This book brings together history and theory in art and media to examine the effects of artificial intelligence and machine learning in culture, and reflects on the implications of delegating parts of the creative process to AI. In order to understand the complexity of authorship and originality in relation to creativity in contemporary times, Navas combines historical and theoretical premises from different areas of research in the arts, humanities, and social sciences to provide a rich historical and theoretical context that critically reflects on and questions the implications of artificial intelligence and machine learning as an integral part of creative production. As part of this, the book considers how much of postproduction and remix aesthetics in art and media preceded the current rise of metacreativity in relation to artificial intelligence and machine learning, and explores contemporary questions on aesthetics. The book also provides a thorough evaluation of the creative application of systematic approaches to art and media production, and how this in effect percolates across disciplines including art, design, communication, as well as other fields in the humanities and social sciences. An essential read for students and scholars interested in understanding the increasing role of AI and machine learning in contemporary art and media, and their wider role in creative production across culture and society.

Despite the prevalence of video games set in or inspired by classical antiquity, the medium has to date remained markedly understudied in the disciplines of classics and ancient history, with the role of women in these video games especially neglected. Women in Classical Video Games seeks to address this imbalance as the first book-length work of scholarship to examine the depiction of women in video games set in classical antiquity. The volume surveys the history of women in these games and the range of figures presented from the 1980s to the modern day, alongside discussion of issues such as historical accuracy, authenticity, gender, sexuality, monstrosity, hegemony, race and ethnicity, and the use of tropes. A wide range of games of different types and modes are discussed, with particular attention paid to the Assassin's Creed franchise's 21st-century ventures into classical antiquity (first in Origins (2017), set in Hellenistic Egypt, and then in Odyssey (2018), set in classical Greece), which have caught the imagination not only of gamers, but also of academics, especially in relation to their accompanying educational Discovery Modes. The detailed case studies presented here form a compelling case for the indispensability of the medium to both reception studies and gender studies, and offer nuanced answers to such questions as how and why women are portrayed in the ways that they are.

The New Cinematic Weird argues that weird fiction is rising also in audiovisual culture. Presenting several detailed analyses of weird cinematic works, the book shows how the new cinematic weird is best understood as atmospheric worldings - affective intensities that suffuse the experience of the cinematic weird. The weird exists as an experiential field, an inflation of the world. These worldings disclose a variety of experiences. The book engagingly shows how creepy, unsettling, ominous, uneasy, and eerie atmospheres provide a way into the weird experience. This book is important to anyone interested in the audiovisual weird, cinematic atmospheres, how audiovisual media produce worlds, and how weird fiction challenges our conception of the way the world is.

Rejecting broad-brush definitions of post-revolutionary art, What People Do with Images provides a nuanced account of artistic practice in Iran and its diaspora during the first part of the twenty-first century. Careful attention is paid to the effects of shifts in internal Iranian politics; the influence of US elections, travel bans and sanctions; and global media sensationalism and Islamophobia. Drawing widely on critical theory from both cultural studies and anthropology, Mazyar Lotfalian details an ecosystem for artistic production, covering a range of media, from performance to installations and video art to films. Museum curators, it is suggested, have mistakenly struggled to fit these works into their traditional-modern-contemporary schema, and political commentators have mistakenly struggled to position them as resistance, opposition or counterculture to Islam or the Islamic Republic. Instead, the author argues that creative artworks neutralize such dichotomies, working around them, and playing a sophisticated game of testing and slowly shifting the boundaries of what is acceptable. They do so in part by neutralizing the boundaries of what is inside and outside the nation-state, travelling across the transnational circuits in which the domestic and diasporic arenas reshape each other. While this book offers the valuable opportunity to gain an understanding of the Iranian art scene, it also has a wider significance in asking more generally how identity politics is mediated by creative acts and images within transnational socio-political spheres.

en Lauschmann's work is informed by his interest in the earliest forms of magical entertainment and the latest technical innovations. In his largest solo exhibition to date, he explores the use of tools, techniques and systems to solve problems, with the aim of bypassing the tension between optimistic and sceptical attitudes towards technology. Startle Reaction uses Lauschmann's interest in automatons and cinema to play with the notion that we are capable of believing in things we know are false.

"Character Design Quarterly (CDQ) is a lively, creative magazine bringing inspiration, expert insights, and leading techniques from professional illustrators, artists, and character art enthusiasts worldwide. Each issue provides detailed tutorials on creating diverse characters, enabling you to explore the processes and decision making that go into creating amazing characters. Learn new ways to develop your own ideas, and discover from the artists what it is like to work for prolific animation studios such as Disney, Warner Bros., and DreamWorks. Among this issue's highlights are budding professional illustrator Amelia Bothe cover art featuring an exclusive animal character, and we go behind the scenes at London animation studio Blinkink. "

Throughout this book we discover what our idea of memory would be without the moving image. This thought provoking analysis examines how the medium has informed modern and contemporary models of memory. The book examines the ways in which cinematic optic procedures inform an understanding of memory processes. Critical to the reciprocity of mind and screen is forgetting and the problematic that it inscribes into memory and its relation to contested histories. Through a consideration of artworks (film/video and sound installation) by artists whose practice has consistently engaged with issues surrounding memory, amnesia and trauma, the book brings to bear neuro-psychological insight and its implication with the moving image (as both image and sound) to a consideration of the global landscape of memory and the politics of memory that inform them. The artists featured include Kerry Tribe, Shona Illingworth, Bill Fontana, Lutz Becker, Yervant Gianikian and Angela Ricci Lucchi, Harun Faorcki, and Eyal Sivan.

Videogames are firmly enmeshed in modern culture. Acknowledging the increasing cultural impact of this rapidly changing industry on artistic and creative practices, "Videogames and Art" features in-depth essays that offer an unparalleled overview of the field.
Together, the contributions position videogame art as an interdisciplinary mix of digital technologies and the traditional art forms. Of particular interest in this volume are machinima, game console artwork, politically oriented videogame art, and the production of digital art. This new and revised edition features an extended critical introduction from the editors and updated interviews with the foremost artists in the field. Rounding out the book is a critique of the commercial videogame industry comprising essays on the current quality and originality of videogames.

Technological advancements have influenced many fields of study, and the visual arts are no exception. With the development of new creative software and computer programs, artists and designers are free to create in a digital context, equipped with precision and efficiency. Analyzing Art, Culture, and Design in the Digital Age brings together a collection of chapters on the digital tools and processes impacting the fields of art and design, as well as related cultural experiences in the digital sphere. Including the latest scholarly research on the application of technology to the study, implementation, and culture of creative practice, this publication is an essential reference source for researchers, academicians, and professionals interested in the influence of technology on art, design, and culture. This publication features timely, research-based chapters discussing the connections between art and technology including, but not limited to, virtual art and design, the metaverse, 3D creative design environments, cultural communication, and creative social processes.

The book provides an open and integrated view of creativity in the 21st century, merging theories and case studies from design, psychology, sociology, computer science and human-computer interaction, while benefitting from a continuous dialogue within a network of experts in these fields. An exploratory journey guides the reader through the major social, human, and technological changes that influence human creative abilities, highlighting the fundamental factors that need to be stimulated for creative empowerment in the digital era. The book reflects on why and how design practice and design research should explore digital creativity, and promote the empowerment of creativity, presenting two flexible tools specifically developed to observe the influences on multiple level of human creativity in the digital transition, and understand their positive and negative effect on the creative design process. An overview of the main influences and opportunities collected by adopting the two tools are presented with guidelines to design actions to empower the process for innovation.

Emerging technologies enable a wide variety of creative expression, from music and video to innovations in visual art. These aesthetics, when properly explored, can enable enhanced communication between all kinds of people and cultures. The Handbook of Research on Digital Media and Creative Technologies considers the latest research in education, communication, and creative social expression using digital technologies. By exploring advances in art and culture across national and sociological borders, this handbook serves to provide artists, theorists, information communication specialists, and researchers with the tools they need to effectively disseminate their ideas across the digital plane.

The New Cinematic Weird argues that weird fiction is rising also in audiovisual culture. Presenting several detailed analyses of weird cinematic works, the book shows how the new cinematic weird is best understood as atmospheric worldings - affective intensities that suffuse the experience of the cinematic weird. The weird exists as an experiential field, an inflation of the world. These worldings disclose a variety of experiences. The book engagingly shows how creepy, unsettling, ominous, uneasy, and eerie atmospheres provide a way into the weird experience. This book is important to anyone interested in the audiovisual weird, cinematic atmospheres, how audiovisual media produce worlds, and how weird fiction challenges our conception of the way the world is.

This book brings together history and theory in art and media to examine the effects of artificial intelligence and machine learning in culture, and reflects on the implications of delegating parts of the creative process to AI. In order to understand the complexity of authorship and originality in relation to creativity in contemporary times, Navas combines historical and theoretical premises from different areas of research in the arts, humanities, and social sciences to provide a rich historical and theoretical context that critically reflects on and questions the implications of artificial intelligence and machine learning as an integral part of creative production. As part of this, the book considers how much of postproduction and remix aesthetics in art and media preceded the current rise of metacreativity in relation to artificial intelligence and machine learning, and explores contemporary questions on aesthetics. The book also provides a thorough evaluation of the creative application of systematic approaches to art and media production, and how this in effect percolates across disciplines including art, design, communication, as well as other fields in the humanities and social sciences. An essential read for students and scholars interested in understanding the increasing role of AI and machine learning in contemporary art and media, and their wider role in creative production across culture and society.