I think this is the crux of it. The turning point on AI art comes when artists demonstrate clearly to the public that it can be used as a building block in a complex, difficult process rather than a shortcut around it.
I’ve been toying with the idea of taking a collection of photographs, assembling some kind of feedback loop to convert them into a uniform perspective, and merge them into a tileset, using something like CLIP embeddings to identify similar tiles. I can then apply a custom implementation of wave function collapse to my photo set, oriented around relations between embeddings rather than discrete tiles, in order to create an infinite gallery consisting of all the pictures I’ve taken.
This would be substantially more labor-intensive than the photography itself, and—having taken a shot at some aspects of it—would involve pushing the technical envelope on a few fronts, but I think it would be of interest as art.
I think this is the crux of it. The turning point on AI art comes when artists demonstrate clearly to the public that it can be used as a building block in a complex, difficult process rather than a shortcut around it.
I’ve been toying with the idea of taking a collection of photographs, assembling some kind of feedback loop to convert them into a uniform perspective, and merge them into a tileset, using something like CLIP embeddings to identify similar tiles. I can then apply a custom implementation of wave function collapse to my photo set, oriented around relations between embeddings rather than discrete tiles, in order to create an infinite gallery consisting of all the pictures I’ve taken.
This would be substantially more labor-intensive than the photography itself, and—having taken a shot at some aspects of it—would involve pushing the technical envelope on a few fronts, but I think it would be of interest as art.