Recent advancements in deep learning have reinvigorated interest at the intersection of art, creativity and machine learning. Current interest in creative machines captivates diverse audiences, thus rekindling the 1960’s fascination with cybernetics. Readers are invited to choose between various types of studies introducing the issue of AI creativity, such as “Computational Creativity: The Philosophy and Engineering of Autonomously Creative Systems” edited by Tony Veale and Amílcar Cardoso [1]. There are also art history insights on the coexistence of AI and the arts, such as the recently published catalogue of the retrospective exhibition “Artistes & Robots” held in Paris, curated by Jérôme Neutres and Laurence Bertrand-Dorléac [2]. In The artist in the machine, Arthur I. Miller responds to this new wave of fascination with computer creativity with a book addressed to a general readership. Although it is a work of non-fiction, The Artist in the Machine unravels like a James Bond scenario. The plot dives straight into the world of art, ushers us through the headquarters of tech companies only to finally hurl us into a posthuman vision of machine-inhabited planets. In the story, creative geniuses are characterized as moderately nefarious, of eclectic background, who live complicated lives and entangle themselves into disastrous liaisons. Picasso figures here as a patron saint of the artistic domain, while Poincaré and Einstein typify ingeniousness in mathematics and physics. Throughout this account, Silicon Valley barons and a long-awaited breed of artist-engineers incarnate the myth of modern avantgarde. The book aims at confirming that, as a consequence of AI developments, machine creativity does exhibit traits customarily assigned to humans. To justify this claim, it explores the domains of visual arts, music, literature and theatrical performance. Arguments are drawn from numerous histories of projects that employed AI for innovative purposes. The book introduces a distinction

中文翻译：

---

Arthur I. Miller：机器中的艺术家：人工智能驱动的创造力世界

深度学习的最新进展重新激发了人们对艺术、创造力和机器学习交叉点的兴趣。当前对创意机器的兴趣吸引了不同的受众，从而重新点燃了 1960 年代对控制论的迷恋。欢迎读者在介绍 AI 创造力问题的各种研究中进行选择，例如由 Tony Veale 和 Amílcar Cardoso 编辑的“计算创造力：自主创新系统的哲学和工程”[1]。还有关于人工智能与艺术共存的艺术史见解，例如最近出版的由 Jérôme Neutres 和 Laurence Bertrand-Dorléac 策划的在巴黎举办的回顾展“艺术家与机器人”的目录[2]。在机器中的艺术家，亚瑟一世。米勒用一本面向普通读者的书来回应对计算机创造力的新一波迷恋。虽然这是一部非虚构作品，但机器中的艺术家就像詹姆斯邦德的场景一样展开。情节直接潜入艺术世界，引导我们穿过科技公司的总部，最终将我们带入机器居住行星的后人类视野。在故事中，创造性天才被描述为中等邪恶、不拘一格的背景，他们过着复杂的生活，并卷入了灾难性的人际关系。毕加索在这里被视为艺术领域的守护神，而庞加莱和爱因斯坦则代表了数学和物理学的独创性。在整个故事中，硅谷大亨和期待已久的艺术家工程师群体化身为现代先锋派的神话。这本书旨在确认，作为人工智能发展的结果，机器创造力确实表现出通常赋予人类的特征。为了证明这一主张，它探索了视觉艺术、音乐、文学和戏剧表演领域。论据来自于将人工智能用于创新目的的众多项目历史。本书介绍了一个区别