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.
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 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?
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.
1
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.
3
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.
3
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:
I asked an AI, ruDALLE-XL, to make images of a dream.
This AI is a fun one, it’s easy to disturb her (therefore to inspire her).
It’s not the only one: I asked DALLE 2 (OpenAI, Google’s text-to-image AI) to draw me “Slow Melancholy” and I got this snake shell with leaves. Not bad, good picture composition and light. It looks like a photo, and that’s it.
Now, look at these pictures. The first one looks like clouds over a lake (but on the right, they look like something else). The second one shows some “things”, in the morning on a green land. But what are they? The third one shows the silhouette of a woman. She’s probably on the beach, looking a… well… what?
Our intelligence, or our way of understanding reality, is based on ANALOGY. When we see something, our brain is trained to “link” it with something we already know.
“Oh, it looks like a cloud”.
Douglas Hofstadter wrote an entire book about this idea. He shows us a page full of the letter “A”. Some of them we’ve never seen, but we know they’re “A”s.
It becomes interesting when we see the strangeness produced by AIs.
Image 1: a red sphere emerges from a… flower?
Image 2: something (an animal?), jumps on the sand?
Image 3: some fabric, or maybe a creature under the sea?
We would like to know, but we can’t.
It’s a bit disturbing, or ugly. It’s beautiful, maybe, who knows?
Is it a leaf? An animal? Who’s that lady? What does she think?
Could we write a poem about one of these 6 pictures? Invent a painting from it?
One quality of a good picture today is to stop the gaze, to stop the viewer’s eye, wandering fastly in the world made of images.
AI-made images, some of them, have this quality. Our brain stops because it tries to understand. Is it a bird in the night? Watching what? Why is the moon wrapped in this shape?
Strangeization is a way for the artist to “add strange elements” to a piece of art, in the purpose to catch back an audience who has seen everything and is hard to get attention from.
Here, the process is: make plenty of images with a prompt (words that describe), and choose one.
Two kinds of photographers. Those who take photos with their camera. And those who play for hours on their Mac, with apps, with digits, HDR, and I correct this and that.
I already wrote articles about those.
Take a car.
You can be the tech type. You want to open it and fix this and that. Or you want to drive it to the lake and breath fresh air.
To make images, you need a Google Colab, which is a Python program with a bunch of settings, like a machine, and you enter a “prompt”, which is a “phrase describing what you want to see”.
There are 2 camps.
Most humans are obsessed and focused on SETTINGS, they study these for weeks, very deeply, line by line. They’re obsessed with numbers, and digits.
The other camp is obsessed with the PROMPT, which is like poetry. Choice of words. The way you present them. Their weight. Etc.
It’s always the same pattern.
Camp 1 is very serious. They are logical. They are focused on their numbers. They want DETAILS, crunchy pictures, they want lines. Techs.
Camp 2 is very casual. They try things. They read poetry. They enter lyrics and try to find new artists. They want mood, light, and composition. Poets.
You know what? Both camps are OK. But I’m in the 2nd one. You knew that already, right?
Do you watch the beach and the mountain, or do you watch your car’s engine?
Thanks for reading!
Do you focus on the prompt or on the digits everywhere? What about “clamp_max”: 0.05? Should I double it? Or should I add “ominous sky” in the prompt? Where do you like to work?
I remember the little book of Akira Kurosawa, who remembers that when the movies were silent in Japan, there were people in each cinema, playing music, dialogs, and some sound effect. When the talking pictures came, these people were in the streets, protesting. And well…
It’s the same for everything. Electricity killed the oil lamps market. Cars killed the horse cart market. Electric cars will harm the gas stations, little by little (in Norway, today, more than 60% of new cars are electric).
Today I make images with AIs, and that’s cool because… I don’t know how to draw. I just describe what I want, add some little tricks in words (I’m learning) to precise textures (painting, digital, video game?), and I get pictures, plenty of them, all unique and different. The AI invents for me. And batches plenty.
“Luminescent mushrooms in a mystical forest, twilight, fireflies, clearing, bokeh” gives as many as these as you want (hundreds, if you like):
So I found out that some digital artists find it “unfair”. In a way, I understand that!
But what I feel is they should use it, today.
I can switch on the light, but I don’t have an oil lamp. I can drive a car, but I can’t take care of a horse (and I’m short of room in my apartment).
When I post images in forums, like in Reddit, I got things like:
So, people love it, but some want to ban it. And I’ve been banned from many of them! The viewers love them, but the moderators hate them. It’s not “real art” (and is it, after all)?
Today, it’s a bit difficult to use these Google Colabs. And it’s lonnng. If you use the free option, you need one hour for an image. I pay, and I need 6-7 minutes/image.
There are hundreds of colabs, and very soon (this year, next year?) you’ll be able to get images in seconds. Concept artists will use these tools (or teach them), for sketching, to get ideas, for colors, composition, etc.
Some sites offer this already, in a simple form: Wombo Art, Hypnogram.xyz.
There’s no horse-skill in driving fast cars, it’s like… unfair, right? Drivers developed other skills. Today, to get cool images, you have to know what words are useful, and how to combine them. Unfair, maybe, but people have fun, and are creative (in their own way), and I kind of like it.
I began to make tutorials (on YT) for digital artists, how they could use this. I’ll make more, concept art for characters, using initial sketches to create something else, etc.
Maybe it’ll create a new job: “digital ideas provider”. Hmm…
Hi everyone! The “Prompt To Image” processes are blossoming everywhere on the web since Katherine Crowson presented the VQGAN+CLIP tool and made it public. This “Synthetic Imagery” (or GAN Art) was fantastic, but a bit difficult and slow to use.
You’ll find plenty of articles about this, and hundreds of “Google Colabs” with the code to play with. The result is often slow (about one hour to get an image).
There are tricks you quickly learn to use with each tool. Adding words to the prompt, like artists names or words like steampunk – here are bridges, a mantis, an owl, and for the first one “bird leather gold“:
Each site has its flaws, and one must use them to get things. For example, GauGAN2 is made for landscapes, so if you ask “Lake and forest” you get a realistic scenery. But if you ask “Totem” it’s lost, and there come the cool things:
The possibilities are infinite. Just give two words like “Airship Fire”:
Not what we expected, but good images, inspiring maybe if you write stories, poetry, or if you draw. Make 20 of them with automation and you’ll find a few great pictures.
oOOo
I made plenty of movies with these:
oOOOo
This year the Russians invented ruDALL-E ( https://rudalle.ru/en/demo ) and it’s different, more realistic, and MUCH FASTER than every other similar tools. It needs about 1-2 minutes to make one image.
The results are less “digital artist”, and much more realistic, because it’s trained on millions of photographies (an AI must be “trained”). This morning, today, I made a few dozens, like these 3:
Yessss possibilities are great. And you don’t have to write in Russian, they translate. Good.
oOOOo
This team made a BOT, which is on Telegram (yes, the app, it’s on your phone and your Mac, right?). You’ll find it on the page, it’s here: https://t.me/sber_rudalle_xl_bot
On this bot, you use the ruDALL-E Malevich (XL) Model, which is very powerful.
Each prompt gives you THREE images, you just have to save them on your computer, and it works on your phone too.
You have to prompt in Russian. Therefore you have to use a translation tool like Google Translate to invoke it.
If you find a good prompt, you can and must repeat it: each time you’ll get NEW images.
Here are images with the prompt “Airship in the mist”, which is “дирижабль в тумане”. I made 135 of the same prompt today. I’ll make a clip later. Here are 12 of them:
I invented Mantiskane, a musical entity, a more electronic facet of my musiquettes. It’s maybe Mantis Kane, a guy from another planet, half-human half-mantis.
I made a clip with images I made with the GauGAN NVIDIA model, which is at gaugan.org. This tool is designed to create landscapes, but I tickle it with non-landscape-words, as it fits.
I made more than a thousand flying machines, chose a few dozens and made the music from a simple loop, a pile of sounds refusing to evolve. Piling.
QES Prototypes:
Then I added a “chorus”, a second part based on a military snare drum, it’s here:
QES Prototypes II:
oOOOo
Before that I did it with African mood, inventing a planet, composed a tribal music based on percussions and passing by sounds…
Quick-Eyed Memories:
oOOOo
Before that I worked with the VQGAN+CLIP model of hypnogram.xyz to create SF images. It’s a more “digital art” tool, right? I made an abstract music with a bunch of different slow loops on my Mac.
You know me, I love “Meticulous & Casual”, it’s almost an inner motto.
I talked here about Nietzsche and his cow:
Three-quarter Strength. A work that is meant to give an impression of health should be produced with three-quarters, at the most, of the strength of its creator. If he has gone to his farthest limit, the work excites the observer and disconcerts him by its tension. All good things have something lazy about them and lie like cows in the meadow.
When I write an article here, I’m focused and at the same time I listen to music (here: Poulenc, “Les Biches”), I prepare, but not that much. I re-read, but quickly. It’s always a tango between control and letting go.
These weeks, I revisit my 2 CDs “Farist“, which were made for contemporary dance. I made them with work (awww the mixing of music, a pain in the monkey!), but also with… well you got my point.
To make the clip, I make images with a Artificial Intelligence. It often gives nightmarish creatures! Therefore I posted a bunch of frightening clips – I’ll post them here for Halloween, OK?
So I wanted to created cooler things. So I played for Yuleska (which is a Polish name) with the words “bokeh” or “emerald”. It was abstract enough to give cool little things like:
The music was innocent and it worked.
For the second one, I had a story in mind. A Folletti (who is a little magic boyfaery) in Italy consoles a little girl. So I got Tuscany, wheat fields and angels. It’s a slow waltz.
oOOOo
For these I find/make images with random words. The first in the row? “Icy Bokeh”, that’s it. So I orient, but not too much.
When I edit the clips, I upscale the pictures with Automator (on Mac) piloting Pixelmator Pro, then I throw them all in iMovie. Random order, that I have to correct… or not. I use markers for the tempo, but I don’t follow them all the time. I’m meticulous (I work days on a clip), but I don’t really polish, finish, I let go and so there.
Yes it’s a tool for the toolbox! Where do we need to be meticulous and casual? Sex? Cooking? At work? Poetry writing?
Who are the artists who you know work like that? Picasso? Fellini? Any musician?
Do you like them?
Have a great day! Thanks for reading! I’ll post photos of Brussels soon. This week.
Choose a phrase, “Brazil Morning Landscape” or “Giant Robot in Taiga”, whatever. You can just ask “The wind”!. You can increase the size of the image to 500 (pixels – more will crash the program). I also tend to put “steps per image” to 20 (I’ll get more steps to “see” the machine work). In the menu bar on the top of the webpage, go to “Runtime”, then “Run All”. And oh, OK, you need 30 minutes to get the last image.
On another page, I invoked “The Wind” and got this. The AI clearly needs more invocations 🙂
You can “color” this by another word. Here’s the wind with…
A painter (Alex Colville, Pict.1).
A website (Artstation, Pict.2).
A tool used for video games (Unreal Engine, Pict.3).
A way of painting for the movies (Matte Painting, Pict.4).
oOOOo
Here are Picasso and Klee for the wind. Who else would you try?
oOOOo
The word Artstation is commonly used because this site is full of great fantasy artists, and it gives dramatic pictures. I just added mist, dragon, emerald, dawn or airships…
It’s interesting to see how the pictures are built. “Storm Circus Tent Artstation Matte Painting” begins with a cloud and finishes this way. Here are steps 20, 40, 400:
a french toolbox 