AI image-generation tools like DALL-E 2, Midjourney, and Stable Diffusion are creating something of a moral panic in the worlds of art, media, and design. And for good reason: Graphic designers and other commercial artists are worried that AI will spur companies to replace human labor with machines while exacerbating the scourge of intellectual property theft that they’ve already been dealing with on the internet for years. A photo director at New York magazine recently penned an essay asking whether DALL-E 2 was going to put her out of a job. Which all raises the question: Is AI the beginning of a more egalitarian artistic future, or the terrifying final stage of a trajectory where corporations and developers find increasingly insidious ways to extract value from the creative class? To begin to make sense of the economic, ethical, and artistic implications of these tools, we brought on the artist, technologist, and Interdependence co-host Mat Dryhurst. You might remember him from our episode last year on NFTs and their implications for the future of independent music. Mat and his partner, the composer Holly Herndon, have been diving headfirst into the possibilities and pitfalls posed by AI for several years now. Most recently, they launched Spawning, an organization building tools by and for artists working with AI. The idea is to give artists greater control over their AI training data by allowing them to opt in or out of these data sets, set permissions on how their style and likeness is used, and even offer their own models to the public. The goal, Mat says, is to establish a standard of consent honored by AI research companies as the tech — whether we like it or not — barrels into the future. Mat joins us from Berlin to give a crash course in the history of text-based image generation and the specific technological developments that led to this moment — from grassroots Discord groups, to Amazon, Microsoft, and Elon Musk-funded behemoths like Open AI, to the nation-states incentivizing this growing research field on the geopolitical stage. We discuss the possibilities and limitations of these tools as a medium for creative expression, the parallels between this moment and the advent of photography, and the changing nature of art, and perceptions of artistic value, in a world where people can create striking images at the push of a button. Finally, we get into the steps we can take now to avoid this becoming a nightmare scenario for artists — or, for the rest of us, the start of an era of really terrible art.

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Is A.I. good or bad for art?

The Culture Journalist

Is A.I. good or bad for art?