Artists & Projects

Work in progress — feel free to add your contributions via the comments section below

>> hover your cursor over the keywords to access the links <<

MORE PROJECTS WILL BE ADDED AND THEMATICALLY ORGANIZED SOON!

Artistic and Cinematic A.I. Projects

#Interactive #Expanded_Cinema

1960s+ computer films by experimental and Expanded Cinema artists including: Stan VanDerBeek, the Vasulkas, and (briefly) Nam June Paik, in collaboration with computer engineers and computer graphics pioneers like Ken Knowlton (Bell Labs).

Lynn Hershman Leeson’s “Deep Contact” (1984), “Agent Ruby’s EDream Portal” (2002) and “DiNa, Artificial Intelligent Agent” (2004) and more interactive installations and films on https://www.lynnhershman.com/project/artificial-intelligence/ and https://www.lynnhershman.com/

Toni Dove’s “Artificial Changelings” (1998), “Spectropia” (2001), “The Dress that Eats Souls” (2017) and more interactive projects on https://tonidove.com/

Paul Vanouse’s “Labor” (2019), “Suspect Inversion Center”(2011) and more interactive installations on https://www.paulvanouse.com/electart.html

Lev Manovich and Andreas Kratky’s “Soft Cinema: Navigating the Database” (2005)- a computer-driven, software data-based real-time cinematic storytelling project.

Michael Mateas and Andrew Stern’s “Façade” (2005)- AI-based interactive story/game that invites the users to actively engage in storytelling. Accessible and downloadable here.

Sandra Gaudenzi’s “Digital Me” (2015)- an interactive experiment of creating live dialogue between the users and their digital personas using their social media contents.

Guy Maddin, Evan and Galen Johnson and National Film Board of Canada, “Seances” (2016) – an A.I generated ephemeral film experience created by remixing lost films.

“Sunspring” (2016)-a short film written by Benjamin A.I.

Terence Broad’s “Blade Runner-Autoencoded” (2016)- auto-encoded rendition of Blade Runner (1982) with which the viewer is challenged to identity the original film within the AI’s recreation.

Ridley Scott’s conversation with IBM Watson (2016)

Columbia University’s Digital Storytelling Lab’s “Frankenstein AI” (2018)- “Frankenstein AI: A Monster Made by Many” is a multiyear project that invites the public to participate in a series of active conversation and exploration around A.I, placing human interaction and emotional data at the center of its creation.

Scriptbook- AI script analysis tool https://www.scriptbook.io/#!/

Bram Loogman and Pablo Nuñez Palma Jan Bot (2018), “the first filmmaking bot hired by the EYE Filmmuseum to make short videos from a 100-year old film archive, taking inspiration from today’s trending topics”

Zach Blas’s “The Doors” (2019)- the first of Blas’s “Silicon Traces” trilogy, a multimedia installation series that critiques “the beliefs, fantasies, and histories influential to Silicon Valley’s visions of the future,” which features an AI-driven videos and soundtracks. See also, among others, Blas’s “576 Tears.”

Phillip Schmitt’s “Sympoietic System” (2020) curated in Harvard’s metaLab’s “Curatorial A[i]gent” exhibition

Andrew Demirjian’s short film “Recalibrating” (2021) curated in “Further Experiments in Art and Technology” https://furtherexperiments.rhizome.org/

Mark Ramos and Ziyang Wu’s “Networked Ecosystem” (2021) curated in “Further Experiments in Art and Technology” https://furtherexperiments.rhizome.org/

Ágoston Nagy’s “Songlines” curated in “Generative Unfoldings” (2020).

Young Joo Lee’s “Lizardians” (2021), three-channel 3D animation film that depicts the lives of a near future biocapitalist factory where conflict arises between protagonists from different classes as they question the value of labor, creativity, agency, and authorship. 

Sanglim Han’s “Shape Shifting AI” (2018). For more of the artist’s work on BioArt, click here.

An Jungju and Jun Sojung’s “The Ghost in the Machine” (2021) curated in MMCA Seoul’s “Multiverse” exhibition.

Xu Bing’s “Dragonfly Eyes” (2017), experimental documentary film composed of surveillance footages from China to create a fictional mystery narrative https://www.imdb.com/title/tt6576482/ trailer: https://www.youtube.com/watch?v=xolMHbI4JeY&ab_channel=SingaporeInternationalFilmFestival

Harmony Korine’s “Aggro Dr1ft” (2023), a film that collaborated with an AI program, Stable Diffusion, to create the visuals. https://www.gq.com/story/harmony-korine-lord-of-the-edge

Christopher Kulendran Thomas’s film/art installation “Being Human” (2019). Related article by Evan Moffitt: https://eyebeam.org/get-real/

Films created with AI:

The artists of the Interreality exhibition:

Refik Anadol | Aya | Connie Bakshi | Bradley Bell | Ana Maria Caballero | Daniel Canogar | Susan Chen | Parker Day | Mark Flood | Claudia Hart | Auriea Harvey | Tyler Hobbs | Luna Ikuta | JPW3 | Jiayu Liu | Rafael Lozano-Hemmer | LaJuné MacMillian | Maya Man | Mieke Marple | Manfred Mohr | Amor Muñoz | OONA | Cindy Phenix | Lindsey Price | Ellie Pritts | Casey Reas | Adam Parker Smith | Jen Stark | Sasha Stiles | Alida Sun | David Surman | Siebren Versteeg | WAAMBAT | Christine Tien Wang | Yuge Zhou

The artists of the CCCB AI: Artificial Intelligence exhibition:

Universal Everything, Robert del Naja (Massive Attack), Anna Ridler, Memo Akten, Mario Klingemann, Jake Elwes, Justine Emard, Steve Goodman (Kode 9), Espronceda, Eduard Escoffet and Maria Arnal, as well as research and innovation centres such as the BSC-NCS, Axolot.cat, the Music Technology Group at the UPF, the IIIA-CSIC, the CVC and the MIT.

The artists of the AI Hokusai ArtTech Research Project:

#Histories #Identities #Communities #Activism

“The Incredible Machine” (1968) by Bell Telephone Laboratories, a short film that documents its contemporary computer technology and predicts the future advancement of digital technology.

Paul Vanouse’s “The Consensual Fantasy Machine” (1996), “Terminal Time” (1999-2000) and more https://www.paulvanouse.com/electart.html

Stephanie Dinkins’s “Not the Only One” (2018)- An evolving A.I engine that creates a new interactive artificially intelligent narrative of the people who are underrepresented in the tech sector.

Caroline Sinders’s A.I. art projects including, “Feminist Dataset” (2017), “TRK (Technically Responsible Knowledge)” (2020), “How to Explain a Hurricane to an Algorithm”(2005) and “CAre B0t” (2019)

Mary Flanagan’s “[Grace: AI]-Origin Story” (2019). [Grace: AI] employs a Deep Convolutional General Adversarial Network and is trained to “see” from a dataset that the artist continue to create that contains tens of thousands of paintings and drawings by women artists of Mary Shelly’s Frankenstein.

“In Event of Moon Disaster” (2020)-an immersive art project that uses deep fake technologies to reimagine the alternative history of the 1969 Moon landing. Directed by Francesca Panetta and Halsey Burgund.

Kite’s “Seeing is Beliebving” (2020)- utilizes machine learning applications for the generation and manipulation of video, sound, and text, examining the intersections between international Indigenous communities, extracted materials, and colonial nuclear obsession

Behnaz Farahi’s “Can the Subaltern Speak” (2020)- interactive 3D video/installation of two AI masks developing their own language, inspired by Gayatri Spivak’s seminal essay of the same title and the historical masks that the Bandari women of southern Iran wore to protect themselves from the colonizers’ gaze.

Arwa Mboya’s “Someone Tell the Boyz” curated in “Generative Unfolding” (2020). Explore more of her work here.

“The Zizi Show” (2021)- a virtual cabaret show created by Jake Elwes in collaboration with a community of drag artists

“Search Atlas” (2021) by Rodrigo Ochigame and Katherine Ye. A new search tool paired with visualizations that enable users to see and cross “information borders” online.

“Mitorix” (2021) by Nahee Kim (link coming up soon). A multimedia research and installation project that imagines a network of forgotten and silenced female cyborgs.

“Climate Clock” by Human Impact Lab. A real time clock that tracks the time left before reaching the 1.5 degree celsius increase in the global temperature average promised by the Paris Agreement.

“Crypto, Art and Climate” (2023) exhibition and photos.

“Sandy Speaks” (2016) by American Artist. Sandy Speaks is an online chatbot inspired by the legacy of Sandra Bland, a 28-year-old African American woman who was found dead in a jail cell in Texas in 2015, 3 days after being arrested for a minor traffic violation.

The exhibiting artists from the What Models Make Worlds exhibition (2023): Algorithmic Justice League, Morehshin Allahyari, Andrew Demirjian and Dahlia Elsayed, Stephanie Dinkins, Aroussiak Gabrielian, Maya Indira Ganesh with Design Beku, Kite, Lauren Lee McCarthy, Mimi Ọnụọha, Niama Safia Sandy, Caroline Sinders, Astria Suparak, Mandy Harris Williams, and Kira Xonorika.

Efraín Rozas, “Myth and Prosthesis I: Do Robots Have Culture?” exhibition

The artists of the “Fluid Identity” Media Art Salon

Emanuele Morelli’s fast fashion AI critique https://www.linkedin.com/in/emanuele-morelli-701101184/

#Deepfake #Machine_Learning #EXPERIMENTALAI #Coding #Software #history

Harold Cohen’s decades-long collaboration AARON (1972-2016), a computer program created to produce art autonomously.

Of course, we have to mention Joseph Weizenbaum’s MIT-born chatbox ELIZA

Stephanie Dinkins’s “Conversation with Bina48” (2014)- an art project that questions the possibility of human-robot friendship over time.

Ridley Scott’s conversation with IBM Watson (2016)

The Next Rembrandt (2016) A collaborative art project between ING and Microsoft in creating a 3D painting of Rembrandt’s next male portrait using the data collected from his works.

Carla Gannis’s “Lady Ava Interface” (2016)- an A.I entity who “dwells” in the Whitney Museum of American Arts website and counters/contradicts the common expectations for A.I assistants. More on https://carlagannis.com/blog/artificialintelligence/

Pinar Yanardag, Manuel Cebrian, Nick Obradovich, Iyad Rahwan’s “Nightmare Machine” (2016)- an A.I-driven project that questions, “can machines learn to scare us?”

Kristin Stewart’s “Code Swim” (2017), a short film that uses Neural Style Transfer technology. For more reading on the project, click here.

Leonel Moura’s collaboration with the Bebots (2017-2019) to create drawings.

Ian Cheng’s “BOB (Bag of Beliefs)”– an A.I creature that evolves across exhibitions as its mind, body, and personality learns the stream of life’s surprises. “BOB” has been evolving since 2018.

Zach Blas’s “Icosahedron” (2019) – “an artificially intelligent crystal ball that predicts the future of prediction.”

Anna Ridler’s “Bloemenveiling” (2019)- an auction for tulip images created by an A.I. Ridler has been working on artistic projects that critique technology’s relationship to economic values. More on http://annaridler.com/works

Haru Ji and Graham Wakefield’s “Infranet: NYC” (2019)- a generative AI art work installation that uses real-time open city data to create a new spacetime.

Nettrice Gaskins’ generative artworks with algorithms, “Deep Dream” (2018) being the most recent work.

The Kissinger Twin’s A.I. Instagram personality Anna in “Portal Diaries” (2020)

Alexander Mordvintsev’s “Hexells” (2020) and “DeepDream”

Juan Manuel Escalante’s “P.S.A.A (Post Surveillance Alternative Atlas)”

“In Event of Moon Disaster” (2020)- -an immersive art project that uses deep fake technologies to reimagine the alternative history of the 1969 Moon landing.

“Beyond Verification: Authenticity and Spread of Mis/Information” from Simon Fraser University Digital Democracies Institute- a research project using bots to learn and produce news in order to critique how bots can grow biased through its learning process.

Living Lab Breda’s “Algorithmic Perfumery”, a customized scent creation using machine learning.

“Metahuman Creator” (2021) project- a new cloud-streamed application/tool that allows anyone to create “hyper-realistic” digital humans

Yatharths’s A.I projects, including “Leonardo” (2017), and publications.

Fei Liu’s short film “Passing” (2021) curated in “Further Experiments in Art and Technology” https://furtherexperiments.rhizome.org/

Sarah Rothberg’s “BEING IN REAL-TIME (or: SEEING LIKE A MACHINE / A MACHINE SEEING LIKE ME)” (2021) curated in “Further Experiments in Art and Technology” https://furtherexperiments.rhizome.org/

“Concrete” by Matt DesLauriers curated in “Generative Unfoldings” (2021)

“Seedlings_: From Humus” by Qianxun Chen and Mariana Roa Olivia curated in “Generative Unfoldings” (2021)

Todd Holoubek’s “Embodiment”, a series of portraits produced by a machine learning algorithm that creates images of artificial faces out of events/experiences.

Lance Weiler’s “Project Immerse” (2021), deep fake thriller episodes co-created by an AI. The project is collaboration between Columbia University School of Arts’ Digital Storytelling Lab and Andrew Saltzman Institute of War & Peace, Teacher’s College Creative Technology Program.

Motto : A unique experience that defies categorization. Check out a behind the scenes look via MIT’s Docubase.

Tyler Liu’s “Ideological War of GAN”, a digital art project hat explores expressive and activist potential of AI. Check out the YouTube video for visualization. https://www.youtube.com/watch?v=dTLSaC9INQQ

“Algorithmic Sea” by Sarah Schorr, Gabriel Pereira and Vamoos. Online and offline installation that explores and challenges the sociotechnical perception of color.

“Exchanges w/ Turkers” a curated repository of online interaction with Turkers

“Recoding Art” (2019) by Bruno Moreschi. (password: recoding) A short documentary based on Bruno Moreschi and Gabriel Pereira’s research presented in AI Society journal here. The research offers a new way of doing institutional critique by uncovering glitches in AI’s reading of various art objects.

“Pharmako-AI” (2021), the first book to be co-written with the emergent AI, GPT-3.

“Mappa Mundi: An Interactive Artistic Map Generator with A.I” by Qiu Zhijie and He Xiaodong. An interactive, multi-level mind map with corresponding graphics generated via an LSTM model to form an artistic image based on live stimuli, injected with AI imagination.

“Evolution of AI” (2021), The Kissinger Twin’s short film commissioned by The EU Commission DG Connect depicts the origin and history of AI expressed by modern dance. 

“Deepfakery”, Witness Media Lab’s critical conversation series on exploring the intersection of satire, art, human rights, disinformation, and journalism. Check out Witness Media Lab’s website here.

“Welcome to Chechnya” (2020) a documentary film about the ongoing anti-LGBTQ purge happening in Russia, which used an advanced AI facial replacement technique to protect the identities of the interviewees.

“Another Body” (2023) a documentary on the ethical implications of using deepfake technology (especially related to pornography).

“Seeking Mavis Beacon” (2024) a hybrid docufiction on one of the first digital black women in the history of AI and virtual representation.

#VR #AR #Immersive

“Stealing Ur Feelings” (2019)- Noah Levinson & the Mozilla foundation’s augmented reality project revealing how algorithms from social media apps collect data about the users’ emotions.

Stephanie Dinkins’ “Secret Garden”(2020)- an immersive experience/installation that explores the past, present and future of black female consciousness through the combination of audio vignettes and immersive images (Official selection of 2020 Sundance Film Festival’s New Frontier program).

“Agence”(2020)- a short “dynamic” VR film that never repeats itself as each viewer interacts with the little “agents”. Created by Pietro Gagliano and Transitional Forms group (Official selection of 2020 Venice Film Festival).

Matthew Ritchie’s multipart transmedia project “Invisible College” (2020-21) including VR, AR, and video installation.

Dorian Goto Stone’s “Geimu” (2020)- a short VR film where the main characters hack their gaming console and an AI device to enter into a virtual RPG game set in medieval Japan.

Light in the Head’s production of “Tulpamancer” (2023), which uses open-source AI tools to create a virtual reality installation based on individual viewer’s memories and dreams.

Carla Gannis’ virtual “WWWUNDERKAMMER” curation at the Pérez Art Museum in Miami (ongoing)

Sandra Rodriguez’s “Chom5ky vs. Chomsky” (2023), a multi-user interactive VR installation that allows the audience to converse with an AI model based on the “digital traces” of philosopher and linguist Noam Chomsky.

#ANTHROPOCENE #ECO-SYSTEMS #OBJECT-ORIENTED ECOLOGIES

Feral Atlas: The More-Than-Human Anthropocene

Katja Novitskova’s “IF ONLY YOU COULD SEE WHAT I’VE SEEN WITH YOUR EYES” (2017), installation project that explores the expanded domain of seeing when the action of seeing and representing what one sees have been assumed by both human and non-human agents.

Pierre Huyghe’s “UUmwelt” (2018) exhibition at the Serpentine gallery- a continuous audiovisual translation of human-machine conversations on a given set of images. This AI art project challenges the hierarchy among humans, machines, and animals to create a more collaborative art space in re/creating images in the gallery. For the artist’s talk, click here.

Jenna Sutela’s “Nimiia Cétiï” (2018) uses AI as a medium to communicate messages from Bacillus subtillis nattō bacteria.

Moon Kyung Won and Jeon Junho’s “Seoul Weather Station” (2022).

Microscope Gallery’s “Seeing With No Eyes” event featuring multiple AI video artists listed below (2022).

Max Schleser, Mel 23.55 (2024)

An ongoing list of artists and collectives who work with AI tools and aesthetics

NEW LINKS — UNORGANIZED:

*Note: I decided to put all the links I have here until I have more time to organize them, so that they are at least in the database and somewhat searchable. Since the inception of ExpressiveAI.net, generative art & AI have become almost ubiquitous, and it’s been challenging to keep up! ExpressiveAI.net began as a multimedia project and virtual event space to historicize AI and algorithmic art practices, and that foundation is still there and still expanding. As for more recent projects, we are doing our best to curate a diverse selection, and are always open to crowdsourcing and contributions!

Header image: Anne Fehres and Luke Conroy & AI4Media / https://betterimagesofai.org / https://creativecommons.org/licenses/by/4.0/ | Alt text: Collage depicting human-AI collaboration in content moderation. Multiple arms, screens, computer cursors and eyes highlight the extensive human labor involved.| Description: This image highlights the role of human labour, rather than AI, in maintaining ‘appropriate’ virtual experiences. Societal imagination of AI is fueled by fantasy more than reality – there is a deliberate strategy for when to and when not to reveal the human labour within AI systems. The role of the ‘content moderator’ is often overlooked and assumed to be an automated system. There is a blurring between human and technical achievement. Content moderators are doing a lot of ‘heavy lifting’ in this loop. Their eyes are scanning the screens, to ensure the content we encounter is appropriate. The repetition of the eyes speaks to the scale of this labour and their anonymity. The orange witches’ hats are a reference to the boundaries they help construct, guiding the user ‘safely’ through virtual spaces. AI4Media https://www.ai4media.eu/ funded this commission, which was made possible with funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 951911. Creative direction by AIxDESIGN – aixdesign.co

Leave a comment