User:RogerWilson/sandbox
Emily L. Spratt | |
|---|---|
| Born | April 27, 1984 |
| Awards | Award from Hellenic Ministry of Culture for Work at Byzantine and Christian Museum of Athens (2005) |
| Academic background | |
| Alma mater | Cornell University UCLA Princeton University |
| Academic work | |
| Main interests | Art History Cultural Heritage Vision Technology |
Emily L. Spratt (born April 27, 1984) is an American art historian, curator, critic, and strategic advisor. She is known for her work on Byzantine and Post-Byzantine art, cultural heritage preservation, and the use of machine learning in the arts.
She did undergraduate studies at Cornell University, followed by an M.A. in Byzantine Art History at UCLA and an M.A. in Renaissance and Baroque Art History at Princeton University.[1] She is completing her Ph.D. at Princeton University under Professor Patricia Fortini Brown with a thesis on the legacy of Byzantium in the Early Modern Period.
Spratt is considered an authority on the intersection of art, society, and artificial intelligence.[2][3] In October 2017, she curated “Unhuman: Art in the Age of AI”[4] in Frankfurt and Los Angeles, the first exhibition of art created with deep learning techniques by the AICAN algorithm, which Artsy declared the “biggest artistic achievement of the year.”[5]
Selected scholarly articles
[edit]- Spratt, Emily L. (2012–2013). "Toward a Definition of 'Post-Byzantine' Art: The Angleton Collection at the Princeton University Art Museum". Record of the Art Museum, Princeton University. 72: 2–19. JSTOR 24416383.
- Spratt, Emily L.; Elgammal, Ahmed (2014). "Computational Beauty: Aesthetic Judgment at the Intersection of Art and Science". ECCV 2014: Computer Vision - ECCV 2014 Workshops. Lecture Notes in Computer Science. 8925. Springer Verlag: 35–53. arXiv:1410.2488. doi:10.1007/978-3-319-16178-5_3. ISBN 978-3-319-16177-8. S2CID 1499282.
- Spratt, Emily L.; Elgammal, Ahmed (November 2014). "The Digital Humanities Unveiled: Perceptions Held by Art Historians and Computer Scientists about Computer Vision Technology". arXiv:1411.6714.
{{cite journal}}: Cite journal requires|journal=(help) - Spratt, Emily L. (2017). "Dream Formulations and Deep Neural Networks: Humanistic Themes in the Iconology of the Machine-Learned Image" (PDF). Kunsttexte. 4. Humboldt-Universität zu Berlin.
References
[edit]- ^ "Emily L. Spratt | Students | People | Princeton University Department of Art & Archaeology". artandarchaeology.princeton.edu. Retrieved 2018-01-26.
- ^ McFarland, Matt (2016-03-10). "Google's psychedelic 'paint brush' raises the oldest question in art". Washington Post. ISSN 0190-8286. Retrieved 2018-01-26.
- ^ Rosen, Meghan (2014). "Science Visualized". Science News. 186 (8): 32. doi:10.1002/scin.2014.186008021. JSTOR 24367341.
- ^ "Unhuman: Art in the Age of AI". STATE. Retrieved 2018-01-26.
- ^ Chun, Rene (2017-09-21). "It's Getting Hard to Tell If a Painting Was Made by a Computer or a Human". Artsy. Retrieved 2018-01-26.
{{DEFAULTSORT:Spratt, Emily L.}}</<nowiki>nowiki> [[:Category:American art historians]] [[:Category:1987 births]] [[:Category:Women art historians]] {{Infobox artist | name = Mario Klingemann | image = [[File:MarioKlingemann.jpg|thumb|Mario Klingemann speaking at the decoded conference 2010 in Munich, Germany.]] | imagesize = | caption = | birth_name = Mario Klingemann | birth_date = | birth_place = | death_date = | death_place = | nationality = [[Germany|German]] | field = [[digital art]], [[conceptual art]] | training = | movement = | works = }} '''Mario Klingemann''' is a German artist and Google Arts and Culture resident<ref>{{Cite web|url=https://experiments.withgoogle.com/collection/arts-culture|title=Arts & Culture Experiments {{!}} Experiments with Google|website=experiments.withgoogle.com|access-date=2018-07-26}}</ref> known for his work involving neural networks, code, and algorithms. He is considered a pioneer in the use of computer learning in the arts.<ref>{{Cite news|url=https://www.flashartonline.com/article/mario-klingemann/|title=AI through the Technologist’s Eye|date=2017-12-05|work=Flash Art|access-date=2018-07-26|language=en-US}}</ref><ref>{{Cite web|url=https://www.wired.com/story/neurographer-puts-the-art-in-artificial-intelligence/|title=A ‘Neurographer’ Puts the Art in Artificial Intelligence|last=Simonite|first=Tom|date=|website=Wired|archive-url=July 6, 2017|archive-date=|dead-url=|access-date=}}</ref> His works examine creativity, culture, and perception through machine learning and artificial intelligence, and have appeared at the Ars Electronica Festival, the Museum of Modern Art New York, the Metropolitan Museum of Art New York, the Photographers’ Gallery London, the Centre Pompidou Paris, and the British Library.<ref>{{Cite web|url=http://underdestruction.com/about/|title=About {{!}} Quasimondo|website=underdestruction.com|language=en-US|access-date=2018-07-26}}</ref> == External links == * {{Official website|http://quasimondo.com/}} ''Quasimondo'' *[https://twitter.com/quasimondo Twitter feed] *[https://artsexperiments.withgoogle.com/xdegrees/8gHu5Z5RF4BsNg/BgHD_Fxb-V_K3A X Degrees of Separation] Google Arts & Culture Experiments *[https://www.br.de/mediathek/podcast/kulturwelt/die-kulturwelt-vom-21-juni/951443 Interview with Bayerischer Rundfunk (German)] *[https://xrds.acm.org/article.cfm?aid=3186677 Creation, curation, and classification: Mario Klingemann and Emily L. Spratt in conversation] == References == {{Reflist}} {{Authority control}} <nowiki>{{DEFAULTSORT:Klingemann, Mario}}