Synthetic voice cloning tools are becoming increasingly accessible for artistic engagements. This paper contributes to unfolding the growing aesthetic potential of this development by 1) providing an overview of existing frameworks and approaches that might be used in artistic and design work, 2) situating voice cloning as a form of making kin by relating it to the concepts of kin networks, assembling and attachment sites and 3) presenting three speculative approaches to creating multivocal synthetic voices that seek to make kinships explicit.

This paper explores the integration of artificial intelligence (AI) in the arts, exemplified through the creation of the "Art After AI" issue of the Experimental and Emerging Art journal. It examines the transformative impact of AI on electronic arts and the broader artistic community, addressing the polarized debate surrounding AI's role in art. Utilizing AI platforms like ChatGPT and MidJourney, the paper discusses the production of an entire magazine using AI, highlighting the emerging practice of prompt engineering. The methodology involves the generation of AI content, including fictional personas and narratives, and the critical editorial process of refining and curating AI-generated material. The paper reflects on the challenges of distinguishing between AI-generated and human-made content, raising questions about authorship, originality, and ethical considerations in creative production. It concludes by emphasizing AI's role as an augmentative tool in the creative process, advocating for a hands-on approach to understanding and leveraging AI's potential in the arts. The future of AI in art is viewed as a collaborative venture that enriches the creative landscape, underscoring the importance of prompt engineering and active engagement with AI technologies.

This paper weaves through the terristories of MIT’s institutional and indigenous histories that inspired the creation of Stata Island – a social virtual world. Through spatial narratives, this work probes into the institutional symbols of MIT’s Building 20 time capsule and Tim, the beaver mascot. In this virtual world, MIT’s Stata Center building is rewilded into an interspecies cohabitation of beavers and humans, reclaiming ‘nature’s engineer’ as a worlding agent. The land around Stata Center is reclaimed by the waters alluding to the marshlands and colonial history of the region and as well as the potential climate futures. In doing so, this work invokes the coexistence of pluriversal worlds that are forced to disappear at the very moment the one-world world is brought into reality. Furthermore, this work highlights the potential of harnessing game engines for worlding practices. Stata Island can be experienced at https://www.stataisland.com/

This paper invests the integration of the L-system algorithm with Stable Diffusion, a method called 'Denoising Path Orientation,' to create complex, lifelike structures in digital art, named Cybernetic Flora. Influenced by Michel Serres' theoretical lens, this paper analyzes the complexities of noise, disruption, and transformation in the generative phases of digital art. Utilizing Serres' concept of the parasite, the study interprets the denoising phase as a transformative disruption, crucial in system development. The L-system, originally a tool for simulating biological structures, iteratively generates intricate patterns. When fused with Stable Diffusion's denoising capabilities, these patterns undergo refinement, resembling natural evolutionary processes. This fusion not only improves the visual quality but extends interdisciplinary applications, particularly in AI convolution processes. This paper demonstrates how disruptions or 'parasitic' elements in the creative process can lead to richer, more complex artistic expressions, challenging conventional notions of order and disruption in digital art creation.

Active Tele-Spaces (TEA) project is the central theme of this presentation. Over the past decade, TEA has evolved as a collaborative space focused on exploring various realms of telematic design and creation within the per-formative and artistic domains. In essence, TEA investi-gates how the design of distributed interfaces, network technologies, and remote collaboration can be harnessed to create art in unique and diverse ways.
Throughout its years of development, TEA has brought together designers, artists, researchers, and creators from different disciplines. The aim has been to generate novel forms of design, art, and communication, thereby pushing the boundaries of creativity and collaboration.
A key facet of Tele Active Spaces is its emphasis on telepresence and collaborative work in the digital age. It has provided a platform for discussing and reflecting up-on the challenges and opportunities that arise when de-sign and artistic creation are mediated by modern tech-nologies.
In addition to exploring new techniques and design methodologies, TEA has fostered interactions among in-dividuals from various countries and cultures. This has led to the establishment of global networks of collabora-tion and knowledge exchange.

The concept of “Everywhen” invites us to traverse the boundaries of time, seamlessly uniting the past with the present and future. At the forefront of this exploration are artists using AI-powered tools to reshape our perception of urban landscapes. This paper examines the conceptualization and technical execution of three artist-led urban media art projects in Singapore: the projection mapping of “(RE)ROOTING in Progress” at the 2021 Light to Night Festival, “Classic of Mountains and Seas”, and “AI Meets Wu Guanzhong” displayed on the urban screen at Nanyang Technological University in 2022. Focusing on the roles of artists and AI in the creative process, the study reveals that urban settings not only infuse AI with meanings but serve as rich sources of datasets. Artists use AI as a tool while retaining control over the final output. While AI-enhanced installations possess the capacity to weave the fabric of time and space into artistic expressions, they also present challenges related to data concerns. In this melding of art, technology, and urban spaces, it is the artists who are pivotal in guiding AI to establish a temporal cultural thread, reshaping our connection to history, and curating an “Everywhen” ambiance within the city.