Artists and researchers have widely explored the use of computational tech-nology in artworks. This technology has shown the potential for aesthetic expansion when applied to other creative fields. For the perspective of computational creativity, the use of programming to explore traditional techniques within the craft practice appears to be enticing, due to its vast possibilities of exploration, which goes, for example, from woven fibers to sculpted artifacts. But in these practices the characteristic that stands out is the iterative process of craftsmanship. In this paper, we discuss the poetic practices that explore traditional techniques through computational approaches. Using a Cellular Automata algorithm that generates crochet lace patterns, we use the generative pattern and its materialization to illustrate and visualize the poetic practices that use repetition and reproduction as the base for their existence and survival.

This paper outlines the ambiguities which influence AI science, manifest in the production of AI artists, and shape the representation of creative AI in the media and in popular culture. Looking at the interrelated conceptual, discursive, ethical and other aspects of the prevailing approaches towards AI, it discusses some of the factors which obscure or mystify the important features of AI technologies vis-à-vis human cognition and artistic expression. Through a combination of tendencies and circumstances, these misconceptions and fallacies both emerge from and exacerbate the current issues of AI, which calls for vigilance and critical consideration by the creative actors and by the public. With regards to the existing literature, which primarily addresses the creative AI issues from techno-scientific and historical perspectives, this study focuses on the ideas, methodologies, cultural contexts, and social impacts of AI art practices. It shows that current capabilities and transformative potentials of AI require artists—as well as scientists and entrepreneurs—to engage in a sharper critique of their motivations and goals, in a deeper creative investigation of their tools, and in a more nuanced scrutiny of their work. This will catalyze research in science, arts and humanities to define more robust concepts of creativity, to map its perspectives, and to inform our directives for further development and responsible application of AI.

Codework, also known as code-poetry, is a variant of digital poetry, in turn a subgenre of electronic literature. Codeworks are basically art that integrate computer code in its overall aesthetic. In its broadest sense, code-inspired visual art and livecoding could be categorized under this taxonomy. Livecoding is a creative technique by which it is possible to compose audiovisual works, interacting directly with the algorithms defined in a programming language, in order to obtain results “on the fly” (Wang 2008). Livecoding performance is permeated by FLOSS (Free / Libre / Open Source Software) culture, since by definition in this artistic format, the source codes of the programs are usually shared publicly with the audience. The research presented below seeks to compose a view around these topics, using Alan Sondheim’s codeworks taxonomy in order to analyze them from a critical perspective. In particular, I seek to investigate the Latin American counterpart, where FLOSS and “art converge as an element of autonomy from the functional needs of the structure of code itself, while on the other hand, it attempt to historicize and politicize it by anchoring code in practices of Resis-tance’’ (Ledesma 2015).