Jun 2026· Contemporary Visual Culture and Art· Vol 2, pp. 55–68· 0 citations· 42 references
TL;DR
The Philippine perspective suggests that while AI may function as an efficient tool for "automated commodities," it lacks the emotional resonance and accountability required for true Likha.
Abstract
The emergence of generative AI has precipitated an ontological crisis vis-à-vis Philippine creative economy, challenging deeply held definitions of art, authorship, and cultural identity. Rooted in a tradition that prizes manual craftsmanship and the communal spirit, the Philippine context views art not merely as a final product, rather as a holistic process defined by human labor, intent, and lived experience. This paper examines the friction between autonomous algorithmic reproduction and the aura of human-led creation through an evaluative methodology of academic inquiries, institutional policies, and digital discourse. The analysis reveals how cultural gatekeepers, including major art competitions and the governmental agencies, are reinforcing boundaries that exclude AI from the realm of fine art to preserve the sanctity of the human hand and the struggle of the creative process. Furthermore, the study explores the legal limitations of the Philippine Intellectual Property Code (RA 8293), which restricts authorship to "natural persons," and investigates public backlash against AI integration in media. Through an axiological lens, the research identifies a generational divide where digital natives may accept AI as a tool for hybridity, while the broader cultural consensus remains anchored in Pakikipagkapwa-tao (shared identity). Hence, the Philippine perspective suggests that while AI may function as an efficient tool for "automated commodities," it lacks the emotional resonance and accountability required for true Likha. In this cultural vista, art remains an irreducibly human communicative act.
The expansion of generative artificial intelligence within the field of visual creation has triggered a profound structural transformation in the regimes of production, legitimation, and aesthetic experience. Accordingly, the objective of this article is to analyze the ontological, epistemic, and ethical mutations arising from algorithmic mediation, with the aim of establishing the theoretical foundations for a critical aesthetics of the synthetic gaze. The findings demonstrate that generative visual production does not merely extend human creativity but reconfigures artistic agency through the redistribution of authorship, the statistical recombination of originality, and the conversion of authenticity into procedural transparency. This shift underscores the need to construct ethical and regulatory frameworks that incorporate algorithmic traceability, relational responsibility, and distributive justice within creative ecosystems. Ultimately, the study proposes a reinterpretation of art as a cognitively and morally situated practice within hybrid ecologies of human and machinic creation.
Spanish version: https://nawi.espol.edu.ec/index.php/nawi/es/article/view/1234/1232
This study theorises artistic collaboration with generative artificial intelligence through the concept of generative liminality, understood as a transitional and unstable zone in which human intention, cultural memory, and algorithmic inference enter into negotiation. Grounded in a case study of Rafani’s exhibition Everyone Has the Right to Everything (Gallery 8smička, 2025), the analysis examines how AI-assisted creation operates within a small-language, post-socialist context shaped by ideological ambivalence, satire, and distrust of universalist promises. Developed in Czech and structured around locally specific political references, the project exposed the frictions that emerge when globally trained AI models engage regional realities. Rather than functioning as neutral tools, these systems selectively translate, flatten, and recompose local imaginaries, design vocabularies, and rhetorical forms. Such distortions are approached here not simply as technical limitations, but as epistemic symptoms of the asymmetries embedded in contemporary generative infrastructures. A central component of the exhibition was an AI-generated audiovisual layer. Four satirical short films, styled as “Pixar-like” animations, presented a tardigrade interviewing four “successful” Czech women, while three additional videos featured fictional male influencers performing polarised monologues on migration, left politics, and the pre-election climate. Produced entirely through AI-based image, animation, voice, sound, and script generation, these works mobilised speculative fiction as a mode of cultural diagnosis. The chapter argues that generative systems participate in the reconfiguration of political and cultural representation, reshaping not only aesthetic production but also the conditions under which locality becomes legible.
This paper argues that AI-generated literature does not so much destroy literary authenticity as force a reconfiguration of what the term has always meant, and concludes that a more defensible, procedural model of authenticity is emerging one grounded in disclosed, traceable human judgment rather than the simple fact of a byline.
Dr Shipra Malik· International Journal of Cre...· 0 citations
This article examines the entanglement of artificial intelligence (AI) and popular digital culture through a case study of the music video “Preman Anggaran” by the band Parikesit. The video features an AI generated female figure, modestly veiled yet styled in casual, tomboyish attire, performing socially charged rap-punk lyrics that critique political corruption and class inequality. Employing Norman Fairclough’s model of Critical Discourse Analysis (CDA) in conjunction with theoretical insights from Cultural Studies, this study interrogates the ideological, representational, and resistant dimensions embedded in both the textual and visual content. The analysis reveals how confrontational lexical choices, oppositional semantics, and direct narrative structures function as linguistic strategies of symbolic resistance. The production process, which relies on AI generated aesthetics, subverts conventional norms of visual representation and enables alternative forms of cultural expression. The video’s dissemination via digital platforms such as YouTube and TikTok exemplifies a non-institutional mode of circulation, while its reception demonstrates participatory engagement and affective resonance among politically conscious audiences. Ultimately, this study foregrounds the methodological relevance of CDA and cultural studies in navigating the cultural politics of algorithmically mediated expression, highlighting how AI can be mobilized as a vehicle for symbolic intervention and alternative articulation in contemporary popular culture.
Eka Dian Savitri· JURNAL SOSIAL HUMANIORA· 0 citations
The study contributes a cautious comparative framework for distinguishing prompt-induced structural conformity from analytically emergent features in AI-generated narrative.
