This paper explores the potential of AI-generated images in art education. It examines how these technologies can foster creativity, develop critical thinking skills, and introduce new artistic concepts. The paper also acknowledges ethical considerations and offers practical guidance for educators.
Enhancing Creativity and Exploration
The introduction of photography significantly impacted painting by offering new perspectives. AI-generated imagery presents a similar turning point for art education. By providing students with a tool to generate visuals based on textual descriptions (prompts), AI can spark fresh ideas and fuel creative exploration.
Batching and Curation: Developing Critical Judgment
AI tools often allow users to generate multiple images based on a single prompt. This functionality can be leveraged to teach students how to select the most effective visual elements from a range of options. By evaluating and discussing these variations, students develop critical thinking skills and hone their artistic judgment.
AI art generation can be particularly stimulating when prompts incorporate diverse artistic styles or introduce elements of randomness. For example, a prompt combining the style of a specific artist with a particular theme can lead to unexpected and visually intriguing results. This approach encourages experimentation and broadens students’ understanding of artistic expression.
Merging Styles and Disciplines: Fostering Innovation
AI art tools can facilitate the exploration of interdisciplinary connections and the blending of various artistic styles. Students can experiment with merging visual elements from seemingly disparate artistic movements, fostering innovation and challenging traditional boundaries.
AI art allows students to explore and visually represent abstract concepts like “melancholy” or “persuasion.” This process encourages students to connect with their emotions and translate them into visual language. By analyzing successful and unsuccessful attempts, students can gain valuable insights into the effectiveness of artistic choices.
Reinforcing Artistic Fundamentals
AI-generated art offers a rich resource for studying artistic fundamentals such as composition, color theory, and light (chiaroscuro!). Students can analyze both successful and unsuccessful outputs to understand how these elements contribute to the overall effectiveness of an artwork.
Expanding Artistic Vocabulary
AI art tools can introduce students to a wider range of artistic concepts and terminology. By generating images that exemplify specific stylistic techniques (e.g., pointillism, surrealism), AI can make these terms more tangible and relatable.
Engaging and Assessing Student Learning
Unique Portfolios: AI-generated art can be integrated into student portfolios, showcasing their ability to utilize technology creatively.
AI Art Contests: Friendly competitions based on AI prompts can stimulate creativity and provide opportunities for peer evaluation.
The Ethical Landscape of AI Art
Copyright and Originality: The use of AI art generation raises questions about copyright ownership and the nature of artistic originality. These are important topics for discussion in the art classroom.
Artist vs. Assistant: Does AI threaten to replace artists, or does it provide them with new tools? Exploring this question can lead to valuable discussions about the future of art and the role of the artist.
Integrating AI Art into the Classroom
Existing Tools: Many popular design applications now incorporate AI art features. Integrating these tools seamlessly into the curriculum allows students to leverage this growing technology.
Demystifying Terminology: Educators can help students understand technical terms like “parameters” and “ControlNet,” making AI art creation more accessible.
Educational Resources: A wealth of user-friendly AI art generators are specifically designed for educational settings.
The Future of AI in Art Education
Evolving Possibilities: The potential of AI in art education is vast. From AI-powered installations to interactive experiences, the future holds exciting possibilities for how art is taught and learned.
Conclusion:
AI-generated imagery offers a powerful new tool for art education. By fostering creativity, critical thinking, and a deeper understanding of artistic concepts, AI has the potential to transform the art classroom. As this technology continues to evolve, educators have a unique opportunity to integrate it into their curriculum and explore the boundless creative possibilities it presents.
The Western genre, with its iconic tales of rugged frontiers and lone gunslingers, has been a staple of American cinema for decades. However, the 1970s saw a shift in the portrayal of the Old West with films like Robert Altman’s “McCabe & Mrs. Miller” (1971) and Arthur Penn’s “Little Big Man” (1970). Both movies deconstructed the myths of the American frontier, offering audiences a raw and realistic portrayal of the era.
“McCabe & Mrs. Miller”: A Subdued Ballad of the Old West
Robert Altman’s “McCabe & Mrs. Miller” is often described as an anti-western. The film stars Warren Beatty as John McCabe, a charismatic gambler who opens a brothel in the burgeoning town of Presbyterian Church. Julie Christie plays Mrs. Miller, a madam who partners with McCabe to run the business. Their entrepreneurial success catches the eye of corporate miners, leading to a conflict that is as much a battle of wits as it is of guns.
What makes “McCabe & Mrs. Miller” stand out is Altman’s rejection of the genre’s traditional heroism. Instead, he delivers a nuanced look at the lives of people on the margins of the West. Coupled with a haunting soundtrack by Leonard Cohen, the film’s atmosphere is imbued with a sense of melancholy and impending doom.
“Little Big Man”: A Satirical Epic
Arthur Penn’s “Little Big Man” takes a more picaresque approach, recounting the life of 121-year-old Jack Crabb, portrayed with wit and flexibility by Dustin Hoffman. Crabb claims to be the sole white survivor of the Battle of Little Bighorn and narrates his life among Native Americans and whites alike. Through his eyes, we encounter a satirical revision of American history, where legendary figures like General Custer are stripped of their romanticized veneer.
“Little Big Man” was groundbreaking in its sympathetic portrayal of Native Americans, a far cry from the one-dimensional depictions prevalent in earlier Westerns. The film is a blend of comedy and tragedy, a sprawling narrative that examines the identity crisis at the heart of the American experience.
Common Threads in Uncommon Westerns
Both “McCabe & Mrs. Miller” and “Little Big Man” defy the conventions of their genre to offer a more authentic version of the American West. Here are the common threads that weave these two films together:
The Revisionist Western
They’re both seen as revisionist Westerns, deconstructing classic tropes to critique the legacy of the frontier. This genre-bending approach offers a richer and more complex depiction of historical events and personalities.
Critique of American Mythology
The films are critical of the mythologizing of the American West, exposing the harsh realities behind the romanticized tales of expansion and heroism.
Complex Characters
Neither film is content with simple archetypes. McCabe and Crabb are multifaceted characters who defy the black-and-white morality typical of the genre.
Cultural Commentary
Both films offer a poignant commentary on American society, capitalism, and the cultural genocide of indigenous peoples. They serve as a mirror to the times and values of the era in which they were made.
Technical Innovation
Altman and Penn brought new techniques to their storytelling, from natural lighting and unconventional camera work in “McCabe & Mrs. Miller” to the nonlinear narrative in “Little Big Man.”
Lasting Impact
Decades later, these films are revered for their artistic courage and influence on subsequent generations of filmmakers.
“McCabe & Mrs. Miller” and “Little Big Man” remain landmark films for cinephiles and historians alike. They offer a vision of the West that is more truthful, critical, and introspective. By looking backward at such films, we gain a clearer view of the path forward—not only in cinema but in our understanding of the American psyche.
Thanks for reading! What should I watch next?
These are anti-westerns: what is this way of working?
The anti-western, or revisionist western, is a subgenre that emerged as filmmakers began to question and deconstruct the conventional narratives of the classic western. Traditional westerns often celebrated the myth of the American frontier, with clear-cut heroes and villains, and embraced a simplified moral universe where rugged individualism and frontier justice were idealized.
Anti-westerns take a different approach by challenging these norms and reevaluating the historical and cultural perspectives that traditional westerns often overlooked. Here’s how they work in terms of form and codes:
Respecting the Form
Anti-westerns still operate within the form of the western genre in that they are set in the American West and often during the same time period as traditional westerns (the second half of the 19th century). They use familiar settings, such as small frontier towns, saloons, and wide-open landscapes. They may also involve characters typical of westerns, like outlaws, lawmen, settlers, and Native Americans.
Not Respecting the Codes
Where anti-westerns diverge significantly from their traditional counterparts is in their treatment of these settings and characters. Here are several ways in which they do this:
Moral Ambiguity:
Rather than the clear-cut good guys versus bad guys dichotomy, anti-westerns introduce morally ambiguous characters, complex motivations, and often a deep sense of irony.
Realism:
These films often strive for historical and social realism, portraying the West as a place of hardship, violence, and injustice. They might highlight the suffering of marginalized groups such as Native Americans, women, and the impoverished.
Critical Perspective:
Anti-westerns often critique the myths of Manifest Destiny and the glorification of expansionism. They scrutinize the actions and legacies of western figures instead of lionizing them.
Focus on Consequences:
The violence and romanticized “gunfighter” lifestyle are shown to have real and often tragic consequences.
Stylistic Choices:
Visually and tonally, anti-westerns may eschew the grand, sweeping style of classic westerns for grittier, more subdued aesthetics.
Structure:
They may employ unconventional narrative structures that defy the linear, adventure-centric storytelling of traditional westerns.
By respecting the form but not the codes, anti-westerns create a space for reflection on the myths and legends of the American West. They encourage the audience to consider the ethical and historical truths behind the romanticized veneer. Through this subversion, anti-westerns provide a commentary not only on the era they depict but also on the times in which they are made, often making statements about contemporary issues through the lens of the past.
ooOOOoo
the anti-western as a tool for the mind operates on several levels. It functions as a critical instrument that encourages audiences to reflect on the narratives and histories presented to them, not just within cinema but in the cultural discourse at large.
The Structure of the “Way”
The structure of this “way” of engaging with narrative and genre can be understood as follows:
Subversion:
Begins with the subversion of expectations. It acknowledges audience preconceptions based on the traditional forms and then flips them to reveal a different perspective.
Deconstruction:
Involves taking apart the classic elements to understand their significance. It questions why certain tropes became standard and what they say about societal values.
Reconstruction:
After deconstruction, there is often a reconstruction of the narrative in a new form that aims to be more truthful or revealing. It doesn’t just destroy the old myths but replaces them with something that is intended to be more nuanced and considered.
Reflection:
Encourages reflection on the part of the audience. It’s about engaging the viewers so they become active participants in critiquing and analyzing what they see.
Commentary:
Serves as a commentary on both the past and the present. While the setting may be historical, the issues addressed are often timeless or relevant to contemporary society.
Where Else Can We See This?
The method of subverting and deconstructing genres to provoke thought isn’t limited to the anti-western. This approach can be found across various art forms and media:
Literature:
Postmodern literature frequently subverts traditional narrative structures, challenging readers’ expectations and often breaking the fourth wall to comment on the act of storytelling itself.
Television:
Meta-fictional shows or series that deconstruct TV tropes, like “WandaVision,” play with the conventions of television genres to both celebrate and critique cultural norms.
Theatre:
Brechtian theatre uses techniques of alienation to ensure the audience remains critically detached and thoughtful about the socio-political messages of the play.
Music:
Genre-bending artists often mix different styles to challenge the conventions of musical genres, leading listeners to reconsider the boundaries and cultural implications of those genres.
Art:
Contemporary art often uses hybrid forms and intermedia to challenge traditional categories of art, pushing the viewer to question the nature of art itself.
Fashion:
Designers often subvert traditional fashion norms, playing with gender codes or combining high fashion with streetwear, to comment on social constructs and cultural expectations.
In all these cases, the process serves to stimulate intellectual engagement and challenge the status quo. It encourages consumers of art and media to be more than passive recipients; it invites them to be active critics and co-creators of meaning. This is a powerful way of ensuring that cultural products remain relevant and resonant with the lived experiences and questions of their audiences.
I wrote this text using the voice command of my Macintosh, using the microphone of my webcam. Thank you, Apple!
It’s 6 o’clock in the morning, and I wake up in the dark. My left arm and hand are restless, panicking: they are trapped. I then remember that my entire arm is trapped, bent in a splint with velcro straps everywhere.
I need to get up to go to the bathroom. Since several hours have passed since I took my last Tramadol (which is a painkiller related to morphine), I have to think about how I will move to get up from this couch.
First and foremost, my shoulder hurts because of my fractured scapula. It is quite well supported by my splint. Then, on the lower left side of my back, I have a massive bruise, which I think is related to a muscle strain. Lastly, my right heel hurts.
To fall asleep on this couch, I sit on the right side, leaning comfortably against the armrest. Then slowly, I move my legs onto the couch itself and wiggle around a bit to lie down, with my head and shoulder well positioned against the armrest and the back of the couch.
So, this morning, to get up, here’s what I try to do:
Very gently, I rotate my body to the right to move my left leg and make it meet the rug in front of the couch.
Once I touch the ground, I try to continue this rotation until my knee touches the rug. After that, I grab the rigid side of the right armrest with my right hand and use my arm to continue this rotation, making the right knee touch the rug.
While doing all of this, I try not to twist the shoulder in its sling too much and especially not to activate the muscles in my back, which otherwise awaken the sharp pain of my muscle strain.
Once on my knees, I straighten up, leaning on the couch’s armrest, trying to stand without putting too much pressure on my right heel.
Then, I can go to the bathroom, limping, trying not to fall.
All of this reminds me of that game where you slide a ring along a twisty metal rod without making contact – similarly, I try to find a “movement tunnel” that doesn’t activate, or at least minimizes the activation of, the pain from my tumble down the stairs.
In June 2023, I captured 138 images on this theme. I believed it to be a fascinating “universe.”
Here’s an example of a prompt: “by_Isaac_Levitan_and_Jakub_Rozalski_A_traditional_Russian_village_with_thatched-roof_shacks_enclosed_among_gentle_hills_when_monstrous_robots_trudge_across_the_panorama”.
I chose 4 of them and sent them to ChatGPT “Vision”, which can read images and interpret them, with this prompt:
So I got things like:
Image 1 Paragraph: Cold mist hung in the air, with the scent of damp earth and diesel fumes. Reven, adjusting his leather coat, approached the large mobile home, perched atop what appeared to be tank treads. A sentinel tank stood in the distance, its rusting armor a testament to years of inactivity. “Zelara’s still living in that thing?” he murmured, almost amused.
Then I get 5 stories.
I chose the first one and asked for a structure:
Now I ask DALLE-3 to make more images. We will “zoom” into the story (for teens, obviously). I got:
So I said oops: the format must be vertical now, and with the title please:
Okay. Let’s write a bit (with ChatGPT 4, of course):
Chapter One: Wanderer’s Arrival
Lina had seen a lot of things in her short years, remnants of a time long past, artifacts of unimaginable power, landscapes that told stories of civilization and decay. Yet nothing, absolutely nothing, could have prepared her for the sight that stretched out before her. Under the crimson hue of the setting sun, a bizarre, mechanized community spread out, a city on the move. Houses on colossal tank treads trudged through the barren earth, a dance of metal and power, grace and survival. The ground trembled under their might, and for a moment, Lina felt an unsettling fusion of awe and terror. With her worn leather boots firmly anchored in the gritty soil, Lina’s piercing green eyes swept over the spectacle. There was a strange elegance to it all – the choreography of motion, the intricate ballet of architecture and machinery that spoke of human ingenuity, resilience, and an unyielding will to survive. She’d heard tales, of course, stories whispered by the wind, echoing the legends of mobile communities. Nomadic conglomerates of human souls, forever wandering, forever seeking. But hearing is one thing; seeing, witnessing the grandeur, was a revelation of its own.
A gust of wind, cruel and biting, howled across the open space, pulling Lina from her trance. She wrapped her weather-beaten cloak tighter around her frame, the fabric rustling against the layers of dirt and memories of her solitary expeditions. As if on cue, the largest of the moving structures came to a shuddering halt. A metallic groan echoed through the air, a sonorous melody of old age and relentless endurance. A panel slid open and out stepped a figure, his silhouette etched against the fiery tapestry of the sunset.
“Never seen anything like this, have you, kid?” The voice, coarse yet infused with a curious warmth, drifted towards Lina. She didn’t flinch. In her world, encounters with the unknown were the norm. “No,” she admitted, her voice steady, betraying none of the awe that swirled within her. The figure chuckled, stepping into the dying light. Age had carved its tale into his face, wrinkles weaving narratives of years and battles, of lost loves and found hopes. He was Reven – though she didn’t know it yet. “Well, welcome to our moving paradise, or what’s left of it anyway,” Reven said, his eyes gleaming with a mix of nostalgia and the unyielding spirit that had seen him through the darkest days.
The tremors of the moving homes hummed a silent lullaby beneath Lina’s feet as she took tentative steps forward. Every fiber of her being resonated with a mix of caution and intrigue. Here, in this moving bastion of human resilience, secrets waited to be unveiled, and Lina, the eternal wanderer, was drawn to them, as the moth to a flame. Reven studied the young explorer, seeing in her the echo of a time when the world was different, when hope was more than a distant star in the murky skies of the post-war earth. A time of Guardians. As the remaining lights of the day succumbed to the inevitable embrace of night, the shadows cast by dormant, silent mechs on the outskirts of the moving city, whispered the forgotten tales of power and protection. And in the eyes of the young wanderer, an old soul saw the spark of unsatiated curiosity, a spirit ready to venture into the echoes of the past, to unravel the enigmatic dance of ‘Rust & Resilience’.
Etc…
What does this say? AI is not the solution. It must be guided a lot, “prompted”. Then, I think that it can “bring ideas”, and one can build from that. What do you think?
In a world where influencers are often perceived as the harbingers of the most frivolous and superficial trends (OMG Sonny Angels), an interesting “anomaly” occurs. A renowned French YouTuber has recently spotlighted “House of Leaves”, a dark and complex novel published over two decades ago. And sales are booming! This phenomenon is puzzling; it’s like a “glitch in the matrix” of influential marketing…
In an era where social media and influencers reign supreme, best-seller lists are often dominated by mainstream novels and silly reads. But today, young people are rushing to buy a demanding and deeply complex book.
This phenomenon underscores the potential power of influencers to move away from superficial content and quick-consumption products. They have the potential to direct attention towards works that require a deeper intellectual and emotional commitment. This reveals an underlying appetite for quality content, both complex and enriching, often overlooked in the race for views and likes.
Despite this potential, such occurrences remain rare. Why? Is intricate content too risky, and less likely to capture attention in a world dominated by ceaseless digital noise? And what’s the impact on a young, twenty-something audience that, intrigued, delves into texts of unprecedented complexity? Can initial enthusiasm give way to frustration, exacerbated by misaligned expectations? Or will we see a generation emerge, hungry for Bartok and opera, ECM Jazz, Faulkner, Deleuze, and Pollock?
This “glitch” conjures the image of a paradigm shift where discovery, education, and enrichment triumph over instant gratification and the consumption of Pokemon cards, Pop figurines, naive self-help, and novels mimicking “50 Shades of Grey”. A fleeting dream or an achievable future?
The unexpected resurgence of “House of Leaves” invites us to ponder the nature and impact of digital influence and its untapped potential. Is it the precursor to a new era where depth and complexity are prized, or just a fleeting anomaly in a system otherwise geared towards the superficial?
In the era of artificial intelligence, one can rapidly be inundated with possibilities. An AI system churns out thousands of visual artworks, each piece made with a prompt (you can program random prompts, like “a { painting | photo } of a glass of { wine | coffee }”, which will build prompts by choosing the words in brackets. In this burgeoning space of infinite creativity, there emerges a new role, as critical as it is understated – the “Casual Curator.”
The Dawn of Creation
You program a good long prompt, make 2500 images, and in the morning you are greeted by a treasure trove of thousands of images, each crafted overnight by the tireless algorithms of the AI system. Every piece is unique, inviting a gaze, and demanding attention. But what to do with this embarrassment of riches?
The Dual Dilemma
One faces two immediate challenges.
First, determine the destination of these AI-generated artworks. Will they grace the virtual walls of an online gallery, or will they morph into a YouTube movie?
Second, and perhaps more critically, I must curate. I’m not just a casual observer. My eye must sift through the sea of these pictures to select those pieces.
The Eye of the Beholder
Being a Casual Curator is no casual task… It requires a visual culture. Everybody has one!
So yesterday I made almost 3000 images, with two programs, with prompts using the name of a Russian painter named Arkhyp Kuindzhi. Elements of nature, but also Science-Fiction, because… why not? Now I’m embarrassed. I have to curate. But… what for?
Thanks for reading!
Here are 18 pictures coming from one single prompt.
Some images are just paintings. Others captivate me with their intriguing lighting or compelling compositions. I have the ability to guide the prompts, leading the model to generate specific types of imagery. Certain pictures inspire dialogue, while others when paired together, have the potential to weave a narrative, don’t you think?
In the intricate dance of language and translation, words aren’t just letters strung together but containers of culture. One such gem in the French language is “velléitaire.” It doesn’t have a direct counterpart in English, and I like to find those small gaps.
A Closer Look at “Velléitaire”
“Velléitaire” encapsulates a particularly nuanced state of being. It paints a portrait of an individual harboring desires and intentions but tethered by an inability to realize them. In French culture, this term often resonates as a “vague obsessional desire” – it’s not passive or merely about unfulfilled intentions. It’s more complex, tied to a profound internal yearning that, for reasons often undefinable, doesn’t transition into action.
You anticipate THAT DAY when you’ll be alone with no scheduled tasks. Finally, the moment arrives, but you find yourself doing nothing. Hahaha.
The English Adjacents
English phrases like “indecisive,” “lacking follow-through,” and “non-committal” come close but miss the mark in capturing the essence of “velléitaire.” They lean heavily into action and decision-making but do not entirely embrace the emotional and internal struggle that the French term so eloquently encapsulates. Well, that’s what I think when I read the definitions!
The Linguistic Dance
Every language, with its unique terms and phrases, offers a window into the distinct worldview of its speakers. While it’s tempting to perceive the absence of a direct translation as a linguistic shortcoming, it’s really a testament to the rich diversity inherent in each language. It’s not a flaw but a feature, an invitation to explore the depths of human experience as articulated uniquely in different tongues. And it works the other way around!
Well…
So, the next time you stumble upon a word like “velléitaire” that doesn’t have an English sibling, pause and appreciate it. It’s an opportunity to step into another world and explore the textured layers of human emotion and experience that are crafted and cradled in the unique embrace of each language.
We aren’t limited by the “untranslatable”; instead, we are invited into a broader, more colorful world where every word is a story, every phrase a journey, and every language a universe unto itself. Welcome to the dance, the delicate ballet of words that do more than speak—they sing, soar, and reveal the unsung melodies of the human soul, one untranslatable term at a time.
PS:
In French, there’s no verb “To elope”, even close.
French: “Ils ont décidé de s’enfuir pour se marier sans le consentement de leurs parents.” (“to run away to get married”).
(I wrote it with a dialog with ChatGPT and Grammarly for the mistakes)
In Arts, Baroque is: “Exuberance, grandeur, and elaborate ornamentation”. Emilie Autumn made me plunge into this branch of rock (this song is incredible, and the lyrics are on YouTube under the clip).
What else here? Risky fast harmonies, fractured forms, a bit of silliness. You can add the end of Bohemian Rhapsody, and some crazy Yes tracks. I add Marina, Elfman, Sparks…
“For want of anything better”, can it be a philosophy of life? In French, “Faute de mieux”. I learned today that it was the motto of a writer I liked (he died last year).
I asked ChatGPT:
The phrase “for want of anything better” generally suggests a fallback position, something you settle for because nothing better is available or apparent at the moment. As a philosophy of life, it could potentially reflect a pragmatic, flexible approach, but it might also come across as passive or unambitious.
Here are a couple of ways you might interpret this as a life philosophy:
Acceptance and Contentment: In this interpretation, “for want of anything better” can be a philosophy of life that encourages individuals to appreciate and make the most of what they have instead of constantly seeking more or better. This could foster a mindset of gratitude and contentment, aligning with philosophies like Stoicism or certain Buddhist principles.
Pragmatism and Realism: This philosophy could involve making the best of available resources and opportunities, and not getting paralyzed by the desire for perfection. It could mean being flexible and adaptable, making the most of what’s at hand, a concept that resonates with the philosophy of Pragmatism.
However, there are potential pitfalls to this philosophy:
Passivity and Lack of Ambition: The phrase can imply a lack of ambition or aspiration, a settling for less than what one might be capable of. This might lead to a lack of personal growth or fulfillment.
Lack of Initiative or Creativity: It might also suggest a lack of initiative or creativity, a reliance on what is already present or offered rather than seeking out or creating new opportunities.
As with any philosophy of life, much depends on how an individual interprets and applies it. If the philosophy encourages contentment, realism, and flexibility without promoting complacency or stifling ambition, it could be a beneficial guiding principle.
oOOo
To illustrate this, I looked into a folder of images my Mac made last night. For want of anything better, because I can’t draw, you know. So I developed this skill instead, “prompting”. Instead of drawing, I’ve got the state of mind of “maybe finding something cool in this folder”, like a child on the beach. Shells.
Many of them? Rubbish. But sometimes, I like the light, or composition, or something makes me think it could be a base for a short story…
Yesterday? I made trains. I don’t know why. The light is cool. The vintage mood. Silhouettes.
So if the faces made by AI are not “OK”, I often like them. It’s a good start. Faute de mieux, I could get an idea. Who’s the lady in red? Who is the lonely one?
I know someone who can’t buy as many books as he’d like because he expects them to be in mint condition. And perfect objects don’t exist. They always have a little flaw. Like people, right?
While I make these, I listen to The Pearl, and Ambient II, by Eno and Budd. Here: A Stream With Bright Fish. I know this by heart. Clever quiet piano music, like a slow Satie. Good sound. Not too much sugar. Music as a “place”.
I combined 2 artists’ names, randomly, making hundreds of pictures, “big drama” was the theme. It is sometimes a bit surreal. In a few months, I’ll combine image-making and GPT bots to create a two-lines story for each image, find a few good ones, and post it somewhere on Twitter probably.
Who’s the man? Does he wait?
Moments meant to last? Why? Faute de mieux? For want of anything better?
I wrote my article, then asked ChatGPT to fix my French mistakes 🙂
I am a 56-year-old French individual with no prior experience in coding.
Over the past few months, I have learned to utilize Google Colabs, web pages that house Python code separated into ‘Cells.’ While I do not fully comprehend the code, I have acquired the ability to enter or modify the parameters to generate images using Artificial Intelligence.
Recently, a new Colab was released, featuring a new model. It can be likened to testing a new car, can it not? The process of utilizing the platform is straightforward: enter your desired image prompt, such as ‘red cat, 4k photo,’ and execute the code via the ‘play’ buttons.
However, the default code is quite basic and only generates one image with a ‘batch_size’ of one, which is inadequate for my needs. I intend to produce hundreds of images and store them within Google Drive.
Here is what I did:
I created a copy of the page (which can be done through the menus). Furthermore, I opened a ChatGPT page to receive guidance on how to make the process more clear and refined.
I wanted:
Display the GPU I will be using
Present installation and downloads in separate cells that are easy to understand
Create a clear “settings” section that includes dimensions, number of images, prompt, and more
Store every image in Google Drive.
Thus, I asked ChatGPT the following:
ChatGPT then explains:
I clicked on “Code” within Colab, which created a new cell. Subsequently, I copied and pasted each cell (there’s even a “Copy code” icon available, did you notice?).
To ensure that I understood the process correctly, I asked:
If I ask for hundreds of images, there’s a problem, so:
Afterward, I experienced a crash due to the Colab attempting to process 200 images in a single process. As a result, I asked if it was possible to process one image, save it, and then proceed to the next one:
However, I encountered crashes once again despite ChatGPT’s efforts to assist me. Although I was unable to resolve the issue, ChatGPT suggested adding a line of code to pinpoint the root of the problem. I found it astonishing that ChatGPT proposed this solution:
Subsequently, I executed the suggested line of code and obtained a result. Then:
With the implementation of the suggested line of code, the process ran flawlessly. As a result, images began accumulating in my Google Drive:
However, I faced an issue wherein the images did not appear on the webpage. Consequently, ChatGPT upgraded the code to resolve this problem:
Next, I added an image to the top of the Colab, but it was too large. ChatGPT provided me with guidance on how to display it at 50% of its original size:
Subsequently, I requested that the prompt be “written” over each image, and ChatGPT upgraded the code accordingly.
As a result of these modifications and enhancements, my Colab now looks like this and functions perfectly:
I don’t remember the path I took to discover The Weave. I’m 56 years old and almost completely disconnected from “what’s happening” – even more so because I know that today’s music world is like a vast, uncharted forest.
Nevertheless, I found myself returning to The Weave multiple times a week.
Today, I asked ChatGPT to tell me about them. One member is a guy from Blur (okay) and the other is Rose Elinor Dougall. Ohhh, I remember now that I listened to her 2019 album “A New Illusion” quite a bit. I recall the fantastic cover art, and something clicked in my head: harmonic richness.
Now I want more, and I’m curious to know if Coxon is such a composer, the “full of sharps & flats” type.
Dougall’s “A New Illusion” is a cool attempt at crafting “a cool pop song” (oh, that bass line), while her “Something Real” leans more towards the dreamy side, navigating through intriguing harmonic staircases. The piano in “Christina in Red”…
With “The Weave”, they’ve created a perfect song, an… unfolding. It starts with Dougall’s universe (voice, piano, twisted harmonies) and suddenly takes off like an old New Wave track (Clan of Xymox?). The arrival of the saxophones and the incantatory lyrics make it peculiar enough to raise an eyebrow, right?
This “pop with twisted harmonies” is what I love. The Bird and The Bee. Goldfrapp. Agnes Obel. Vienna Teng.
So I asked ChatGPT for “Female Singers and Strings Arrangements” and got this list. Some names I do not know…
Björk
Bat for Lashes (Natasha Khan) (great production & voice, poor harmonies)
Lana Del Rey
Tori Amos
Kate Bush
Enya
Of Monsters and Men (very interesting!)
Aurora (I want to listen more)
Agnes Obel
Austra (cool universe, original)
London Grammar
Cocteau Twins
Dead Can Dance (Lisa Gerrard)
Goldfrapp
iamamiwhoami (Jonna Lee) (Don’t Wait for me, Fountain, Canyon: arrangements)
FKA Twigs
The Sundays (Harriet Wheeler)
Daughter (Elena Tonra)
Regina Spektor
Emilie Autumn (OMG this universe! Misery Loves Company)
Well, thank you guys! I discovered some cool musicians/singers!
The seashore in Belgium and the north of France can be wild! The light is fantastic, and so is the wind 🙂 Here are a few pictures I took in September 2022 without any post-processing. I’ll be posting part II soon!
Welcome to this exposition that showcases a fascinating amalgamation of abstract fashion, human elements, and vintage aesthetics that resonate with a certain je ne sais quoi!
The exhibition features silhouettes of elongated, androgynous bodies that exude an enigmatic quality. The human form is intermingled with non-representational forms like bubble sheets and pointed papers, leading to a profound visual experience that transcends beyond conventional fashion imagery.
The dream-like and ethereal quality of the pieces invites the viewer to suspend their preconceived notions and enter a world of artistic expression that is uniquely unconventional. Some of the artworks are enhanced with chromatic palettes, adding an air of vivacity to the display, while others opt for monochromatic hues to evoke a vintage essence.
The exhibition presents a rare opportunity to explore the boundaries of fashion, as well as to immerse oneself in the creative prowess of the artist. The abstract fashion showcased offers a refreshing departure from traditional fashion norms, demonstrating a fusion of innovation and imagination.
This exposition is a treat for discerning art aficionados and fashion cognoscenti, offering an unmissable opportunity to delve into the intricate nuances of abstract fashion and vintage aesthetics. The sophisticated and avant-garde vibe of the display is sure to leave you entranced and longing for more.
“Olympia” is a painting by Édouard Manet, created in 1863, and “The Birth of Venus” is a painting by Alexandre Cabanel, created in 1863 as well.
While both paintings depict a female figure in a reclining position, they differ significantly in style and intent. Manet’s “Olympia” was a departure from traditional painting, and its bold and controversial style caused a stir when it was first exhibited. The painting features a nude woman, Olympia, staring directly at the viewer, with a black servant bringing her flowers in the background. Manet’s use of flat, bright colors, bold brushstrokes, and a highly contrasted lighting scheme challenged the traditional notions of beauty and realism in painting, and he sought to create a more modern, contemporary art form.
On the other hand, Cabanel’s “The Birth of Venus” adheres to a more traditional style, drawing on classical art and mythology. The painting shows the goddess Venus, who has just emerged from the sea, standing on a shell, and surrounded by cherubs. Cabanel’s use of soft, muted colors and smooth, polished brushstrokes was more in line with the academic art of the time, which emphasized technical skill and idealized beauty. Cabanel’s painting sought to capture the timeless and idealized beauty of the female form, as well as to pay homage to the classical art of ancient Greece and Rome.
Overall, while both paintings depict a female figure, they represent two different approaches to art-making in the 19th century. Manet sought to challenge traditional notions of beauty and realism, while Cabanel sought to create a timeless and idealized image of the female form.
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The tension between precision and freedom is a persistent theme in various forms of art, from classical music to graphic design.
On one side, some artists strive to achieve a high level of technical perfection and exactitude in their creations. For example, in photography, the use of high-resolution cameras, precise lighting, and advanced editing software can result in highly polished and crisp images. In classical music, performers may spend countless hours perfecting their technique and interpretation to deliver a precise and flawless performance. In pop music, some artists rely heavily on computer-generated sounds and autotune to achieve a highly-produced and polished sound.
On the other side, many artists embrace the imperfection and unfinishedness of their work, favoring a more intuitive and experimental approach. For example, in painting and sculpture, artists may purposely leave certain parts of the canvas or sculpture unfinished or rough, allowing the viewer to imagine the work as a process rather than a finished product. In architecture, some designers may prefer an organic and fluid design approach, allowing the building to evolve over time rather than adhering to strict blueprints. In graphic design, using hand-drawn elements or distressed textures can add a more organic and natural feeling to the work.
Overall, the tension between precision and freedom is a fundamental aspect of the artistic process, and the choice of which approach to take can have a significant impact on the final result. Some artists may prefer the crisp and polished feel of exactitude, while others may embrace the beauty of imperfection and the freedom that comes with experimentation.
2
Art is a paradox. On the one hand, it seeks to capture reality, to depict the world with fidelity and precision. On the other hand, it aspires to transcend reality, express the artist’s inner vision, and explore new possibilities of form and meaning. This tension between representation and invention has shaped the history of art, from the naturalism of the Renaissance to the abstraction of the avant-garde.
Some artists, however, have sought to challenge this tension by embracing imperfection and experimentation. They have rejected the conventional standards of beauty and skill and instead have explored the unpredictable and the spontaneous. The writer and semiotician Umberto Eco has argued that the flaws and inconsistencies of a work of art can reveal its deeper meanings and intentions.
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Umberto Eco and Brian Eno are two prominent figures in their respective fields of literature and music. Yet, both share a deep interest in the role of imperfection and experimentation in the creative process.
For Eco, the idea of “unfinishedness” and imperfection in art is not only present in historical works of art, but also in modern ones. He argues that “unfinished” art leaves space for the reader or viewer to engage with the piece, and it allows the work to evolve over time as new interpretations arise.
Eno has a similar view, seeing art as a process of exploration, where the goal is not to create a perfect final product, but to discover new ideas and sounds as they emerge. He famously compared the process of making art to “making soup” – adding different ingredients until something interesting emerges.
In the world of painting, this perspective is evident in the work of artists like Cy Twombly and Jackson Pollock, who sought to capture the essence of the creative process itself, rather than creating perfect, finished works of art. Twombly’s scribbled lines and Pollock’s splatters represent a rejection of the traditional view of painting as a means of representation, and instead, focus on the physical act of creation.
In music, we can see this approach in the work of experimental artists like John Cage and Karlheinz Stockhausen, who sought to break down the traditional structures of music and create new sounds and structures.
However, there are also many artists who seek to create a sense of exactitude and precision in their work. In the world of painting, we can look to photorealists like Chuck Close and Richard Estes, who painstakingly recreate realistic images using detailed techniques and materials. In music, we can see this in the use of digital tools to create perfect sounds and eliminate any imperfections or noise (and humanity?).
In the modern era, new technologies like artificial intelligence are pushing this debate even further. Some artists are using AI tools to create perfect, idealized images or sounds, while others are experimenting with technology to see what new ideas and concepts emerge.
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The debate over precision and control versus experimentation and imperfection is not new, and it is one that continues to this day, even as technology continues to advance.
With the rise of artificial intelligence, artists can now create highly precise and controlled images with ease. However, some artists are still interested in the possibilities that experimentation and imperfection can offer. Some artists are even using AI-generated images with vague prompts or are batching hundreds of pictures using a randomizing process, hoping to discover new ideas by exploring the outputs generated by the algorithm.”
This is true across a range of mediums, from photography and graphic design to classical and pop music, painting, sculpture, and architecture. For example, some architects use generative design software to create highly detailed and precise blueprints, while others prefer to sketch by hand or experiment with different materials to see what comes.
In the end, the debate over precision versus experimentation is ongoing, and it is up to individual artists to decide which approach is right for them.
This “exhibition” features a collection of abstract paintings with unexpected human elements. Through the juxtaposition of abstraction and recognizable human shapes, the audience is invited to experience a sense of surprise and intrigue. Each piece challenges traditional notions of form and invites viewers to question the relationship between abstraction and the human experience. Come explore this unique and thought-provoking display.
Text by ChatGPT. Images made with Stable Diffusion.
Can you tell me about the opposition between painters like Cabanel or Bouguereau and more “modern” painters like Manet?
Certainly! The opposition between painters like Cabanel and Bouguereau, who were associated with the academic tradition in 19th-century French painting, and more “modern” painters like Manet can be understood in the context of the broader artistic movements and debates of the time.
Academic painting, which was supported and promoted by the French Academy of Fine Arts, adhered to traditional notions of beauty and excellence in art, and tended to favor highly finished, highly polished works that followed established conventions and techniques. Painters like Cabanel and Bouguereau were part of this tradition, and their work was generally characterized by a classical, realistic style, with a focus on carefully rendered detail and an emphasis on idealized forms.
On the other hand, modern painters like Manet were part of a movement that sought to challenge and break away from the constraints of the academic tradition. These artists were interested in experimenting with new styles and techniques, and they often sought to capture the energy and dynamism of contemporary life. Manet, in particular, is known for his innovative approach to painting, which combined elements of the traditional and the modern and often challenged the conventions of the time. His work was often seen as rebellious and controversial, and he was a key figure in the development of the Impressionist movement, which sought to capture the fleeting, ephemeral qualities of light and color.
Overall, the opposition between these two groups of painters reflects the broader tensions and debates that were taking place in the art world of 19th-century France, as traditionalists and modernists struggled to define the direction of the art of their time.
JP
Can you write a blog article about this opposition, with more names and a few examples of painters/paintings?
Sure, here is a blog article about the opposition between traditional academic painters and more modernist painters in 19th-century France:
In the 19th century, the art world in France was marked by tension between traditional academic painters and more modernist artists who sought to challenge the conventions of the time.
The academic tradition in French painting was supported and promoted by the French Academy of Fine Arts, and it adhered to traditional notions of beauty and excellence in art. Painters who were part of this tradition, such as Jean-Léon Gérôme, Gabriel-François Doyen, and Alexandre Cabanel, were known for their highly finished, highly polished works that followed established techniques and conventions. These artists often depicted classical subjects in a realistic style, with a focus on carefully rendered detail and an emphasis on idealized forms.
On the other hand, there was a group of modernist painters who sought to break away from the constraints of the academic tradition. These artists, such as Édouard Manet, Edgar Degas, and Pierre-Auguste Renoir, were interested in experimenting with new styles and techniques, and they often sought to capture the energy and dynamism of contemporary life. Manet, in particular, is known for his innovative approach to painting, which combined elements of the traditional and the modern and often challenged the conventions of the time. His work, such as “Olympia” and “Le déjeuner sur l’herbe,” was often seen as rebellious and controversial, and it played a key role in the development of the Impressionist movement.
The Impressionists, who included Claude Monet and Alfred Sisley, sought to capture the fleeting, ephemeral qualities of light and color in their paintings. They rejected the highly finished, polished style of the academic tradition and instead focused on capturing the impression of a scene or moment, often using loose, rapid brushstrokes and vibrant, high-keyed colors.
Overall, the opposition between these two groups of painters reflects the broader tensions and debates that were taking place in the art world of 19th-century France, as traditionalists and modernists struggled to define the direction of the art of their time. While the academic painters were concerned with upholding traditional standards of beauty and excellence, the modernists sought to push the boundaries and create something new and innovative. Both groups made important contributions to the development of art in this period, and their work continues to be influential and relevant today.
JP
Great. Do you think there’s a similar “opposition” of style in the AI-Arts of today (Midjourney and Stable Diffusion)?
It is certainly possible that there are opposing styles or approaches to creating art with artificial intelligence (AI) today, just as there have been opposing styles or approaches to creating art throughout history. However, it is difficult to say for certain without more context about the specific artists or works you are referring to.
In general, the use of AI in the creation of art is a relatively new and rapidly evolving field, and there are likely to be a wide range of styles and approaches being used. Some artists may use AI as a tool to generate new ideas or to assist in the creative process, while others may use it to create entire works of art on its own. Some artists may be more interested in using AI to explore and push the boundaries of what is possible with this technology, while others may be more interested in using it to create works that are more traditional or familiar in style.
Without knowing more about the specific artists or works you are referring to, it is difficult to say whether there is a specific “opposition” of style in the AI arts today. However, it is likely that there are a wide range of styles and approaches being used, and that there may be some differences or opposing viewpoints among different artists working in this field.
JP
Write an article for Reddit about all this, the opposition between academic painting and more modern painting in the 19th century is similar to the today (AI art) seek between detailed, perfect portraits people want to make today, instead of pushing boundaries and inventing real new images.
Sure, here is an article for Reddit about the similarities between the opposition between academic painting and more modern painting in the 19th century and the use of artificial intelligence (AI) in the creation of art today:
As an avid art enthusiast, I have been thinking a lot lately about the ways in which the art world has evolved over time and the various movements and debates that have shaped the course of art history. One thing that has particularly struck me is the way in which the opposition between traditional academic painting and more modernist approaches in the 19th century is similar to the debates and tensions that are taking place in the world of AI art today.
In the 19th century, the art world in France was marked by a tension between traditional academic painters, such as Jean-Léon Gérôme and Alexandre Cabanel, and more modernist artists like Édouard Manet and the Impressionists. The academic tradition, which was supported by the French Academy of Fine Arts, favored highly finished, polished works that followed established conventions and techniques, while the modernists sought to break away from these constraints and create something new and innovative.
Today, we are seeing a similar tension in the use of AI in the creation of art. On one hand, there are those who are using AI to generate highly detailed, realistic portraits or other works that are meant to be indistinguishable from those created by a human artist. These works may be impressive in their technical proficiency, but they can also be seen as conservative or lacking in creativity, as they rely on pre-established techniques and conventions rather than pushing the boundaries of what is possible.
On the other hand, there are those who are using AI to explore new and innovative approaches to creating art. These artists may be more interested in using AI to generate new ideas or to assist in the creative process, rather than simply replicating what has already been done. They may be more interested in using AI to create works that are truly unique and original, rather than simply replicating the styles and techniques of the past.
Overall, it seems to me that the opposition between academic painting and more modernist approaches in the 19th century is similar to the tensions and debates that are taking place in the world of AI art today. While some artists are using AI to create highly detailed, polished works that adhere to established conventions, others are using it to explore new and innovative approaches that push the boundaries of what is possible. Whether you are more drawn to the traditional or the modern, it is clear that both approaches have the potential to produce beautiful and meaningful works of art.
JP
Great! What could be the title (in one line) for this article?
Here are a few options for a title for this article:
“Exploring the Tensions between Traditional and Modern Approaches to AI Art”
“The Similarities between 19th-Century Painting and 21st-Century AI Art”
“Tracing the Evolution of Artistic Debates through the Ages: From Academic Painting to AI Art”
“Navigating the Boundaries between Convention and Innovation in AI Art”
JP
I choose “Similarities between 19th-Century Painting and 21st-Century AI Art” but I’d love to be a bit more precise, can I add something like “- academic or inventive”?
Certainly! Here is a revised title that incorporates your suggested modification:
“Similarities between 19th-Century Painting and 21st-Century AI Art: Academic or Inventive Approaches”
This title more clearly conveys the focus of the article on the opposition between traditional academic approaches and more modernist, innovative approaches in both 19th-century painting and 21st-century AI art. It also suggests that these opposing approaches may be characterized as either “academic” or “inventive,” which helps to further emphasize the tension between these two approaches.
JP
What are two examples of these 19th century times (portrait paintings) to show the difference between academic portrait and modern portrait?
Here are two examples of portrait paintings from the 19th century that illustrate the difference between academic and modern approaches:
“The Artist’s Mother” by Jean-Auguste-Dominique Ingres: This portrait, painted in 1814, is a good example of an academic portrait from the 19th century. It is highly finished and polished, with a careful attention to detail and a focus on idealized forms. The sitter is depicted in a classical pose, with a dignified expression and a sense of calm and composure.
“The Old Guitarist” by Pablo Picasso: This portrait, painted in 1903, is a good example of a modern portrait from the 19th century. It is characterized by a more expressive, emotive style, with bold, simplified forms and a sense of movement and energy. The sitter is depicted in a relaxed, informal pose, with a sad, pensive expression that conveys a sense of vulnerability and vulnerability.
Overall, these two portraits illustrate the contrast between the academic tradition, which favored highly finished, polished works that followed established conventions, and the modernist approach, which sought to break away from these constraints and create something new and innovative.
JP
Yes, but painted in the same decade could be a better example…
Certainly, here are two examples of portrait paintings from the 19th century that were painted in the same decade and illustrate the difference between academic and modern approaches:
“The Kiss of the Sphinx” by Jean-Léon Gérôme: This portrait, painted in 1866, is a good example of an academic portrait from the 19th century. It is highly finished and polished, with a careful attention to detail and a focus on idealized forms. The sitter is depicted in a classical pose, with a dignified expression and a sense of calm and composure.
“Olympia” by Édouard Manet: This portrait, painted in 1863, is a good example of a modern portrait from the 19th century. It is characterized by a more expressive, emotive style, with bold, simplified forms and a sense of movement and energy. The sitter is depicted in a relaxed, informal pose, with a direct gaze that challenges the viewer and a sense of self-assurance.
Overall, these two portraits illustrate the contrast between the academic tradition, which favored highly finished, polished works that followed established conventions, and the modernist approach, which sought to break away from these constraints and create something new and innovative. Both portraits were painted in the same decade, but they demonstrate the different artistic styles and approaches that were being used at the time.
JP
There’s a painting with a nymph on the sea waters painted around 1863 too, with angels around. It’s in Orsay Museum. What is it?
It is possible that the painting you are describing is “The Birth of Venus” by Alexandre Cabanel. This painting, which was completed in 1863, depicts the mythological figure Venus, the goddess of love and beauty, emerging from the sea as a fully-grown woman. The painting shows Venus standing on a shell and being attended to by two angels, who are holding out a cloak for her to cover her nakedness. “The Birth of Venus” is considered to be an example of academic painting, as it adheres to traditional notions of beauty and excellence in art and follows established techniques and conventions. The painting is currently housed in the Musée d’Orsay in Paris.
There’s a place (photography) where indecision is interesting, and this is what I’ll use today.
It’s not really about indecision, it’s “decision displacement”.
A photographer often takes many pictures of a scene, and then chooses one. We all know the contact sheets, with crosses for nays:
In the ending end, you get ONE portrait, ONE place: one photograph. It’s about “content curation”. You have to choose one.
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But of course, some artists just don’t. They opt “not to choose”, they show a few pictures.
The simple idea of showing a “contact sheet” was already in itself a variation game. It puts the audience in the position of the curator: “What would YOU choose?”. Something else, probably…
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I wrote an article somewhere about Depardon and Shore.
A/ The French photographer shows two pictures in a street in the city of Glasgow. A slightly different angle, different time of the day, different weather. You compare, you watch, and you wonder: why both? What do these picture offer? What do they show? What does the photographer want?
It’s a bit as if the photographer was talking to you. “You see this place? What should I do? This chimney and this crane, they’re cool, right?”.
B/ The American photographer says this too, but to himself: somewhere, there’s only one place from which he’d take a picture. And thus each of his photos are like “magnetic”, there’s a perfection in lines, light, energy…
So you see this picture, and not another one:
Stephen Shore. Image from Steel Town
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In the history of Arts, some artists like to offer variations too. They turn around things, like Monet with haystacks or Picasso with tomato plants.
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I’ve always loved pictures but I don’t know how to draw, thus I made plenty of photos, and I collected books – today I’m able to make cool images with prompts and Artificial Intelligence. The skills needed are all about words, how to use them and describe things to get pictures.
In this field, people are always seeking a kind of perfection. Crisp, detailed, perfect pictures. There is a huge catalog of examples at https://lexica.art/
There are programs that can “batch” pictures, so when I make castles, I make 1000 pictures, because styles are fun to explore. These are “combinations” of words and styles.
But with a single prompt, one can also makes plenty of images, and each one will be different from the others, like these towers:
The wind:
Robots:
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So well, there’s a tool for the spirit here.
When you work on a project (at school, in your company, etc), do you come up with one result? A few variations? Plenty of variations? Who’s the curator? You, in your head, or the client/student/customer? When is it a mistake?
I realized, when I began to work for other people, that my idea of showing plenty of things to the collaborator is a mistake. Then often don’t want to choose.
But sometimes you have to let them choose all the same! Because they don’t know what they want? Because they need to be disturbed by the fact they will HAVE TO choose?
When photography appeared, I suppose that painters asked the same question. Is photography an “Art”? The photographers don’t even know how to draw, right?
Well, it became an Art, and some painters began to USE photographs to get inspired, to remember compositions and light, etc.
AI-Artists needs other skills. They play with Python programs, “settings”, and of course the prompt, the “sentence” we use to summon the models.
To write good prompts, you must think about organizing the words. Still, also you need culture, and visual art vocabulary (including photo vocabulary), but also, like in other arts, a way to combine, to “link” things nobody thought to link before… You also need an eye to determine what’s banal, ugly or cool.
I will always stick to the idea that “A good picture is a picture that stops the eyes”. A good picture must do that in a world surrounded by pictures everywhere.
These days I play with “classic painters”, I make new paintings, and well, that’s it:
Of course, the pleasure is to combine styles, to create new styles:
You can get crap
You can get illustration
Maybe ideas for stories – “here’s the story of the little girl who invented snow friends:”
Little things:
Color ideas:
Composition ideas:
Cool mistakes!
The AI artist must also be a curator, he constantly has to select what should be shown or not.
Well, you can make your images, for free. Just follow this:
a french toolbox 