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| مبانی نظری هنرهای تجسمی | ||
| مقالات آماده انتشار، پذیرفته شده، انتشار آنلاین از تاریخ 24 آبان 1403 | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/jtpva.2024.47766.1599 | ||
| نویسنده | ||
| یونس سخاوت* | ||
| دانشکده چندرسانه ای، دانشگاه هنر اسلامی تبریز، تبریز، ایران | ||
| چکیده | ||
| یکی از شگفت‌انگیزترین پیشرفت‌ها در هوش مصنوعی، پیشرفت در حوزه‌هایی همچون هنر آفرینی و خلاقیت است که معمولا به‌طور سنتی منحصراً مختص انسان تلقی می‌شود. این مقاله مهارت هنرآفرینی شبکه‌های مولد تخاصمی که یکی از اولین و اصلی‌ترین روش‌های ایجاد هنر توسط هوش مصنوعی است را از منظر دوگانه آپولونی و دیونیسی در نظریات فردریش نیچه بررسی می‌کند. به صورت مشخص، این مقاله به دنبال تبیین این مساله است که چگونه معماری دوگانه این شبکه‌ها که شامل مولد و متمایزگر هستند، بازتابی از مفاهیم نیچه در مورد آشوب و نظم در دوگانه آپولونی و دیونیسی هستند. تحلیلی که می‌تواند چارچوب مفهومی غنی‌تری برای درک مشارکت هوش مصنوعی در خلق هنر ارائه دهد. با مقایسه بین این ساختارهای فلسفی نیچه و پویایی عملکردی شبکه‌های مولد تخاصمی، این مقاله چشم‌اندازی نوین در مورد ماهیت خلاقیت و هوش ارائه می‌دهد و بر پتانسیل تحول‌آفرین تعامل آنها تأکید می‌کند. روش تحقیق این مقاله بر اساس تحلیل تطبیقی بین مفاهیم فلسفی و فناوری است که در آن مفاهیم آپولونی و دیونیسی به کارکردهای بخش‌های مولد و متمایزگر در شبکه مولد تطبیق داده می‌شوند. این تطبیق شامل تحلیل شباهت‌های ساختاری و عملکردی بین این مفاهیم است. بر أساس نتایج این تحقیق، ماژول متمایزگر شبکه‌های مولد تخاصمی که قانونمندی ادراکات را بر عهده دارد معادل مفهوم آپولونی است، در حالی که ماژول مولد معادل مفهوم دیونیسی است. رویکرد ما در این تحقیق به جای توجه به جزئیات فنی به سمت پیامدهای مفهومی ارتباط بین مفاهیم فلسفی و فنآوری در هوش مصنوعی است. | ||
| کلیدواژه‌ها | ||
| هنر هوش مصنوعی؛ شبکه‌های مولد تخاصمی؛ نظم آپولونی؛ آشوب دیونیسی؛ تولد تراژدی نیچه | ||
| عنوان مقاله [English] | ||
| Looking for creative basis of artificial intelligence art in the midst of order and chaos based on Nietzsche's theories | ||
| نویسندگان [English] | ||
| Yoones Sekhavat | ||
| Faculty of Multimedia, Tabriz Islamic Art University, Tabriz, Iran | ||
| چکیده [English] | ||
| One of the most surprising advancements in AI has been its ability to excel in areas traditionally seen as uniquely human, such as artistic expression. This paper investigates this phenomenon by analyzing Generative Adversarial Networks (GANs) through the lens of Friedrich Nietzsche’s Apollonian and Dionysian dichotomy from The Birth of Tragedy. The study reveals how the dual architecture of GANs—a generator and a discriminator—reflects Nietzsche’s concepts of chaos and order, providing a richer conceptual framework for understanding AI’s contributions to art. By drawing parallels between these philosophical constructs and the operational dynamics of GANs, the paper offers a novel perspective on the nature of creativity and intelligence, highlighting the transformative potential of their interplay. This approach moves the focus from technical details to the conceptual implications of GANs, showcasing their novelty and appeal in the field of artistic creation. One of the most surprising advances in AI in recent years has been its ability to excel in areas traditionally seen as uniquely human, such as artistic and aesthetic expression. However, the public often confuses AI art with digital art and doesn't fully grasp AI's unique contributions to the art world. Unlike digital art, which is computer-assisted, AI art is computer-generated. Generative Adversarial Networks (GANs) have become a prominent focus in AI research. Yann LeCun, in a lecture on unsupervised learning, described GANs as “the coolest idea in machine learning in the last twenty years.” GANs are now a major interest in image and vision research, capable of producing photorealistic images of objects like birds and faces, creating scenes, translating images between domains, and generating high-definition images from low-resolution ones. The optimization process of GANs involves a minimax game aiming for Nash equilibrium, where the generator learns the distribution of real samples. In October 2018, Christie’s auction house in New York City sold the painting Portrait of Edmond Belamy by an artist under the pseudonym “GAN” for $432,500. The signature in the corner revealed the artist was a generative adversarial network (GAN), a specific type of deep neural network. However, "GAN" by Obvious was not the first AI to create art. Deep neural networks, including GANs, have also been used in musical AI. For instance, a network for generating melodies from lyrics using an LSTM architecture, trained on MIDI examples, has been developed. Berryman has explored the intersection of art history and AI, focusing on GANs and their implications for creativity and art-historical biases. Nietzsche suggested that human experience and artistic creation are governed by two opposing yet complementary forces: the Apollonian and the Dionysian. The Apollonian represents order, reason, and structured form, symbolized by Apollo, the god of the sun and light. It stands for clarity and rationality. In contrast, the Dionysian embodies chaos, passion, and the breakdown of boundaries, represented by Dionysus, the god of wine and ecstasy. This force taps into primal, instinctual aspects of human nature, fostering unrestrained creativity and emotional depth. Nietzsche argued that the interplay and balance between these forces are essential for profound artistic expressions and cultural achievements. His 1872 work, The Birth of Tragedy from the Spirit of Music, significantly shaped modern views on the Apollo-Dionysus dynamic. Nietzsche proposed that these forces found harmony in the tragedies of Aeschylus and Sophocles and in Wagner's music. It’s important to note that Nietzsche didn't originate the pairing of Apollo and Dionysus in contemporary theory. We argue that the convergence of philosophical thought and technological innovation opens new ways to understand the complexities of creativity and intelligence. Nietzsche’s exploration of the Apollonian and Dionysian dichotomy in The Birth of Tragedy offers a profound lens to examine the dynamic processes underlying GANs, a modern AI architecture. This paper aims to draw an analogy between Nietzsche’s philosophical constructs of Dionysus and Apollo and the operational dynamics of the generator and discriminator modules in GANs, providing a richer conceptual framework for understanding these technologies. This paper will explore the philosophical underpinnings of Nietzsche’s Apollonian-Dionysian dichotomy and its relevance to GANs. By examining these concepts, we aim to highlight the parallels between philosophical thought and technological practice, offering a novel perspective on creativity, intelligence, and their transformative interplay. We will not delve into the specifics of programming languages and libraries (such as Python, TensorFlow, PyTorch) used to implement these models, nor will we deeply explore the abstract mathematical formalizations detailed in research papers. Instead, we will focus on the conceptual architecture of GANs. The fundamental GAN architecture features a distinctive interaction between a 'generator' network and a 'discriminator' network, distinguishing it from earlier computer-generated art systems. I will argue that the dual architecture of GANs—a system that classifies and a system that generates—mirrors Nietzsche’s Apollonian-Dionysian dichotomy. This concept can provide a deeper understanding of GANs' novelty and conceptual appeal. We demonstrate an isomorphism between Nietzsche’s framework and GANs in art reception. The discriminator module in GANs, which captures the lawfulness of perceptions, is analogous to the Apollonian concept, while the GAN generator module parallels the Dionysian concept. During GAN training, the generator tries to fool the discriminator, which in turn constantly improves. This adversarial interaction approaches convergence and is felt as subjective pleasure in Nietzsche’s theory. This paper has examined the analogy between Nietzsche’s Apollonian-Dionysian dichotomy and the functioning of Generative Adversarial Networks (GANs), revealing profound parallels that deepen our understanding of creativity and innovation in both philosophical and technological realms. By analyzing the generator and discriminator modules in GANs through Nietzsche’s conceptual lens, we have introduced a novel framework for interpreting the processes underlying artificial intelligence and artistic creation. Nietzsche’s Apollonian force, defined by order, rationality, and structured form, corresponds to the discriminator module in GANs, which ensures coherence and realism in the generated data. Conversely, the Dionysian force, representing chaos, passion, and unrestrained creativity, is mirrored by the generator module, which explores the latent space of potential data representations with limitless creativity. The adversarial interaction between these modules reflects the dynamic tension identified by Nietzsche as essential for profound artistic and cultural production. Through this comparison, we demonstrated how the generator’s creative exploration is continuously refined by the discriminator’s critical feedback, resulting in the synthesis of high-quality, realistic data. This adversarial process exemplifies the creative tension between opposing forces, leading to innovation and sophistication. The findings highlight the importance of opposition and synthesis in achieving higher levels of creative expression, both in human and artificial domains. By drawing these parallels, we gained insights into the mechanisms of generative processes and the transformative power of oppositional dynamics. The balance between predictability and surprise, the transition from chaos to order, and the continuous feedback loop between the generator and discriminator illuminate the intricate dance between structure and spontaneity. These elements are crucial for understanding the novelty and conceptual appeal of GANs and their potential to emulate complex human creativity. In conclusion, the analogy between Nietzsche’s Apollonian-Dionysian dichotomy and the internal mechanics of GANs has provided a richer conceptual framework for understanding the nature of creativity, intelligence, and their interplay. This perspective not only enhances our comprehension of GANs but also offers a philosophical lens through which to view the evolving landscape of artificial intelligence and its capacity to mirror and extend human artistic endeavors. | ||
| کلیدواژه‌ها [English] | ||
| GAN, AI Art, Apollonian, Dionysian, Nietzsche’s Birth of Tragedy | ||
| مراجع | ||
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آمار تعداد مشاهده مقاله: 327 |
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