Artistic Intelligence Research Articles

Artistic intelligence vs. artificial intelligence

This paper studies the relationship between artistic intelligence and artificial intelligence (IA) in terms of their creative potential to produce works of art. Emphasizing the importance of randomness for creative processes, it will argue that, on a higher level, artificial intelligence is only capable of imitating creativity but not of really being creative, also because AI lacks the ability to critically reflect on its own experiences and insights. For the use of artificial intelligence as a tool for artists, the paper pleads for a critical handling that goes beyond the options that AI programs offer.

Employment Quality of University Graduates: A Literature Review

The purpose of this study is to review the academic research of university graduates. This article provides an overview of key themes and identifies research gaps for future surveys. A review and thematic analysis of published empirical studies in the past 10 years were conducted, and a total of 8 themes were summarized. These 8 topics are: Student expectations and employment quality, employment development in colleges and universities, employment anxiety of higher vocal students, the impact of artistic intelligence on the employee of college graduates, strategies to Improve Employee Outputs, evaluation of Employee Quality, the impact of Internship Experience on Job Interviews, and predicting Learning Gains for Students Based on Faculty Behaviors. Through a comprehensive literature review, prospects for future research directions are presented.

The Analysis of Tourist Satisfaction Integrating the Artistic Intelligence Convolutional Neural Network and Internet of Things Technology

The Analysis of Tourist Satisfaction Integrating the Artistic Intelligence Convolutional Neural Network and Internet of Things Technology

Futurescaping the Archive (Part 1. Artistic Intelligence and Creative Archiving of Artist Residency Experience)

AbstractWhile art residencies have become an integral infrastructural feature of the international contemporary arts ecosystem, their perceived value is largely under‐researched and the transformative impact they have upon the actors and agencies involved – not the least of those being the artists themselves – remains ill‐defined and inadequately documented. This article provides the first instalment in a series of texts designed to account for and synthesize various investigative aspects of an interdisciplinary action research project that has taken the Visual Artist Residency program hosted by Monash University at its Centre in Prato, Italy as its subject. The Prato Visiting Artist Residency Archive research project (PratoVARarchive) seeks to illuminate the distinctive qualities associated with archiving art residency experiences from an artist‐centred perspective by cross‐fertilizing curatorial research processes with the records continuum model. The nature of artist‐led processes, creative collaboration, extra‐institutional relationships and the persisting influence of residency experience on an artist’s practice has been investigated through a combination of conventional qualitative research (i.e. artist interviews) and unconventional research through practice, including exhibition and paracuratorial formats that were called upon to focus the issue of art and archives at the Community Informatics Research conference hosted in Prato in 2017. For its part, this initial essay establishes some of the key values (i.e. artistic intelligence; artistic/performative research processes) and archivistic approaches (i.e. present‐tense, creative archiving) informing the project’s inquiry‐based approach.

The Effect of Artistic Intelligence Components on Student’s Mental Health

The Effect of Artistic Intelligence Components on Student’s Mental Health

Editorial. AI, Arts & Design: Questioning Learning Machines

Explorations of the relationship between Artificial Intelligence (AI), the arts, and design have existed throughout the historical development of AI. We are currently witnessing exponential growth in the application of Machine Learning (ML) and AI in all domains of art (visual, sonic, performing, spatial, transmedia, audiovisual, and narrative) in parallel with activity in the field that is so rapid that publication can not keep pace. In dialogue with our contemplation about this development in the arts, authors in this issue answer with questions of their own. Through questioning authorship and ethics, autonomy and automation, exploring the contribution of art to AI, algorithmic bias, control structures, machine intelligence in public art, formalization of aesthetics, the production of culture, socio-technical dimensions, relationships to games and aesthetics, and democratization of machine-based creative tools the contributors provide a multifaceted view into crucial dimensions of the present and future of creative AI. In this Artnodes special issue, we pose the question: Does generative and machine creativity in the arts and design represent an evolution of “artistic intelligence,” or is it a metamorphosis of creative practice yielding fundamentally distinct forms and modes of authorship?

VARIANTES ESTIGMATIZADAS EM MACUNAÍMA, DE MÁRIO DE ANDRADE

Em uma época de constantes mudanças, inclusive de tradições intelectuais, Macunaíma remontava a visão de homem, de herói e de língua no período modernista, promovendo uma ruptura do tradicionalismo nas manifestações da inteligência artística brasileira. Em busca de liberdade de expressão e criação, a obra, que versa sobre a realidade nacional e valorização da cultura popular, precipuamente da fala popular, reconstrói significados e instiga revisões autocríticas sobre a língua genuinamente brasileira. Neste artigo, busca-se evidenciar a visão de língua proposta pelos autores modernos, principalmente Mário de Andrade. À vista disso, os postulados da Sociolinguística são empregados para analisar as representações dos fenômenos linguísticos estigmatizados destacados na obra, ao elucidar o uso recorrente de termos da variedade não padrão, explicando como cada fenômeno linguístico ocorre e o quanto esses processos estão correlatos à atualidade.

Любов Ліницька – виконавиця ролей у п’єсах єврейських драматургів (перший український стаціонарний театр М. Садовського у Києві (1909–1915 рp.))

In the article Liubov Linytska - performer of roles in the plays of Jewish playwrights (M. Sadovskyi's First Ukrainian Stationary Theatre (1909-1915)) an attempt is made to generalize the experience of staging plays by Jewish authors on the stage of the M. Sadovskyi’s Theatre in Kyiv. This theatre opened on September 15,1907. inthe rented premises of the Trinity People's House (now the Kyiv Operetta Theatre).There was no Jewish theatre in Kyiv in those years, so staging performances based on Jewish plays in the Ukrainian theatre provided an opportunity not only to watch plays by various authors and learn about their life, but also to significantly support the financial position of this theatre. But most importantly, smoothing the sometimes still antagonistic views of individuals, this action influenced the general development of mutual enrichment of the cultures of the Ukrainian and Jewish people, who in the Russian Empire were under severe national oppression.From 1908 to1915, M. Sadovskyi's theatre staged 7 plays by Jewish playwrights - God of Revenge by Sholom Asha (1909), Mirele Efros (1910), Love and Death (1910), Cannibals ( 1910), Beyond the Blue Sea (1911) by Yacov Gordin, Sulamif (1910) by Avraam Goldfagen and Queen of the Sabbath (1915) by Andzhey Marek.Melodramatic performances had a high ideological and artistic quality and were most successful with the audience - Mirele Efros by Y. Gordin and Queen of the Sabbath by A. Marek. Leading masters - M. Sadovskyi, I. Marianenko, L. Linytska, S. Pankivskyi,E. Khutorna, F. Levytskyi and others - were engaged in these performances, which were solved in the genre of psychological drama. They created an image that is psychologically true and convincing. The artist L. Linytska, who has already switched to the roles of mothers and elderly women, stood out with her skill. In her performance in these roles, the actress showed an absolute understanding of the nature of the melodramatics of the images she created and conveyed to the audience a striking artistic intelligence. The participation of Ukrainian actors in the performances of Jewish playwrights enriched their experience and improved their stage and performance skills.The successful stage performance of plays by Jewish authors on the stage of the M. Sadovskyi’s First Stationary Ukrainian Theatre made an extraordinary contribution to the general culture of Ukraine

Природа соціального інтелекту особистості та його базові функції

In the article it was shown that social intelligence in psychology is considered as the ability of a person to understand correctly his / her own behavior and the behavior of other people in the society. This ability is very necessary for a person to have an effctive interpersonal interaction and successful social adaptation. Social intelligence implements the functioning of cognitive processes associated with the reflection of a person as a partner in the processes of communication and activities. The main function of social intelligence is to predict the behavior of others. It is emphasized that each type of intelligence contains certain abilities of the personality to perform a certain type of the activities. In this case, for example, «linguistic intelligence» is referred to as «intelligence» by the authors, because it is a complex of integral education, which includes separate abilities to perform a certain type of the activity, and if we talk about a specialist in this sphere of the activity, his / her competences, we remind about the structure of the professional competence of the person. Thus, guided by the narrow sense of understanding the word «intelligence», we distinguish: social intelligence; technical intelligence; artistic intelligence; information intelligence. Thus, the functions of social intelligence of the person are the understanding of other people, adaptation to the requirements of the society, knowledge of the behavior of social subjects, cognitive and behavioral functions, functions of understanding the actions of other people and their influence on them, understanding themselves and modeling behavior in accordance with their needs, goals and abilities, the ability to express spontaneous judgments about other people, to predict the behavior of other people, the functions of adapting to life situations, solving practical problems and situations of everyday life, function of social adaptation, functions to solve problems at the subject-subjective level, self-organization of intelligence, socialization in the society, internalization of social norms and rules, the choice of corresponding reaction in interpersonal interaction, as well as the function of «ensuring adaptability in conditions that constantly predict the formation of a program of successful interpersonal interaction», «planning and forecasting of interpersonal events of the social environment», «motivational function», «the function of social competence», «self-development», «self-cognition» and «self-studying». All these functions can be combined with such generalized functions as cognitive-evaluative, communicative-value, and reflexive correction. At various stages of the performance of the leading function is one of the functions of social intelligence. In particular, the cognitive-evaluative function prevails at the initial stage, while the other two functions create positive conditions for the implementation of the 0xFB01rst one. Achieving the goals of cognitive activity to a large extent provide a communicative and valuable function. The reflexive correction function is essentially aimed at actualizing the strengths and qualities compensating for weak and ine0exFB00ctive features and actions. Such functions of social intelligence of the person are manifested in their subordination and interconnection.

Psycholinguistic Study of Functioning of Cognitions and Metacognitions on the Levels of Social Intelligence

The article states that social intelligence in psychology is seen as the ability of a person to understand correctly his/her own behavior and the behavior of other people in the society. This ability is very necessary for a person to have an effective interpersonal interaction and successful social adaptation. Social intelligence implements the functioning of cognitive processes associated with the reflection of a person as a partner in the processes of communication and activities. The main function of social intelligence is to predict the behavior of others.
 The authors of the article consider the concept of “intelligence” in the broad and narrow senses. In a broad meaning of “intelligence” it is only one intelligence, the intellectual sphere of the person in general. In this sense, the intelligence of a person can be described as a hierarchical system that has several levels. The first level is the level of functioning of cognitions. The second level of intelligence is the level of metacognitions. The third level of intelligence amplifies the characteristics of both the first and the second levels, while intellectual activity is carried out mainly at an unconscious level, a level that approximates a person to use of automated skills and abilities. The next, the fourth level, is the level of meta-intellectual activity, which explodes the creative achievements of the person.
 It was proved that each type of intelligence contained some abilities of the person to perform a certain type of the activity. Guided by the narrow sense of understanding the word “intelligence”, it was determined: social intelligence; technical intelligence; artistic intelligence; information intelligence.
 It was described the empirical research which was organized in different regions of Ukraine (the participants of this research were teachers and directors from preschool educational establishments). The results having been received in this research proved that the respondents of all groups have the results which show the advantage of average indicators of their ability to understand the meanings of non-verbal expressions and the meaning of the expression, depending on a social context. This may be due to the fact that these abilities are formed in the immediate process of communication and to a large extent depend on the conditions of the life of the subjects, at the first place – on the conditions of their professional activity, means and methods of professional activity of teachers of preschool educational establishments.

Artistic synthesis in architectural form, from the totalitarian to indifferent

The purpose of the article is to study the problems of styles and styles, which led to the unification and merging of independent trends in the fine arts and architecture of the period of origin and the formation of socialist realism. Scientific novelty. Features of the emergence and development of the synthesis of arts in the USSR and its largest republic – Ukraine still remains unexplored. In the author's proposed interpretation of the synthesis of arts of the model criterion of the holistic perception of the stylistic unity of paintings, sculptural and architectural works is the totalitarian dependence of the artist from the hostile society. According to the author's version, the perception of architectural problems in Ukraine in the given period is considered in the arts, political and economic area and proves the crime of the ideology of totalitarianism. The methodology of the research of the declared theme is to combine art studies and historical intelligence. In accordance with the set tasks in the article applied research methods, complementary cultural, historical, art-study aspects. Chronological analysis and synthesis, comparative, biographical and cross-cultural methods were also used. Scientific novelty consists of highlighting and studying little-known facts, which confirm the author's doctrine concerning the distortion of the concept in the Soviet society of a concept as a synthesis of art. The association of fine arts with architecture was perceived more predominantly from the point of view of the works of Soviet ideologues, historians, art historians. The question of the indifference and lack of resistance in the conditions of a totalitarian cultural dictatorship concerning the interrelation of spatial arts and architecture at the angle of culturological interpretation was not considered at all. Conclusions. The analysis of architectural styles, their tasks, ways of development, the definition of the role of a person in the work (painting, sculptural, architectural), the influence of society and its dependence, comparing the current time with the events seventy years ago – is the way of true revival. The result of this work was an attempt to understand, study and make correct conclusions about the phenomenon of the synthesis of Ukrainian art and architecture of pre-war years. The only answer to the questions can be only solid cultural and artistic intelligence that will reveal the truth about the little-studied period of Ukrainian culture.

Соціальний інтелект у парадигмі когнітивної психології: результати дослідження

The article states that social intelligence in psychology is seen as the ability of a person to understand correctly his / her own behavior and the behavior of other people in the society. This ability is very necessary for a person to have an effective interpersonal interaction and successful social adaptation. Social intelligence implements the functioning of cognitive processes associated with the reflection of a person as a partner in the processes of communication and activities. The main function of social intelligence is to predict the behavior of others. The authors of the article consider the concept of «intelligence» in the broad and narrow senses. In a broad meaning of «intelligence» it is only one intelligence, the intellectual sphere of the person in general. In this sense, the intelligence of a person can be described as a hierarchical system that has several levels. The first level is the level of functioning of cognitions. The second level of intelligence is the level of metacognitions. The third level of intelligence amplifies the characteristics of both the first and the second levels, while intellectual activity is carried out mainly at an unconscious level, the level that approximates a person to use of automated skills and abilities. The next, the fourth level, is the level of meta-intellectual activity, which explodes the creative achievements of the person. It was proved that each type of intelligence contained some abilities of the person to perform a certain type of the activity. Guided by the narrow sense of understanding the word «intelligence», it was determined: social intelligence; technical intelligence; artistic intelligence; information intelligence. It was described the empirical research which was organized in different regions of Ukraine (the participants of this research were teachers and directors from preschool educational establishments). The results having been received in this research proved that the respondents of all groups had the results which showed the advantage of average indicators of their ability to understand the meanings of non-verbal expressions and the meaning of the expression, depending on a social context. This may be due to the fact that these abilities are formed in the immediate process of communication and to a large extent depend on the conditions of the life of the subjects, at the first place – on the conditions of their professional activity, means and methods of professional activity of teachers of preschool educational establishments.

Kajian Empirikal Mengenai Kepintaran Vokasional Pelajar Sekolah Menengah Teknik

Review of literature shows that empirical research on vocational intelligence (VQ) is lacking as compared to substantial research conducted on intellectual intelligence (IQ and emotional intelligence (EQ). Vocational intelligence is a new theory. It could be an offshoot from Howard Gardner’s multiple intelligence theory. The main objective of this investigation was to determine the vocational intelligence of technical school apprentices in the state of Perak, Malaysia. Gardner and Holland theories have been chosen as the basis for the study’s conceptual framework that contained six domains of vocational intelligence, namely realistic and artistic intelligence, artistic and realistic tendencies, and kinesthetic and visual talents. Multiple cases and multiple sites case study was selected as the study’s research design. A random sample of 306 vocational students was selected from four technical secondary institutions in Perak. Research instrument comprised questionnaire and interview questions to gather quantitative and qualitative information. Key finding from the questionnaire is that the technical secondary students believe that they possess the three main competencies ─ visual, kinesthetic, and artistic. The result also shows that background aspects of the students did not influence their VQ except the schoolings of the father and mother. In terms of the relationships among constructs, Pearson correlation coefficients show strong correlations among artistic competence with artistic tendency and realistic competence with realistic tendency. In contrast to questionnaire data, open-ended results show the technical school students believed that they are dominantly realistic, followed by artistic and visual. Interview data via thematic analyses show that students admitted that they have realistic VQ.

Using creativity to encourage reflection in undergraduate education

Preparing undergraduate nurses to meet the challenges of clinical reality and develop their reflective skills requires innovative and creative pedagogical approaches. It has been suggested that the use of creative arts media enables one to surface well‐springs of knowledge and critique it artistically, cognitively and meta‐cognitively. Recent research highlights the sense of graduate nurses being unprepared at the completion of their undergraduate studies to face the responsibilities and challenges of being a registered nurse. Confronted as an educator with the challenge to address this sense of un‐preparedness, Jenny sought to introduce an element of creative reflectivity into a final year clinical practice unit of the Bachelor of Nursing. This was done in anticipation that it might encourage students to draw upon their multiple intelligences, embrace their artistic intelligence and realise their knowledge and learning. This paper presents through a reflective dialogue, the approach taken by the authors sharing their experiences of the introduction of reflective creativity into the course. Examples of creative works produced by students are celebrated, as are the responses to those works. Students expressed their learning, in many differing media and in doing so gained a sense of realisation that during their course of study they had actually acquired a knowledge base to engage as novice practitioners. As educators it raised a significant issue of being caught up in the creativity of the student and the need to see beyond the creation into the meaning and reflection of what it offered.

The Fount of Inspiration

When scholars have shown interest in the lives of artists' models, they have tended to focus on their personal lives or artistic aspirations. Through an examination of the work of Minnie Clark, a poor woman who modeled for Charles Dana Gibson and James Carroll Beckwith, and the foundation of the Art Workers' Club for Women, which functioned as something of a union for artists' models in turn‐of‐the‐century New York, this essay reevaluates modeling as a kind of artistic labor. Artists and models considered labor to be an important performance done best by those with “artistic intelligence.”

Gender differences in self‐estimated intelligence and their relation to gender‐role orientation

Previous research has demonstrated that gender differences in self‐estimated intelligence are domain specific: Males estimate their mathematical, logical and spatial abilities significantly higher than females. It has been frequently hypothesized that these differences are moderated by the individual's degree of gender‐role orientation. However, studies investigating the effect of gender‐role orientation on self‐estimated intelligence revealed highly inconsistent results. In the present study, 267 participants estimated their own abilities in 11 intelligence domains and completed the Bem Sex Role Inventory (BSRI). Factor analysis of the 11 intelligence domains yielded four interpretable factors. Gender differences were identified for the mathematical–logical and the artistic intelligence factor. Additional analyses revealed a moderating effect of gender‐role orientation on gender differences in factor scores. Thus, the present study provided direct evidence for the notion that in male, but not in female individuals, self‐estimates of specific aspects of intelligence are markedly influenced by gender‐role orientation. Copyright © 2002 John Wiley & Sons, Ltd.

Defamiliarization and Discontinuity: Rimbaud's ‘Parade’, ‘Angoisse’, ‘Soir historique’

This article considers three poems from Rimbaud's collection the Illuminations - 'Parade', 'Angoisse' and 'Soir historique' - in terms of what they reveal about the poet's approach to the prose poem as a genre. In particular, it is the issue of poetic structure that is paramount here and how Rimbaud defamiliarizes his reader through an ongoing principle of discontinuity in the writing. There are pivotal moments in the microstructure of these poems as the reader is constantly challenged by reversals and reorientations. in the case of 'Parade' we find a very hermetic and ambiguous text that resists interpretation and one feels that the second paragraph of the poem stands in opposition to the first. There is a self-consciousness about the poem and the isolated last line J'ai seul la clef de cette parade sauvage only underscores its mystery. With 'Angoisse' we again find a poem that has no logical or linear development but rather is built on pulses and eruptions that are unfamilair and defy continuity. There are sudden gear-changes in tempo allied to a highly unusual deployment of punctuation and a structural instability throughout as each section takes its own direction. The finale is another unanticipated piece in the structural mosaic of the poem. Finally, 'Soir historique' is another multi-layered, chameleon-like text and a further exercise in poetic discontinuity. The early stages seem to lack impetus but this only leaves scope for the dramatic intensification in the finale of the poem and the dynamic volte-face that it presents. The pivotal word Non! at the start of the final section is revelatory of a wider pattern in these poems and it leads to a radical dislocation of the text. Finally, one might ask whether all these changes of direction in these poems are spontaneous or crafted, the product of a chaotic genius or of a presiding artistic intelligence.

An instrument for the study of creative artistic intelligence.

An instrument for the study of creative artistic intelligence.

THE PSYCHOLOGICAL BASIS OF CONDUCTING

This definition implies that the conductor must have general musicianship, a specific and detailed knowledge of the composition he is conducting; that he must possess not only the ability to understand and feel many different kinds of music but the power to express each one so vividly, so dynamically, that he can lift the performers to emotional states amounting often to exaltation. And, at the same time as he stirs the performers, he must make perfectly clear to them the whole design and structure of the music, so that they will render it with intelligence as well as unction. But the combination of artistic intelligence, emotional versatility, and expressive power is rare; hence there are few really great conductors. It is easy enough to comprehend the structure and texture of music. Any reasonably good mathematician can do that. And it is not difficult for persons of strong emotional tendencies to feel music deeply. But the emotionalist is often hard put to it to understand the more intellectual phases of music, and the mathematician sometimes finds it difficult to follow the various moods of different musical compositions. In general, the ability to do both is seldom found in the same individual. But even when that ability-however paradoxical it may seem-is actually present in one man, it still affords no guarantee that he will be a good conductor. It is the power clearly and adequately to express ideas and emotions by means of bodily movement that must be present, and it is in this faculty that many conductors are wanting. We are trained from youth to repress our feelings. In the old days, it was the child who sat still who was referred to as good; the lively, imaginative, inventive boy or girl was constantly being scolded and told