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Talk : State of the AI-Art

Speaker : Luba Elliot

This talk will give an overview of how artists and creative technologists are using and thinking about artificial intelligence. Over the past couple of years, there has been increasing interest in applying the latest advances in machine learning to creative projects in art, music, film, theatre and beyond. From Google's DeepDream and style transfer to the world's first computer-generated musical playing in London's West End, more and more creative AI projects are moving beyond the world of research and academia into the public eye. Likewise, the art world has been critically interpreting the impact of these technologies, highlighting the problems of bias, uniformity and surveillance.

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Podcast : Interview Art-AI Festival team & participants

Long play: Rob Watson & John Coster, the DIY-DMU Podcast team based at Leicester Media School, De Montfort University, interview the Art-AI Festival team and participants at Highcross

Rob Watson and John Coster, the duo behind the popular DIY-DMU Podcast, present their ‘on tour’ interview with the Art-AI Festival team and some of the participants in Anna Fuste’s PaperCubes workshops that ran at Highcross.  They discuss the background and focus of the Festival, the different perspectives of the organisers on AI and its future impacts, and find out what the children (10 years old) and head teacher from the Sandfield Close Primary School think about their experiences of its applications.


Chris Tyrer, Digital Arts Manager at Phoenix

Amrit and Dylan, students at Sandfield Close Primary School, Leicester

Mrs Eammes, head teacher at Sandfield Close Primary School, Leicester

Luba Elliott, independent AI-arts curator and researcher

Anna Fuste, researcher at MIT Medialab

Tracy Harwood, Professor of Digital Culture at the Institute of Creative Technologies, De Montfort University



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Learning computational concepts in Augmented Reality with Anna Fusté, MIT Medialab at the Art-AI Festival

Teaching Computational Thinking and Machine Learning using Augmented Reality lets children understand concepts drawn from their physical surroundings, from their most immediate and tangible reality. This is what I am exploring at the MIT Medialab where I work as a Research Assistant at the Living Mobile Group. At the Leicester Art-AI Festival, I have lead three workshops for 10 year-old kids, on my recently developed applications Paper Cubes (an AR Experiment developed along with Judith Amores and the Google Creative Lab) and HyperCubes, my current research project.

We are still far from exploiting the full potential of Augmented Reality. The majority of applications being released don’t make use of the spatial awareness and the connectivity to devices and objects in our physical surroundings. As Baron Webster explained, a lot of these ’superimposing demos’ get limited to a kind of ‘Additive AR’ placing very cinematic content in front of the user. But the richness of our physical environment has so much more to offer for developing useful and very promising Augmented Reality applications.

Paper Cubes is one of the prototypes we developed for the Google AR Experiments platform this past summer. The main idea is to have a DIY Augmented Reality kit. With just some paper, scissors and glue the user can make their own paper cubes that will serve as basic commands for the AR content. Each cube has a behavior attached to it and the user can place them in space to control a bunch of stick figures walking, in a very ‘Lemmings style’. There are basic commands such as ‘jump’, ’turn’ or ’stop’ and then there is an ‘AI Cube’ that makes these stick figures smarter over time. The kid playing with the application can visualize the evolution of these stick figures and start understanding complex computational concepts such as the effects of a Neural Network over time.

In HyperCubes the user has more freedom of creation with much more commands and digital content to play with. HyperCubes incorporates tracking of surfaces along with the basic tracking of the cubes. The kid can place the cubes everywhere and start building flowing systems in space, in a similar way as traditional visual programming interfaces. Combining a meaningful use of space and tangible objects in teaching resources are key strategies that help children learn complex concepts, especially in STEM education. The Logo Turtle is the cornerstone example for this. Now we have the possibility of expanding it in 3D space with digital animated content. Children become creators and learn while tinkering with commands such as transformations in space or Recurrent Neural Networks that control the little characters. Infinite opportunities open up where the children can be an artist, a coder and just a kid having fun and learning at the same time.

During the Arts-AI Festival in Leicester, students from Sandfield Close had the chance to mount their own cubes and play with both applications. The workshops served as a kickoff to a bunch of other activities developed during the festival. Both students and teachers had a great time and the feedback gathered was very positive.


‘The workshop was amazing. I loved the black cube [AI Cube] the most’ – Ashish, 10 years old

‘The workshop was really good, we learnt new things about Paper Cubes and to know they get very, very clever’ – Amaar Arshad, 10 years old

Interviewer: Whats different about using computers this way?

‘This one is much easier for children cause computers they normally have loads of buttons and apps. With this all you need to do is tap it and then you get all this animations which is quite cool’. – Dylan, 10 years old

Interviewer: Is it more like a game than programming?

“It’s sort of both really. You get sort of addicted to it, like my teacher did” – Dylan, 10 years old

Mrs Eammes [teacher]: ‘The program that they are using builds upon the knowledge of what it is learnt in the first cube and you can put different cubes together and come up with different outcomes so children is communicating with each other: “have you tried this? Have you found a sheep? How did you do this?” so it’s a lot more interactive than I first thought. I thought it might just be the children sitting there with an iPad or a phone and it would be a very insular thing. Whereas actually them talking and communicating with each other it’s been really good to see.’


Anna’s workshop was part of the Art-AI Festival and involved children from Leicester’s Sandfield Close Primary School.  All images included in this post are copyright of Art-AI Festival, Anna Fuste and Sandfield Close Primary School.

You can follow Anna’s work and projects on Twitter @AFuste or her website at


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Comments from Ernest Edmonds, pioneer of AI in art

It is exciting to have the Art-AI Festival in Leicester this year and very appropriate to see the strong support from De Montfort University. DMU’s involvement goes back nearly 50 years, when it was Leicester Polytechnic.

(available on Amazon)

Two Invention of Problems events around 1970 showed art experiments and presented talks on the subject, including by one of the most important pioneers of AI in art, Edward Ihnatowicz. He returned later in the 70s for what was probably the first full conference on the subject, Human and Robot Behaviour. That was a meeting of scientific and artistic minds coming from such groups as Edinburgh’s AI Lab and the Royal College of Art.

A few years later another pioneer of Art and AI, the late Harold Cohen, spent some time at Leicester Polytechnic inspiring both staff and students. Today DMU’s Institute of Creative Technologies (IOCT) is a strong player in the Art-AI field with several members using AI in their art and music as a standard part of their practice.

(both available on Amazon)

Craig Vear is an internationally renowned composer whose music employs AI and I myself have employed AI in various aspects of my art for most of my career. The latest work of Fabrizio Poltronieri, a relatively recent recruit to IOCT, can be seen as part of the festival.

(Fabrizio Poltronieri’s installation for the Art-AI Festival,

located in Highcross Shopping Centre)


Ernest Edmonds

Professor of Computational Art

Institute of Creative Technologies

De Montfort University


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