ART THAT TALK

Artificial intelligence in its art form is best captured by San Pascual’s (2014) apparetgeist model. Accordingly, social processes permeate within technologies which account for a user’s social and personal contexts. As a precursor, Katz and Aakhus (2002) argue that the use of technology is not constrained by the design of the machine, but is used through the social processes instigated within the machine brought by the user’s intention to maximize technology. On this front, we understand how AI art is , indeed, a sociocultural development that is a byproduct of technology and the human interests.

It is worth noting that technology underscores capitalism and neoliberalism; as a machine that enables breakneck work and income-generation, it can be inferred that artificial intelligence as an art form is birthed by the intention of capitalists to profit from technology vis-a-vis art production.

Additionally, AI is called artificial intelligence because it cannot replace human intellect, however, it possesses that technology has its own mind, generates human ideas and can easily be utilized without cultural respect. The conversation is not just for the painter and his art, it reproduces, imitates, and reforms.

Who would know that these girls in two photos were the same? AI art can develop more advanced than human sociocultural aspects. Without human consciousness, it created a different world perspective. Technology puts people in it. While human art lets society talk about it, AI art will respond to what it wants to society; to be manipulated.

The intersection between Filipino art, politics, and culture is dynamic and multifaceted. Filipino artists use their creativity to engage with political issues while drawing inspiration from the country's rich cultural heritage. Political dynamics influence cultural expressions, and culture, in turn, affects political identities and aspirations. This intersection serves as a vital arena for social commentary, cultural preservation, and exploring Filipino identity in an ever-changing global context.

They are like intricate strings which are interconnected, jumbled, and finitely infinite. Filipino art, without politics and culture, lacks the substance we crave for art. Furthermore, politics and culture without art lack substantial representation for the masses.

Like what has been mentioned, capitalism and neoliberalism are threads meshed within Filipino art that is part and parcel of the prevalent political and cultural constraints. How we appreciate art is rooted in its monetary and economic value that places its net worth and invested output superior to all other aspects of an art piece (see Velthuis, 2003). It is worth noting that this way of thinking is further entrenched in Filipino governance that places value upon overworking Filipinos with apparent disdain over those who have silently quit and the culture that synonymizes personal growth with an employer's gain (Desiderio, 2023).

Appadurai, A., Bockman, J., Heinich, N., Konings, M., La Berge, L.C., Lovink, G., Prado, I., & Thayer, W, (2021). Art under Neoliberalism. ARTMargins,10(3), 126158. https://doi.org/10.1162/artm_a_00303 http://www.jstor.org/stable/10.3366/j.ctvrs91hz https://www.philstar.com/business/2023/01/06/2235578/60-workers-quietlyquitting-study- reveals#:~:text=Quiet%20quitting%2C%20which%20was%20popularized,only%2 0got%20into%20it%20recently.

Bryant, J. (2019). Artmaking in the age of global capitalism: Visual practices, philosophy, politics. EdinburghUniversityPress.

Desiderio, L. (2023). 60%ofworkersquietlyquitting,studyreveals.Philstar.

Katz, J.E., & Aakuhus, M. (2002). Conclusion: Making meaning of mobiles – a theory of Apparatgeist. In J.E. Katz & M. Aakuhus (eds.), Perpetual contact: Mobile communication, private talks, public performance, 301-318. Cambridge: CambridgeUniversityPress.https://doi.org/10.1017/CBO9780511489471.023

Mateo, F. (2016). Challenging Filipino colonial mentality with Philippine art.

[Unpublished Master's Thesis] https://repository.usfca.edu/thes/196 http://www.jstor.org/stable/23898154

Rocamora, J. E. (1993). Philippine progressive NGSOs in transition: The new political terrain of NGO development work. PhilippineSociologicalReview, 41(1/4), 1–18.

San Pascual, M.R.S. (2014). Living through the parameters of technology: Filipino mothers in diaspora and their mediated parenting experiences. Plaridel(11)1. https://tinyurl.com/yckvuzcd

Velthuis, O. (2003). Symbolic meanings of prices: Constructing the value of contemporary art in Amsterdam and New York galleries. TheoryandSociety, 32(2), 181–215. http://www.jstor.org/stable/3108578

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