{"id":57263,"date":"2026-08-13T14:19:39","date_gmt":"2026-08-13T12:19:39","guid":{"rendered":"https:\/\/www.schirn.de\/?post_type=magazin-artikel&#038;p=57263"},"modified":"2026-08-19T11:20:56","modified_gmt":"2026-08-19T09:20:56","slug":"work-without-author-art-without-the-human","status":"publish","type":"magazin-artikel","link":"https:\/\/www.schirn.de\/en\/schirnmag\/work-without-author-art-without-the-human\/","title":{"rendered":"Work Without Author, Art Without the Human?"},"content":{"rendered":"<section class='wp-block-ho-pattern ' data-pattern='ho\/header-magazin-landscape'>\n\n<div  class='div'>\n\n<div  class='container-fluid sizes-width-fill'>\n\n<div  class='row'>\n\n<div  class='col col-xs-12 margin-bottom-4 text-align-center'  data-motion-text=\"{&quot;child&quot;:&quot;.ho-sd-mag-h2&quot;,&quot;force&quot;:true,&quot;delay&quot;:0,&quot;speed&quot;:0.9,&quot;ease&quot;:&quot;expo.out&quot;}\">\n<h1 class='ho-sd-mag-h2' style=\"white-space: normal;\">Work Without Author, Art Without the Human?<\/h1>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='container-fluid mobile-margin-bottom-3 sizes-width-fill'>\n\n<div  class='row'>\n\n<div  class='col col-md-4 col-md-offset-4 col-xs-offset-2 col-xs-8'>\n\n<div  class='margin-bottom-7'  data-motion-text=\"{&quot;child&quot;:&quot;.lazy-media-inline&quot;,&quot;force&quot;:true,&quot;delay&quot;:0.3,&quot;speed&quot;:0.9,&quot;ease&quot;:&quot;expo.out&quot;}\">\n<div class=\"wp-block wp-block-ho-flash \" style=\"\">\n\n\t\t\t\t\t\t\t\t<div class=\"flash-animation-data\" data-animations='[{\"id\":\"full\",\"name\":\"Full\",\"types\":[{\"name\":\"y\",\"start\":\"-5\",\"end\":\"5\"}]},{\"id\":\"in\",\"name\":\"In\",\"types\":[]},{\"id\":\"out\",\"name\":\"Out\",\"types\":[]}]' data-target=\".lazy-media-contents\" 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: \"Painting of a red and green apple with a large white sign that says &quot;This is not an apple.&quot;\",\n\"path\" : \"https:\\\/\\\/schirn.b-cdn.net\\\/wp-content\\\/uploads\\\/2026\\\/04\\\/\",\n\"video\" : null,\n\"autoplay\" : null,\n\"youtube\" : null,\n\"youtubelabel\" : \"play\",\n\"brightness\" : 100,\n\"crop\" : {\"x\":0.5,\"y\":0.5},\n\"background\" : true,\n\"scale\" : 1,\n\"zoom\" : false,\n\"annotations\" : null}<\/script>\n<div class=\"height-container \" style=\"padding-bottom:67%;   \">\n\t<div class=\"height-container-contents lazy-media-contents\">\n\t\n\t<div class=\"lazy-media-preview\" style=\"background-image: url('data:image\/jpeg;base64,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'); background-position: 50% 50%; height: 100%; width: 100%;\"><\/div>\n\n\t\t<lazy-media-inline inline-template>\n\t\t<div>\n\t\t\t<lazy-media :inline=\"true\" :alt=\"alt\" :sizes=\"sizes\" :scale=\"scale\" :zoom=\"zoom\" :brightness=\"brightness\" :path=\"path\" :video=\"video\" :autoplay=\"autoplay\" :youtube=\"youtube\" :crop=\"crop\" :youtubelabel=\"youtubelabel\" :annotations=\"annotations\" :background=\"background\" v-if=\"sizes\"><\/lazy-media>\n\t\t<\/div>\n\t<\/lazy-media-inline>\n\t\t\t<\/div>\n<\/div>\n\n\n\n\n\n\t\t<figcaption class=\"\" id=\"media_Q7Q1bn\">\n\t\t\t<div class=\"figcaption-wrapper\">\n\t\t\t\t\t\t\t<div class=\"lazy-media-image-label\">Trevor Paglen, The Treachery of Object Recognition, 2019, dye sublimation print on aluminum, 15 \u00d7 12 \u00bd in. (38.10 \u00d7 31.75 cm), 15 \u215d \u00d7 13 \u215b \u00d7 1 \u00bd in. (39.69 \u00d7 33.34 \u00d7 3.81 cm) (framed)<\/div>\n\t\t\t\t\t\t\t\t\t\t<div class=\"lazy-media-image-description\">\u00a9 Trevor Paglen, Courtesy of the Artist, Altman Siegel, San Francisco, and the Pace Gallery <\/div>\n\t\t\t\t\t\t<\/div>\n\t\t<\/figcaption>\n\t\n<\/figure>\n\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/flash-animation>\n\t\t\t\t<\/div>\n\t\t\t\t\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<div  class='container-fluid margin-bottom-7'>\n\n<div  class='row'>\n\n<div  class='col col-xs-12 col-md-4 col-md-offset-8 margin-bottom-5'><section class='wp-block-ho-pattern ' data-pattern='ho\/magazin-header-eigenschaften'>\n\n<div  class='magazine-header-props text-align-right'>\n\n<div  class='container-fluid cf-rem-max-width cf-side-1 cf-gutter-1'>\n\n<div  class='row'>\n\n<div  class='col col-xs-12'><div class=\"wp-block-ho-slot \"><p>08\/13\/2026<\/p><\/div>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='row'>\n\n<div  class='col col-xs-12'>\n\n<div  class='margin-bottom-3'>\n\n<div  class='flex-align-center-right'>\n<div class=\"wp-block-ho-slot \"><p>13 min reading time<\/p><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<div class=\"wp-block-ho-slot \"><div class=\"container-fluid cf-rem-max-width cf-side-1 cf-gutter-1\"><div class=\"row\"><div class=\"col col-xs-12\"><div class=\"margin-bottom-3\"><div class=\"components-image-text-person-image-small-group flex-align-top-right\"><div class=\"col col-xs-12\"><div class=\"components-image-text-persons-line\"><span class=\"ho-sd-body\">Writer:<\/span><a href=\"https:\/\/www.schirn.de\/en\/beteiligte\/eugenia-stamboliev-en\/\" class=\"components-image-text-person-image-small\"><div class=\"components-image-text-person-image-small-text ho-sd-body\">Eugenia Stamboliev<\/div><div class=\"components-image-text-person-image-small-image\"><figure itemscope itemtype=\"http:\/\/schema.org\/ImageObject\" class=\"lazy-media-inline \" role=\"group\" aria-describedby=\"media_6a88c03327e47\"><script type=\"application\/json\">{\n\"id\" : 57271,\n\"sizes\" : {\"medium\":{\"file\":\"Stamboliev-216x300.jpg\",\"width\":216,\"height\":300,\"mime-type\":\"image\\\/jpeg\",\"filesize\":20502},\"original\":{\"file\":\"Stamboliev.jpg\",\"width\":230,\"height\":320}},\n\"alt\" : \"Portrait of a woman with gray hair, thoughtfully resting on her hand on a couch, in front of a colorful artwork.\",\n\"path\" : \"https:\\\/\\\/schirn.b-cdn.net\\\/wp-content\\\/uploads\\\/2026\\\/08\\\/\",\n\"video\" : null,\n\"autoplay\" : null,\n\"youtube\" : null,\n\"youtubelabel\" : \"play\",\n\"brightness\" : 100,\n\"crop\" : null,\n\"background\" : false,\n\"scale\" : 1,\n\"zoom\" : false,\n\"annotations\" : null}<\/script><div class=\"height-container \" style=\"padding-bottom:139.13043478261%;   \"><div class=\"height-container-contents lazy-media-contents\"><div class=\"lazy-media-preview\" style=\"background-image: url('data:image\/jpeg;base64,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'); background-position: 50% 50%; height: 100%; width: 100%;\"><\/div><div class=\"lazy-media loaded\"><img decoding=\"async\" src=\"https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/08\/Stamboliev.jpg\" srcset=\"https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/08\/Stamboliev.jpg 230w, https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/08\/Stamboliev-216x300.jpg 216w\" sizes=\"(max-width: 763px) 100vw, (min-width: 764px) and (max-width: 1023px) 100vw, (min-width: 1024px) 100vw\" alt=\"Portrait of a woman with gray hair, thoughtfully resting on her hand on a couch, in front of a colorful artwork.\" loading=\"lazy\" \/><\/div><\/div><\/div><\/figure><\/div><\/a><\/div><\/div><\/div><\/div><\/div><div class=\"col col-xs-12\"><div class=\"margin-bottom-3\"><\/div><\/div><div class=\"col col-xs-12\"><div class=\"wp-block-ho-div\"><div class=\"ho-tag-group flex-align-top-right\"><div class=\"ho-tag is-tertiary\"><a href=\"https:\/\/www.schirn.de\/en\/hauptkategorie\/diskurs-en\/\" class=\"ho-tag-label\">Discourse<\/a><\/div><div class=\"ho-tag is-tertiary\" style=\"background-color:#f2ad3e;\"><a href=\"https:\/\/www.schirn.de\/en\/ho_ausstellung\/the-world-through-ai-en\/\" class=\"ho-tag-label\">The World Through AI<\/a><\/div><\/div><\/div><\/div><div class=\"col col-xs-12\"><div class=\"wp-block-ho-div\"><div class=\"ho-tag-group flex-align-top-right\"><div class=\"ho-tag is-primary\"><a href=\"https:\/\/www.schirn.de\/en\/tag\/digital-art-en\/\" class=\"ho-tag-label\">Digital Art<\/a><\/div><div class=\"ho-tag is-primary\"><a href=\"https:\/\/www.schirn.de\/en\/tag\/ai\/\" class=\"ho-tag-label\">AI<\/a><\/div><div class=\"ho-tag is-primary\"><a href=\"https:\/\/www.schirn.de\/en\/tag\/art-history\/\" class=\"ho-tag-label\">Art History<\/a><\/div><\/div><\/div><\/div><\/div><\/div>\n<\/div>\n<\/div>\n<\/section><\/div>\n<\/div>\n\n\n\n\n<div  class='row'>\n\n<div  class='col col-xs-12 last-xs col-md-8'>\t<p class='ho-sd-h4'>Can AI now also create art? Philosopher Eugenia Stamboliev dissects various narratives surrounding art and generative AI. At stake is nothing less than creation itself\u2014the myth of the authorial genius and the destabilization of patriarchal power structures.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern toggle-optional-headline show-optional-headline toggle-optional-button' data-pattern='ho\/text-option-headline-button'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row ho-pattern-optional-headline'>\n\n<div  class='col col-md-6 col-xs-12'>\n\n<div  class='padding-bottom-4'>\n<h2 class='ho-sd-h3' style=\"white-space: normal;\">On Artistic and Artificial Art<\/h2>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='row'>\n\n<div  class='col col-md-6 col-xs-12'>\n\n<div class=\"wp-block-ho-div\">\t<p class='ho-sd-body'>Artificial intelligence (AI) is an increasingly powerful artistic medium, but it is not new. As early as 1952, mathematician and computer scientist Christopher Strachey wrote a poem using a computer, \u201cHey Honey.\u201d It was a creative collaboration between him and the <em>Ferranti Mark I<\/em>, and consisted of a combination of seventy preselected words that the computer then mixed into a surprisingly lyrical work. Was the computer the author of this piece? For Strachey, the answer was no. He felt that assembling words according to rules did not constitute authorship.<br><br>Although \u201cart\u201d and \u201cartificial\u201d are related terms, they have different connotations. The artificial tends to be viewed negatively, while things that are artistic are only appreciated if they appear to be made by humans, and if we can sense the maker\u2019s hand within them. Yet historically, this distinction between artificial and artistic has never been as clear-cut as it may seem. Creativity has always been technically mediated, be it through new materials, tools, or media. AI only exacerbates this tension and makes it more visible, as it now enfolds even more layers into one medium: artist, structure, process, work, and, now also, corporations.<br><br>One thing is becoming increasingly clear: The emergence of AI demands a rethinking of creativity and the importance of the human \u201chand\u201d or authorship. What is merely artificial, and what is already artistic? This debate has been around since the advent of photography in the late nineteenth century, and then was reignited with the rise of digital media and processes in art making. But will AI now seize the last bastion of authorship and degrade artists themselves to tools? Can AI now also create art?<br><br>So-called AI is neither artificial nor a technical term, but rather a narrative with many aspects that no one fully understands or sees. It often refers to technologies, algorithmic systems, machine learning, or neural networks, all of which are able to process an enormous amount of data. The problem is not so much the technology as such, but rather its (programmed) power, since AI makes opaque decisions\u2014from music recommendations to discriminatory classifications.<br><br>Whatever <em>artificial intelligence<\/em> is or pretends to be, the concept officially appeared in the US in the early 1950s. It combined hope with fantasies of control, while also fueling the imaginations of investors and the dreams of the US Department of Defense, particularly its Defense Advanced Research Projects Agency or DARPA.<br><br>In contrast to predictive or analytical AI, generative AI (GenAI) generates new content more or less independently but based on human instructions. These AI systems can write texts, create images, or generate soundscapes. Many are now rightly concerned that this all-encompassing AI will displace human authors, especially in creative fields. The launch of DALL-E, one of the first image-generating AI programs to receive main-stream attention, already raised fears that generative models would change creative industries and exert pressure on artists, or even fully replace them. Although such predictions follow an economic logic that sees creativity as a replaceable activity, shifts are already taking place in some professional fields. The theft of data for the training of these new AI models alone has led many creatives and artists to despair.<br><br>What, then, could a new form of authorship look like in the age of AI, when humans and machines compete for the claim to artistic genius?<\/p>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='col col-xs-12 ho-pattern-optional-button padding-top-4'>\n\n<div  class='wp-block-ho-buttons '>\n<div class=\"wp-block-ho-buttons-item\">\n\t<a href=\"https:\/\/www.google.de\/\"  target=\"\" role=\"button\" aria-pressed=\"false\" rel=\"nofollow\" class=\"ho-button is-primary mobile-full-width\">\n\t\t\t\t<span class=\"ho-button-label \">Lorem Ipsum<\/span>\n\t<\/a>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern ' data-pattern='ho\/text-magazin-zitat'>\n\n<div  class='container-fluid margin-bottom-7'>\n\n<div  class='row center-xs'>\n\n<div  class='col col-xs-12 col-md-10 col-md-offset-1'>\n<h4 class='ho-sd-mag-h3 mag-quote-title' style=\"white-space: normal;\">\u201cYet historically, this distinction between artificial and artistic has never been as clear-cut as it may seem. Creativity has always been technically mediated, be it through new materials, tools, or media. AI only exacerbates this tension and makes it more visible.\u201d<\/h4>\n\n\n\n\n<div  class='padding-top-5'>\t<p class='ho-sd-body-small'> <\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern toggle-optional-headline show-optional-headline toggle-optional-button' data-pattern='ho\/text-option-headline-button'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row ho-pattern-optional-headline'>\n\n<div  class='col col-md-6 col-xs-12'>\n\n<div  class='padding-bottom-4'>\n<h2 class='ho-sd-h3' style=\"white-space: normal;\">The one and only: The Human Author<\/h2>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='row'>\n\n<div  class='col col-md-6 col-xs-12'>\n\n<div class=\"wp-block-ho-div\">\t<p class='ho-sd-body'>The figure of the \u201cauthor,\u201d in the sense of a creator, is a genius, at once a human being and a legend, rarely a woman. Artists are historically male. For decades after Ernst Gombrich published his still-influential book <em>The Story of Art<\/em> in 1950, the fact that it included practically no women was hardly commented upon. When asked about this later, Gombrich is said to have replied that not everyone could be a genius. It was not until the sixteenth edition that one woman was mentioned: K\u00e4the Kollwitz. Women were apparently never geniuses. This logic reveals how strongly the concept of authorship is historically linked to societal power relations. In art history, men appear as authors and makers, while women often appear as muses and supporters. When art historian Katy Hessel wrote <em>The Story of Art Without Men<\/em> in 2022, she did so as an intervention into Gombrich\u2019s work. In it, she points out\u2014not for the first time\u2014that women also made art, but they were not seen, collected, or canonized. Geniuses were never born\u2014they were made.<br><br>At the end of the 1960s, Michel Foucault and Roland Barthes explored the question of the author in depth. Barthes, in his essay \u201cThe Death of the Author,\u201d emphasized the work itself, locating its meaning in its reception, structure, and context. Foucault\u2019s lecture \u201cWhat is an Author?,\u201d meanwhile, examined the function of the author as a form of subjectivation. However, the often dramatized contrast between these two positions obscures the fact that neither fully advocated the abolition of authors nor their destabilization. Despite these theoretical provocations, the myth of the (male) author remains a surprisingly stable concept in our culture. The notion of the individual artistic genius continues to shape both the art world and the perception of art. Yet this association is increasingly being challenged\u2014not only as a result of feminist critique, but also due to new technologies.<\/p>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='col col-xs-12 ho-pattern-optional-button padding-top-4'>\n\n<div  class='wp-block-ho-buttons '>\n<div class=\"wp-block-ho-buttons-item\">\n\t<a href=\"https:\/\/www.google.de\/\"  target=\"\" role=\"button\" aria-pressed=\"false\" rel=\"nofollow\" class=\"ho-button is-primary mobile-full-width\">\n\t\t\t\t<span class=\"ho-button-label \">Lorem Ipsum<\/span>\n\t<\/a>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern ' data-pattern='ho\/text-magazin-zitat'>\n\n<div  class='container-fluid margin-bottom-7'>\n\n<div  class='row center-xs'>\n\n<div  class='col col-xs-12 col-md-10 col-md-offset-1'>\n<h4 class='ho-sd-mag-h3 mag-quote-title' style=\"white-space: normal;\">\u201cIf we understand art production as an interplay of human labor, technological infrastructures, and institutional conditions, we gain a more expansive view of what it means to make art. Both art and AI are complex networks of \u201centangled authorships\u201d that intertwine people, machines, and resources\u2014something that is complex but not new.\u201d<\/h4>\n\n\n\n\n<div  class='padding-top-5'>\t<p class='ho-sd-body-small'> <\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern toggle-optional-headline show-optional-headline' data-pattern='ho\/text-medien-bild-text-links-grosses-bild-rechts-option-headline'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-1'>\n\n<div  class='row'>\n\n<div  class='col col-xs-12 col-md-6  mobile-margin-bottom-4'>\n\n<div  class='container-fluid cf-gutter-1 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-xs-12'>\n\n<div  class='mobile-margin-bottom-5'>\n\n<div  class='padding-bottom-4 ho-pattern-optional-headline'>\n<h2 class='ho-sd-h3' style=\"white-space: normal;\">Don\u2019t Do it Yourself: What and How Many are Authors?<\/h2>\n<\/div>\n\n\n\t<p class='ho-sd-body'>AI is challenging many societal assumptions, including the concept of artistic genius. This attack on \u201cgenius\u201d does not necessarily have to be understood as a loss. It could be seen as a reinterpretation and expansion, so that we can break away from male-dominated notions of authorship and enable more diverse forms of creative practice to become visible. Art is not and never has been truly isolated from its contexts or conditions, contrary to all the myths surrounding the artist. If we understand art production as an interplay of human labor, technological infrastructures, and institutional conditions, we gain a more expansive view of what it means to make art. Both art and AI are complex networks of \u201centangled authorships\u201d that intertwine people, machines, and resources\u2014something that is complex but not new. Sociologist Bruno Latour\u2019s actor-network theory (ANT) has described similar networks of human and non-human actors that are relational, but not hierarchical. This perspective is scientifically and artistically quite exciting, but falls short when it comes to understanding the hierarchies that remain in place.<br><br>AI has never been a neutral network or tool, nor an isolated technology, but rather a network of resources, energy, human labor, and political decisions. Today, it is no longer just a new means of expression, but a power structure. These complex interrelationships become particularly apparent in Kate Crawford and Vladan Joler\u2019s work \u201cAnatomy of an AI System: An Anatomical Case Study of the Amazon Echo as an Artificial Intelligence System Made of Labor\u201d (2018), which visualizes the global and material resources and infrastructure powering AI.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='col col-md-5 col-md-offset-1 col-xs-offset-2 col-xs-10'>\n\n<div class=\"wp-block-ho-div\"><figure itemscope itemtype=\"http:\/\/schema.org\/ImageObject\" class=\"lazy-media-inline \" role=\"group\" aria-describedby=\"media_3gzU3J\">\n<script type=\"application\/json\">{\n\"id\" : 50374,\n\"sizes\" : {\"medium\":{\"file\":\"Schirn-Presse_WTAI_-Kate-Crawford_Vladan-Joler_Anatomy_Quantification-of-Human-Body_2018_Detail-227x300.jpg\",\"width\":227,\"height\":300,\"mime-type\":\"image\\\/jpeg\",\"filesize\":14678},\"large\":{\"file\":\"Schirn-Presse_WTAI_-Kate-Crawford_Vladan-Joler_Anatomy_Quantification-of-Human-Body_2018_Detail-773x1024.jpg\",\"width\":773,\"height\":1024,\"mime-type\":\"image\\\/jpeg\",\"filesize\":127297},\"medium_large\":{\"file\":\"Schirn-Presse_WTAI_-Kate-Crawford_Vladan-Joler_Anatomy_Quantification-of-Human-Body_2018_Detail-768x1017.jpg\",\"width\":768,\"height\":1017,\"mime-type\":\"image\\\/jpeg\",\"filesize\":124261},\"1536x1536\":{\"file\":\"Schirn-Presse_WTAI_-Kate-Crawford_Vladan-Joler_Anatomy_Quantification-of-Human-Body_2018_Detail-1160x1536.jpg\",\"width\":1160,\"height\":1536,\"mime-type\":\"image\\\/jpeg\",\"filesize\":237569},\"2048x2048\":{\"file\":\"Schirn-Presse_WTAI_-Kate-Crawford_Vladan-Joler_Anatomy_Quantification-of-Human-Body_2018_Detail-1547x2048.jpg\",\"width\":1547,\"height\":2048,\"mime-type\":\"image\\\/jpeg\",\"filesize\":363998},\"small\":{\"file\":\"Schirn-Presse_WTAI_-Kate-Crawford_Vladan-Joler_Anatomy_Quantification-of-Human-Body_2018_Detail-332x440.jpg\",\"width\":332,\"height\":440,\"mime-type\":\"image\\\/jpeg\",\"filesize\":28982},\"semi\":{\"file\":\"Schirn-Presse_WTAI_-Kate-Crawford_Vladan-Joler_Anatomy_Quantification-of-Human-Body_2018_Detail-438x580.jpg\",\"width\":438,\"height\":580,\"mime-type\":\"image\\\/jpeg\",\"filesize\":48269},\"mobile\":{\"file\":\"Schirn-Presse_WTAI_-Kate-Crawford_Vladan-Joler_Anatomy_Quantification-of-Human-Body_2018_Detail-544x720.jpg\",\"width\":544,\"height\":720,\"mime-type\":\"image\\\/jpeg\",\"filesize\":70403},\"hd\":{\"file\":\"Schirn-Presse_WTAI_-Kate-Crawford_Vladan-Joler_Anatomy_Quantification-of-Human-Body_2018_Detail-967x1280.jpg\",\"width\":967,\"height\":1280,\"mime-type\":\"image\\\/jpeg\",\"filesize\":180462},\"full\":{\"file\":\"Schirn-Presse_WTAI_-Kate-Crawford_Vladan-Joler_Anatomy_Quantification-of-Human-Body_2018_Detail-1450x1920.jpg\",\"width\":1450,\"height\":1920,\"mime-type\":\"image\\\/jpeg\",\"filesize\":331158},\"xxl\":{\"file\":\"Schirn-Presse_WTAI_-Kate-Crawford_Vladan-Joler_Anatomy_Quantification-of-Human-Body_2018_Detail-3058x4048.jpg\",\"width\":3058,\"height\":4048,\"mime-type\":\"image\\\/jpeg\",\"filesize\":996596},\"original\":{\"file\":\"Schirn-Presse_WTAI_-Kate-Crawford_Vladan-Joler_Anatomy_Quantification-of-Human-Body_2018_Detail.jpg\",\"width\":3680,\"height\":4872}},\n\"alt\" : \"Graphic illustrating the quantification of the human body and various data sources for profiles.\",\n\"path\" : \"https:\\\/\\\/schirn.b-cdn.net\\\/wp-content\\\/uploads\\\/2026\\\/04\\\/\",\n\"video\" : null,\n\"autoplay\" : null,\n\"youtube\" : null,\n\"youtubelabel\" : \"play\",\n\"brightness\" : 100,\n\"crop\" : null,\n\"background\" : false,\n\"scale\" : 1,\n\"zoom\" : false,\n\"annotations\" : null}<\/script>\n<div class=\"height-container \" style=\"padding-bottom:132.39130434783%; 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background-position: 50% 50%; height: 100%; width: 100%;\"><\/div>\n\n\t\n<div class=\"lazy-media loaded\">\n\t<img decoding=\"async\" src=\"https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/04\/Schirn-Presse_WTAI_-Kate-Crawford_Vladan-Joler_Anatomy_Quantification-of-Human-Body_2018_Detail-1450x1920.jpg\" srcset=\"https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/04\/Schirn-Presse_WTAI_-Kate-Crawford_Vladan-Joler_Anatomy_Quantification-of-Human-Body_2018_Detail-1450x1920.jpg 1450w, https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/04\/Schirn-Presse_WTAI_-Kate-Crawford_Vladan-Joler_Anatomy_Quantification-of-Human-Body_2018_Detail-227x300.jpg 227w, https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/04\/Schirn-Presse_WTAI_-Kate-Crawford_Vladan-Joler_Anatomy_Quantification-of-Human-Body_2018_Detail-773x1024.jpg 773w, https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/04\/Schirn-Presse_WTAI_-Kate-Crawford_Vladan-Joler_Anatomy_Quantification-of-Human-Body_2018_Detail-768x1017.jpg 768w, https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/04\/Schirn-Presse_WTAI_-Kate-Crawford_Vladan-Joler_Anatomy_Quantification-of-Human-Body_2018_Detail-1160x1536.jpg 1160w, https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/04\/Schirn-Presse_WTAI_-Kate-Crawford_Vladan-Joler_Anatomy_Quantification-of-Human-Body_2018_Detail-1547x2048.jpg 1547w, https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/04\/Schirn-Presse_WTAI_-Kate-Crawford_Vladan-Joler_Anatomy_Quantification-of-Human-Body_2018_Detail-332x440.jpg 332w, https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/04\/Schirn-Presse_WTAI_-Kate-Crawford_Vladan-Joler_Anatomy_Quantification-of-Human-Body_2018_Detail-438x580.jpg 438w, https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/04\/Schirn-Presse_WTAI_-Kate-Crawford_Vladan-Joler_Anatomy_Quantification-of-Human-Body_2018_Detail-544x720.jpg 544w, https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/04\/Schirn-Presse_WTAI_-Kate-Crawford_Vladan-Joler_Anatomy_Quantification-of-Human-Body_2018_Detail-967x1280.jpg 967w\" sizes=\"(max-width: 763px) 100vw, (min-width: 764px) and (max-width: 1023px) 50vw, (min-width: 1024px) 50vw\" alt=\"Graphic illustrating the quantification of the human body and various data sources for profiles.\" loading=\"lazy\" \/>\n<\/div>\t\t<\/div>\n<\/div>\n\n\n\n\n\n\n<\/figure>\n\n\t\t\n\n<figcaption id=\"media_3gzU3J\">\n\t<div class=\"figcaption-wrapper\">\n\t\t\t\t\t<div class=\"lazy-media-image-label\">Kate Crawford &#038; Vladan Joler, Anatomy of an AI System: An Anatomical Case Study of the Amazon Echo as an Artificial Intelligence System Made of Labor, 2018, print on paper<\/div>\n\t\t\t\t\t\t\t<div class=\"lazy-media-image-description\">\u00a9 Courtesy of the artists<\/div>\n\t\t\t<\/div>\n<\/figcaption>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern ' data-pattern='ho\/medien-bild-zentriert'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-md-6 col-md-offset-3 col-xs-10 col-xs-offset-1'>\n\n<div class=\"wp-block-ho-div\"><figure itemscope itemtype=\"http:\/\/schema.org\/ImageObject\" class=\"lazy-media-inline \" role=\"group\" aria-describedby=\"media_3gzU3J\">\n<script type=\"application\/json\">{\n\"id\" : 54907,\n\"sizes\" : {\"medium\":{\"file\":\"Schirn_Presse_Kate-Crawford_Vladan-Joler_Anatomy-of-an-AI-System_2018_c_Norbert-Miguletz-300x200.jpg\",\"width\":300,\"height\":200,\"mime-type\":\"image\\\/jpeg\",\"filesize\":26738},\"large\":{\"file\":\"Schirn_Presse_Kate-Crawford_Vladan-Joler_Anatomy-of-an-AI-System_2018_c_Norbert-Miguletz-1024x681.jpg\",\"width\":1024,\"height\":681,\"mime-type\":\"image\\\/jpeg\",\"filesize\":239925},\"medium_large\":{\"file\":\"Schirn_Presse_Kate-Crawford_Vladan-Joler_Anatomy-of-an-AI-System_2018_c_Norbert-Miguletz-768x511.jpg\",\"width\":768,\"height\":511,\"mime-type\":\"image\\\/jpeg\",\"filesize\":142561},\"1536x1536\":{\"file\":\"Schirn_Presse_Kate-Crawford_Vladan-Joler_Anatomy-of-an-AI-System_2018_c_Norbert-Miguletz-1536x1022.jpg\",\"width\":1536,\"height\":1022,\"mime-type\":\"image\\\/jpeg\",\"filesize\":502931},\"2048x2048\":{\"file\":\"Schirn_Presse_Kate-Crawford_Vladan-Joler_Anatomy-of-an-AI-System_2018_c_Norbert-Miguletz-2048x1363.jpg\",\"width\":2048,\"height\":1363,\"mime-type\":\"image\\\/jpeg\",\"filesize\":845452},\"small\":{\"file\":\"Schirn_Presse_Kate-Crawford_Vladan-Joler_Anatomy-of-an-AI-System_2018_c_Norbert-Miguletz-440x293.jpg\",\"width\":440,\"height\":293,\"mime-type\":\"image\\\/jpeg\",\"filesize\":52735},\"semi\":{\"file\":\"Schirn_Presse_Kate-Crawford_Vladan-Joler_Anatomy-of-an-AI-System_2018_c_Norbert-Miguletz-580x386.jpg\",\"width\":580,\"height\":386,\"mime-type\":\"image\\\/jpeg\",\"filesize\":86158},\"mobile\":{\"file\":\"Schirn_Presse_Kate-Crawford_Vladan-Joler_Anatomy-of-an-AI-System_2018_c_Norbert-Miguletz-720x479.jpg\",\"width\":720,\"height\":479,\"mime-type\":\"image\\\/jpeg\",\"filesize\":127046},\"hd\":{\"file\":\"Schirn_Presse_Kate-Crawford_Vladan-Joler_Anatomy-of-an-AI-System_2018_c_Norbert-Miguletz-1280x852.jpg\",\"width\":1280,\"height\":852,\"mime-type\":\"image\\\/jpeg\",\"filesize\":362825},\"full\":{\"file\":\"Schirn_Presse_Kate-Crawford_Vladan-Joler_Anatomy-of-an-AI-System_2018_c_Norbert-Miguletz-1920x1277.jpg\",\"width\":1920,\"height\":1277,\"mime-type\":\"image\\\/jpeg\",\"filesize\":752259},\"original\":{\"file\":\"Schirn_Presse_Kate-Crawford_Vladan-Joler_Anatomy-of-an-AI-System_2018_c_Norbert-Miguletz.jpg\",\"width\":3550,\"height\":2362}},\n\"alt\" : \"Graphic representation of complex systems and processes on a wall, with an open book on a table.\",\n\"path\" : \"https:\\\/\\\/schirn.b-cdn.net\\\/wp-content\\\/uploads\\\/2026\\\/06\\\/\",\n\"video\" : null,\n\"autoplay\" : null,\n\"youtube\" : null,\n\"youtubelabel\" : \"play\",\n\"brightness\" : 100,\n\"crop\" : null,\n\"background\" : false,\n\"scale\" : 1,\n\"zoom\" : false,\n\"annotations\" : null}<\/script>\n<div class=\"height-container \" style=\"padding-bottom:66.535211267606%;   \">\n\t<div class=\"height-container-contents lazy-media-contents\">\n\t\n\t<div class=\"lazy-media-preview\" style=\"background-image: url('data:image\/jpeg;base64,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'); background-position: 50% 50%; height: 100%; width: 100%;\"><\/div>\n\n\t\n<div class=\"lazy-media loaded\">\n\t<img decoding=\"async\" src=\"https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/06\/Schirn_Presse_Kate-Crawford_Vladan-Joler_Anatomy-of-an-AI-System_2018_c_Norbert-Miguletz-1920x1277.jpg\" srcset=\"https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/06\/Schirn_Presse_Kate-Crawford_Vladan-Joler_Anatomy-of-an-AI-System_2018_c_Norbert-Miguletz-1920x1277.jpg 1920w, https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/06\/Schirn_Presse_Kate-Crawford_Vladan-Joler_Anatomy-of-an-AI-System_2018_c_Norbert-Miguletz-300x200.jpg 300w, https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/06\/Schirn_Presse_Kate-Crawford_Vladan-Joler_Anatomy-of-an-AI-System_2018_c_Norbert-Miguletz-1024x681.jpg 1024w, https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/06\/Schirn_Presse_Kate-Crawford_Vladan-Joler_Anatomy-of-an-AI-System_2018_c_Norbert-Miguletz-768x511.jpg 768w, https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/06\/Schirn_Presse_Kate-Crawford_Vladan-Joler_Anatomy-of-an-AI-System_2018_c_Norbert-Miguletz-1536x1022.jpg 1536w, https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/06\/Schirn_Presse_Kate-Crawford_Vladan-Joler_Anatomy-of-an-AI-System_2018_c_Norbert-Miguletz-2048x1363.jpg 2048w, https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/06\/Schirn_Presse_Kate-Crawford_Vladan-Joler_Anatomy-of-an-AI-System_2018_c_Norbert-Miguletz-440x293.jpg 440w, https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/06\/Schirn_Presse_Kate-Crawford_Vladan-Joler_Anatomy-of-an-AI-System_2018_c_Norbert-Miguletz-580x386.jpg 580w, https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/06\/Schirn_Presse_Kate-Crawford_Vladan-Joler_Anatomy-of-an-AI-System_2018_c_Norbert-Miguletz-720x479.jpg 720w, https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/06\/Schirn_Presse_Kate-Crawford_Vladan-Joler_Anatomy-of-an-AI-System_2018_c_Norbert-Miguletz-1280x852.jpg 1280w\" sizes=\"(max-width: 763px) 100vw, (qmin-width: 764px) and (max-width: 1023px) 100vw, (min-width: 1024px) 100vw\" alt=\"Graphic representation of complex systems and processes on a wall, with an open book on a table.\" loading=\"lazy\" \/>\n<\/div>\t\t<\/div>\n<\/div>\n\n\n\n\n\n\n<\/figure>\n\n\t\t\n\n<figcaption id=\"media_3gzU3J\">\n\t<div class=\"figcaption-wrapper\">\n\t\t\t\t\t<div class=\"lazy-media-image-label\">The World Through AI, 2026, installation view, Kate Crawford &#038; Vladan Joler &#8220;Calculating Empires: A Genealogy of Technology and Power Since 1500&#8221; (2023)<\/div>\n\t\t\t\t\t\t\t<div class=\"lazy-media-image-description\">\u00a9 Schirn Kunsthalle Frankfurt 2026, photo: Norbert Miguletz<\/div>\n\t\t\t<\/div>\n<\/figcaption>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern toggle-optional-headline show-optional-headline' data-pattern='ho\/text-medien-bild-text-links-grosses-bild-rechts-option-headline'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-1'>\n\n<div  class='row'>\n\n<div  class='col col-xs-12 col-md-6  mobile-margin-bottom-4'>\n\n<div  class='container-fluid cf-gutter-1 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-xs-12'>\n\n<div  class='mobile-margin-bottom-5'>\n\n<div  class='padding-bottom-4 ho-pattern-optional-headline'>\n<h2 class='ho-sd-h3' style=\"white-space: normal;\">On the Freedom of Being an Artist<\/h2>\n<\/div>\n\n\n\t<p class='ho-sd-body'>Understanding art as free can mean questioning traditional hierarchies, but it can also entail rethinking forms of expression. More than fifty years ago, computer scientist and mathematician Joseph Weizenbaum touched upon this when he described the use of early AI systems in art: \u201cThe artist wants to say something that is unspeakable in ordinary language. And in order to find out what urges him so, he tries to overcome the limits of ordinary language by means of his tools; in other words, to break the boundaries.\u201d<br><br>Artists have the freedom to deliberately emphasize something and to experiment. However, artistic freedom can never rely on having complete control over technology, but instead must be understood as the ability to understand, interrupt, or reinterpret technological structures. Many see themselves as collaborating with technology. This boundary between tool, collaboration, and autonomous system is always dynamic and open, and is less about influence than it is about the role of self-attribution in this process.<br><br>At the beginning of her work with AI, the artist Nouf Aljowaysir considered it to be a collaborator. Over time, however, she intentionally reclaimed sole authorship. Her decision to see AI as a tool did not mean reducing its complexity, but rather was a deliberate means of asserting control and reflecting on its use. Aljowaysir picks up on this in her work \u201cSalaf (Ancestors)\u201d (2021\u201325), with which she points out the colonial and imperial imagery in historical online archives, all with the help of AI.<br><br>In the early days of digital photography, media philosopher Vil\u00e9m Flusser had already described artistic freedom in relation to technology as a necessity. For him, artistic license began when the \u201capparatus\u201d was not merely operated, but could be used against its own internal logic or program.<br><br>Let\u2019s take a historical example of freedom that allows us to consider the artistic context beyond the much asked question, Who painted this? Human-painted squares on their own do not constitute a work of art. Then again, AI could paint endless black squares and still never come close to those by Kazimir Malevich. Why? Because they are the originals? That too. But through his interpretation of non-objectivity, Malevich redefined icon painting and the conventions of art\u2019s presentation, both pictorially and structurally, and thus put himself at odds with the church and the art world. Authorship also means making conscious decisions, and revealing, breaking, or rear-ranging existing structures. Much of what we call art today resides in its conceptual meaning, not in the visible work. <br><br>Creativity is often evaluated with regard to efficiency and output. But that would be a reductionist understanding of art. Generative AI very well could paint black squares\u2014possibly more, faster, and with greater precision than Malevich. This does not, however, automatically mean that they hold the same artistic significance.<br><br>Authors are not executive producers of art, but rather authorities over their processes, intentions, and actions. This authority may be less a question of control or a perfect division of labor between humans and AI. Rather, it may have more to do with a conscious shaping of freedoms and worlds, with or without AI. When the artist Trevor Paglen uses and tests analytical AI in the exhibition \u201cThe World Through AI,\u201d as in \u201cThe Treachery of Object Recognition\u201d (2019), he does so in order to place machine vision in the context of human perception and emphasize its algorithmic biases. The artist Gr\u00e9gory Chatonsky takes a similar approach, demonstrating in \u201cThe Fourth Memory\u201d (2025) that AI introduces a new form of memory that is alien to us humans yet nonetheless influences us. At best, artists take up what the medium does not want to openly show or give away. They do not only use their media, they reinterpret them within the work itself.<br><br>Neither the human hand nor the complexity of AI can ever be made completely visible in this process. Nor does it need to be. Artistic engagement can, however, help shape the conditions under which works are created and reflect on their technological and institutional structures\u2014something that artists often accomplish in their role as authors. Here, art can use AI to reveal its own weaknesses, something that remains hidden in everyday use, lost amidst AI\u2019s interfaces, data, and algorithms.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='col col-md-5 col-md-offset-1 col-xs-offset-2 col-xs-10'>\n\n<div class=\"wp-block-ho-div\"><figure itemscope itemtype=\"http:\/\/schema.org\/ImageObject\" class=\"lazy-media-inline \" role=\"group\" aria-describedby=\"media_3gzU3J\">\n<script type=\"application\/json\">{\n\"id\" : 50365,\n\"sizes\" : 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100vw, (min-width: 764px) and (max-width: 1023px) 50vw, (min-width: 1024px) 50vw\" alt=\"A blurred, historic portrait of a person in traditional clothing against an oriental backdrop.\" loading=\"lazy\" \/>\n<\/div>\t\t<\/div>\n<\/div>\n\n\n\n\n\n\n<\/figure>\n\n\t\t\n\n<figcaption id=\"media_3gzU3J\">\n\t<div class=\"figcaption-wrapper\">\n\t\t\t\t\t<div class=\"lazy-media-image-label\">Nouf Aljowaysir, Salaf #74: Man in Arab Costume, 2020<\/div>\n\t\t\t\t\t\t\t<div class=\"lazy-media-image-description\">\u00a9 Nouf Aljowaysir<\/div>\n\t\t\t<\/div>\n<\/figcaption>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern ' data-pattern='ho\/medien-bild-zwei-bilder-gross-gross'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-md-6 col-xs-11 mobile-margin-bottom-5'>\n\n<div class=\"wp-block-ho-div\"><figure itemscope itemtype=\"http:\/\/schema.org\/ImageObject\" 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background-position: 50% 50%; height: 100%; width: 100%;\"><\/div>\n\n\t\n<div class=\"lazy-media loaded\">\n\t<img decoding=\"async\" src=\"https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/04\/Schirn-Presse_WTAI_Gregory-Chatonsky_La-Quatrieme-Memoire_2025_\u00a9-Gregory-Chatonsky-1920x1920.jpg\" srcset=\"https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/04\/Schirn-Presse_WTAI_Gregory-Chatonsky_La-Quatrieme-Memoire_2025_\u00a9-Gregory-Chatonsky-1920x1920.jpg 1920w, https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/04\/Schirn-Presse_WTAI_Gregory-Chatonsky_La-Quatrieme-Memoire_2025_\u00a9-Gregory-Chatonsky-300x300.jpg 300w, https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/04\/Schirn-Presse_WTAI_Gregory-Chatonsky_La-Quatrieme-Memoire_2025_\u00a9-Gregory-Chatonsky-1024x1024.jpg 1024w, https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/04\/Schirn-Presse_WTAI_Gregory-Chatonsky_La-Quatrieme-Memoire_2025_\u00a9-Gregory-Chatonsky-150x150.jpg 150w, https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/04\/Schirn-Presse_WTAI_Gregory-Chatonsky_La-Quatrieme-Memoire_2025_\u00a9-Gregory-Chatonsky-768x768.jpg 768w, https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/04\/Schirn-Presse_WTAI_Gregory-Chatonsky_La-Quatrieme-Memoire_2025_\u00a9-Gregory-Chatonsky-1536x1536.jpg 1536w, https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/04\/Schirn-Presse_WTAI_Gregory-Chatonsky_La-Quatrieme-Memoire_2025_\u00a9-Gregory-Chatonsky-2048x2048.jpg 2048w, https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/04\/Schirn-Presse_WTAI_Gregory-Chatonsky_La-Quatrieme-Memoire_2025_\u00a9-Gregory-Chatonsky-440x440.jpg 440w, https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/04\/Schirn-Presse_WTAI_Gregory-Chatonsky_La-Quatrieme-Memoire_2025_\u00a9-Gregory-Chatonsky-580x580.jpg 580w, https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/04\/Schirn-Presse_WTAI_Gregory-Chatonsky_La-Quatrieme-Memoire_2025_\u00a9-Gregory-Chatonsky-720x720.jpg 720w, https:\/\/schirn.b-cdn.net\/wp-content\/uploads\/2026\/04\/Schirn-Presse_WTAI_Gregory-Chatonsky_La-Quatrieme-Memoire_2025_\u00a9-Gregory-Chatonsky-1280x1280.jpg 1280w\" sizes=\"(max-width: 763px) 91.666666666667vw, (min-width: 764px) and (max-width: 1023px) 50vw, (min-width: 1024px) 50vw\" alt=\"A young man sits underwater, surrounded by greenish light and silhouetted diving equipment.\" loading=\"lazy\" \/>\n<\/div>\t\t<\/div>\n<\/div>\n\n\n\n\n\n\t\t<figcaption class=\"\" id=\"media_mJVyHD\">\n\t\t\t<div class=\"figcaption-wrapper\">\n\t\t\t\t\t\t\t<div class=\"lazy-media-image-label\">Gr\u00e9gory Chatonsky, The Fourth Memory, 2025, installation, generative film, 3D prints, digital prints, robot, aluminum, stones<\/div>\n\t\t\t\t\t\t\t\t\t\t<div class=\"lazy-media-image-description\">\u00a9 Gr\u00e9gory Chatonsky <\/div>\n\t\t\t\t\t\t<\/div>\n\t\t<\/figcaption>\n\t\n<\/figure>\n\n\t\t<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern toggle-optional-headline show-optional-headline toggle-optional-button' data-pattern='ho\/text-option-headline-button'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row ho-pattern-optional-headline'>\n\n<div  class='col col-md-6 col-xs-12'>\n\n<div  class='padding-bottom-4'>\n<h2 class='ho-sd-h3' style=\"white-space: normal;\">The Significance of the Author and the Art of Becoming One<\/h2>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='row'>\n\n<div  class='col col-md-6 col-xs-12'>\n\n<div class=\"wp-block-ho-div\">\t<p class='ho-sd-body'>In a world with AI, art still only makes sense to us humans. For AI, art is utterly meaningless, lacking a function or aim. We, on the other hand, recognize ourselves in works of art and in the artistic process. This is where AI can provide a new purpose or meaning. It can prompt us to ask more questions\u2014about who the art-making subject is, but also about its underlying aesthetic, social, economic, and technological power structures.<br><br>AI is increasingly shaping our world. This can make it more difficult to see, understand, or even criticize the social structures that may make existing inequalities visible or reinforce them. Artistic practices point out that the transformations of AI entail new forms of perception, possibilities for action, and (the lack of) freedom. AI may not be an author, but it allows us to find and negotiate new conceptions of authorship. In doing so, we can recognize new and networked forms of creativity that do not mean the end of human authors, but ideally enable and reveal new and multiple ones.<br><br>The issue here is less about a duel between humans and AI, and more about asking ourselves, Whose gesture is recognizable as art? How do we use AI without being used by it? AI will not replace human creative processes, meanings, or contexts. It is precisely where AI partially eludes our human experience that art can propose alternative worlds in which we can be thinking and acting authors, not merely data sets.<\/p>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='col col-xs-12 ho-pattern-optional-button padding-top-4'>\n\n<div  class='wp-block-ho-buttons '>\n<div class=\"wp-block-ho-buttons-item\">\n\t<a href=\"https:\/\/www.google.de\/\"  target=\"\" role=\"button\" aria-pressed=\"false\" rel=\"nofollow\" class=\"ho-button is-primary mobile-full-width\">\n\t\t\t\t<span class=\"ho-button-label \">Lorem Ipsum<\/span>\n\t<\/a>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern toggle-optional-headline show-optional-headline toggle-optional-button show-optional-button' data-pattern='ho\/text-magazin-exkurs-option-button'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row center-xs'>\n\n<div  class='col col-xs-12 col-md-7'>\n\n<div  class='mag-exkurs container-fluid padding-top-5 padding-bottom-5 cf-side-7 cf-gutter-1'>\n\n<div  class='padding-bottom-4 ho-pattern-optional-headline'>\n<h2 class='ho-sd-mag-h5' style=\"white-space: normal;\">SCHIRN PAPER<\/h2>\n<\/div>\n\n\n\n\n<div class=\"wp-block-ho-div\">\t<p class='ho-sd-body-medium'>This article first published in SCHIRN PAPER #3. SCHIRN PAPER is our print format that delves into art, culture, and social topics, complementing the content of SCHIRN MAG. Three issues are published each year, and subscriptions are also available.<\/p>\n<\/div>\n\n\n\n\n<div  class='ho-pattern-optional-button padding-top-4'>\n\n<div  class='wp-block-ho-buttons wp-block-ho-buttons flex-layout-align-center mobile-flex-layout-align-center'>\n<div class=\"wp-block-ho-buttons-item\">\n\t<a href=\"https:\/\/www.schirn.de\/en\/abo\/\"  target=\"\" role=\"button\" aria-pressed=\"false\" rel=\"nofollow\" class=\"ho-button is-primary\">\n\t\t\t\t<span class=\"ho-button-label \">More<\/span>\n\t<\/a>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<div class=\"structure-content-color\" style=\"--content-color-foreground: var(--color-fg-text-black);--content-color-background: var(--color-highlight-highlight-02);color: var(--color-fg-text-black);background: var(--color-highlight-highlight-02);\">\n<div class='structure-content-color-content'><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>","protected":false},"excerpt":{"rendered":"<p>Can AI now also create art? Philosopher Eugenia Stamboliev dissects various narratives surrounding art and generative AI. At stake is nothing less than creation itself\u2014the myth of the authorial genius and the destabilization of patriarchal power structures.<\/p>\n","protected":false},"featured_media":50372,"template":"","meta":{"_acf_changed":false,"ho_image_focal_point":"","footnotes":""},"ho_exhibition_taxonomy":[4121],"artist":[],"magazin_tag":[4258,1376,1370],"magazin_type":[3538],"involved":[4302],"class_list":["post-57263","magazin-artikel","type-magazin-artikel","status-publish","has-post-thumbnail","hentry","ho_exhibition_taxonomy-the-world-through-ai-en","magazin_tag-ai","magazin_tag-art-history","magazin_tag-digital-art-en","magazin_type-diskurs-en","involved-eugenia-stamboliev-en"],"acf":{"seo_titel":"","seo_description":"","keywords":"","noindex":false,"redirect":"","relevancy":"0","post_type_label":false,"autoplay":""},"_links":{"self":[{"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/magazin-artikel\/57263","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/magazin-artikel"}],"about":[{"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/types\/magazin-artikel"}],"version-history":[{"count":5,"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/magazin-artikel\/57263\/revisions"}],"predecessor-version":[{"id":57272,"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/magazin-artikel\/57263\/revisions\/57272"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/media\/50372"}],"wp:attachment":[{"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/media?parent=57263"}],"wp:term":[{"taxonomy":"ho_exhibition_taxonomy","embeddable":true,"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/ho_exhibition_taxonomy?post=57263"},{"taxonomy":"artist","embeddable":true,"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/artist?post=57263"},{"taxonomy":"magazin_tag","embeddable":true,"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/magazin_tag?post=57263"},{"taxonomy":"magazin_type","embeddable":true,"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/magazin_type?post=57263"},{"taxonomy":"involved","embeddable":true,"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/involved?post=57263"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}