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Źródło: https://www.bbc.com/future/article/20241018-ai-art-the-end-of-creativity-or-a-new-movement

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AI art: The end of creativity or the start of a new movement?

AI art: The end of creativity or the start of a new movement?

Artificial intelligence is being used to generate paintings, images and even sculptures, with some selling for thousands of dollars. Do we need to reframeprzedefiniować our definition of art?

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In the drawing room of a stately home in rural Oxfordshire, I watch onprzyglądać się as a dungaree-cladubrany w ogrodniczki artist slowly and deliberately puts pen to paperprzykłada pióro do papieru. Her arm moves across the canvas, the marks gradually coalescingzlewający się into an abstract portrait of herself.

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It seems like a moment of creative expressionkreatywna ekspresja. But this is no ordinary artist – she is the world's first humanoid robot artisthumanoidalny robot artysta, Ai-Da. By design, her very existenceistnienie brings into questionstawia pod znakiem zapytania how we definedefiniować art, and who, or in this case, what, can create it.

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Will AI algorithmsalgorytmy and robots like Ai-Da spell the endoznaczać koniec of human creativity and artistry, or can they be harnessed to augmentwykorzystane do zwiększenia our own creative potentialpotencjał twórczy?

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Art in fluxSztuka w ciągłej zmianie

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In much the same wayw podobny sposób, AI-created artworks are disruptingzakłócający the accepted normsakceptowane normy of the art world. As philosopher Alice Helliwell from Northeastern University London argues, if we can consider radical and divergentrozbieżny pieces like Duchamp's urinal and Tracey Emin's bed as art propersztuka właściwa, how can something created bystworzony przez a generative algorithm be dismissed? After all, both were controversial at the time and contain objects that haven't technically been created bystworzony przez an "artist's" hand.

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"Historically, the way we understandsposób, w jaki rozumiemy the definition of art has shifted," says Heliwell. "It is hard to see why a urinal can be art, but art made by a generative algorithmalgorytm generatywny could not be."

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Throughout history, every radical artistic movementradykalny ruch artystyczny has been intimately connected to the cultural zeitgeistkulturowy duch czasu of the time, a reflection of society's preoccupations and concerns, like Turner and his industrial landscapes and Da Vinci's obsession with science and mathematics. AI is no differentnie różni się. Ai-Da's creators, gallerist Aidan Meller and researcher Lucy Seal cite this aswskazują to jako a pivotal reason for the existence of a humanoid artist like Ai-Da. She is the personificationuosobienie of one of contemporary society's current fears, the rise of job-snatching AI algorithms and potential robot domination.

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Humans are just as proneskłonny to behaving like machineszachowywać się jak maszyny, repeating old behaviours and getting bogged downutknąć w miejscu with rules, like a painter or musician locked into a particular stylezamknięty w określonym stylu. "AI might help us to stop behaving like machineszachowywać się jak maszyny…and kick us intozmusić nas do being creative again as humans," says du Sautoy. He sees it as a powerful collaboratorwspółpracownik in the pursuit of human creativitydążenie do ludzkiej kreatywności.

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There is historical precedencepierwszeństwo for new technology liberating us from our creative shackleskreatywne kajdany. Take the invention of photography in the 1800s for example. Some artists saw the camera as the antithesisantyteza of an artist, and photographs as the mortal enemyśmiertelny wróg of the art establishment.

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But instead of replacing painting, photography became a catalystkatalizator in the development of the experimental modern art movement of the 20th Century, as artists moved away fromodeszli od realism towards abstractionabstrakcja, a shift that paved the way forutorowało drogę dla the contemporary art of today.

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Who's the artistartysta?

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Walking around Ai-Da's country pilewiejska posiadłość in Oxfordshire I got to appreciatezdołałem docenić the sheer breadthogrom of her artworks to-date. Unsettlingniepokojący busts of herself with her eyes stapled shut, scarab beetles fused to her face; partial and etherealeteryczny depictions of computer scientist Alan Turing; and colourful pop-art inspired portraits of Glastonbury headliners.

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Ai-Da also makes use ofwykorzystuje the cameras in her eyes, which feed novel images into her algorithmalgorytm, thereby creating new and unique works far removed from human-generated datasets. This is how she's able to create self-portraitureautoportret. Does this make her creative in her own rightsama w sobie? And can we credit her with authorship, or does this reside with the artists upon whose work she's been trained and with the creators of her algorithmalgorytm, who ultimately wrote her code?

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There is another argument at the heart of this issuew centrum tego problemu too. The machine-learning processes used to train generativegeneratywny AI algorithms may be a creative process in themselvesproces twórczy sam w sobie.

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"Code exposed tonarażony na data – existing artworks, for example – is able to learn, mutatemutować and evolveewoluować," says du Sautoy. "It means that the code by the end of this learning process is very different from the original code written by the human. This means that there is a chance for the code to produce something that... deserves to be called the creativity of the codekreatywność kodu rather than the human who started the process.

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Is art uniquelywyjątkowo human?

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The prospect of truly artistic machines is also challenging another long-held beliefdługo utrzymywane przekonanie about what makes us human. Art has long been seen as a uniquely human endeavourprzedsięwzięcie. Made by humans, for aesthetic appreciationestetyczna aprecjacja by other humans, artworks themselves are imbuedprzesiąknięty with the emotions of their creators. It is a visual representationwizualna reprezentacja of their desires and fears, frustrations and reverence, or at the very least their need to create for practical, economical and emotional reasons.

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It all comes down tosprowadza się do intent, this is "what truly distinguishesodróżnia the creativity of the human and the machine", says du Sautoy. "No machine is driven to express itself creativelynapędzany do wyrażania się kreatywnie. It is prompted by the intention of the human."

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Does this mean AI is not yet fully capable of creating true art? After all, computer algorithms lack any real-world experiencedoświadczenie w rzeczywistym świecie and robots like Ai-Da, although capable of self-portraitureautoportretowanie, don't actually possess self-awarenesssamoświadomość. This question remains hotly contestedkwestionowany. For Helliwell a lack of intentbrak intencji shouldn't necessarily preclude AI works from being considered art.

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What's the futureprzyszłość?

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Eva Jäger, the creative AI lead and arts technologies curatorkurator at the Serpentine Gallery in London, is also helping to bring AI art to the massesprzybliżyć sztukę AI masom, with a programme of exhibitions provoking critical discussionkrytyczna dyskusja about the impact of technology on art.

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For her, the future of AI art is not adversarialkonfliktowy. Traditional forms of art will continue to exist, just as AI artwork will continue to develop. She sees the collaboration between human and machine as a space for real creative potentialpotencjał twórczy. She believes that the artist's intentzamiar artysty and the human practice behind a piece or installation which utilises technology like AI are more important than just the final aestheticsestetyka.

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"For me there are some really interesting generativegeneratywne images that get producedzostać wyprodukowane, but without the practice behind itpraktyka stojąca za tym I'm not sold on themnieprzekonany do nich, just because they're an amazing image," she says. "And I would say the same about painting. I’m much more interested in the systems, including the humans behind the work. I want to know what they are using the system for, what are they exploring? It's a mistake just to look at the final artefactkońcowy artefakt."

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And when it comes to evaluating the authenticityautentyczność and credibilitywiarygodność of AI art, one of the most contentioussporny aspects of the AI art discipline, du Sautoy makes a compelling pointprzekonujący argument. All art is a product of that which came before it, and creativity cannot come frompochodzić z nothing – all artists whether human, robot or algorithm, build uponopierać się na the works of others.

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"Too many people discuss creativitykreatywność as if it is some uniquely human magical processwyjątkowo ludzki magiczny proces, that it conjures something from nothingwyczarowuje coś z niczego like a magicianmagik," says du Sautoy. "But that is just because we don't understand our own creativitykreatywność."

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