During 2022, publicly-available generative AI (Artificial Intelligence) tools finally reached a level of sophistication that enables artists to produce interesting work. As always, the intelligence and ability of the artist is what determines if the results are worthwhile.
Nearly all AI imagery is awful because the intent is infantile. My goal is to produce AI art that reflects on the medium itself, as well as on the artistic project. AI imagery operates on a principle of pastiche and remix. None of this is inherently bad. The artist, in this case, becomes a switching machine, creating prompts and evaluating the results on the basis of its aesthetic merit and fitness of purpose. How an artist responds to this determines their merit.
On this page, I am gathering all of my AI art projects, which address these issues and others inherent to the medium—the boundaries between real and the counterfeit (Lost Canals of Vilnius, the Destruction of Doggerland, the Witching Cats of New Jersey, Art and the Boxmaker), the generative processes inherent in AI art (the Witching Cats of New Jersey, 20 Subroutines for Humans Made by a Computer), and my essay On Art and Text on chat.openai.com and a more recent blog post About that AI Photograph and a Minor Update on AI Imagery in General.