AI-generated art seems to offload much of the creative impetus of art production to the machine, requiring minimal intervention from the artist. On closer inspection, however, it involves a novel process of curation at two key stages: upstream in the selection of the dataset on which the algorithm is trained, and downstream in the selection of the outputs that should qualify as artworks. Instead of replacing human artists with computers, AI-generated art can be understood as a new kind of collaboration between mind and machine, both of which contribute to the aesthetic value of the final artwork.

This seminar will bring together AI artists and philosophers to explore the significance of this new mode of art production. It will discuss the implications of AI-generated art for the definition of art, the nature of the relationship between artists and tools, the process of digital curation, and whether AI systems can be as creative as humans.

Event Speakers

• Sougwen Chung, artist and researcher
• Helena Sarin, visual artist
• Anne Spalter, digital mixed-media artist
• Katherine Thomson-Jones, Professor of Philosophy at Oberlin College
• Moderated by Raphaël Millière, Presidential Scholar in Society and Neuroscience at Columbia University

Event Information

Free and open to the public. Registration is required via Eventbrite. Registered attendees will receive an event link shortly before the seminar begins.

This event is hosted by the Presidential Scholars in Society and Neuroscience as part of the Seminars in Society and Neuroscience series.

The Center for Science and Society makes every reasonable effort to accommodate individuals with disabilities. If you require disability accommodations to attend a Center for Science and Society event, please contact us at scienceandsociety@columbia.edu or (212) 853-1612 at least 10 days in advance of the event. For more information, please visit the campus accessibility webpage.

Poets and singers in a number of medieval vernacular languages reached non-native audiences and inspired speakers of other languages to compose in theirs; and many imagined their compositions enjoying a universality similar to that of cosmopolitan languages like Latin and Arabic. An interesting rationalization of these aspirations can be discerned in a short verse narrative of a well-known episode in the youth of Alexander the Great, conqueror of India, together with his tutor, the philosopher Aristotle. Not only does it involve Greeks and Indians singing French songs and cosplaying French lovers, but the philosopher is induced to pretend to be a horse and then justifies his behavior as “natural,” with far-reaching implications which this talk will explore.

Sarah Kay is Professor Emerita in the Department of French Literature, Thought and Culture at New York University and Life Fellow at Girton College, University of Cambridge. In Spring 2023, she is Distinguished Visiting Scholar in the Columbia Society of Senior Scholars.

This talk is presented by the Columbia Maison Française, Society of Fellows and Heyman Center for the Humanities, The Society of Senior Scholars, the Department of Music, and Medieval and Renaissance Studies. 

María Lugones theorizes the notion of resistance in terms of the notion of “trespassing,” through which “active subjectivity” has the possibility of problematizing normative practices and redrawing maps of power. In this presentation, I highlight the importance of the aesthesic or the perceptual in Lugones’s view of resistance as developed before her turn to decolonial feminism. In doing so, I point to the manner in which this account of resistance is dependent on a sense of ambiguity inspired by the work of Gloria Anzaldúa. Moreover, I introduce a notion of aesthetic trespassing in connection to the perception of artworks that discloses the intimacy between the perceiver and the perceived.

Presented by the NYC Wittgenstein Workshop

If you will be visiting from outside the New School, email the workshop to inform the security desk.

Room 1101, 6 E 16th St, New York, NY 10003

“There’s no arguing about art” is manifestly false. Art is one of the best things to argue about. The question is why. In this public philosophy debate, Nick Riggle (University of San Diego), Nat Hansen (University of Reading), and Zed Adams (The New School) will face off on the question of why arguing about art matters. At stake are two very different conceptions of public life: a Millian liberal vision which encourages the appreciation of difference and an Emersonian perfectionist vision which aims to converge on a shared conception of the good.