With the total collapse of the NFT market the financiers whose grift involves the full financialization of art has had to look to different tactics. Happily they have found just such a rhetorical tool in the emerging field of, “AI Art.”
AI Art, much like NFTs, has been around for a while but has had a recent influx of attention and cash from the tech sector. Google Deep Dream was likely the first exposure people had to this medium and it has been around since 2015. However recent iterations of the software have become more controllable than Deep Dream. The training sets have “improved” as long as one’s yard stick for improvement excludes exploitation. The result is that it’s easier to get aesthetically unified results from a prompt than it had been previously where you’d mostly just get animal chimera jammed into input images like distortion patterns.
There is currently a debate ongoing regarding AI art which asks a few questions:
- Is AI art actually art at all?
- Is AI art theft?
- Should AI art be resisted.
I will principally be discussing the third point here but I do want to address the first and second points to say the proponents of AI art are mostly correct in that what I’ve previously called Will Toward Art can be found in the cycles of prompt and iteration undertaken by an AI Artist. The automation and mediation by machinery present in AI art is just as present in photography. One is shot framing and selection from a field of material objects. The other is shot framing and selection from an iteration of an algorithm. As such it would be disingenuous to say that AI Art is not art.
Now that doesn’t mean it’s any good and the majority of AI art is at best, by the very nature of its iterative selection process, parodic and derivative. The algorithmic basis of AI art is to take a catalog of extant works related to the prompt keywords and to shuffle through them seeking out similarities in order to output a result. You cannot but create a parody of extant works when you are using such a basis for creation.
But parodic art is still art and insofar as difference can arise out of the affective change brought about by repetition this art can, in theory, lead to the arising of the new via that process.
This then brings about the question of whether AI art is theft and I don’t think it’s possible to say anything other than that it is. As AI art is entirely predicated upon the iterative sampling of extant images it is, fundamentally, a theft. But then I’ve been clear in the past that such iterative cycles are a part of art and that this criminality is inseparable from the artistic process. What’s the issue here is that AI art automates this theft.
A counter-example of art being theft in a non-automated manner would be to look at the upcoming Zach Snyder film Rebel Moon. Snyder’s project started off as a Star Wars film but, when that fell through, he went on trucking, iterating upon the ground Star Wars laid. I suspect the parodic character of the final product will be effectively self-evident. Certainly everything I’ve seen about it anticipates this likelihood.
However, in order to do this act of replication, Snyder had to produce a whole $83 million film project employing a few hundred people, including many, many artists, each of whom will be bringing their own ideas and influences into the fold. An AI art program does this with the literal push of the button.
We can make similar statements regarding iteration and the use of samples in music. While music that samples other songs clearly is taking from that art it requires labour to do so. This then is the crux of the problem with the automation of AI Art: the complicated and organic process of iteration has been handed over to a machine that automates it, making it far easier for artists and non-artists alike to produce a result that is, at the very least, reminiscent of artwork.
And that raises the third question: Should this be resisted?
Now I have seen some proponents of AI Art conjuring the specter of the Luddites to argue against resisting the arising of AI art. However most of them couch this within the idea that automation was inevitable and Luddites were fools to resist. “AI art is coming for your job regardless so you better be prepared.” And of course this is nonsense.
Let’s start by looking at one of the most rigorous nearly-contemporary accounts of the Luddites.
“Factory legislation, that first conscious and methodical reaction of society against the spontaneously developed form of the process of production, is, as we have seen, just as much the necessary product of modern industry as cotton yarn, self-actors, and the electric telegraph. Before passing to the consideration of the extension of that legislation in England, we shall shortly notice certain clauses contained in the Factory Acts, and not relating to the hours of work. Apart from their wording, which makes it easy for the capitalist to evade them, the sanitary clauses are extremely meagre, and, in fact, limited to provisions for whitewashing the walls, for insuring cleanliness in some other matters, for ventilation, and for protection against dangerous machinery. In the third book we shall return again to the fanatical opposition of the masters to those clauses which imposed upon them a slight expenditure on appliances for protecting the limbs of their workpeople, an opposition that throws a fresh and glaring light on the Free-trade dogma, according to which, in a society with conflicting interests, each individual necessarily furthers the common weal by seeking nothing but his own personal advantage! One example is enough. The reader knows that during the last 20 years, the flax industry has very much extended, and that, with that extension, the number of scutching mills in Ireland has increased. In 1864 there were in that country 1,800 of these mills. Regularly in autumn and winter women and “young persons,” the wives, sons, and daughters of the neighbouring small farmers, a class of people totally unaccustomed to machinery, are taken from field labour to feed the rollers of the scutching mills with flax. The accidents, both as regards number and kind, are wholly unexampled in the history of machinery. In one scutching mill, at Kildinan, near Cork, there occurred between 1852 and 1856, six fatal accidents and sixty mutilations; every one of which might have been prevented by the simplest appliances, at the cost of a few shillings.” Marx says at the start of Capital, Vol. 1, Ch. 15, Part 9 – framing the conflict between milling machinery and workers like the Luddites not in the abstract realm of the dangers of automation but rather in the physical toll these factories put to workers and, this being important, the power relations that allowed for that toll. Marx is clear that it is, in fact, the vague wording of laws and the penurious behaviour of factory owners that led to factory casualties rather than the intrinsic character of the factory.
Marx pivots to discussing technological change more directly, saying, “The only thing, that here and there causes a change, besides new raw material supplied by commerce, is the gradual alteration of the instruments of labour. But their form, too, once definitely settled by experience, petrifies, as is proved by their being in many cases handed down in the same form by one generation to another during thousands of years. A characteristic feature is, that, even down into the eighteenth century, the different trades were called “mysteries” (mystères); into their secrets none but those duly initiated could penetrate. modern industry rent the veil that concealed from men their own social process of production, and that turned the various, spontaneously divided branches of production into so many riddles, not only to outsiders, but even to the initiated. The principle which it pursued, of resolving each process into its constituent movements, without any regard to their possible execution by the hand of man, created the new modern science of technology.”
And of course it’s immediately evident to see the process by which automation is now doing to the mysteries of the arts what Marx was demonstrating in his discussion of potters and weavers. As such we have to re-situate the Luddite movement, even based on the strength of these establishing statements alone, as not one of a class against machines but rather as a battlefield of antagonisms between two classes: the craftsmen who were undergoing a process of proletarianization and the owners of machines who wished to suck their blood. As Marx says, “We have seen how this absolute contradiction between the technical necessities of modern industry, and the social character inherent in its capitalistic form, dispels all fixity and security in the situation of the labourer; how it constantly threatens, by taking away the instruments of labour, to snatch from his hands his means of subsistence, and, by suppressing his detail-function, to make him superfluous.” This is precisely the ‘inevitable’ future, brought about solely by technology, that these advocates of AI demand artists content themselves with. Marx’s final word on the Luddites comes down to this, “It took both time and experience before the workpeople learnt to distinguish between machinery and its employment by capital, and to direct their attacks, not against the material instruments of production, but against the mode in which they are used.” And it’s necessary, when deciding if AI art is to be resisted, to ask this same question: is the problem the machine or the hand that controls it?
Certainly this automated art stealing from and iterating upon a vast catalog of images posted online, has the capability to supplant illustrators, advertisers and other such artists. But this supplanting is not a matter of the tool but rather the mode in which it is used.
And this, then, is where we must begin asking for whom these tools have been made and to what ends. There is a tendency, within capitalism, to attempt to mystify the machinery of it. If the problem is that the eternal system of capitalism creates externalities it’s easy enough to shrug it away. It wasn’t on purpose that the machine crushed illustrators; it was merely their time to be automated into obsolescence.
But, of course, this assumes far too much. Who owns this machine is a far more pressing question and, in the case of OpenAI whose Dall-E tool is one of the most popular, the ownership question points back to Elon Musk and Sam Altman. Musk eventually departed leaving the “capped profit” limited partnership, registered in the tax haven state of Delaware (natch) under the control of Altman and Greg Brockman. This is not a tool owned by artists nor for artists. It’s a commercial asset of the financial class. And this, then, demystifies the nature of the struggle. Altman, Brockman and the rest of the tech-startup-venture-capital crowd would prefer that they be paid for illustration instead of little artists. Craftsmen find their work copied by a black-box machine and their jobs supplanted by an AI that can produce ugly illustrations on demand for the low-low price of $15 for 115 prompts. So much more efficient than hiring a craftsperson.
So, yes, AI art should be resisted. It shouldn’t be resisted because it copies images and iterates on them but rather because its application is yet another attempt of tiresome tech bros, the self-same ones who tried to sell the world on NFTs, to suck the blood of working artists. Smash the fucking things to the ground.