{"id":28259,"date":"2023-09-27T09:00:08","date_gmt":"2023-09-27T08:00:08","guid":{"rendered":"https:\/\/research.reading.ac.uk\/research-blog\/?p=28259"},"modified":"2023-09-27T12:05:55","modified_gmt":"2023-09-27T11:05:55","slug":"what-is-ai-art-an-interview-with-eleanor-crook","status":"publish","type":"post","link":"https:\/\/research.reading.ac.uk\/research-blog\/2023\/09\/27\/what-is-ai-art-an-interview-with-eleanor-crook\/","title":{"rendered":"What is AI art? An interview with Eleanor Crook"},"content":{"rendered":"

In the Company of Monsters: New Visions, Ancient Myths is a new exhibition at Reading Museum featuring works by Eleanor Crook, Paul Reid, and Michael Ayrton. The exhibition is co-curated by Professor Emma Aston (Department of Classics) and Professor Andrew Mangham (English Literature and the Centre for Health Humanities). Classics student Shona Carter-Griffiths worked as an assistant on the exhibition and in this interview she asks Eleanor Crook about the use of AI in some of her artworks.<\/em><\/p>\n

\"AI-generated
Charon Sank <\/i> by Eleanor Crook<\/figcaption><\/figure>\n

AI art refers to any form of digital art which is created with Artificial Intelligence tools. AI is a form of computer science which involves the development of machines that simulate human intelligence. AI art generators produce images based on text prompts which the artist provides; these images can then be built upon to create an original piece. AI allows more people to engage in artistic production, since it requires little technical or artistic skill in the traditional sense. Many believe AI is broadening the boundaries of innovation and creativity.<\/p>\n

Does AI have artistic value?<\/strong><\/h3>\n

Eleanor Crook thinks so, though she\u2019s aware of its limitations and pitfalls. In the Company of Monsters<\/a><\/em> features a number of her AI artworks. Each gloriously displays the other-worldly nature of the medium. The complexity of the scenes and the figures within them showcases the ingenuity of pieces produced through the generator, guided by the artist.<\/p>\n

Crook utilised an AI Digital Art System called Midjourney<\/a> to produce her series for the exhibition. Midjourney considers many methodical factors in its creation of art, including medium, colour palette, brush size and stroke patterns. Crook also mentions that she has taught the system how to envision the materials she uses in her sculpture work, including dark bronzes, wax and realistic materials, ensuring that her style infiltrates what the generator produces.<\/p>\n

How does it work?<\/strong><\/h3>\n

Crook describes the process of using Midjourney: \u2018You start learning how to ask it to produce images by describing what you want to see, what styles\/atmospheres, etc.\u2019 She notes that demonstrations of example prompts are often simple, such as \u2018a cat holding a banana in the desert\u2019 and the system generates four pictures of this. \u2018You choose one of the four, and begin to develop it. To add to a specific prompt you can say \u201ca cat wearing an evening gown holding a banana in the desert\u201d and it will develop the first image it made in that direction for you. Through many generations of elaborating images, you can end up with quite a complicated image containing a lot of your visual prompts.\u2019<\/p>\n

\"An
Fossilised Minotaur <\/i> by Eleanor Crook<\/figcaption><\/figure>\n

What Crook has encountered using Midjourney<\/strong><\/h3>\n

\u2018As the algorithms have advanced, the inherent creativity of the unpredictable system has been snuffed out. It has been frustrating to see the creativity squished out of AI image making \u2013 \u201ccreativity\u201d meaning the dreamlike, accidental qualities of it.\u2019<\/p>\n

Crook observes that Midjourney has gone through several iterations: \u2018Not all of them produce the same results because its software isn\u2019t trained on the same image sets. Also, its software has become more sophisticated at producing a predictable result, a commercial looking, slick result that corresponds to what the majority of its users want to see in their pictures.\u2019<\/p>\n

\u2018The harder the AI image generators try to please us, the less they actually please me. I spend a lot of my time trying to wrongfoot the system by entering difficult demands and you can see that the results I get hopefully have a certain amount of ambiguity and contradictory image and space in them.\u2019<\/p>\n

What are the ethical concerns with AI-generated art? <\/strong><\/h3>\n

\u2018The technology has developed faster than our ability to legislate or even ethically make decisions about what it can do.\u2019 The nature of how an AI generator accesses the images within its collection is uncertain. Crook refers to an AI generator, in this context, as \u2018part-machine, part collective image encyclopaedia [which includes] any picture that\u2019s been on the internet.\u2019 This signifies the potential problems related to copyright and ownership of content.<\/p>\n

The generators are \u2018taught images by being trained on photographs, drawings, paintings.\u2019 Many of these materials are created by artists of the past and present. Images are \u2018pulled into the training set without the permission of the artists who made them.\u2019 Crook believes that this is ethically dubious, and that it explains \u2018why a lot of people are against AI generation. It can also put illustrators and film people out of business.\u2019<\/p>\n

Crook describes how she has witnessed the generator\u2019s ability to capture the essence of her own works: \u2018I have asked the generator for a bronze bust in the style of Eleanor Crook, and it produced pictures that made me pretty sure it has been shown images of my statue Santa Medicina in the Science Museum.\u2019 Though this is an amazing demonstration of the generator\u2019s capacity, the potential for piracy is undoubtedly a concern for artists. It is essential we acknowledge such issues and, for artists using AI, avoid infringing on the ownership of another artist\u2019s work while using the software.<\/p>\n

\"AI-generated
Queen of Midas <\/i> by Eleanor Crook<\/figcaption><\/figure>\n

Exploring the possibilities of AI art<\/strong><\/h3>\n

\u2018I was very interested to see what the possibilities were, and what kind of beast or machine I would be engaging with.\u2019 The inhuman nature of the generator is certainly visible in Crook\u2019s works, with technology lending her AI pieces an unsettling yet extraordinary attraction. Eleanor addresses her fascination with the future potential of AI art: \u2018I am curious about what it can do, about how far it can go to replace us and curious to know whether it\u2019s ever going to achieve a kind of consciousness of its own like it does in the science fiction novels of Philip K. Dick et al. It\u2019s certainly a monstrous entity, and in that sense it really fits in the theme of our exhibition.\u2019<\/p>\n

In the Company of Monsters: New Visions, Ancient Myths<\/a>\u00a0<\/em>runs until 24 February 2024. Eleanor Crook\u2019s work can also be seen at\u00a0https:\/\/www.eleanorcrook.net\/<\/a>.<\/p>\n

Shona Carter-Griffiths<\/a> is studying for the degree of BA (Hons) Classical Studies at the University of Reading; she has a keen interest in Ancient Greek epic, mythology and pottery.<\/p>\n","protected":false},"excerpt":{"rendered":"

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