Isabelle Levent

“Our business has never been about the ease of creating imagery or the resulting volume. It is about connecting and cutting through.”

Crawford elaborated in an interview. “When you have this enchanted determinism, you say, we can’t possibly understand this. And we can’t possibly regulate it when it’s clearly so unknown and such a black box,” she says. “And that’s a trap.”

As more artists gain access to AI and take up the tools, artists will have a whole new look — both how they look making art and how their art develops.

Imagine an art-lover at an exhibition entitled ‘Dots 2008’. He speaks to two artists, each displaying a painting. In both cases, the art-lover cannot see past the seemingly random arrangement of dots of paint. He mentions this to the first artist, who says: “Oh, no, they’re not randomly placed. Each dot represents a friend of mine. The colour of

For a computer to make a subtle combinational joke, never mind to assess its tastefulness, would require, first, a data-base with a richness comparable to ours, and, second, methods of link-making (and link-evaluating) comparable in subtlety with ours. 

Academically, this is a collision of everything from computer science and art history to media studies to disruptive innovation to labor economics, and no one of these disciplines seems sufficient to cover the topic. 

Our intuitive moral understanding of actors and transgressions may be at odds with the inherent complexity of AI systems.