Tomorrow I’m going to visit Las Meninas at the Prado in Madrid, and I hope to learn something about how we are designing AI machines. How can a painting from 1656 and a technology from the twenty-first century have anything in common? Well, in a sense, both address the problem of subjective and objective reality, perspectives on the world and on memory. Diego Velazquez would have been an outstanding AI ethicist!Continue reading “AI and Las Meninas“
The recent BBC revisiting of the history of art – Civilisations – is fascinating for its juxtaposition against the 1969 predecessor by Kenneth Clark. The new version tries to be genuinely global, post-imperial, and generally woke, so to speak. However, it doesn’t quite get to the philosophy of the creative act, the artistic imperative. The series grapples with consequences and politics, with religion and hierarchy, but not really with any philosophy of art, or questions of meaning. The interpretations of Martin Heidegger and Gilles Deleuzes, while diametrically opposed in some ways, are illuminating on the subject.
Heidegger’s view (specifically on Modern Art) was that it was essentially destructive. In a 1956 Der Spiegel interview, published after his death ten years later, he argued that just as philosophers could not prescribe a new condition for humanity to confront modernity, art had no suitable perspective from which to contribute. Art in essence, as I read his comments, compounded the inherent entrapment of the modern, further distancing us from our essence, or being.Continue reading “Two Theories of Art”