| Sumario: | Today, many people perceive that algorithmic art is the result of recent innovations. The key word here is ‘perceive’ as neither Frieder Nake (born 1938) nor Harold Cohen (1928–2016), the pioneers of algorithmic art, are rarely mentioned within the current epistemic context. Nake’s first public contribution to computer art was in three exhibitions in 1965. Obviously, Nake’s and Cohen’s roles are fundamental, and their contributions must be considered in any discussion seeking to understand the role of human imagination in algorithmic creation. The present paper aims to address the human role in the creation of art by means of generative artificial intelligence. The creative sector appears to be gradually embracing AI-generated content as one of many categories of images, but it is clear that the worldviews of those involved have consequences on both the AI tools created and the outcome as ‘art’. The complex relationship between algorithmic autonomy and human agency is discussed in order to establish any underlying power dynamics and disparities in the technological environment of the ‘art’ world. This discussion utilizes the case study approach so to examine current applications of AI in creative campaigns in order to provide real-world examples and empirical data.
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