Publisher's Synopsis
The relationship between art, techniques and technologies has always been deeply intertwined. History illustrates this, and the cultural products recognized as works of art over time serve as evidence. Each technology that human creativity and technology have encountered has marked a phase of transition, crisis, and eventual appropriation. The increasingly pervasive role of AI in creative productions has posed significant challenges, both for the world of creators and for users. The debate remains open, oscillating-almost at a stalemate-between enthusiasts and detractors. This ongoing evolution, however, encompasses significant experimentation, trial and error, the advancement of research and the curiosity of discerning users eager to navigate this new landscape. This book positions itself at the intersection of perspectives, theoretical and methodological reflections and empirical evidence, capturing the richness of this debate. It provides a snapshot of how the national and international scene, of academic and artistic communities -often disparate worlds-grapple with AI and its applications in the applied arts, particularly in music and the visual arts. The goal of this book is to bring together diverse perspectives, focusing above all on concrete cases that become the subjects of (artistic) action and research. The result is a collaborative work, enriched by the contribution of Francesco D'Isa (Laba), the experiences of Giusy Caruso (Royal Conservatoire Antwerp), the insights of renowned Italian artists like Fabrizio Festa (Conservatoire of Matera), and many other scholars at various stages of their professional journeys.
