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0Neural Networks and Technology | https://doi.org/10.46539/gmd.v6i3.478
Refik Anadol's AI-Based Digital Art and Its Intellectual Connotations
Ahmet Oktan1 & Kevser Akyol Oktan2
2
Ondokuz Mayis University. Samsun, Turkey
Received: 9 February 2024 | Revised: 20 May 2024 | Accepted: 30 May 2024
Abstract
This article delves into the digital art produced by the internationally renowned Turkish artist Refik Anadol and his team, emerging at the intersection of diverse disciplines such as mathematics, physics, computer science, and aesthetics, within the context of its intellectual connotations. This qualitative study encompasses 26 projects featured on the Refik Anadol Studio's website. In addition to the projects, we utilize as data sources the videos, visuals and texts that are available on the website, Anadol's social media posts, audience comments, interviews, academic articles, and news and critiques related to his works. We analyze the works in the context of the artistic creation process, the nature of the technological collaboration, the relationship established with memory, time, space and audience, particularly in the context of the meanings they signify, and we assess the data we obtain along with their philosophical connections. In short, Anadol transforms public data such as images, sounds, and social media posts that constitute collective memory into art with the aid of digital technology capabilities, especially artificial intelligence, creating in these works molecular, fluid, transient intermediate spaces by superimposing different temporal and spatial layers, images, and realities. Through art, he opens up for discussion questions such as what is the position of the artist in the age of artificial intelligence; how art can help us understand the relationship between the virtual and the real; and what it means to experience memory in the digital age. The heterotopic spaces he constructs in his works offer utopian imagery which suggests a life based on peace, optimism, and relationship shared among humans, nature, and other forms of existence.
Keywords
Digital Art; Data Visualization; Artificial Intelligence; Machine Learning; Refik Anadol
This work is licensed under a Creative Commons "Attribution" 4.0 International License
1 Email: ahmet.oktan[at]omu.edu.tr ORCID https://orcid.org/0000-0002-2618-2127
2 kevserakyoll[at]gmail.com ORCID https://orcid.org/0000-0002-0744-5454
Цифровое искусство Рефика Анадола, основанное на искусственном интеллекте, и его интеллектуальный подтекст
Октан Ахмет1, Акйол Октан Кевсер2
Университет Ондокуз Майис. Самсун, Турция
Рукопись получена: 9 февраля 2024 | Пересмотрена: 20 мая 2024 | Принята: 30 мая 2024
Аннотация
В этой статье рассматривается цифровое искусство, созданное всемирно известным турецким художником Рефиком Анадолом и его командой, возникающее на пересечении различных дисциплин, таких как математика, физика, информатика и эстетика, в контексте его интеллектуальных коннотаций. Это качественное исследование охватывает 26 проектов, представленных на сайте студии Refik Anadol. Помимо проектов, в качестве источников данных мы используем видео, визуальные материалы и тексты, размещенные на сайте, посты Анадола в социальных сетях, комментарии аудитории, интервью, научные статьи, новости и критику, связанные с его работами. Мы анализируем работы в контексте процесса художественного творчества, характера технологического сотрудничества, отношений, установленных с памятью, временем, пространством и аудиторией, особенно в контексте смыслов, которые они обозначают, и оцениваем полученные данные вместе с их философскими связями. Коротко говоря, Анадол превращает публичные данные, такие как изображения, звуки и посты в социальных сетях, составляющие коллективную память, в искусство с помощью возможностей цифровых технологий, особенно искусственного интеллекта, создавая в этих работах молекулярные, текучие, переходные промежуточные пространства путем наложения различных временных и пространственных слоев, образов и реальностей. Через искусство он открывает для обсуждения такие вопросы: каково положение художника в эпоху искусственного интеллекта; как искусство может помочь нам понять отношения между виртуальным и реальным; и что значит переживать опыт памяти в цифровую эпоху. Гетеротопические пространства, которые он создает в своих работах, предлагают утопические образы, предполагающие жизнь, основанную на мире, оптимизме и взаимосвязи между людьми, природой и другими формами существования.
Ключевые слова
цифровое искусство; визуализация данных; искусственный интеллект; машинное обучение; Рефик Анадол
Это произведение доступно по лицензии Creative Commons "Attribution" («Атрибуция») 4.0 Всемирная
1 Email: ahmet.oktan[at]omu.edu.tr ORCID https://orcid.org/0000-0002-2618-2127
2 kevserakyoll[at]gmail.com ORCID https://orcid.org/0000-0002-0744-5454
Introduction
Digital technologies radically transform artistic production and reception of art, as in all areas of life. Using algorithms and artificial intelligence (AI) technologies in this field raises questions about the artist's position as the art subject (Xu, 2020; Notaro, 2020; Winter, 2024) while highlighting technology and audience participation possibilities (Stern, 2011). In its convergent and hybrid appearance, digital art, which requires collaboration between various areas of expertise, such as engineering, physics, and mathematics, complicates the discussion of what art is (Hutson, 2023; Winter, 2024) and prompts inquiries about artistic production and perception (Stern, 2011; Parisi, 2019). In this context, issues such as the definition, scope, and creation process of digital art (Ozel Saglamtimur, 2010; Fernandes-Marcos et al., 2009); the change caused by technology in art production practices and how it affects art and artists (Bowen, 2003; Zylinska, 2020; Xu, 2020; Oliveira, 2023), and how it shapes art history (Klinke, 2020; Baca et al., 2019; Bentkowska-Kafel et al., 2005) are prominent. Moreover, the ambiguity of the subject and object of digital art (Akpinar, 2022; Biger Olgun & Olgun, 2020), transformations in the reception of the work (Bourriaud, 2005; Kiligoglu & Kahraman, 2022), and its relevance to activist movements or as a tool for political activism (Paul, 2008; Grau, 2020) are also notable discussions. These discussions seem to focus more on the transformations in production and reception methods brought about by digitization, and it is noteworthy that there is not enough emphasis on the possible philosophical implications of new artistic forms of expression. However, digital art enables the creation of images that can be infinitely multiplied on axes such as time, space, and memory and provides clues about possible alternatives for the future. Especially with the commencement of the use of artificial intelligence and the development of technologies that allow interaction with the audience, the progress in environmental designs stretching the limits of aesthetic experience is increasingly enhancing the potential to generate ideas beyond our accustomed understanding of art and life (Manovich, 2018; Notaro, 2020; Zylinska, 2020).
This study examines the clues mentioned above and semantic pluralizations generated through digital art, specifically in the works of the Turkish new media artist Refik Anadol. He is a world-renowned artist who offers new perspectives on data storytelling and machine intelligence, formulating these perspectives within an aesthetic framework to create digital art projects.
Anadol's projects have been the subject of academic scrutiny within contexts such as artistic approach, employed techniques, data sources, features of his works, collaboration between machine intelligence and human creativity (Tire, 2022; Qelenk & Kurak Agici, 2022; Ozkanli, 2023), interaction between the audience and the artwork or designed space (Bingol, et al., 2020; Denson, 2023; Gokge Ozdamar, 2023), relationality (Kang, 2019) and synesthetic relationships (Xiaoling, 2022; Tire, 2022), the sensory experience provided (Georgescu Paquin, 2019), transformation
in art induced by AI algorithms (Ozselguk, 2023), algorithmic art's aesthetic connection to the postmodern era (Artun, 2021), the culture industry (Gozeyik, 2023), and its link with discussions on abstract expressionism (Sonmez, 2021), environmental sustainability (Jaaskelainen, et al., 2022), surveillance, control, and the colonization of collective spaces (Lossin, 2023). These studies have focused on one or a few of the artist's works and sometimes have included other examples within categories such as digital art, algorithmic art, or AI art.
In this qualitative study, which examines a broad sample of Anadol's work, we analyze the artist's projects that integrate space and media arts in terms of their innovative artistic forms, the creative relationships they establish with space and memory, and the philosophical insights they offer. Due to the accessibility of details such as subject matter, design and presentation characteristics, employed technologies, and data sources, a purposeful sample was chosen, comprising 26 projects that represent a substantial portion of the artist's works included in the analysis. In this comprehensive review covering all the projects on Refik Anadol Studio's and the artist's personal web pages, we analyze the featured works in terms of the characteristics of the utilized data, the techniques and technologies employed in data processing, the spaces where the works are exhibited, and the relationships established with the audience. We delve into the elements such as the background of the projects and the ideas attempted to be conveyed to the audience. In addition to the projects, we utilize as data sources the videos, visuals and texts that are available on the website, Anadol's social media posts, audience comments, interviews, academic articles, and news and critiques related to his works. We discuss the findings we obtain within the context of philosophical implications.
Turning the Virtual into the Actual and the Actual into the Virtual
Anadol's work is driven by questions such as: What is the role of the artist in the age of artificial intelligence? How can art help us understand the relationship between the virtual and the real? What does it mean to experience memory in the digital age? Can collective memories turn into a collective dream? If machines can "learn" or "process" individual and collective memories, can they also dream about them (Anadol, 2021a; Anadol, 2022, p. 30; Singh, 2020, p. 5); "what if a building had a fabric of cognitive abilities, could learn, dream and remember?" (Riefe, 2019). From this point of view, Anadol and his team visualize numerous data and utilize AI software to produce art, all in the context of "making the invisible visible". He transforms data based on the collective memories of spaces, nature, and urban environments into multidimensional, synesthetic visual artworks. His data aesthetics, which rely on collective visual and auditory memories, images obtained from nature, space, winds, and radar data like that, are presented to viewers in various forms such as installations, NFT collections, "AI Data Painting",
and "AI Data Sculpture", using tools such as archive, machine learning, and neuroscience.
Refik Anadol Studio's promotional text about Anadol's work highlights that he tries to create a dynamic spatial perception through site-specific parametric data sculptures, live visual/audio performances, and immersive installations at the intersection of art, science, and technology. It is emphasized that Anadol adopts an artistic approach that not only integrates media into constructed forms but also converts the logic of new media technology into spatial design1. Indeed, since the early 21st century, developments in information technologies and AI have transformed the field of architecture as well as art, expanding the definition and design of "space" to encompass alternative or virtual realities (Anadol, 2020, p. 78). In this process, besides materials such as steel, concrete and wood, media environments that transform the facades of buildings into canvases also take their place among the essential architectural tools. Based on this, Refik Anadol highlights the idea of utilizing architectural spaces as canvases (Anadol, 2020; 2021b; 2021c; Simonite, 2020) and makes these spaces as integral parts of his artworks created based on public data.
Anadol starts from the question of whether collective memories associated with contexts such as cities, nature, and space can transform into a collective dream, a form of future imagination, and he argues that data can only turn into knowledge when it is experientially encountered. He emphasizes the potential for information and experience to assume various forms with machine intelligence assistance (Anadol, 2020b). Drawing on the concept that the invisible and unnoticed can become visible through transformation, Anadol makes change and transformation themes integral to his art. At the current stage of AI and technology, he asserts that data or information and any conceivable material and spiritual aspect can assume alternative forms and thus be better understood (Avci, 2021). With this perspective, data, valuable assets for companies in various sectors, become the raw materials of Anadol's multidimensional installations, data sculptures, and NFTs.
Anadol opens up the possibilities that information processing offers to the humanity through site-specific artistic creations. He presents dreams/hallucinations to his audience by transforming the data he thinks constitutes the collective memory into images and synesthetic spaces inspired by the dynamics of fluids. As emphasized on the studio's website, he transforms invisible data inherent in life into poetic experiences using algorithms such as DCGAN, PGAN, and StyleGAN developed with extensive data sets2. For instance, in the Machine Hallucination (2019) project, he utilized 300 million publicly available images of New York City, and for WDCH Dreams (2018), he utilized the Los Angeles Philharmonic Orchestra's 100-year digital archives. Sense of Space: Oakland is based on real-time environ-
1 https://refikanadolstudio.com/projects/
2 Ibid
mental data, while Interconnected (2018) relies on Charlotte Airport's real-time • • 1 statistics.1
Anadol considers the ability of machines to perceive data that humans cannot see with their visual or cognitive perception, such as wind, weather, air pressure, air pollution, Wi-Fi, Bluetooth, and 5G signals, as an enormous potential for his art (Anadol, 2021b). He uses concepts such as memory, history, archive, information, and data concerning each other and in similar meanings and says that he can collect all these concepts under the title of "heritage of humanity" (Avci, 2021). By seeking to concretize these abstract data and offering ideas about different layers of reality, he aims to generate a broader perception of reality. Hence, the artist approaches the data he transforms into the pigments of a poetic visual aesthetic not merely as numbers but as memories, and endeavors to create collective dreams and consciousness from collective memories and the accumulated knowledge that forms collective memory (Anadol, 2021b).
Anadol's spatial designs, which render intriguing datasets curated in virtual environments or various archives experiential, evoke Michel Foucault's concept of heterotopias2, described as a kind of intermediate space. As a matter of fact, according to Foucault, heterotopias have a function related to all remaining space. This function can be a deceptive illusion that exposes the real places where human life is located misleadingly. Or on the contrary, it can create a perfect, meticulous, well-organized version of poorly constructed, complex, and chaotic reality. This second type would be a heterotopia of compensation (1997, p. 355). Anadol's art, created based on scattered, uncertain, and difficult-to-understand data related to social memory, exemplifies this type of compensation. So much so that in Anadol's works, data that exists in the abstract plane gains a tangible form that the viewers' senses can experience through various software and machine learning techniques. Furthermore, in this process, the space where the data is visualized acquires a surreal dimension in which concrete qualities are temporarily suspended. For instance, in the "Living Architecture: Casa Batllo" project, sketches by the building's designer Gaudi, visual archives related to the building's history, publicly available photographs of Casa Batllo from various internet and social media platforms, and the city's real-time climate data are utilized to temporarily transcend the building's own reality. With traces of architecture, public memory, environment, and urban context, this project turns Gaudi's extraordinary structure, itself a significant site of public memory, into a fluid and surreal appearance, thereby contributing to the ongoing historical narrative associated with the building3. Another example of synthesizing memory with the present to recreate spatial memory is the project "Visions of America: Amériques", an interactive architectural
1 https://aiartists.org/refik-anadol
2 In his article titled Of Other Spaces (1997), Foucault discusses spaces that can allow molecular differentiations, disrupt the idea of order, and exist in different forms in every society. These places, exemplified by Foucault as museums, libraries, cemeteries, honeymoon hotels, nursing homes, gardens, and ships, and called heterotopias, juxtapose many incompatible times and places in a single real place (1997, p.354).
3 https://refikanadolstudio.com/projects/
video installation designed to complement the architecture of the Walt Disney Concert Hall. Using a specially developed sound analysis algorithm, the music and movements of conductor Esa-Pekka Salonen are captured in real-time and integrated with the hall's walls through visuals generated by algorithms, transforming the hall into a sort of living, interactive canvas1. In both instances, the monumental architectural structures reinterpret the historical meanings accumulated in people's memory, and the temporary interfaces created with the aid of technology add unusual extensions to these structures, incorporating speculations about the architecture and technology of the near future. In a sense, this is an experience in which the dichotomy between the virtual and the ephemeral is inverted. The data of the past and present and the artist's vision of the future are presented together in a common space. In this regard, Anadol's works resemble heterotopias with their structure that occupies a real place but also implies unreality and constructs different times side by side.
While turning the virtual into the actual, it is remarkable that the machine with AI constantly renews itself and demonstrates sensory autonomy. The randomness hidden in technology productivity creates non-unique and surprising results in terms of audience experience. "I always start my works with endless potential for transformation and change. Sometimes the machine's discoveries take us to places we never imagined, or the data itself allows us to see certain truths we were previously unaware of", the artist emphasizes, highlighting the creative possibilities of change, transformation, and unpredictability. This style of the artist, as Georgescu Paquin emphasized with reference to Lefebvre (2019), not only enriches the discussions on the basis of art and originality, but also reveals the creativity in the transformation of public spaces. This is, in a way, a new method for the social construction of public spaces. (Georgescu Paquin, 2019).
Change and transformation are related to the machine's operation based on unpredictable possibilities. The emerging visual elements also exhibit a constant transformation, influenced by the artist's inspiration from fluid mechanics, signifying a perpetual movement. The images and colors that fluctuate, appear, and disappear can be indicators of change, heterogeneity, and renewal. The projects Semaphore (2013), Quadrature (2009), and Ouadrange (2010) are noteworthy examples in this context.
In these projects, Anadol and his team used the three-dimensional video mapping technique through the projection of augmented forms, structures, and systems per the architectural structure of the buildings. By superimposing the physical and the virtual, the team put on a performance where the architecture flickers or disappears. Santralistanbul Art and Culture Center in the Quadrature project, Sanaa building in Zollverein Essen in the Quadrangle project, and Sterncenter Shopping Center in the Semaphore project became the mediator of the story the team wanted to tell through digital art. In these projects, buildings direct art
1 Ibid
with their physical presence in a real space; on the other hand, they gain forms that do not exist in reality with the possibilities of digital art. These projects, which emerged due to Refik Anadol's vision of dreaming buildings, obscure the tangible reality of architectural structures.
The ambiguity between the real and the unreal, prevalent in Anadol and his team's digital art projects, can also be observed in the concept sets associated with these endeavors. The conceptual sets that define the projects, such as dreaming buildings, machine hallucinations, and machine memories, offer clues about the philosophy reflected in the resulting products. The association of elements such as memory, hallucination, and dream, which require consciousness, with non-conscious machines disrupts the boundaries and structure of these concepts. Thus, these concepts gain the potential to acquire different contextual interpretations by transcending their traditional meanings. Similarly, the "data sculpture" description also eliminates our stereotypical perceptions of sculpture.
Anadol's approach, which places at the center of his artistic perspective the attribution of a kind of subjectivity to machines, architecture, and algorithms, might appear as childlike optimism and has been criticized for presenting an anthropocentric viewpoint (Sonmez, 2021) and as a strategy designed to attract attention to his works (Ozselguk, 2023). As Batista and Hagler (2022, p. 534) have
highlighted, undoubtedly, like anyone knowledgeable about how artificial intelligence operates, Anadol is aware that machines cannot dream. However, he proposes the idea, albeit speculative, that machines can generate outputs resembling dreams or hallucinations based on the memories presented to them, thus actually inviting reflection on the potential and limitations of technologies such as artificial intelligence.
Multiple and Heterotopic Time-Space
In Anadol's site-specific projects for monumental architectural spaces, such as Kraftwerk Berlin, Visions of America: Amériques, WDCH Dreams, Machine Hallucinations: Renaissance Dreams - Palazzo Strozzi, and Living Architecture: Casa Batlló, the installations revitalize the rigid and static nature of these spaces, transforming them into intersections of multidimensional meanings. These spaces, designed regarding memory, existing life and spaces, are both inside and outside of the current sites. Foucault emphasizes heterotopia's power to juxtapose disparate areas and spaces in one tangible place (1997, p. 354). Stavrides also highlights that heterotopias destabilize the practice of classification by bringing together multiple spaces in a single area (2016, p. 153). The hybrid spaces redesigned in Anadol's works, which are both real and fictional, both virtual and physical, are also extraordinary spaces where boundaries are blurred.
These artworks of Anadol's, which take up significant monumental memory spaces as their dwelling, enrich the aura of these spaces by adding new experiences and strengthening their bond with the community and life as a whole. This is a way of multiplying its meaning through the reconstruction of the structure. In this multiplication of experience, it is decisive that these artworks, created based on public data, serve as a kind of projection of the residents' stories and provide an enriching contribution to their relationship with the context to which they belong. As the architecture becomes molecularized, the memory that gives this space its identity and is built on accumulating the experiences and memories of the visitors about the place is deterritorialized and re-established with an innovative experience. Stretching of the physical boundaries of the space through these artworks, and the transformative capacity of augmented reality on physical space, extends these spaces beyond their existing reality. This experience of transgressing boundaries not only corresponds to a physical reconfiguration, but also points to perceptible, albeit ambiguous, alternatives beyond conventional experiences.
As Foucault describes the cemetery as a heterotopic space, he mentions its distinction from other cultural spaces due to its association with all regions of the city, state, society, or village since every family has their relatives buried in the cemetery (1997, p. 355). Similar to how the cemetery carries traces of all societal components from the past and present, harboring a collective memory by
accommodating the relatives of most members of the society, Anadol's artworks also present public data and collective memory to the public sphere to produce meaning in new forms. Just as individual stories become equalized and essentially anonymized in the cemetery, opening doors for visitors to question the meaning of life and existence, Anadol's artworks, situated at the intersections of physical and virtual realms, eave questions about memory, art, technology and the future beyond the aesthetic appreciation they offer.
Anadol, in projects such as Infinity Room (2015), Liminal Room (2015), Latent Being (2019), which are part of the "Temporary Immersive Environment" experiments, attempts to transform visitors' perceptions of the physical world and self by creating a virtual reality through algorithms, moving projections, light, sound, and mirrors. In these projects, where space is designed as an infinite place, the aim is to transcend the boundaries of traditional viewing experience by intertwining realms such as real/fictional and physical/virtual. Anadol strives to enable visitors to temporarily get rid of their habitual perceptions and culturally biased assumptions, allowing them to perceive themselves and the world around them in a refreshed manner, even if only momentarily1. These designs, which expand spatial perception, render space ambiguous, and pluralizing it, evoke heterotopias that contain images of constant movement and transcend physical existence.
The spatial plurality or incongruity of the heterotopia is also valid in terms of time. Foucault attributes these types of heterotopias, exemplified by museums and libraries, to a modern approach that aims to counteract the destruction of time by gathering all times, all ages, all forms, and tastes in one place, establishing a sort of general archive. According to the author, in these spaces that gather objects of different times and the images they imply, time incessantly constructs and reaches its peak (1997, p. 353). The accumulation of time and experience indefinitely is also a distinct feature of Anadol's digital art. These artworks, which constitute the collective memory and bring together images from different times in a single medium or surface, overlap layers of time and deterritorialize time. For example, in the project, Living Architecture: Casa Batllo (2022), a dataset consisting of approximately one billion images composed of real-time climate data collected from the city, Gaudi's sketches, visual archives of the building's history, academic archives, and publicly available photographs of Casa Batllo found on various internet and social media platforms is created2. In the WDCH Dreams project, realized in collaboration with the Los Angeles Philharmonic Orchestra, data sculptures created by machine learning processing of approximately 45 terabytes of image, video, audio, and metadata files that make up the orchestra's digital archive are integrated with the undulating stainless steel façade of the Walt Disney Concert Hall3. As exemplified by these projects, in Anadol's works, the layers of the past,
1 https:/refikanadolstudio.com/projects/infinity-room/: https:/refikanadolstudio.com/projects/liminal room/
2 https:^//refikanadolstudio.com/projects/living-architecture-casa-batllo/
3 https://refikanadolstudio.com/projects/wdch-dreams/
the chronologies that constitute memory, dissolve into each other, and the presence of the space in which the artworks are reflected is established. As memory ceases to be a layered, chronological, hierarchical structure, the relationship between the past and the present becomes interactive and reflexive. The collective memory embodied in these artworks is re-established through a dense and sensuous relationship with the past. According to Xiaoling, the temporal narrative behind the artist's works creates a synesthesia between the past and the present, strongly linking the two (Xiaoling, 2022).
Altinta§ emphasizes that as long as heterotopia can remain as an incomplete and in-between space, it can be a place of imagination, not of order (Altinta§, 2009, p. 54). While Anadol's works reflect the Bergsonian concept of time in the context of their relationship with the past through memory, they are pretty fluid and temporary characteristics, in terms of the short duration of the experience he offers regarding the spaces he transforms and the hallucinatory experience presented to the audience is based on rapid change. In this respect, these artworks are reminiscent of the fairs presented by Foucault as examples of exceptional heterotopias (Foucault, 1997, p. 355). The relationship that fairs establish with time emerges in the form of ephemerality rather than the accumulation of time. The fair, which suddenly emerges and disappears in the same unexpected manner, stands out more for its feature of not belonging anywhere. The extraordinary and fantastical experience provided by fairs, which corresponds to a position outside of familiar spaces, is similar to the enchantment offered by Anadol's works that disrupt the spatial perception and transform the living environment into a non-existent place, designed in most of his projects.
Subjectless Creativity and Deterritorialization
Anadol poses the questions "If machines can learn, can they also imagine?" or "can they dream?" in order to establish a kind of analogy between humans and machines. He likens the functioning of machines to the human mind. While he considers our experiences and memories as inputs and interprets dreams and hallucinations as outputs, he emphasizes that the process of reinterpreting these inputs corresponds to a learning process for both humans and machines (Singh, 2020, p. 5). From this point of view, in Anadol's projects, Al-based abstract images and shapes, which are the result of uncontrolled machine learning in modern art, expand and multiply by capturing the movement in the hidden space created by autonomous machine hallucinations, even though specific data sets constrain them. The interconnections between the data are executed through an edge detection algorithm, and the coloring process occurs based on the density of previous and subsequent hidden coordinates. In this process, the machine enables the artist to trace his "unconscious decisions" in a network of complex and poetic connections1. This type of artistic practice reveals an ambiguous state
1 https://refikanadol.com/works/unsupervised-machine-hallucinations-moma/
regarding who is creating the art, significantly different from traditional methods. Notaro, extend the boundaries of the aforementioned ambiguity by emphasizes that Al-generated art raising significant philosophical questions concerning the nature of human creativity, and even the essence of being human in a hyper-connected world (2020, p. 322). Anadol ascribes a creative meaning to this ambiguity by describing the machine-human interaction in this art practice as "collaboration with machines that remember and do not forget" and "companionship".2 Such an art-making practice, in which the autonomous operation of the machine is also involved and has the potential to go beyond the artist's conscious choices, can be considered in the context of "subjectless creativity".
Gilles Deleuze expresses the thinking and creativity in which the subject is involved but does not attribute to the subject as "subjectless creativity". According to Deleuze, the act of thinking cannot be performed by a constituted subject; the activation of thinking requires a passive subject that awaits the gaining of strength from the yet-unencountered. Because according to the author, the act of thinking does not belong to the subject, nor does it precede the subject; it is an existential thing awaiting discovery. Thinking and creativity emerge when the passive subject is exposed to an unpredictable encounter (as cited in Karadag, 2014, p. 52-69).
In the projects pioneered by Refik Anadol, not only the subject but also the object that becomes the subject of artistic action possesses ambiguous qualities. One of the sources of this ambiguity is the overlapping of practices from different fields in the artworks. These works not only function as aesthetic products but also bear archival qualities, and can be evaluated as both artistic execution and engineering. For instance, in the Quantum Foam (2015) project that he created in collaboration with architect Alper Derinbogaz, there is an experimentalism based on architecture alongside the attainment of aesthetic imagery. This project takes its name from the concept of quantum foam, proposed by American physicist John Archibald Wheeler in 1955, and is considered the fabric of the universe, also referred to as space-time foam. The main performance in the project also questions the spatial creation abilities of artificial nature and organisms. This performance, which showcases the dialogue between humans and AI, enables the examination of space-time integration through the Space Graph. Anadol and Derinbogaz aim to minimize the human factor in accordance with quantum foam to experience the "void". Thus, the audience is drawn to the experimental process in order to analyze the relationship between concepts related to different fields, as well as an artistic viewing process.
In Quantum Memories (2020), which encompasses a similar understanding, Anadol questions the possibility of a parallel world by processing 200 million images of nature and landscapes through AI. He utilizes Google Al's publicly available quantum computing data and algorithms in this process. The resulting product is
2 Bkz. https://www.youtube.com/watch?v=aAt2l1TCwA8
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Neural Networks and Technology | https://doi.org/10.46539/gmd.v6i3.478
an aesthetic object and a tool of experimental work. Moreover, in the project that leverages the stochastic multiplicity of quantum theory with its countless possibilities, the audience's movements are simultaneously tracked by AI during the performance. Thus, an interactive aesthetic experience is created where the audience becomes a part of the performance. This experience makes questioning who performs the artistic action and what is performed in this action ambivalent.
Figure 5. Quantum Foam
Figure 6. Quantum Memories
Figure 7. Quantum Memories
The project Sense of Space and Molecular Architecture (2021) is based on evaluating architecture through the complex structure of a living organism. The potential to adapt to infinite permutations, randomness, orientation disorder, and entropy of organisms through their dynamic and intricate structure inspires this project1. The project utilizes a plethora of data, including visuals of human cells' molecular structures obtained through microscopy and functional magnetic resonance imaging (fMRI) scans that visualize brain connectivity networks. With the effect of its interdisciplinary dimension, this project prompts us to think once again about the ambiguity surrounding the nature of the art object. This project brings together art, engineering related to AI studies, and the scientific aspect of the medical field in a creative context that could allow for the multiplicity of randomness and entropy.
Another work, Anadol, and his team engage the audience as an integral part of the project is Machine Memoirs: Space (2021). Based on similar techniques and technologies as others, this artwork is created from publicly available space photographs captured through Hubble, MRO, and ISS telescopes of NASA and aims to provide an artistic experience about the pursuit of exploration of extraterrestrial space. Emphasizing that in space science which is advanced in a short period, discovery and learning happen almost simultaneously, Anadol says that his main intention within this project is to carry the past to the future.2 With this approach, the project striving to present a vision for the future based on NASA's past and present data.
1 https:^/yrefikanadol.com/works/sense-of-space-molecular-architecture/
2 https://yeditepefatih.com/2021/nisan-mayis-haziran/medya-sanatcisi-refik-anadol/
Figure 8. Sense of Space and Molecular Architecture
Figure 9. Sense of Space and Molecular Architecture
Figure 10. Machine Memoirs: Space
Figure 11. Machine Memoirs: Space
As emphasized by the naming of Machine Memoirs, this project also draws attention by deforming the conceptual and contextual content of the term "memory". Memories are expected to contribute to the organization of interpersonal relations and the ordinary flow of life in sites where social life is displayed in certain patterns. However, in this project, it is demanded that the "memory" not be functional for the site but to prepare the collective memory for transformation. Memories have lost their property of belonging to the site and have become deter-
ritorialized.1 Anadol also highlights the importance of subjecting collective memories to this type of formatting in order to reveal future projections and creative outputs.2
Thresholds Opening to Imagination
Artificial intelligence-supported digital art, exemplified by Refik Anadol's works, are subject to criticisms that they repeat an aesthetic form consisting of visual elements such as abstract, fluid, moving animations (Gozeyik, 2023), and they are merely a commercially valuable, enchanting-seeming visuality dominated by technology, and as such, can be considered a new and marketable version of abstract expressionism (Sonmez, 2021). Such criticisms rather emphasize the claim that these works lack meaningful depth and even contribute to a loss of meaning specific to the postmodern era (Ozselguk, 2023).
Anadol's designs may initially present the impression of majestic landscapes or expensive screenshots. However, as Xiaoling emphasizes, these works offer more than visual-auditory satisfaction and pleasure; they provide images that illustrate how spatial and temporal constructs, and the perceptions of machines and humans, can be creatively blended. These collaborations project visions of a near future and strive to prompt viewers to think about these issues. Xiaoling (2022) argues that Anadol's works give audiences the opportunity to experience the interaction and synesthesia between machines and humans.
Anadol states that his primary concern is not to entertain people by immersing them in a colorful world, but to prompt reflection on the relationship between humans and machines (Akbulut, 2021). Anadol argues that machine-generated hallucinations have the potential to expand our capacity for imagination and help us visualize things that we would not otherwise see or imagine, in addition to providing entertainment and enchantment.3 In a manner reminiscent of Manovich's (2018) views that AI is increasingly culturally influencing our imagination, choices and behaviors and ascribing a kind of subjectivity to AI, Anadol follows the idea that AI, as machines with unlimited capacity, and not forgetting, can offer us a new structure, a new way of reading, and a new way of seeing while fulfilling a kind of memory function based on the data provided (Anadol, 2021c). Anadol identifies the act of dreaming about the future with the tools available today as a significant motivation for his art, which he refers to as "remembering the future" (Anadol, 2021c). Through his artworks, which build on the past and the present, and which reveal this attempt to "remember" and look towards the future, he aims to inspire his viewers to imagine a better, happier world (Anadol, 2021c). These works, which
1 Deleuze defines the concept of deterritorialization as "destroying the coherence of hegemonic discourses by presenting a wide range of deviations and alternatives that carry thought elsewhere, rather than directly throwing aside theoretical norms" (Goodchild, 2005, p. 15).
2 See. https://www.youtube.com/watch?v=aAt2l1TCwA8
3 https://refikanadolstudio.com/projects/machine-hallucination/
Bayraktar calls the dream of collective memory (Anadol, 2021c), appeal to the audience's emotions and try to trigger a sensory thinking act.
Anadol, who frequently emphasizes the relational nature of subjectivity, depicts the modern subject as a product of interactions established in the present and in the accumulations from the past. In his works, he continues to search for a dialogical meaning formed by elements such as space, other individuals sharing space, images, sounds, nature, and collective memory. He offers meditative and hallucinatory clues on time, memory, and our interactions with organic and inorganic beings. These implications, carrying answers albeit vague to the fundamental inquiries that Anadol positions at the center of his artistic productions, open the window to dreams about the past, present, and future. In the context of Foucault's conceptualization of heterotopia, these dreams correspond to utopias as ideal places that do not exist.
Deleuze argues in Negotiations that the processes of individuals or communities constructing themselves as subjects are valuable to the extent that they escape and liberate from established knowledge and sovereign power (2013, p. 186). In some aspects, Foucault also describes heterotopia as a liberating space from the oppressive, anthropocentric, and exclusionary structures (1997). Heterotopias, which are an intermediate space between given sites that exemplifies an oppressive life and utopia that describes an ideal life but only exists in dreams, are transition spaces that contain alternative possibilities (Oktan & Qon, 2021). Altinta§ also suggests that, based on Foucault, heterotopia can be defined as "the place where we look at utopia, the space in which we dream of utopia" (2009, p. 54). In this sense, heterotopia is a realm that opens up to the Deleuzian notion of subjectivity and where otherness flourishes. The reimagined spaces in Anadol's works, although they have a physical location in real life, are in a sense disconnected spaces that extend beyond it. They are, in a way, slopes on the edge of the site, looking towards a futuristic utopia.
The images of people standing in front of the artworks as if in front of a mirror, featured on the website and social media posts, also support this claim. While these people observe the artworks, they simultaneously seem to be witnessing their existence in a place where they do not exist (in a sense, in the mirror) and their current/real presence from this unreal place (through the mirror). This situation arises from the fact that the audiences are also a part of the artwork. Because in Anadol's works, the final form of the artwork is hidden within the emotional response that emerges through the interaction with the audience.
The utopian aspirations manifested in Anadol's artworks also encompass his quest for art and the artist's stance. Anadol constructs his art on the foundation of social and political responsibility, advocating for art to move away from elitism and embrace inclusivity. He frames his search for "the possibility that art can be suitable for all ages, all segments, and all cultures" (Avci, 2021; Fitzpatrick, 2019) as a public attitude. As an extension of this approach, he exhibits his media art created from public data in public spaces.
Figure 12. Machine Hallucinations -Nature Dreams (2021)
Figure 13. Melting Memories (2018)
Figure 14. Quantum Memories (2020)
Furthermore, Anadol shares information about the data, methods, and algorithms used in his works and the stages of the projects in public domains. These tools and methodologies, accessible to everyone through various platforms like the studio's website, are also integrated into some of his projects as parts of performances. For instance, in the Machine Memoirs: Space (2021) project, one floor of the exhibition space was designed as a "Data Tunnel", and the information about how raw data and the images taken from the telescopes are processed and turned into works of art, the software used and the background processes (Kiligoglu & Kahraman, 2022, p. 750) are presented as a part of the artwork.
Integrating public spaces with media art, which is based on the reinterpretation of collective memory, enables the fulfillment of communicative functions and contributes to the reproduction of memory through social interactions. Indeed, a significant part of Anadol's works involves using touch screens, augmented reality applications, virtual reality environments, sensors, and other technologies to eliminate the boundaries between the virtual and the actual, thus transforming the experiencing audience into an integral part of the artwork. The interaction between the audience and the artwork itself leads to a transformation of the art piece, and the performance, as a form of collaborative narrative, evolves simultaneously with each new participating viewer. For instance, in projects such as Dataland (2019), Visions of America: Ameriques (2014), and Latent Being, visitors' movements are processed by AI and integrated into the digitalized architectural landscape. The transformation of space, artwork, and narrative based on these shared actions
basically reflects the concept of relationality, which Anadol also frequently emphasizes.
According to Kang, in these artistic designs, screens exist as relational interfaces and enable encounters and varying degrees of empathy possibilities across data, machine, and human axes. In this case, screens can potentially become a means of mobilizing socio-political awareness and interaction (Kang, 2019).
Ru§en also emphasizes that interactive artworks, which eliminate the distance between the viewer and the art piece and transform this relationship into a unity, contribute to the expansion of the viewer's area of intellectual inquiry (2022, p. 187). "Opening new realms for the audience, through an encounter with digital images generated on the computer, software, and coding languages, and the offerings of programs also transforms the way of seeing" (Ru§en, 2022, p. 188).
Likewise, Bourriaud argues that contemporary art exhibitions featuring interactive artworks create free spaces that facilitate the development of interactions different from those in imposed communication zones, emphasizing that relational aesthetics contribute to transforming art from a form of expression into a space of encounter (2005, p. 25-27). Considering the projects that Anadol designed as a kind of environment and exhibited in public spaces, it can be observed that interaction occurs not only between the artwork and the audience but also among the viewers. In this sense, aesthetic experience exists in the form of interaction of the audience both with an innovative art form and with other individuals who look at this work and stand side by side.
Stern, discussing the experiential nature of such artistic designs as a form of embodied performance, highlights that in these artistic configurations, visitors not only perceive experiences from the perspective of their own bodies but also observe and hear what other people in the same time and space are looking at and listening to, incorporating others' reactions into their own experience (2011, p. 233). It is possible to say that this pluralization of experience faced by the audience has the potential to disrupt their daily routines, disturb their sensory-motor mechanisms, and lead them to emotions, dreams, impressions, or thoughts beyond objective reality.
Kiligoglu and Kahraman also concluded in their research on Anadol's exhibition Machine Memories: Space that the exhibited works provided viewers with new knowledge and understanding about art (2022, p. 752). And, as Tire emphasizes, "at the intersection of art and science, by merging machine thinking with human thinking, and machine creativity with human creativity, it offers a new aesthetic experience constructed with technology to the new human of the technology era and to the art audience". (Tire, 2022, p. 79)
Conclusion
Refik Anadol and his team, who transform public data into aesthetic visual forms through a technology-collaborative and interdisciplinary production
approach and present these artistic creations in public spaces, use artificial intelligence as a smart brush and architecture as a canvas, thereby putting forth a hybrid artistic concept that references collective memory.
Anadol, who draws attention with his site-specific artistic creations and often designing specifically for iconic architectures, constructs molecular, fluid, temporary intermediate spaces in these works by merging different layers of time and space, image and reality. His augmented architectural designs, reflections of a post-digital architectural approach based on artificial intelligence and futuristic architectural discourses, blur the boundaries of space, reinterpreting it with fluid and temporary forms. Within this framework, this artistic approach, which intersects architecture as a physical entity with historical accumulations and virtual universes, visualizes the city's physical, virtual, historical, and other aspects through augmented architectural spaces and abstract data sculptures, while attempting to add new perspectives to the city's memory and contribute to projections about the future.
In many of these projects that eliminate the distinctions between art and space, transforming the space into a part of art itself, urban architectures become canvases on which their own narratives are staged. They reflect countless layers of history and emotion, including the space's own past. The audience, participating in this digitized space, experiences a different interpretation of various data related to themselves. In this regard, Anadol's projects resemble a postmodern adaptation of the mirrors associated with Foucault's heterotopias. The resulting works are data in which the viewers also find a part of their identity, and the representation of the viewer looking into these living mirrors is always emphasized in the project visuals. These designs, which position the human body at the center of multimodal perception, not only invite the viewer to explore the boundaries of art and architecture but also encourage the production of thoughts related to the viewer's public context through references to the common experience of the public. Thus, it can be said that these works create a type of cultural sharing based on spatialization and open the door to public discussions about communal life.
These artistic designs offer new possibilities regarding the nature of art and its contribution to social life, and have the potential to transform public spaces by establishing certain relationships with space and people. The artist's use of opensource data, the fact that most of his projects are freely accessible to the public, and the transparent sharing of the algorithms and techniques he uses reveal an artistic perspective that prioritizes the public interest and tries to achieve this through his works.
In an era where artificial intelligence, algorithms, and digital imaging technologies are beginning to replace reality with the virtual realities they generate, Refik Anadol's digital art, corresponding to a hybrid form emerging at the intersection of physical space and virtual data, reinterprets reality in its own way. As he captures data that accumulates incessantly and is beyond human comprehension or analysis as memories and brings them to the focus of his works, he inter-
prets data as a kind of shared value. Through the works produced from data, he aims to direct viewers to contemplate a peaceful future signaling a dialogical collaboration with humans, nature, and technology, based on shared histories. Some critics perceive this stance as overly optimistic, even as a kind of image, but as Ozselguk states, it reflects not a critical but a constructive approach (Ozselguk, 2023, p. 18). At this point, by providing a model of seeing, perceiving, and interpreting (Ozselguk, 2023, p. 14), Anadol's works, which are built on an intellectual foundation, are actually closely related to reality behind the abstract, visual images they reflect, and they attempt to lead visitors to question this realm of reality. In today's context, where the connection between artistic creation and reality is weakening, and the image has become a kind of empty signifier, it can be said that creating images to establish a link between the past and the present is both challenging and crucial.
As a result of the close collaboration with technology inherent in Refik Anadol's work, especially in the context of the decisiveness of algorithms in the artistic creation process, the subject of art becomes largely ambiguous. In these projects, where artificial intelligence, described by Anadol as a kind of co-producer, exhibits a transformative effect on life and art, a style of artistic production that moves beyond anthropocentrism is made visible. Through the creative possibilities contained in randomness, these projects propose a way of thinking that is open to multiplicity and variability. In this context, it can be said that Anadol's hallucinatory art points to a kind of futuristic utopia concerning life and art.
Indeed, to what extent the utopias implied by these projects are shared or perceived by the perceivers of art is an important question. It can be difficult to analyze the overlapping of elements that are hard to make sense of, the repetition and flow rate, and the uncanny images of colorful fluids. Understanding what data some of these works are based on or what they imply often requires knowledge of the background of the piece. In this context, it can be said that there is a need for further research to determine how well Anadol's artistic works resonate with viewers and how they evaluate the model of seeing, perceiving, and interpreting that he tries to offer through his works, as well as the philosophical implications he attempts to unfold through his art.
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