<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2215-2636</journal-id>
<journal-title><![CDATA[Káñina]]></journal-title>
<abbrev-journal-title><![CDATA[Káñina]]></abbrev-journal-title>
<issn>2215-2636</issn>
<publisher>
<publisher-name><![CDATA[Universidad de Costa Rica]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2215-26362020000200035</article-id>
<article-id pub-id-type="doi">10.15517/rk.v44i2.43436</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[El estatus de arte del CG-art desde un modo de existencia de tipo-natural]]></article-title>
<article-title xml:lang="en"><![CDATA[The art status of CG-art from a natural-kind of existence]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Arriagada Beltrán]]></surname>
<given-names><![CDATA[Leonardo Salvador]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad de Chile  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Chile</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>08</month>
<year>2020</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>08</month>
<year>2020</year>
</pub-date>
<volume>44</volume>
<numero>2</numero>
<fpage>35</fpage>
<lpage>50</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.sa.cr/scielo.php?script=sci_arttext&amp;pid=S2215-26362020000200035&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.sa.cr/scielo.php?script=sci_abstract&amp;pid=S2215-26362020000200035&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.sa.cr/scielo.php?script=sci_pdf&amp;pid=S2215-26362020000200035&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen La introducción de las redes generativas antagónicas en el mundo del arte ha revitalizado la clásica pregunta: ¿puede una máquina crear arte? Estos algoritmos requieren una mínima intervención humana para funcionar, por lo que sus creaciones se consideran CG-art. En esta clase particular de arte los computadores no son una herramienta al servicio humano, sino un agente creativo autónomo. Por otro lado, estudios cognitivos recientes han demostrado que las personas son escépticas ante la idea de que una máquina pueda crear arte.Este artículo tiene como objetivo mostrar que el CG-art no puede excluirse arbitrariamente del dominio artístico. Para ello se utiliza la distinción hecha por Dickie entre teorías del arte de tipo natural y cultural. Luego, utilizando el concepto función de estatusde Searle, se propone considerar al arte como un fenómeno independiente del lenguaje. Complementando ambos enfoques sostengo que, la teoría idónea para explicar el fenómeno del CG-art es del tipo natural. Esto implica que la sociedad no puede negar el carácter de arte a estas creaciones algorítmicas. Así, la idea de que las máquinas pueden crear arte es fortalecida.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract The introduction of Generative Adversarial Networks into the art world has revitalized the classic question: can a machine create art? These algorithms require minimal human intervention to function, so their creations are considered CG-art. In this particular kind of art, computers are not a tool for human service, but an autonomous creative agent. On the other hand, recent cognitive studies have shown that people are skeptical of the idea that a machine can create art. This article aims to show that CG-art cannot be arbitrarily excluded from the art domain. For this, Dickie's distinction between natural-kind and cultural-kinds theories of art is used. Then, using Searle's concept of status-function, I propose to consider art as a language-independent phenomenon. Complementing both approaches, I argue that the best art theory to explain the CG-art phenomenon is anatural-kind theory. This implies that society cannot deny the character of art to these algorithmic creations. Thus, the idea that machines can create art is strengthened.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[CG-art]]></kwd>
<kwd lng="es"><![CDATA[teoría de arte]]></kwd>
<kwd lng="es"><![CDATA[filosofía social]]></kwd>
<kwd lng="es"><![CDATA[Searle]]></kwd>
<kwd lng="es"><![CDATA[función de estatus]]></kwd>
<kwd lng="en"><![CDATA[CG-art]]></kwd>
<kwd lng="en"><![CDATA[art theory]]></kwd>
<kwd lng="en"><![CDATA[social philosophy]]></kwd>
<kwd lng="en"><![CDATA[Searle]]></kwd>
<kwd lng="en"><![CDATA[status-function]]></kwd>
</kwd-group>
</article-meta>
</front><back>
<ref-list>
<ref id="B1">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Adam]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Art attribution: AI enters the fray.]]></article-title>
<source><![CDATA[Nature]]></source>
<year>2019</year>
<volume>570</volume>
<page-range>161-2</page-range></nlm-citation>
</ref>
<ref id="B2">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Boden]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
<name>
<surname><![CDATA[Edmonds]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[What is generative art?]]></article-title>
<source><![CDATA[Digital Creativity]]></source>
<year>2009</year>
<volume>20</volume>
<numero>1-2</numero>
<issue>1-2</issue>
<page-range>21-46</page-range></nlm-citation>
</ref>
<ref id="B3">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Chamberlain]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
<name>
<surname><![CDATA[Mullin]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
<name>
<surname><![CDATA[Scheerlinck]]></surname>
<given-names><![CDATA[B.]]></given-names>
</name>
<name>
<surname><![CDATA[Wagemas]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Putting the Art in Artificial: Aesthetic Responses to Computer-Generated Art.]]></article-title>
<source><![CDATA[Psychology of Aesthetics Creativity and the Arts]]></source>
<year>2018</year>
<volume>12</volume>
<numero>2</numero>
<issue>2</issue>
<page-range>177-92</page-range></nlm-citation>
</ref>
<ref id="B4">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Dickie]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Art: Function or Procedure: Natureor Culture?]]></article-title>
<source><![CDATA[The Journal of Aesthetics and Art Criticism]]></source>
<year>1997</year>
<volume>55</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>19-28</page-range></nlm-citation>
</ref>
<ref id="B5">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Elgammal]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Liu]]></surname>
<given-names><![CDATA[B.]]></given-names>
</name>
<name>
<surname><![CDATA[Elhoseiny]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
<name>
<surname><![CDATA[Mazzone]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[CAN: Creative Adversarial Networks Generating "Art" by Learning About Styles and Deviating from Style Norms]]></article-title>
<source><![CDATA[Eighth International Conference on Computational Creativity]]></source>
<year>2017</year>
<publisher-loc><![CDATA[Atlanta ]]></publisher-loc>
</nlm-citation>
</ref>
<ref id="B6">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Guerreiro]]></surname>
<given-names><![CDATA[V.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Thinking Clearly About Music.]]></article-title>
<source><![CDATA[Teorema: Revista Internacional de Filosofía]]></source>
<year>2012</year>
<volume>31</volume>
<numero>3</numero>
<issue>3</issue>
<page-range>25-47</page-range></nlm-citation>
</ref>
<ref id="B7">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Guijarro]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[La literatura en la ontología social de John Searle.]]></article-title>
<source><![CDATA[Revista de Literatura]]></source>
<year>2016</year>
<volume>78</volume>
<numero>155</numero>
<issue>155</issue>
<page-range>11-36</page-range></nlm-citation>
</ref>
<ref id="B8">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Hertzmann]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Can Computers Create Art?]]></article-title>
<source><![CDATA[Arts]]></source>
<year>2018</year>
<volume>7</volume>
<numero>2</numero>
<issue>2</issue>
<page-range>18</page-range></nlm-citation>
</ref>
<ref id="B9">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Lenz]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Early Argentine Computer Art at the Victoria &amp; Albert Museum.]]></article-title>
<source><![CDATA[Journal of Design History]]></source>
<year>2018</year>
<volume>31</volume>
<numero>2</numero>
<issue>2</issue>
<page-range>154-66</page-range></nlm-citation>
</ref>
<ref id="B10">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Manovich]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
<name>
<surname><![CDATA[Fontrodona]]></surname>
<given-names><![CDATA[Ó.]]></given-names>
</name>
</person-group>
<source><![CDATA[El lenguaje de los nuevos medios de comunicación. La imagen en la era digital.]]></source>
<year>2005</year>
<publisher-loc><![CDATA[Barcelona ]]></publisher-loc>
<publisher-name><![CDATA[Paidós Ibérica.]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B11">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Miller]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<source><![CDATA[The Artist in the Machine: The World of AI-Powered Creativity]]></source>
<year>2019</year>
<publisher-loc><![CDATA[Cambridge ]]></publisher-loc>
<publisher-name><![CDATA[The MIT Press.]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B12">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Searle]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Domènech]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<source><![CDATA[La construcción de la realidad social.]]></source>
<year>1997</year>
<publisher-loc><![CDATA[Barcelona ]]></publisher-loc>
<publisher-name><![CDATA[Paidós Ibérica.]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B13">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Searle]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[Making the Social World: The Structure of Human Civilization]]></source>
<year>2010</year>
<publisher-loc><![CDATA[Oxford ]]></publisher-loc>
<publisher-name><![CDATA[Oxford University Press.]]></publisher-name>
</nlm-citation>
</ref>
</ref-list>
</back>
</article>
