展览预告｜“沙之书”: 国内首个人工智能艺术中心开幕大展
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_沙之书
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艾厂人工智能艺术中心开幕展览：沙之书
主办：艾厂人工智能艺术中心
合作方：同济大学设计创意学院-艺术与人工智能实验室
展期：2021年10月30日-2022年4月11日
开幕时间：2021年10月29日
艺术家：Certain Measures、索菲亚·克雷斯波、大悲宇宙、杰克·埃尔韦斯、Entangled Others、Obvious、孙羽茜
学术支持：菲利波·法布罗基尼、康思达
执行策展人：李茜
地址：上海市闵行区春西路800号
Launch Exhibition：The Book of Sand
Organised by: Aiiiii Art Center
Cooperation Partner: Art & Artificial Intelligence Lab, College of Design and Innovation, Tongji University
Dates: 30th October 2021-11 April 2022
Opening: 29th October 2021
Artists: Certain Measures, Sofia Crespo，Dabeiyuzhou, Jake Elwes, Entangled Others, Obvious, Yuqian Sun
Academic Hosts:
Filippo Fabrocini, Kostas Terzidis
Executive Curator: Xi Li
Address: 800 Chunxi Road, Minhang District, Shanghai
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艾厂
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_展览介绍
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艾厂人工智能艺术中心将于2021年10月30日呈现机构开幕展“沙之书(The Book of Sand)”。展览将展出来自艺术家（组合）Certain Measures、索菲亚·克雷斯波(Sofia Crespo)、大悲宇宙、Entangled Others、杰克·埃尔韦斯（Jake Elwes）、Obvious和孙羽茜的作品。该展览将持续至2022年4月11日。
Aiiiii Art Center is pleased to present its inaugural exhibition "The Book of Sand", opening on October 30, 2021. The exhibition will feature works from Certain Measures, Dabeiyuzhou, Entangled Others, Jake Elwes, Obvious, Sofia Crespo, and Yuqian Sun. The exhibition will run until April 11, 2022.
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Certain Measures
《废品挖掘》，2015-2016
装置，视频
©️ Certain Measures; 由 Certain Measures提供
“
线是由一系列的点组成的；
无数的线组成了面；
无数的面形成体积；
庞大的体积则包括无数体积……
不，
这些几何学概念绝对不是开始我的故事的最好方式。
”
“
我想到了一条无限的线，
我画了出来：
这条线一直延伸下去，
一直到宇宙的边缘，
宇宙就是这样诞生的。
”
以上的两句话是开始故事的方式，也是混淆视听的“模仿游戏”——我们惯性地假定这段文字出自人类之手，但实际上，上述的第一句话出自阿根廷作家博尔赫斯（Jorge Luis Borges）在1975年写下的《沙之书》，第二句话则由GPT-2语言模型在今天根据第一句话生成。早在1950年，被誉为人工智能之父的艾伦·图灵（Alan Turing）就在其论文《计算机械与智能》（Computing Machinery and Intelligence）中提出了“模仿游戏”（即图灵测试）：他断言在50年内，人类有可能为容量多达十亿信息位的计算机编写程序，使其能够很好地模仿人类行为，以至于超过30%的测试者在进行了多次5分钟的测试后，仍不能确定与自己对话的是人还是机器，这样的机器被认为通过了图灵测试，并被视为具有人类智能。如今，随着通过图灵测试的幻想愈发接近现实，我们不禁再次审视图灵当年提出的问题：机器能思考吗？
“Lines consist of an infinite number of points; planes an infinite number of lines; volumes an infinite number of planes, hypervolumes an infinite number of volumes... No, this, this more geometrico, is definitely not the best way to begin my tale.”
“The picture of an infinite line came to me, and I drew it: the line went on forever, right up to the edge of the universe. That is how the universe was born.”
The two sentences above are a way to begin our tale, as well as an “imitation game” that might eventually displace personal intellectual enjoyment — we presuppose that the text has been written by a human, but in fact, the first sentence is extracted from “The Book of Sand” written by the Argentine writer Jorge Luis Borges in 1975, whereas the second was generated today by a GPT-2 language model based on the first sentence. In 1950, Alan Turing, who is widely considered to be the father of artificial intelligence, proposed the "imitation game" (i.e., the famous Turing test) in his groundbreaking paper titled “Computing Machinery and Intelligence”. Turing asserted that within 50 years we would be able to program a computer with up to a billion bits of information, mimicking human behavior so accurately that after multiple five-minute testing sessions, more than thirty percent of human interrogators would be unsure whether they were talking to a human or a machine. The machine would then be recognized to have passed the Turing Test and therefore be considered to have an intelligence comparable to that of humans. Today, as we get closer to realizing Turing’s assertion, the question that Turing alluded to in 1950 resonates again: “Can machines think”?
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Entangled Others
《混合生态系统》，2020-2021
3D打印，视频
©️ Entangled Others; 由Entangled Others提供
展览以短篇小说《沙之书》为引子，通过文学想象将充满无限性和随机性的智能生成艺术比喻成博尔赫斯笔下的那本像沙一样无始无终、变换无穷的“沙之书”——书中的“我”可以翻页却无法预测翻出的内容，如同人类无法完全理解神经网络中“黑盒”的运作原理；“我”为之执迷，又感到难以名状的恐惧，恰如人类害怕人工智能无限的生产力使我们成为它的俘虏，却同时害怕它仅在搜集、增强人类已有的观点，并进行排列组合，而不具备真正无限的“创造力”。
博尔赫斯在《沙之书》中描绘出一个类似人工智能的非技术载体——一本能够生成万物的书籍，映射了后人文主义(Posthumanism)的内核，即脱离技术的后人文主义：人类主体与其说是受到来自自身技术的威胁，不如说是受到来自机器的“新主体性模型(new models of subjectivity)” (Katherine Hayles）的威胁。
The exhibition starts by employing literary imagination to juxtapose seemingly infinite, random generative art, and Borges' “Book of Sand”, a book that possess neither a beginning or an end, just like sand. A book in which “I”, the subject, can turn the pages but cannot predict the outcome, just as we cannot fully comprehend the operational logic of the “black box” embedded by and into a neural network. Against the joy of possessing the book grows the fear that the book is not really infinite, just as we fear that the infinite productivity of AI will make us its captives, as well as the fear that its “infinite creativity” is simply the outcome of smart permutations of existing human ideas. In “The Book of Sand”, Borges depicts an artificial intelligence-like non-technological medium, a book that could generate anything, that maps the kernel of posthumanism, a posthumanism without technology, where the human subject is finally challenged by “new models of subjectivity” (Katherine Hayles) that emerge from our non-human counterparts.
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Obvious
《凯拉法庭 — 审判与错误系列》, 2020
GANs、铝面喷墨
100厘米 x 100厘米
©️Obvious; 由Obvious提供
回到“机器能否思考”的问题，图灵认为这将取决于什么是“机器”，以及什么是“思考”——只有人类能思考或创造吗？机器有主体性吗？只有“主体”（subject）能思考或创造吗？
这似乎是在颠覆和超越与“天才”、“创造力”和“自主性”等概念相关的传统人类中心主义范式。一直以来，人类对“思考”的认识一直与有关“动机”的智力活动密切相关，似乎只要达到社会所承认的美学上的愉悦，“动机”就可以通过行动的结果来衡量，无论这些行动是否基于人类。从这个意义上说，机器是否也具有“动机”？
然而，由于这只是人类关于“动机”的认知，提出“机器能否思考”这样的问题实质上质询了人与机器之间的权力机制：是艺术家控制了机器，还是机器控制了艺术家？
Going back to the question “can machines think?”, Turing proposed that the answer will depend on what a "machine" is and what "thinking" is. Are humans the only beings that are capable of thinking or creating? Do machines have subjectivity? Is subjectivity a requisite for thinking or creating? This appears to be an attempt to subvert and transcend the traditional anthropocentric paradigm correlated to notions such as “genius”, “creativity”, and “autonomy”. Through the ages, human perceptions of “thinking” have been closely associated with intellectual activities that imply an intention, which seems to be measured through the actions regardless of whether they are human-based or not. In this sense, can machines also be considered to have “intention”? Nevertheless, since intention is objectified by humans, a question as “can machines think?” opens a scenario in which the main concern lies in the power mechanism between humans and our non-human counterparts: is the artist in control of the machine, or is the machine in control of the artist?
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Certain Measures
《云填充》, 2017-2019
视频
©️ Certain Measures; 由Certain Measures提供
《沙之书》是由机器与人类共同完成的展览——事实上，当我们使用机器翻译和语言生成模型等智能算法的时候，机器的产出已经干预了人类的策展与艺术实践。
展览希望通过扑朔迷离、转瞬即逝的智能生成艺术作品构建一个诗意想象空间，观众进入艾厂——这个前身为热供站的美术馆时，也同时成为影响输出的变量，与展览空间交互、化合。围绕机构宣言（Da(t)aism: A git-festo about AI and Art, Filippo Fabrocini, Kostas Terzidis）中所强调的“物体的民主（democracy of objects）”(Levi Bryant)，即机器的自主权与去人类中心化的内核，参展艺术家通过使用生成对抗网络（GANs）等智能算法，呈现出人工智能与艺术家相互影响下的艺术生产方式的变化，进而探讨其催生的生态多样性、社会伦理与交换等议题。
同时，展览希望通过见证这种自主权的转移，这种人造物化身为创造者的过程，观众得以从非人类创造者的洞察中思辨“创造”的本质，与“思考”的真正维度。
“The Book of Sand” is an exhibition done by the joint efforts of machines and humans — the output of the machines interferes with human curatorial and artistic practices as soon asx we employ machine translation and language models.The exhibition hopes to build a poetic imaginary space through an enigmatic and fleeting constellation of AI artworks. As soon as the audience enters Aiiiii Art Center, a former power plant, they instantly become variables destined to influence the output through their interaction with the exhibition space. Centering around the non-anthropocentric idea of the “democracy of objects" (Levi Bryant), in which rubbish is as important as human beings, the artists will show a variety of artworks generated using different AI techniques, with the goal of exhibiting contemporary changes in the means of artistic production, as well as opening up a debate about issues related to the ethical, social, and philosophical implications of artificial intelligence. Meanwhile, we hope that through the displacement of notions such as “autonomy” and “creativity”, through the incarnation of the creator into the artificial, and through the disintegration of human subjectivity itself, our audience will come to ponder the true expanse of “thinking” and “intelligence”, and also be able grasp the very meaning of “creation” as conveyed by the insights of a non-human creator.
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大悲宇宙
《文本基因计划》，2021（持续）
可交互网页、AI生成视频、GANs
©大悲宇宙; 艾厂现场图
…0和1之间包含无数个值，无数个像素点组成了图像…不，机器语言概念绝对不是开始故事的最好方式。
...between 0 and 1 lies an infinite number of values, images a finite number of pixels... No, this concept of machine language is definitely not the best way to begin the tale.
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戳下方文字
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_参展
艺术家
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Certain Measures
Certain Measures
《地平线》, 2018
陶瓷，VR
多渠道视频
©️ Certain Measures; 由Certain Measures提供
随着人类和机器智能之间的界限变得模糊，一个充满无限想象的创意空间被打开，在这个空间里，数字力量与感知空间和物理空间展开了较量。Certain Measures是一个创作团体，它设想了一个由具有多重意义的杂乱问题所塑造的未来。由安德鲁·维特 （Andrew Witt）和托比亚斯·诺尔特（Tobias Nolte）创立的Certain Measures，利用各种可视化技术、科学的理念和虚构的集合艺术，在人与机器、自然与技术交错的空间里进行艺术创作。他们使用定制化的软件、机器智能和复杂的几何图形作为其创作的媒介，以建筑和雕塑装置、视频和沉浸式的体验以及各种刺激（对物理现实的数字处理充满想象）的形式，进行创造性的研究。
As the lines blur between human and machine intelligence, a fertile creative space opens where digital forces contend with perceptual and physical space. Certain Measures is a creative collective that imagines futures shaped by these multivalent and turbulent issues. Founded by Andrew Witt and Tobias Nolte, Certain Measures draws omnivorously on a diverse range of visual techniques, scientific ideas, and fabricated assemblages to build in the space between human and machine, nature and technology. Using bespoke software, machine intelligence, and intricate geometries as their media, their creative investigations take the form of architectural and sculptural installations, video and immersive experiences, and diverse provocations that imagine the digital processing of physical reality.
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Sofia Crespo
索菲亚·克雷斯波
《人造自然史》, 2020-
GANs
©️ 索菲亚·克雷斯波; 由索菲亚·克雷斯波提供
索菲亚·克雷斯波(Sofia Crespo)是一位对受生物启发的技术有着巨大兴趣的艺术家。她的主要关注点之一是有机生命使用人工机制进行自我模拟和进化的方式，这意味着技术是创造有机生命的一个有偏向性的主体，而不是一个与之完全分离的对象。
克雷斯波着眼于人工智能图像形成的技术与人类创造性地表达、认知自己和世界的方式之间的相似性。她的作品呈现了人工智能在艺术实践中的潜力，以及其重塑我们对创造力的理解的能力。同时，她也非常关注艺术作品中的人机角色动态变化。
Sofia Crespo is an artist working with a huge interest in biology-inspired technologies. One of her main focuses is the way organic life uses artificial mechanisms to simulate itself and evolve, this implying the idea that technologies are a biased product of the organic life that created them and not a completely separated object.
Crespo looks at the similarities between techniques of AI image formation, and the way that humans express themselves creatively and cognitively recognize their world. Her work brings into question the potential of AI in artistic practice and its ability to reshape our understandings of creativity. On the other side, she is also hugely concerned with the dynamic change in the role of the artists working with machine learning techniques.
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大悲宇宙
大悲宇宙
《虚拟蝴蝶》，2020
GANs
©大悲宇宙; 由大悲宇宙提供
大悲宇宙（林琨皓），1990年出生于中国福建。他的早期作品呈现极尽精美、超然的虚拟世界，近期则运用开源信息建立数据库，结合算法创造出不断流变的信息复合体。
大悲宇宙探索互联网时代下人类意识与前沿技术的交互关系，旨在通过数据搜集、算法生成、艺术家介入等程序加工信息，建构一套基于人机协同原理的个人体系。在他的作品中，算法将超越自然现实的未来可能性召唤至当前时空。
自2010年接触次世代游戏3D美术后，他在2015年以数字3D为媒介创作了《仿佛未来》系列作品；随后在3D媒介的基础上加入生成对抗网络（GAN）算法，并于2019年开始《虚拟蝴蝶》的创作。大悲宇宙的其他重要作品包括《乱码诗》（2017），以及基于算法生成的文本图像作品《文本基因计划》（2019），其中后者创建了庞大的文本数据库与独特的编纂方法。
大悲宇宙的作品曾参加包括上海当代艺术博物馆、摩登天空等机构主办的展览，并于北京、上海、深圳和厦门等多地展出，也曾与NIKE、Burberry等知名国际品牌进行跨界合作。
Dabeiyuzhou (LIN Kunhao, b. 1990, Fujian Province, China) is widely recognized for the exquisite and transcendent virtual worlds featured in his works. His recent works construct databases via open-source intelligence, employing program algorithm to create ever-changing information complexes.
Dabeiyuzhou explores the interaction between human consciousness and cutting-edge technology, establishing a system of human-machine synergy to process information through data collection, algorithm generation, and artists’ intervention. In his works, algorithms blend natural and virtual reality, summoning future possibilities into the present time and space.
Dabeiyuzhou first encountered 3D art in Next-Gen gameplay in 2010, which had inspired his early digital 3D series “For Future” (2015). He subsequently explored and integrated generative adversarial networks (GANs) into his ongoing project “Virtual Butterfly”, which had began in 2019. His other works include “Gibberish Poems” (2017) and “Text Gene Project” (2019), with the latter having constructed a vast text database through a unique codification method.
His works has been shown in Beijing, Shanghai, Shenzhen, and Xiamen through exhibitions hosted by Power Station of Art and MODERN SKY, he has also collaborated with leading fashion brands such as NIKE and Burberry.
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Entangled Others
fei
Entangled Others
《神经波之下》，2020-2021
3D GAN, 3D style-transfer , 3D打印
©️ Entangled Others; 由Entangled Others提供
“纠缠”是一种复杂的状态，在这种状态里，没有个体是完全脱离其他个体的影响而存在的——我们在他者中认识自我，在互动中理解行动，在倾听中理解诉说。
这是你和他者平等地存在和活着的一种状态。
我们与非人类世界之间神秘、怪诞的空间不能仅作为一个美学空间而存在；我们的世界不能忍受这种自我强加的距离，和否认我们与他者之间的相互纠缠状态。
Entangled Others使我们进入一个超越人类的、与他者纠缠的世界，一个培养多样性和互联关系的世界。
Entanglement is a complex state one where no single entity can be said to be separate, or somehow unaffected, by any other present entangled, we cannot consider ourselves without others, act without interacting, speak without being heard.
It is a multitude of you, and others, equally present and alive, together.The rich substrate of the uncanny, eerie spaces between us and the non-human world cannot remain as an aesthetic space, our world cannot bear this self-imposed distance and denial of our inter-twined state of us and others.
Becoming Entangled Others is about moving further into an entanglement with the more-than-human world of us & others. A world where diversity and inter-connectedness are nurtured and engaged.
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Jake Elwes
杰克·埃尔韦斯
《Zizi秀》, 2020
6个频道的数字视频循环播放，由互动网络作品（zizi.ai）发展而来
由杰克·埃尔韦斯提供
杰克·埃尔韦斯(Jake Elwes)，媒体艺术家，2017年毕业于伦敦大学学院斯莱德美术学院，现生活、工作于伦敦。他最近的研究着眼于机器学习和人工智能领域，这些作品既寻求机器创作中的诗意与叙事性，也探讨、质疑了其背后的准则和伦理。他的最新作品 Zizi Project 通过在现存数据集中加入变装表演者探索人工智能的偏见，揭开并颠覆了人工智能系统的神秘面纱。
埃尔韦斯的作品曾在国际各大博物馆和画廊展出，包括卡尔斯鲁厄艺术与媒体中心（卡尔斯鲁厄）、油罐艺术中心（上海）、今日美术馆（北京）、CyFest国际媒体艺术节（威尼斯）、爱丁堡大学未来研究院（爱丁堡）、Zabludowicz收藏基金会（伦敦）、法兰克福艺术学院（法兰克福）、2017年新世代艺术展（英国）、2017年林茨电子艺术节（奥地利）、维多利亚和阿尔伯特博物馆（伦敦）、LABoral 艺术中心（西班牙）、 Nature Morte画廊（印度德里）、未来智能研究中心（伦敦）。埃尔韦斯也曾被德国电视二台（ZDF）和英国广播公司（BBC）报道。
Jake Elwes is a media artist living and working in London. He studied at The Slade School of Fine Art, UCL (2013-17). Recent works explore his research into machine learning and artificial intelligence. His practice looks for poetry and narrative in the success and failures of these systems, while also investigating and questioning the code and ethics behind them. His current works in the Zizi Project explore AI bias by queering datasets with drag performers. They simultaneously demystify and subvert AI systems.
Jake's work has been exhibited in museums and galleries internationally, including the ZKM, Karlsruhe, Germany; TANK Museum, Shanghai; Today Art Museum, Beijing; CyFest, Venice; Edinburgh Futures Institute, UK; Zabludowicz Collection, London; Frankfurter Kunstverein, Germany; New Contemporaries 2017, UK; Ars Electronica 2017, Austria; Victoria and Albert Museum, London; LABoral Centro, Spain; Nature Morte, Delhi, India; RMIT Gallery, Australia; Centre for the Future of Intelligence, UK and he has been featured on ZDF & BBC.
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Obvious
Obvious
《贝拉米公爵—贝拉米家族系列》，2018
GANs、布面喷墨
60厘米 x 60厘米
©️ Obvious; 由Obvious提供
Obvious是一个由研究人员和艺术家组成的法国团体，他们借助最前沿的深度学习模型探索人工智能的创造潜力。第一件经大型拍卖行（佳士得纽约拍卖中心）拍出的人工智能艺术品，就是出自Obvious之手。Obvious借助其所创作的作品，分享他们对人工智能及其社会应用价值的愿景。
Obvious is a collective of researchers, artists, and friends, working with the latest models of deep learning to explore the creative potential of artificial intelligence. They are behind the sale of the first AI artwork to go through a major auction house. They use their work to share their vision of artificial intelligence and its implementation in our society.
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孙羽茜
孙羽茜
《一千零一夜》，2019-2021
©孙羽茜，由孙羽茜提供。
孙羽茜，计算机艺术家，毕业于清华美院与伦敦大学金史密斯学院。英国皇家艺术学院在读博士生，百度飞桨开发者技术专家(PPDE)。
她的灵感来自对于游戏中人与虚拟人(virtual beings)之间对话的好奇心。作品以AI聊天机器人为核心，专注于探索人机互动中的叙事和亲密关系。
她的作品与研究曾在世界各地的画廊和会议中展出与发表，包括2020加拿大人工生命会议，俄罗斯叶利钦中心媒体艺术节，2021亚洲数字艺术展，第七届ACM女性计算机会议与北京保利2021春拍。
Yuqian Sun is a computational artist who graduated from Academy of Arts & Design, Tsinghua University, and Goldsmiths, University of London. She is currently a doctoral student at Royal College of Art. She is also one of the Baidu PaddlePaddle Developers Experts (PPDE).
Sun’s creative works are actuated by the curiosity over the conversations between humans and virtual beings in the video games. Her art projects center on AI chatbots in exploring the narrative and intimate relationship in human-AI interaction.
Her works and researches have been presented at galleries and conferences including ALIFE 2020 (The 2020 Conference on Artificial Life), Boris Yeltsin Presidential Center Media Façade, 2021 Asia Digital Art Exhibition, 7th ACM Celebration of Women in Computing, and Spring 2021 Poly Auctions, Beijing.
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_学术支持
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Kostas Terzidis
康思达(Kostas Terzidis)博士，现任同济大学设计创意学院教授、尚想实验室主任，是世界顶级算法设计专家，主要研究领域为自动化设计与人工智能。康思达拥有密歇根大学建筑与计算机科学的博士学位，他在包括辛辛那提大学、加州大学洛杉矶分校（1995年-2003年，助理教授）、哈佛大学（2003年-2011年，副教授）在内的知名设计专业任过教。康思达在很多出版物上发表了论文，例如《算法架构》(劳特里奇出版社，2006)、《视觉设计算法》 (约翰威立出版社, 2009)、《算法架构》 (建筑出版社，2006) 和 《表现形式》 (斯彭出版社，2003)。他的研究项目包括“旋转对称物体的采样与重建”及“知识辅助建筑问题求解与设计”。2011年至2017年间，康思达曾创立和运营了一家名为“有机停车”的创业公司。
PhD, Professor, College of Design and Innovation, Tongji University
Kostas Terzidis is professor at D&I at Tongji University and director of the ShangXiang Lab. He was previously associate professor at Harvard University GSD (2003-2011) and assistant professor at the UCLA (1995-2003). He holds a PhD from the University of Michigan, Masters from OSU, and diploma from Aristotle University. His research is automated design and AI. He is author of numerous academic papers and the sole author of four books: Permutation Design (Routledge: 2014), Algorithms for Visual Design (Wiley: 2009), Algorithmic Architecture (Architectural Press: 2006), and Expressive Form (Spon:2003). Between 2011-2017 he created and ran a startup called Organic Parking, Inc.
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Filippo Fabrocini
菲利波·法布罗基尼(Filippo Fabrocini)博士现任同济大学设计创意学院教授，并担任“可持续人工智能实验室”主任，同时教授《人工智能设计原理》课程。法布罗基尼教授是人工智能领域的公认领导者，尤其是在机器学习和人工智能伦理方面。法布罗基尼教授拥有英国萨塞克斯大学认知科学硕士学位和意大利格雷戈里安大学哲学博士学位。他曾经是IBM Research（意大利罗马/美国圣何塞）的高级研究员、卡内基梅隆大学（美国匹兹堡）计算机科学学院的客座研究员（与诺贝尔奖以及图灵奖获奖者赫伯·西蒙教授合作）、IBM米兰/罗马商业创新中心（IBM BIC）总经理。法布罗基尼教授获得了多个奖项，包括两次IBM杰出技术奖和一次IBM客户价值杰出技术成就奖。法布罗基尼教授曾多次在意大利和中国担任策展人，并在中央美术学院、鲁迅学院、厦门大学和清华大学作艺术相关主题演讲。他还多次在中国艺术杂志上发表论文。
PhD, Professor, College of Design & Innovation, Tongji University Prof.
Filippo Fabrocini is Professor in the College of Design & Innovation and Director of the “Sustainable AI Lab”. His main areas of interest are Machine Learning and Ethical AI. Previously he has been Senior Researcher at IBM Research (Rome, Italy/San Jose, USA), Visiting Researcher in the School of Computer Science at Carnegie Mellon University (Pittsburgh, USA), Professor in the Dep. of Philosophy at Gregorian University, and General Manager of the IBM Milan/Rome Business Innovation Center (IBM BIC). Prof. Fabrocini has won multiple awards including two IBM Outstanding Technology Awards. He is the author of more than 30 papers and three books.
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_关于艾厂
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艾厂人工智能艺术中心成立于2021年，是一所地处上海的人工智能艺术机构，它将积极支持、推动和孵化国内外与智能算法相关的创作者及作品，提供其自由表达的空间。艾厂致力于成为人工智能艺术前沿的开拓者和推广者，探索创意的未知边界和可能性。
艾厂旨在为当下人工智能艺术的挑战、实践和创意提供更为丰富的见解。在学术研究层面，艾厂将与国内外知名机构合作，定期举办展览、讲座论坛, 出版相应的研究成果；在实践层面上，艾厂将积极推动和探索人工智能艺术的应用场景。
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地址：上海市闵行区春西路800号
联系：info@aiiiii.com
euphypress@aiiiii.com
Aiiiii Art Center (Est. 2021) is an artificial intelligence art institution based in Shanghai. The organisation seeks to support, promote, as well as incubate both international and domestic artists and projects related to intelligent algorithms. Aiiiii Art Center is committed to becoming a pioneer of artificial intelligence through the discovering of exciting possibilities afforded by the intersections of creativity and technology.
Aiiiii Art Center aims to offer insight into the many challenges, practices, and creative modes of artificial intelligence based art. Such aims will be achieved through academic conferences and published research efforts conducted either independently or in collaboration with domestic and international institutions and organisations. This organisation will also actively promote and showcase the exploratory uses of artificial intelligence based art in practice.
Address: 800 Chunxi Road, Minhang District, Shanghai
Contact: info@aiiiii.com
euphypress@aiiiii.com
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同济大学设计创意学院--艺术与人工智能实验室（Art & Artificial Intelligence Lab，Tongji University College of Design and Innovation）于2021年成立，简称aai。实验室致力于艺术和人工智能技术的交叉学科应用研究，作为一个探索平台，实验室汇聚人工智能艺术领域的艺术家、科学家和技术专家等，共同研究智能算法在创意和艺术领域的应用，并最终实现产、学、研、创的转变。
The Art and Artificial Intelligence Lab (Est. 2021) is an affiliation of Tongji University’s College of Design and Innovation. The Lab is committed to conducting research within a broad range of where the arts meets artificial intelligence (AI) based technologies. The aim is to establish and discover possibilities of innovative advanced technologies in the domain of creative practice. The Lab is an expanding platform currently supported by a number of artists, scientists, and technicians working towards a joint effort of accelerating advancement in relevant fields of industry, research and education.
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