Tek, C. (2000). Alteration of platelet serotonin transporter in romantic love. Psychological Medicine, 30(1), 241–242.
1. In my current practice, I am trying to understand the complex emotion of love and part of this is understanding chemical reactions that occur in our brain. In this particular reading, recent findings suggest that “serotonin (5-HT) transporter might be linked to both neuroticism and sexual behaviour as well as to obsessive–compulsive disorder (OCD), (Tek, 2000, p. 741). This means that the feeling of love itself performs the same chemical reaction that is present in people who also have mental illness.
We used to talk about love [Exhibition]. (2013). Sydney: Art Gallery of NSW.
2. This exhibition considers the variegated terrain of love’s language – joy, elation, desire, eroticism, longing, loss, melancholia and memory. This is important to my practice as it gives me insight to how other artists interpret the language of love, therefore inspiring me to look further push the boundaries in my own methodologies.
Fromm, E. (1975). The art of loving . London: Unwin.
3. Philosopher Erich Fromm examines the art of loving in his book which informs me in my current practice which is all about understanding the beauty and art form that is love itself. Fromm explained that our fixation on the choice of love as an object confuses our overall experience of it (Fromm, 1975).
Jones, C. (2006). Sensorium : embodied experience, technology, and contemporary art . Cambridge, Mass: MIT Press.
4. This book informs my practice on senses and affect, and how I could manipulated these by incorporating technology in my works. It talks about how various artists engage and investigate embodied technologies which develops an understanding of one’s self. Additionally, this holds significance to the ideologies that I am currently exploring.
Bishop, C. (2012). Artificial hells : participatory art and the politics of spectatorship . London ;: Verso Books.
5. This book is influential in regards to participatory art and its potential. I have recently delved in this method of making art with my work Love, X (2019) and Bishop further explains how “today’s participatory art is often at pains to emphasise process over a definitive image, concept, or object,” (2012, p.5) which is definitely something to think about especially when I am trying to deliver an important message in my works.
Lugrin, J., Cavazza, M., Crooks, S., & Palmer, M. (2006). Artificial Intelligence-Mediated Interaction in Virtual Reality Art. IEEE Intelligent Systems, 21x(5), 54–62. https://doi.org/10.1109/MIS. 2006.87
6. Though I have only created a video that is representative of artificial intelligence in my recent work Futura, this article gives me insight on the different ways I could actually use AI technology through virtual reality art installation while implementing user based interactions.
Mazzone, M., & Elgammal, A. (2019). Art, Creativity, and the Potential of Artificial Intelligence. Arts, 8(1). https://doi.org/10.3390/arts8010026
7. Similarly, this article also talks about the potential of AI, going more in-depth about the issues that comes with it in regards to art and artists in the 21st century. Mazzone and Elgammal argues that human patterns throughout the history of art can be taught and modelled to a machine which could result to maximising the creative strengths of both parties.
Naremore, J. (2005). Love and death in A.I. Artificial Intelligence. Michigan Quarterly Review, 44(2), 257–284.
8. This article was one of the inspirations behind Futura. I was really inspired on how Naremore write about the relationship between human and machines. As she expressed, “the most basic division of all is that between a human and a machine...and is regarded as instrumental and not sentient,” (281).
Sobchack, V. (2009). Love machines: Boy toys, toy boys and the oxymorons of A.I.: Artificial Intelligence. Science Fiction Film and Television, 1(1), 1–13. Retrieved from http:// muse.jhu.edu/journals/science_fiction_film_and_television/v001/1.1.sobchack.html
9. Divergent to the previous articles I have looked at, this article studies the representation of AI through a film and television perspective. Sobchack explains the cultural significance of the portrayal of the male robots in these films as ‘love machines’. This gives me ideas on how I do not necessarily have to use AI technology in my practice but instead use portrayals of them to embed meanings and symbolism.
Picard, R. (2015). Virtual love. Science, 349(6245), 243–243. https://doi.org/10.1126/science.aac7899
10. Lastly, this article examines the science of emotions and artificial intelligence in the film Ex Machina. Upon reading, this inspired me to convey a similar message in Futura, presenting a hypothesis to the viewers on whether a machine could be programmed to feel and experience love.
