Crypto Art, Aesthetic Techno-Hybridism and Artificial Intelligence

This essay addresses the effects of the advancement of artificial intelligence in the field of artistic creation, as well as the algorithmic-statistical analysis of images in the history of art and in digital culture. It seeks strategies for the appropriation of these technologies as means for creation in the arts and ways of apprehending all the change that operates from these technologies. Currently, artificial intelligence enhances the research of images in the visual arts and presents new tools and modes of production, both in creation and in research in art history. Its presence is ubiquitous in theoretical-critical thinking in the field of digital culture and art. The notion of techno-hybridism seeks to update concepts of hybridism initially proposed by Bruno Latour. Artificial intelligence would be this link for updating the concept initially proposed by Latour. Originally the hybrid for Latorian thought (hole in the ozone layer), if on the one hand it is an effect of human action, on the other hand it moves away and gains a singular existence affecting the sociocultural field and nature negatively, at least in our day. Thus, artificial intelligence here is analyzed as a techno-hybrid actant - it stems from the human and optimizes our productive-cognitive functions. In this context, crypto art emerges as an element that, on the one hand, imposes a radical change in the system and in artistic production, causes a crack in the current system allowing greater freedom for the market allowing instant access for artists - an ultra-contemporary way linked to the production methods of the past. In another sense, it resumes ways of thinking and producing art that in terms of advances achieved in the 20th century was anachronistic and leave something to be desired such as the number of copies, possession, authorship and ownership of works and the repositioning of the human in the center of creation - eliminating creations assisted by or made by artificial intelligence. Thus, a critical reflection on these themes and a creative-methodological appropriation for the field of aesthetics and the theory of digital analytical culture in the arts is necessary.