Isabelle Levent

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. 

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.”

New art-making technologies change art in consistent ways, and studying the past helps us understand how things will change in the future.

If it was possible to deduce how much of an influence each individual image has on the final outcome (and the owner of each image was known and labelled, which I currently doubt happens), would it be simple to compensate people then?

Many people don't consider that when they use the internet, be that making a simple HTML/CSS site, or using a site through a big conglomerate, scrapers are scraping and crawlers are crawling the content unless you've specifically configured  robots.txt  and  no-index  rules to prevent it.

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.

Even when these paragraphs fail, they make her interested in the story again. She’s curious about this computer-generated text, and it reignites her interest in her own writing.