In considering the question of machine as artist, the art object can be analytically separated from its making, and its making can be dualistically conceptualized as process on one hand and experience on the other. One of the reasons we value art is that there was an experience of its making. To better understand what is meant by the experience of art-making, this paper presents results from a qualitative, phenomenological study of a group of artists. These results appear in three groups: feeling, intention and lifeworld. Machines cannot experience art-making, at least not in the same way as humans, and thus they cannot create art but only art-like objects. Even so, in the present century, we should not be asking whether machines can be artists, but rather how machines can help more people experience art-making for themselves.

Flavours of Glenroy (2013-4) was a socially engaged art research project focused on developing strategies to connect the diverse, mobile and transforming community of Glenroy through the theme of growing and distributing edible plants. The project was action research based, where artist researchers used creatively imagined mobile edible gardens to connect and engage with locals through project presentation and execution. The process of producing, presenting and conversing about edible gardening revealed Glenroy to be a transnational Australian dream suburb, reflecting the fluid globalising conditions of our cities. The project emphasized how social relations encouraged through art, has the capacity to transform social spaces, providing a platform to introduce new voices and narratives of a community and encourage inclusive participation in sustainable citizenship.

The aim of this paper is to identify and document some functions and contextsof traditional pottery within northern Ghana. The descriptive approach of the qualitative research methodology was employed. Interview and observation methods were employed as the data collection methods. They were used to ascertain reasons why some potteryare engaged in certain contexts andfor certainfunctions. The data was tabulated to include the traditional name of the pot, the function and the context. The data were then analyzed and the indications were that, the potters make interesting forms of traditional pottery for different purposes; and the local name given to each pot perfectly defines their functions and contexts within northern Ghana. On the flipside of the coin, the function and context of every pot can also be dictated by its end user. Base on this, the researchers were able to discover some functions and contexts of the indigenous pottery which were put into some groups. On the first hand, the researchers classified the functions into five groups of purpose. These included: domestic purposes, religious purposes, agricultural purposes, rites of passage purposes and traditional herbal medicinal purposes. On other hand, seven groups of contexts were also discovered at the time of the study. These included: courtyards, bedrooms, bathrooms, graveyards, kitchens, shrines, and hencoops as places where these pots can be found among the people of the Northern Ghana.

This paper proposes a new approach to investigation into the aesthetics. Specifically, it argues that it is possible to explain the aesthetic and its underlying dynamic relations with axiomatic structure (the octahedral axiom derived category) based on contemporary mathematics – namely, category theory – and through this argument suggests the possibility for discussion about the mathematical structure of the aesthetic. If there was a way to describe the structure of aesthetics with the language of mathematical structures and mathematical axioms – a language completely devoid of arbitrariness – then we would make possible a synthetical argument about the essential human activity of “the aesthetics”, and we would also gain a new method and viewpoint on the philosophy and meaning of the act of creating a work of art and artistic activities. This paper presents one hypothesis as a first step in constructing the science of dynamic generative aesthetics based on axiomatic functionalism, which is in turn based on a new interdisciplinary investigation into the functional structure of aesthetics.