So it’s increasingly not just dorm-room hackers and cloistered academics pecking at computer art to show off their chops or get papers published. Last month, the Google Brain team announced Magenta, a project to use machine learning for exactly the purposes described here, and asked the question: ‘Can we use machine learning to create compelling art and music?’ (The answer is pretty clearly already ‘Yes,’ but there you go.) The project follows in the footsteps of
Google’s Deep Dream Generator, which reimagines images in arty, dreamy (or nightmarish) ways, using neural networks.
But the honest-to-God truth, at the end of all of this, is that this whole notion is in some way a put-on: a distinction without a difference. ‘Computer art’ doesn’t really exist in an any more provocative sense than ‘paint art’ or ‘piano art’ does. The algorithmic software was written by a human, after all, using theories thought up by a human, using a computer built by a human, using specs written by a human, using materials gathered by a human, at a company staffed by humans, using tools built by a human, and so on. Computer art is human art – a subset rather than a distinction. It’s safe to release the tension.