https://doi.org/10.52652/e.10.26.2The article proposes a model of critical thinking that goes beyond representationalism and makes use of the category of operationality. Traditional approaches (including policies aimed at increasing social accountability in the AI industry) consider these areas as separate from IT‑related matters and tend to relegate them to “context.” The article demonstrates that this discursive device is part of the current AI ideology and leads to such context being treated peripherally as belonging to other domains of reflection than technological procedures and ontological or aesthetic questions. By citing projects of Petr Válek, Kristoffer Ørum, moRgan Barbara Konopka and others, the author proposes the category of “modest” AI, unspectacular and without futurological pretensions.
https://doi.org/10.52652/e.10.26.3This paper proposes the Transmaterial Flow Matrix (tfm) as a model for understanding creativity in the post‑creative age. Drawing from Performative New Materialism, Radical Immanence, and Transmaterialism, it maps artistic becoming across three entangled axes: Inspiration, Manifestation, and Signification. Through case studies of artists such as Refik Anadol, Ruairi Glynn, and Anicka Yi, alongside Polish practitioners Agnieszka Kurant, Janek Simon and Roman Lipski, the tfm reveals creativity as a distributed field of material, perceptual, and algorithmic relations. Within this ecology, intuition operates as a current that connects human, machinic, and non‑human agencies. Art emerges not as a product but as an event of entanglement, where matter, machine, and meaning co‑compose reality. The framework translates new materialist philosophy into a spatial method for research, pedagogy, and curatorial practice.
https://doi.org/10.52652/e.10.26.4This article addresses the issue of humanity’s deep entanglement with artificial intelligence systems that elude human understanding. Drawing on critical studies of technology, the author examines the development of the concept of transparency and analyses its inherent limitations which prevent the understanding and control of algorithmic systems. Art becomes a critical space that enables a broader, non‑technical perspective on contemporary technologies. By revealing the hidden mechanisms of artificial intelligence systems, mystery transforms into knowledge which paves the way for a fuller understanding of them.
https://doi.org/10.52652/e.10.26.5The article takes as its subject the collaborative practices between an artist pursuing printmaking and machine learning. To set the right perspective for understanding the essence of this collaboration, it ought to be stressed that, since its emergence in European culture, the graphic medium has been founded on human‑machine collaboration. Besides cooperation, an important reference point is the concept of ‘in‑between’, inextricably linked to the existence of art produced at the intersection of two realms: analogue and digital. The article discusses the evolution of Mariusz Filipowicz’s artistic practice – from the audiovisual installation Face Machine inspired by the afterimage of a scanned image found in digital scanners, to the Numbers project, developed in collaboration with ChatGPT since 2025.
https://doi.org/10.52652/e.10.26.6This article looks into the evolution of photography in an era of dynamic development of AI tools, indicating the medium’s gradual shift away from physical recording of reality towards digital simulation. The author examines the concepts of generative art and promptography, illustrating them with the artistic practice of Łukasz Cyrus and Szymon Rogiński, and Boris Eldagsen’s provocation. The discussion centres around the changing status of image which ceases to be direct proof of existence and becomes an outcome of algorithmic data manipulation. The article stresses that while AI is redefining the boundaries of creativity and the role of the artist, classical photography is not disappearing but gaining new interpretative contexts. Ultimately, this paper contributes to the debate on the need for new definitions and regulations for images created with the participation of autonomous systems.
https://doi.org/10.52652/e.10.26.7This article provides a critical commentary on the creative practice of Sasha Stiles, a poet who makes use of a personal poetry generator based on large GPT language models, fine‑tuned on a custom data corpus. The discussion centres on A Living Poem, an installation on display in MoMA’s main lobby since September 2025. The author examines the project, positioning it between two interpretive frameworks: the concept of cyborg authorship and the idea of digital immortality.
https://doi.org/10.52652/e.10.26.8This article examines speculative artistic practices revolving around the future of artificial intelligence (ai). Discussed are works by artists using ai tools as well as by those not using them, with the aim of looking into the specific limitations and opportunities inherent in speculative gestures within AI art. Drawing on Isabelle Stengers’s concept of the speculative, the author explores the potential and limitations of the analysed projects to stimulate imagination, crucial for countering the risks associated with the evolution and popularity of ai.
https://doi.org/10.52652/e.10.26.9The article explores slop, a category attributed to unwanted content made with generative ai, the ‘waste’ that floods social media feeds, a new type of spam or element of junk culture. Shane Denson argues that slop aesthetics is constituted through vernacular categories of affective judgment, such as ‘cringe’ or ‘cursed’. The article demonstrates how these terms, derived from the language of internet culture, are increasingly used as key tools for describing online visuality in times of image overproduction, information noise and automated content creation.
https://doi.org/10.52652/e.10.26.10In an era of post‑creativity, with AI altering traditional design practices, fashion becomes a worthwhile laboratory of new forms of human‑technology collaboration. This article examines the phenomenon from the perspective of Marshall McLuhan’s theory with special emphasis laid on his concept of medium as an “extension,” and clothing as an extension of skin. The focus is on adaptive fashion – clothes and accessories designed for disabled people with both functionality and aesthetics in mind. AI (including 3D scanning, generative design and virtual simulations) facilitates precise personalisation, enhances user comfort and reduces prototyping costs. This could be seen as an aesthetic of ‘algorithmic empathy’ where human and machine creativities co‑create genuinely inclusive adaptive fashion.
https://doi.org/10.52652/e.10.26.11This essay is dedicated to the anthropomorphic evolution of media interfaces in artificial intelligence systems. The author begins with a discussion of Memo Akten’s media art works, presenting them alongside current ai formats and the trends in their development. He references research into the interactions and uses of digital media and cultural coding of digital technologies, viewing ai as a medium formatted in the spirit of closeness and intimacy, reconstructing social and communication codes.
https://doi.org/10.52652/e.10.26.12The article investigates how Memo Akten conceptualises and employs deep learning as a creative medium which results in far‑reaching renegotiation of the paradigm of human–computer creative partnership shaped by the legacy of generative art and creative coding practices. It begins with the recognition that, in art based on neural networks, the artist loses direct access to the ‘procedure’ of generative systems: the mechanism of generation becomes opaque and control over the process is redistributed to the learning model. In response, Akten proposes a set of concepts and methodological frameworks that structure both his theoretical reflection and his artistic‑research practice. Creative Deep Learning (cdl) is defined as a medium that requires new modes of exploring pre‑trained representations. Meaningful Human Control (MHC) becomes the foundation of creative agency, understood as a spectrum of intention, predictability and responsibility. Realtime Continuous Control (RCC) establishes the metaphor of ‘visual instrument’ and a performative feedback loop. Bias is framed as the cognitive horizon (world view) of the network, subject to exposure and modulation. Latent storytelling describes narrative as intentional navigation through the hidden representational space of generative models.
