In their adoption of scientific and technically motivated vectors of abstraction mitigating a formal and conceptual integration of rationality, certain tendencies of artistic modernism and the avant-garde attempted to maximally reactivate the links between art and technē that historical contingencies had separated with the Renaissance invention of the ‘artist as author’.2 Yet the technologies and theories of mind emerging within what today might be called the ‘computational conjuncture’3 are generating a space of problems for art’s relation to technē radically unlike that discoverable by the logics of this previous configuration.