AI-Generated Fashion Designs: Who or What Owns the Goods?

As artificial intelligence (“AI”) becomes an increasingly prevalent tool in a plethora of industries in today’s society, analyzing the potential legal implications attached to AI-generated works is becoming more popular. One of the industries impacted by AI is fashion. AI tools and devices are currently being used in the fashion industry to create fashion models, fabric designs, and clothing. An AI device’s ability to generate fashion designs raises the question of who will own the copyrights of the fashion designs. Will it be the fashion designer who hires or contracts with the AI device programmer? Will it be the programmer? Or will it be the AI device itself? Designers invest a lot of talent, time, and finances into designing and creating each article of clothing and accessory it releases to the public; yet, under the current copyright standards, designers will not likely be considered the authors of their creations. Ultimately, this Note makes policy proposals for future copyright legislation within the United States, particularly recommending that AI-generated and AI-assisted designs be copyrightable and owned by the designers who purchase the AI device

Serious Games in Cultural Heritage

Although the widespread use of gaming for leisure purposes has been well documented, the use of games to support cultural heritage purposes, such as historical teaching and learning, or for enhancing museum visits, has been less well considered. The state-of-the-art in serious game technology is identical to that of the state-of-the-art in entertainment games technology. As a result the field of serious heritage games concerns itself with recent advances in computer games, real-time computer graphics, virtual and augmented reality and artificial intelligence. On the other hand, the main strengths of serious gaming applications may be generalised as being in the areas of communication, visual expression of information, collaboration mechanisms, interactivity and entertainment. In this report, we will focus on the state-of-the-art with respect to the theories, methods and technologies used in serious heritage games. We provide an overview of existing literature of relevance to the domain, discuss the strengths and weaknesses of the described methods and point out unsolved problems and challenges. In addition, several case studies illustrating the application of methods and technologies used in cultural heritage are presented

Developing serious games for cultural heritage: a state-of-the-art review

Although the widespread use of gaming for leisure purposes has been well documented, the use of games to support cultural heritage purposes, such as historical teaching and learning, or for enhancing museum visits, has been less well considered. The state-of-the-art in serious game technology is identical to that of the state-of-the-art in entertainment games technology. As a result, the field of serious heritage games concerns itself with recent advances in computer games, real-time computer graphics, virtual and augmented reality and artificial intelligence. On the other hand, the main strengths of serious gaming applications may be generalised as being in the areas of communication, visual expression of information, collaboration mechanisms, interactivity and entertainment. In this report, we will focus on the state-of-the-art with respect to the theories, methods and technologies used in serious heritage games. We provide an overview of existing literature of relevance to the domain, discuss the strengths and weaknesses of the described methods and point out unsolved problems and challenges. In addition, several case studies illustrating the application of methods and technologies used in cultural heritage are presented

ICS Materials. Towards a re-Interpretation of material qualities through interactive, connected, and smart materials.

The domain of materials for design is changing under the influence of an increased technological advancement, miniaturization and democratization. Materials are becoming connected, augmented, computational, interactive, active, responsive, and dynamic. These are ICS Materials, an acronym that stands for Interactive, Connected and Smart. While labs around the world are experimenting with these new materials, there is the need to reflect on their potentials and impact on design. This paper is a first step in this direction: to interpret and describe the qualities of ICS materials, considering their experiential pattern, their expressive sensorial dimension, and their aesthetic of interaction. Through case studies, we analyse and classify these emerging ICS Materials and identified common characteristics, and challenges, e.g. the ability to change over time or their programmability by the designers and users. On that basis, we argue there is the need to reframe and redesign existing models to describe ICS materials, making their qualities emerge

Critical Dialogues : Scotland + Venice 2012

Alberto Campo Baeza writing in the catalogue, Young Spanish Architecture, an Ark Monograph of 1985, talks about, ‘’a world riddled with noise and yet paradoxically mute, creatively speaking, a group of young Spanish architects are playing a very engaging song, their own song, the most beautiful song.’’ Twenty-seven years later that Spanish song has grown in quality and projection as subsequent architects took their lead from this earlier generation resulting in a Spanish architectural culture of great stature and depth. New voices are occasionally heard, often emanating from the architectural edge, such as Pascal Flammer and Raphael Zuber’s work in Switzerland and Alejandro Aravena’s Elemental Housing in Chile. Some of the most beautiful and poignant songs have emerged from China in Atelier Archmixing’s Twin Trees Pavilion and Amateur Architecture Studio’s early Ceramic House, projects that can be heard through the din of the architectural circus that travels the globe, a circus with an increasingly desperate and cynical appetite. For a song to become engaging and powerful, three components are critical: personality, passion and technique. Scotland’s presence in Venice 2012 is about the recognition of four voices that are on the verge of making themselves heard. Scotland lies on the periphery of Europe, nascent both politically and in contemporary terms architecturally. Yet once its architects stood shoulder to shoulder with the best in Europe and many claim that Charles Rennie Mackintosh’s sublime Glasgow School of Art 1899-1909 heralded modernism not just in the UK but also in Europe. In the post-Second World War period Gillespie Kidd and Coia in the West and Morris and Steedman in the East helped propel Scottish architecture in new directions, the former becoming part of a west coast figurative culture that explored a phenomenological sense of section and atmosphere, the latter by an east coast sense of abstraction, detachment and refinement. It seems to me there has always been this kind of architectural watershed that splits Scotland in two. The west possesses a character like its fractured romantic coastline that is passionate about layers, complexity and conversation, whilst the east with its more austere coastline nurtures a more ascetic, reflective, emotionless and silent quality in both its art and architecture. More recently the architectural scene seems to have lost this sense of split personality that came out of place. The new architecture has a tendency towards an image of rediscovered modernism albeit executed with a new graphic material suaveness that could equally be seen anywhere in the UK. The years from the 1970’s have seen a gradual dissolution in the architect’s role. It is a situation that has been greatly exacerbated by the current recession in which many architects have lost not just their voice, but their ability to make architecture altogether. The four architectural practices represented in Venice are all based in Glasgow; they all share a concern for people, the ordinary, and the street. They all have passion and an emerging personality even though their technique has had little opportunity to develop. The critical word that connects these architects is architectural practice. They explore the act of practicing as an architect in a marginal situation, politically, socially, professionally and culturally. Their approach is primarily concerned with conversation and engagement. Venice itself is a city on the edge. Once the edge of Europe and a portal to a far eastern imagination, a city barely founded on land or sea, a mirage. The Scottish contribution to the Venice Biennale itself is a marginal act, emerging, hopeful, outside the main event. Four Northern figures flit amongst southern shadows

Moveable worlds/digital scenographies

This is the author's accepted manuscript. The final published article is available from the link below. Copyright @ Intellect Ltd 2010.The mixed reality choreographic installation UKIYO explored in this article reflects an interest in scenographic practices that connect physical space to virtual worlds and explore how performers can move between material and immaterial spaces. The spatial design for UKIYO is inspired by Japanese hanamichi and western fashion runways, emphasizing the research production company's commitment to various creative crossovers between movement languages, innovative wearable design for interactive performance, acoustic and electronic sound processing and digital image objects that have a plastic as well as an immaterial/virtual dimension. The work integrates various forms of making art in order to visualize things that are not in themselves visual, or which connect visual and kinaesthetic/tactile/auditory experiences. The ‘Moveable Worlds’ in this essay are also reflections of the narrative spaces, subtexts and auditory relationships in the mutating matrix of an installation-space inviting the audience to move around and follow its sensorial experiences, drawn near to the bodies of the dancers.Brunel University, the British Council, and the Japan Foundation

Exploring the Educational Potential of AI Generative Art in 3D Design Fundamentals: A Case Study on Prompt Engineering and Creative Workflows

AI will be increasingly integrated into artistic practices and creative workflows with prompt engineering assuming an increasingly important role in the process. With readilyavailable generative AI, such as Midjourney, DALL-E 2, and Craiyon (formerly DALLE-mini), anyone can seemingly create art,” prompting questions about the future necessity of art and design education. However, whereas the ease with which content can be created has seen an outcry from the traditional artmaking community, fears over widespread adoption replacing the need for a firm foundation in art and design principles and fundamentals is unfounded. Instead, these tools should be seen and adopted as other photomechanical and computer-generated versions before them and leveraged to provide new models for artists to improve their workflow. Therefore, the case study here proposed the use of AI generative art for a traditional 3D design studio art course to determine the manner and degree of process change that may be expected and to determine potential benefits of the new technology. As such, students were prompted to use the Craiyon or DALLE-2 art generator to gather verbal cues to combine three different objects into a new version that would then be realized as a physical three-dimensional sculpture and/or model. The assignment manifested in different ways, including literally typing the three objects or providing adjectives. Results indicate that proper prompt engineering, including an interaction between objects, resulted in positive outcomes. However, the study suggests that the principles of art and design will continue to be necessary, and a module on prompt design and creation should be included in the curriculum. This study can serve as a model for other art and design departments seeking to integrate AI into their courses through a pragmatic use case and example assignment

Exploring the Educational Potential of AI Generative Art in 3D Design Fundamentals: A Case Study on Prompt Engineering and Creative Workflows

AI will be increasingly integrated into artistic practices and creative workflows with prompt engineering assuming an increasingly important role in the process With readily-available generative AI such as Midjourney DALL-E 2 and Craiyon formerly DALLE-mini anyone can seemingly create art prompting questions about the future necessity of art and design education However whereas the ease with which content can be created has seen an outcry from the traditional artmaking community fears over widespread adoption replacing the need for a firm foundation in art and design principles and fundamentals is unfounded Instead these tools should be seen and adopted as other photomechanical and computer-generated versions before them and leveraged to provide new models for artists to improve their workflow Therefore the case study here proposed the use of AI generative art for a traditional 3D design studio art course to determine the manner and degree of process change that may be expected and to determine potential benefits of the new technology As such students were prompted to use the Craiyon or DALLE-2 art generator to gather verbal cues to combine three different objects into a new version that would then be realized as a physical three-dimensional sculpture and or model The assignment manifested in different ways including literally typing the three objects or providing adjectives Results indicate that proper prompt engineering including an interaction between objects resulted in positive outcomes However the study suggests that the principles of art and design will continue to be necessary and a module on prompt design and creation should be included in the curriculum This study can serve as a model for other art and design departments seeking to integrate AI into their courses through a pragmatic use case and example assignmen