The emergence of complex deep-learning models capable of producing novel images on a practically innumerable number of subjects and in an equally wide variety of artistic styles is beginning to highlight serious inadequacies in the ethical, aesthetic, epistemological and legal frameworks we have so far used to categorise art. To begin tackling these issues and identifying a role for AI in the production and protection of human artwork, it is necessary to take a multidisciplinary approach which considers current legal precedents, (...) the practice of software engineering, historical attitudes towards technological innovation and a sustained technical analysis of the models themselves. This paper queries the location and nature of substantive artistic work in the developmental stages of an AI-generated image, offering critiques of existing assumptions and posing questions for future research. The emergence of convincing AI creative output, artistic or literary, has significant long-term implications for the humanities, including the need for re-appraisal of foundational ideas about authorship and creativity in general. The effects of artificial intelligence, whether generalised or task-specific, cannot be ignored or displaced now that easy-access, scalable image and text production is a reality. (shrink)

Globally, performative spaces and venues of artistic creativity are governed by sets of conventions which impact the creative process. In this article, we discuss the experiences of four different creatives, operating in four different creative spaces. A poet and football player, a theatre producer and script writer, a gallery curator, and a ballet dancer have all shared their experiences of how traditionally white and heteronormative discourses regulate their respective creative spaces, the ways they conform to or transgress these norms, and (...) the ways their interactions with their chosen creative spaces affect their creativity. These creatives have identities which are somehow ‘marked’, somehow ‘different’ from the ‘norms’ Wales and South-West England. Whether members of the LGBTQ+ community, migrants to Wales from European and Caribbean countries, or being a different race to many around them, the creatives all have complicated interactions with the norms of their creative spaces within Wales and South-West England. These creative’s identities often clash with an entrenched lack of diversity and the broader expectations of British society. Despite, or perhaps, because of, these conflicts and tensions, each of the creatives discussed here found immense joy in the relationship between their identity/ies and their creative spaces and discovered how their own identity/ies are a central driving force for their creativity. Regardless of the differences of their mediums, each creative interviewed sought to centre their identity, to help them create art which can challenge dominant white and heteronormative discourses in wider British society. (shrink)

This paper aims to show that the pivotal notion in John Searle's account of the unconscious, despite his representation of Freud's position, is found in Freud's work as part of a very similar view of the issues surrounding the concept of the unconscious. The pivotal notion in question consists in treating the concept of the unconscious as a vocabulary without ontological commitment which Searle claims we must do for the following reason: to reconcile what he considers to be the dualistic (...) concept of the unconscious with an ontology of the mental which recognises no states but conscious states and states of the neurophysiology with the capacity to cause them. The role of the concept in Searle's account is explained. Then his representation of Freud is challenged: firstly, by explicating how Freud accepted that the concept of the unconscious entailed no ontological commitment and, secondly, by showing how this fitted into his wider thinking on how the concept of the unconscious could be understood in terms of a vocabulary, leading ultimately to a justification of the concept of the unconscious in terms of explanatory power. On the basis of this exposition, Searle's charge of dualism against Freud is disputed. (shrink)