In the absence of needing to use skills to make a living, I have no problem with AI art. In a hypothetical anarchist mutual aid society, people could make art with whatever methods they prefer. Some might create AI models to make art because they’re interested in that sort of thing. Others will make art in the traditional ways, also because they’re interested in that sort of thing. There doesn’t have to be tension between the two, and their basic needs are all there.
When people have to use their skills to make a living, though, then there’s a problem. So many of the places that were paying artists are now whipping something out with an AI model. That leaves artists without a way to cover their basic needs at all.
I don’t know how much that logic tracks, at least long term. And I don’t know that I’m going to be more inclined to be on the side of human labor over automation now when I wasn’t for garments, car manufacturing and other commodities. The John Henry of visual arts I am not.
I do have a couple of seemingly opposing but not contradictory points to add to that, though. One is that historically anti-automation, anti-industrialization movements have a pretty bad track record at succeeding. The other is that I think you’re giving “AI art” way too much credit. Small and medium-sized commissions may get impacted (I am on record saying that AI is the new “cousin who knows Photoshop” and I stand by it). For anything an actual professional needs to book and hire based on quality? Nah.
There may still be an impact on that high end, because I expect that generated elements will become a tool in an artist’s toolset more than anything else. That may speed work up and require fewer people, but not “leave artists without a way to cover basic needs” necessarily. Just like photography, just like CG, just like Photoshop and so on. There was doom and gloom around all of those as well, and hyperbolic claims from tech peddlers, too. Go look up some of the claims of early photography entrepeneurs about what the technology would eventually be able to do, some are hilarious.
I also expect sooner or later people will get good at spotting telltale machine-generation quirks and put additional value in organic, human-looking creative products. People are already misidentifying human art as AI art, artists will likely lean into that. Think vinyl into CDs back into vinyl or the premium on less processed foods more than… I don’t know, cars that don’t have rattling doors or whatever.
That’s a guess or a forecast, though. We’ll see where it goes.
In the absence of needing to use skills to make a living, I have no problem with AI art. In a hypothetical anarchist mutual aid society, people could make art with whatever methods they prefer. Some might create AI models to make art because they’re interested in that sort of thing. Others will make art in the traditional ways, also because they’re interested in that sort of thing. There doesn’t have to be tension between the two, and their basic needs are all there.
When people have to use their skills to make a living, though, then there’s a problem. So many of the places that were paying artists are now whipping something out with an AI model. That leaves artists without a way to cover their basic needs at all.
I don’t know how much that logic tracks, at least long term. And I don’t know that I’m going to be more inclined to be on the side of human labor over automation now when I wasn’t for garments, car manufacturing and other commodities. The John Henry of visual arts I am not.
I do have a couple of seemingly opposing but not contradictory points to add to that, though. One is that historically anti-automation, anti-industrialization movements have a pretty bad track record at succeeding. The other is that I think you’re giving “AI art” way too much credit. Small and medium-sized commissions may get impacted (I am on record saying that AI is the new “cousin who knows Photoshop” and I stand by it). For anything an actual professional needs to book and hire based on quality? Nah.
There may still be an impact on that high end, because I expect that generated elements will become a tool in an artist’s toolset more than anything else. That may speed work up and require fewer people, but not “leave artists without a way to cover basic needs” necessarily. Just like photography, just like CG, just like Photoshop and so on. There was doom and gloom around all of those as well, and hyperbolic claims from tech peddlers, too. Go look up some of the claims of early photography entrepeneurs about what the technology would eventually be able to do, some are hilarious.
I also expect sooner or later people will get good at spotting telltale machine-generation quirks and put additional value in organic, human-looking creative products. People are already misidentifying human art as AI art, artists will likely lean into that. Think vinyl into CDs back into vinyl or the premium on less processed foods more than… I don’t know, cars that don’t have rattling doors or whatever.
That’s a guess or a forecast, though. We’ll see where it goes.
Progress leaves many professions behind. It’s lamentable, but a price worth paying.
Which is nice to say when your profession isn’t the one on the chopping block.
I’m a programmer. It is.