Introduction

This research aims to contribute to existing literature that delves into the intersection of art and faith within generative art. It is a devotional auto-ethnography that explores the relationship between art and spirituality, practically, theoretically, and historically. As a Muslim artist, my devotion refers to a deep and heartfelt commitment, reverence, and dedication to Allah (God) and the t Islamic law. I am not only descriptive but also examining my faith in critical inquiry, reflective engagement, and historical and comparative perspective.  I investigate ingrained beliefs, evaluate evidence, and consider alternative perspectives. Some religions may view questioning as a threat to their dogmas, whereas Islam embraces the concept of seeking knowledge as a means of deepening one’s connection with Allah. Critical thinking emphasizes the use of reason and intellect in understanding the divine message. My intellectual curiosity integrates emotional, spiritual, and personal aspects of my faith and devotion into a critical process of questioning, analysing, and examining beliefs, practices, and ideas through reflective engagement, seeking deeper insights, and utilising rationality to arrive at informed conclusions.

As a Muslim artist, I aim to portray Tawaf as an example of Islamic cultural practice. Tawaf is the circumambulation, a ritualistic, circular movement centred on the Kaaba and is an essential part of the Hajj pilgrimage. It is an Islamic act of worship that is performed only around the Kaaba in The Holy Mosque in Makkah. It has been recognised for thousands of years but has yet to be explored critically and in the context of generative art. In this document, I will look at the current state of knowledge about Tawaf in artistic practice and research. I will start by providing an overview of Tawaf’s historical, Philosophical, and cultural context, then review the existing literature on Tawaf in Islamic Art. I will then examine how artists have used Tawaf as a subject, as physical movements and gestures, and as a symbolic icon capturing the sense of awe and connection with the divine. I will discuss the gaps and limitations in the current literature and make recommendations for future research. This aims to deepen the understanding of Tawaf as a complex cultural practice and locate intersections of art, religion, human and non-human, and material and non-material aspects.

To do so, I will examine the possibility of coding faith and considering it as devotional practice or worship. Coding faith is a metaphorical term that I use to describe incorporating my religious or spiritual beliefs, values, or principles into my practice of coding or programming. I have developed a generative art practice informed by Tawaf’s intentional and implicational meaning. My personal experiences, beliefs, practices, and cultural background become the primary data for analysis. This contributes to understanding the potential of considering generative art as a means of worship and exploring the intersection between personal and collective experiences and identities.

Generative Art is a complex process of constructing new ideas algorithmically, either through artificial intelligence or creative coding. In current debates on generative art, what is missing are culturally specific examinations of the creative process that draw on specific histories or data. Cultural identities are a central element of human social structures, some of which are in danger of being lost forever. Transmitting cultural traditions maintains vitality, strength, and well-being, and helps us to be more sustainable in the long run. As a Saudi Muslim artist, my Saudi background has given me privileged access to specific data about Saudi society, Islam and Tawaf. The Saudi perspective will give me a unique understanding and creative perspective that differs from other cultures. By transmitting my cultural traditions and historical tales, I will strengthen my connection to my past to preserve my culture long-term. This mission will be accomplished using historical and contemporary imagery that rekindles the power and significance of local culture.

Through comparative practical analysis of different generative art models with varying degrees of agency, I seek to investigate the concept of agency by considering different types of agents. These agents include God (Allah), the artist, computational systems, and how different levels of agency impact the artist’s role and creative process in generative art. My research employs a multi-dimensional approach incorporating the auto-ethnography of Tawaf as a purpose, using the Actor-Network Theory to analyse the connections between actors and nodes in Tawaf and a comparative practical analysis of generative art models.

Despite the fears in the Western context that AI itself is a kind of deity or monster, that myth about AI is not what I am dealing with. Instead, I engage with the Saudi Muslim context, emphasising how we practice Islam in our daily routine using technologies, worship God through knowledge, and conduct religious practice through generative art. As an expressive and symbolic act, Tawaf offers a unique and rich case study investigating the links between cultural practices, materiality and spirituality, and the sociocultural dynamics within a diverse Muslim community.

The message conveyed through my artwork transcends religious boundaries and resonates with a wider audience. By conducting and showing my work in London, I make it accessible and relatable to people of various beliefs to spark meaningful conversations and promote understanding among different communities. I Incorporate universal themes and symbols and explore concepts such as Peace, Multilingual conversation, emotions, unity, and spirituality, I tried to create a connection that goes beyond religious affiliations. Furthermore, I combine visual elements and storytelling techniques to help bridge the gap between different cultures. Ultimately, transcending religious boundaries will have a broader impact that contributes to the collective appreciation and celebration of diversity, fostering a more inclusive and harmonious society and enriching the overall cultural dialogue.

In 2020 and 2022, the Saudi Data and AI Authority (SDAIA) organised the Global Artificial Intelligence Summit, which served as a premier global platform for discussions regarding the future of AI. As part of this initiative, the AI Artathon was developed.  The Artathon was a globally funded competition that brought together artists and AI experts worldwide. This event inspired me to incorporate recent technological advancements in Saudi into my artwork. I participated in the AI Artathon, and my work was selected as one of the 20 pieces out of more than 300 submissions. Unfortunately, I was the only participant who could not attend in person; online participants were excluded from consideration based on evaluation criteria. This experience motivated me to follow all the sessions and delve into the finer details of the AI Artathon. As a result, I felt compelled to provide my commentary and critique of the event to shine a light on the nascent field of generative art in Saudi.

It should be noted that the content of this confirmation document covers a detailed introduction to the story behind this research and a brief historical content about Tawaf in Makkah in Saudi. These are followed by two chapters that discuss the historical and contemporary context of generative art: AI art and Creative coding. The second chapter is about the historical and contemporary context of Islamic Art.