EyeEm is a photography community and marketplace of over 18 million photographers. It also publishes a magazine, also called EyeEm. For its fourth issue, Machina: A Curation of Real Photography by a Machine, the company turned to an artificial intelligence powered by computer vision, EyeEm Vision, to curate the magazine, selecting the photographs it feels are the best aesthetically and most impactful. Now, before the inner smartphone photographer in you rolls your eyes, understand that it is pretty neat that a machine can, in some ways, learn to identify photographic aesthetics like a human. Sure, an A.I. cannot truly exercise a similar series of complex calculations of why an image might be great or resonant, but it's certainly intriguing to see where humans are in imbuing machines with mental processes.

In classical sculpture there is a great emphasis on movement. In the world of robotics, the emphasis is on actual motion. For the last several years Riga, Latvia-based new media sculptor Krists Pudzens has been fusing the two disciplines with his "electromechanical art." In his first major exhibition, SHIFT, Pudzens showcases a number of kinetic and interactive works created between 2007 and 2014. The show features seven objects that explore various types of perception like audio, visual and tactile sensations, but also function as "closed, introverted" systems with distinct appearances and movement.

While 3D artist Moritz Reichartz was creating a virtual rendition of Ai Weiwei's Stools in Mashup Between the Clouds, he was also nearing completion of an automated 3D animation inspired by artificial intelligence. Titled Hands Off [A.I.], Reichartz created the animated video over a year of research and development. In describing the animations as "automated," Reichartz means that no keyframes were used whatsoever for any of the clips--he merely "designed and guided the self-driving movements." In this sense the animated virtual objects and spaces, which are equally surreal, beautiful and alien, are types of A.I. Reichartz considers Hands Off [A.I.] to be an artistic answer to Tim Urban's essay "The AI Revolution: The Road to Superintelligence." The artist says the article gave him "heavy mental vertigo" and might have even scared him.

Ever since HAL asserted, "I'm sorry, Dave. I'm afraid I can't do that," different artists have been expressing the anxiety associated with a phenomenon that would come to be known as "the Internet of Things." This week at The Goat Farm Arts Center in Atlanta, artists Andy Pruett (of interactive studio Second Story) and Nate Turley are creating an unique environment dedicated to one question: To what extent do we control the web, and to what extent does it control us? Tomorrow, in association with interactive media space 9to5, the artists will code custom robots that respond to different objects, lights, and sensors within a controlled space at The Goat Farm. Once the artists code the bots, the project interface then becomes completely collaborative with both viewers who are physically in the space and viewers tuned in from 9to5's public streaming site.

While 3D artist Moritz Reichartz was creating a virtual rendition of Ai Weiwei's Stools in Mashup Between the Clouds, he was also nearing completion of an automated 3D animation inspired by artificial intelligence.Titled Hands Off [A.I.], Reichartz created the animated video over a year of research and development. In describing the animations as "automated," Reichartz means that no keyframes were used whatsoever for any of the clips--he merely "designed and guided the self-driving movements." In this sense the animated virtual objects and spaces, which are equally surreal, beautiful and alien, are types of A.I. Reichartz considers Hands Off [A.I.] to be an artistic answer to Tim Urban's essay "The AI Revolution: The Road to Superintelligence." The artist says the article gave him "heavy mental vertigo" and might have even scared him. "I was always interested about automation in computer usage," Reichartz tells The Creators Project.