The integration of AI, particularly deep learning, has significantly altered the landscape of photography, offering tools that redefine workflows and expand creative horizons. AI enables photographers to create new images and manipulate existing ones, thereby pushing the boundaries of artistic expression. However, this capability also raises concerns about the blurring of lines between authorship and originality. This research investigates AI's impact on traditional photography, with a focus on creativity and authorship, particularly through technologies like GANs and AICAN. The study examines how AI-generated images challenge the distinction between reality and fiction, influencing the art and reshaping concepts of creativity in AI-produced works. As the distinction between truth and falsehood becomes increasingly blurred in a world of misinformation, the research explores AI’s role in deepening this crisis. The research problem centers on the need to re-evaluate the role of photographers as AI takes over many photographic tasks, raising questions about how this technology redefines artistic creativity, authenticity, and authorship. The study questions whether artistic vision and the human touch will remain crucial or if the focus will shift toward collaborative creativity between humans and AI. The significance of this research lies in its ability to provide insights into AI’s impact on photography, helping navigate the future of this art form. This research aims to analyze the artistic and expressive qualities of concrete examples of artificial intelligence applications in photography, as well as to deconstruct the concepts of art, creativity, authorship, and authenticity in photographic artworks considering modern technology.

The thesis of this paper rests on the premise that the role of contemporary hybrid art practices, employing technology as a means of expression, has extended to active engagement in the complexities of societal conflicts and shaping philosophical dialogue, which is evident in its subversive endeavors, that have become the points of intersection between power dynamics, technology, and ethics. Namely, the position of art has become the pragmatic and utilitarian one, and art aims at confronting society with the antagonisms of the mechanisms of power and the consequences of high technology development. With a view to support the thesis of this essay, I will analyze Vladan Joler's and Kate Crawford's art project “Anatomy of an AI System”. The aim of this essay is to show that the role of hybrid art is reflected in its contribution to the society, by helping it to anticipate and develop policies and systems of rules with a view to regulate behavior in borderline situations of advanced technology and ethics. Research methods applied in this paper are analysis, synthesis, observation, generalization, and comparative text analysis.

Understanding the concept of representation as a key factor involved in the process of meaning production in a society, can help us answer the following questions: what does the concept of representation mean in the context of constituting and producing political power, what does the process of representation entail, and how does it function? Our focus will be on the idea that political power is produced through regimes of verbal and visual representation that actively shape our perception of reality, including existing social norms and values. Representation is not only the result of certain social tendencies and changes, but also their instigator. The status of a ruler is determined not only based on their historical or social relevance, but also on how they are represented. In shaping the perception of a ruler as a legitimate holder of power, representation often plays a more dominant role than the subject itself. We will treat the concepts of power and representation as interdependent and interconnected variables. We will pay attention to how their reciprocal subordination produces two effects: the institution of power appropriates representation as something inherently its own, and representation is actually what transfers its power onto it.

This paper examines Michel Foucault's interpretation of Diego Velázquez's painting Las Meninas (1656) which he uses to illustrate shifts in épistémès throughout history. After analyzing Foucault's interpretation, I extended his approach by employing an interdisciplinary perspective to relativize some of his concepts. The study incorporates various interdisciplinary methods, demonstrating that these approaches lead to a more profound understanding of the ontological, aesthetic, technical, psychological, and sociological dimensions of Velázquez's painting. This strategy demonstrates that artistic creations are dynamic and surpass simplistic dualistic frameworks, methodological relativism, and determinism. As a result, Las Meninas emerges as a self – referential artefact, continuously evolving in meaning through different epistemological and social frameworks.

Literary images, followed by their visual interpretation in diverse film adaptations have effective impact of reinforcing the “knowledge” about certain political ideologies. The cultural representation of fascism and totalitarianism seems to be reductively limited to its repetitive features of definite suppression of freedom and brutal control. Yoko Ogawa’s dystopian novel The Memory Police (1994) depicts the state of affairs of a novelist on an unnamed island where inhabitants are subjugated to oppressive regime of the Memory Police enabling the total amnesia of all the objects disappearing from everyday life. My intention is to explore whether Ogawa’s literary images challenge or underpin the previously established imagery of existing power structures. Further, I will discuss the notion of anachronism both as motif and (intended) literary approach. This novel is also analyzed through its allegory about the future perspective of the written word in the indifferent and oblivious world.

The study of practice based on visualization and the role of visualization in shaping the outcomes of contemplative practice is an overlooked research niche. The aim of this article is to contribute to a deeper understanding of the dynamics of the process that connects literary images and visual perception in relevant meditative practices. The key question is which elements contribute to forming this connection in contemplative practices like meditation. To gain a deeper understanding of the dynamics involved, the study employed a mix of primary and secondary data sources, along with analytical, descriptive, and phenomenological methods, drawing from an interdisciplinary approach that includes psychology, neuroscience, and literature. The following meditation practices were selected: contemplative meditation, creative visualization, koan meditation, imaginative meditation, creative workshops with haiku poetry as an outcome, and meditative storytelling. The identified elements in the connection between literary depictions and visual perception include mental imagery and visualization, cognitive processes, sensory processes, and emotional processes. The importance of literary techniques is particularly highlighted – using descriptive language with metaphors, similes, allegories, and other stylistic figures that create strong visual images. This connection has a neurological basis – neuroscience studies show that reading/listening to texts describing visual experiences activates brain areas involved in actual visual perception. This overlap suggests that the brain processes literary descriptions similarly to how it processes real visual stimuli. The connection between literary depictions and visual perception significantly enhances the quality of meditative practice and promotes deeper understanding and emotional-volitional engagement with the text and personal development of the meditators. Both secondary and primary data sources were used in the paper.

The article deals with the changes in Brazilian art from the 1950s to the 1970s, from concrete art to experimentalism, taking into particular account the importance of the artistic production of Lygia Clark and Hélio Oiticica. It can be said that both artists contributed to a radical questioning of the concept of the work of art and its traditional supports, and also provided a new relationship between the work of art and the viewer in contemporary art. In fact, Brazilian experimentalism anticipated at least a decade ahead of similar questioning of contemporary art posed by European artists and institutions.