Is it just me, or has this Oscar season lasted five years? Maybe it's because the Barbenheimer phenomenon has been with us since the summer. Or maybe we've just heard one too many times that Bradley Cooper spent half a decade learning how to conduct for "Maestro." Whether you are a casual observer or an Oscar completist who is now cramming in a few more animated shorts, it all ends Sunday, with the ninety-sixth Academy Awards. Much is already known, or widely assumed: we're likely to hear the word "Oppenheimer" several times, Da'Vine Joy Randolph ("The Holdovers") is a shoo-in for Best Supporting Actress, and Jimmy Kimmel will be back to poke fun at Hollywood and move things along.

I hope you will guess who it is. Yes -- the author of the answer to my question is the GPT-3 algorithm. Which is able to generate text on any topic; not only text, but also code and image. I would now like to show you an example of image generation by this model. What you see in the image (below) are fragments of film posters -- you will probably recognise what films they are from, and the model will extrapolate from the image fragment -- the rest is hidden to it -- in order to generate the rest of the poster.

I hope you will guess who it is. Yes -- the author of the answer to my question is the GPT-3 algorithm. Which is able to generate text on any topic; not only text, but also code and image. I would now like to show you an example of image generation by this model. What you see in the image (below) are fragments of film posters -- you will probably recognise what films they are from, and the model will extrapolate from the image fragment -- the rest is hidden to it -- in order to generate the rest of the poster.

Before I answer this question, two words of introduction. What you see in the picture below is a model that makes text look like an image -- AttnGAN (Attentional Generative Adversarial Networks). It changes descriptive texts into synthesized images. Thanks to its innovative generative network, AttnGAN it can synthesize small details in different subregions of an image, paying attention to the appropriate words in the natural language description. The text that answers the question of "what an AI is" is not a descriptive text, but let us see what our GAN will generate.

"The Uncanny Valley"is Flash Art's new digital column offering a window on the developing field of artificial intelligence and its relationship to contemporary art. The last decade has seen exponential growth in the aesthetic application of AI and machine learning: from DeepDream's convolutional neural networks that detect and intensify patterns within individual images; to NST (neural style transfer) techniques that manipulate one image into the style of another; to GANs (generative adversarial networks) that digest large datasets of images in order to generate new visions without human intervention. Although the community of computational artists and creative AI hackers still exists largely outside of the contemporary art scene, a growing body of artists has sought to traverse both territories, in the process foregrounding the cultural, ethical, and social problems that underpin our new digital architecture. In recent years, Jake Elwes has distilled the full range of AI-informed strategies into a diverse series of outputs: transcriptions of tech leaders' numerical babblings (dada da ta, 2016); video installations projecting conversations between two neural networks (Closed Loop, 2017); and 2016's Auto-Encoded Buddha -- a tribute to Nam June Paik's TV Buddha (1974) -- in which a computer struggles to depict the Buddha's true essence. Through these works and others, Elwes has actively positioned himself within the long histories of video and computer art, and against the notion that AI is capable of expressing intentionality.

Italian conductor Andrea Colombini said of his student, "The gestural nuances of a conductor have been fully reproduced at a level that was previously unthinkable to me. This is an incredible step forward, given the rigidity of gestures by previous robots. I imagine the robot could serve as an aid, perhaps to execute, in the absence of a conductor, the first rehearsal, before the director steps in to make the adjustments that result in the material and artistic interpretation of a work of music." Yumi is not the first computer artist. In 1973, professor and artist, Harold Cohen created a software program called AARON – a mechanical painter.

Creativity is one of those things which makes humans so special. But could there ever be a day when computers are composers, theoretical physicists, or artists? There are already a number of projects in artificial intelligence that try to recreate creativity in computers. Harold Cohen has spent his whole career designing a program called Aaron which creates original works of art. "We've barely scratched the surface of machine intelligence," says Mr Cohen.

The images of astonishing complexity and breathtaking images were black and white. Cohen colored them by color that Cohen regarded as superior to his own hand. (figure 3). But Cohen's question had always been, For the next two decades, Cohen worked on algorithms "What are the minimum conditions under which a for color and composition. In 1995, he built set of marks functions as an image?" and his work and exhibited a painting machine at the Boston since about 2010 is comparatively minimalist.

During the last 36 years of its illustrious history, ince its inception in 1980, AI Magazine has played an the magazine has gone through several transformations. Now the magazine is going through another transition: David Leake, the longtime editor-in-chief is moving on after 17 years of distinguished service, though fortunately he will continue to advise us as editor emeritus. I am honored and delighted to follow David. I have been a member of the Editorial Board of AI Magazine for several years, associate editor since August 2015, and editor elect since February 2016; my tenure as editor-in-chief starts with this winter 2016 issue. I thank David, Managing Editor Mike Hamilton, former AAAI President Tom Dietterich, and AAAI for recruiting me for this challenge....

Former UC San Diego art department chairman Harold Cohen, an abstract painter who developed AARON, one of the first and eventually one of the most complex computer software programs for generating works of art, died April 27 at his home in Encinitas. The cause was congestive heart failure, said his son, Paul. "Harold came as close as anyone has ever come to capturing the creative instinct and judgment of a human artist in software," said Mark-Elliott Lugo, an independent curator and art adviser who served as the San Diego Public Library's visual arts curator from 2000-2012. "What really made AARON so successful was that the quality of the work was exceptional. It was world-class," he said.