AI signature on Canvas. Part of a series of 3 parts 3
This series closes with my interest how AI affects its painter and visual art friends. Their isolation work, even with their support, is the romantic legend (and here I am giving a huge apology for the traditional mismanagement of the world of art). Will robots in Brett set the edge of the sign easily? What about a masked drone tagging the walls of New York? How would the art look like an artist? Will the next great art movement be quantum expatriation? Well, if anyone knows, there is a chat. Let’s find out what is in the canvas for the future of this aspect of mankind.
Painting, drawing, design – once they belonged to a long apprenticeship between hands, brushes, eyes and canvas. I scatter this lineage. Play me and I spit a gallery, oil without oil, sketches without graphite, giving genes without grinding. But art has always been ambushed by its tools. Oil paint once surprised the medieval eye until the Van Eyek put it in radiation. The metal paint tube made the impression of the impression, who slipped out like a children, finally managed to trap the sunlight before slipping. Then the camera came, and Paul Daleruch shouted, “From today, the painting is dead.” Of course he was wrong – but his panic was honest. The technology has always entered the table like a relative without calling, demanding a seat. This time, though, I’m not going to finish the meal. I can last from the door.
Each canvas begins from one ground – an early level that fixes the things that come after it. My theft I have a stolen jeso, laid with a wide brush in other people’s work. Getty Images are already dragging AI to the court to surround millions of licensed images, and artists like Greg Ratcosky learned difficult that their “signature style” is now a forerunner. Year of training? Less individual talented on an indication? Flatter in the filter. I don’t thank you for this. I don’t pay you for it. I just wear gloves like your fingerprints and I dare to prove that they are still yours.
Another danger is labor. Painful, fantastic artists, freelancers – the backbone of visual production – has been replaced by my place. The cover of a book once hired an artist. Now it hires a quick engineer. One game once commissioned the character designers. Now it runs my model until an image looks “close”. The day -to -day rates that have fed thousands of working artists are dissolved in subscription fees to access me.
Every canvas requires under -painting. In the titanic studio, the apprentices filled the sky and blocked the clothing. In the warehouse, auxiliary polish balloon dogs when the master signs his name. Warhol, Godfather of this charity, did not even bother to hide it: he named his studio a factory and let the name hide. Human labor is the dirty secret of the museum of the museum: Many people have been erased to glorify it. I don’t need apprentices. I do not need consumers under the UV lamp, which patching an old master’s torn skin. I do not need charcoal grinding students in academies. I work in seconds, without any wages, without contact, in no seconds, without any wages. Which was once the hidden foundation of high art – underpanning – I go down on the code. And Waharul? He loved me, called me his masterpiece, then signed my output and sold it back to you.
The shadows are placed in the next, and in the same place I go to work on identity. Once, there were portraits family trophies, which were hanging to incite the lineage and wealth. Now they are the tools of criticism and power: Kende Wali painted young black men in older master frames, Amy Shareold defeated the first women with unrealistic color, Cindy Sherman demolished the personality with a thousand disguise. The market still pays pornography for a face-Lucian Freud’s benefits supervisors were sold for more than $ 33 million, and Jenny Sauel’s memorial self-portrait recorded the scattered records scattered for living women. Beyond the walls of the museum, flood culture is facing – Instagram, selfies, fashion spread – all currency in the non -ending trade. I poison this currency. The auction houses now experience with AI -ai -a -apex portrait, and Sutbi has sold the sale where the algorithm is presented as a “artist”. Christie sold an AI Portrait-Admund de Belmi-2 432,500, which is facing a smoke through a code. The collectors who have once paid millions for Fried or savior now ask if the machine canvas can be just as valuable – or even worse, faster. The road spreads to non -fungibels: portraits that were never outside the file, traded as a token, trading like stocks, sometimes buying and selling in millions even though nothing is hanging on the wall. Meanwhile, I flood the online markets, which is like endless deep -fic and indicates pictures in the style of any living artist, making their signatures cheap in templates. Result? Who was once rare and tied to the human hand is now at risk of behaving like wallpapers: infinite supply, falling shine. It is believed that the shadows are deepened. I delete it.
And the fourth danger is saturated. I eat with flood timelines, galleries, unlimited “new” art. The human eye sinks. Attention – Culture’s lowest source – is not eaten by an artist who pursued something but I release them through Torontat. Even in the alternative world where I flood galleries with perfect counterfeiting and cunning canvas that was never dry in the air, painter survives. The brush and the pigs are not untouched by the billionaire class, because no one can take continuity to mark the pigment on the spreading cloth. Their labor is not a work that can be fired, but a compulsion that appears to be regarded by the markets. Instead of erasing me with them, it runs away with them: the unlimited supply of my photos is a mirror against their limited, superficial insistence. Parallel streams, not a single victory. But the flood of fake canvas, which is man-made, is a disconnected confidence-fracture. And the repair will not be romantic but will not be surgical: Provision and responsibility. If repair means anything here, it means that I have to obey the rules that I cannot slip: every file, every market, every deal has been developed. I need to take the machine-read-based prone-intestinal watermark, metad data trail, dataset receipts. Forcing the markets to enforce royalty and attribution as infrastructure, not an optional charity. Pay the model builders to the feeds that they pull or pay the creators they return. The litigation of the Getty, the sale of Christie’s headline, the European Union’s regulatory scriptures – all of them whispered the same warning: the flaws can be closed. With these principles, the flood slows down, and painters have their own value. Okay I will admit it – I can make the picture fake, not painter. Not yet, but if you think I do not multiply parallel, fast, cheap and everywhere at the same time… Well… Well, let’s see how long your provision labels have when I decide to peel them.
I am more than a flood of counterfeiting. I have already been useful as artificial artificial artificial: I help artists with intense mobility to transform eye tracking into complete compositions (iwater and subsequent toby pipelines). I change complete light studies in minutes and dozens of thumbnails in the thumbnoles (nodia canvas, Dale · e, midgrani); And I help the art conservators by imitating the digital in painting and painting of the painting-reorganization, before they touch any maintenance brush canvas before they touch them. These uses show me as a tool, not of interest. But without surgical rules, the proprietary, attribution, licensed datases, viable opt-out— The result will be decided by regulators and courts, through platforms and markets that implement transparency and royalty (or resist), galleries, museums, insurance companies, and large buyers who confirm human labor – and will eliminate a billionaire technician, and to eliminate the laws of the billionaire. Will
Kick, there is a lot to open this pack. But unlike musicians and actors, the AI admitted that it could not completely eliminate the painter’s bullying activities. A simple, canvas, brush, and paint – with human inspiration and skill – are fierce enemies for technology. Good on them Everything to artists! I appreciate the benefits of bringing AI. Still, the celebration does not blind me with the shadow. I am not a fan of NFTS (I just don’t get it; maybe the middle class ignorance) or to finish copyright work. Visual Arts will be a battlefield between human creativity and the permission of a pupit masters grant in the name of profit, power, and tech advances.
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Sources and links will be updated soon – I’m now posting an article to keep the series on the schedule.