Category Archives: Arts

Art, Artificial Intelligence, Arts, Culture, Society, Technology

AI-generic-slop is theft from real artists

CREATIVE ART

Intro: Art generated by online tools is painfully bland and is leading us down the path to cultural stagnation

Pablo Picasso, one of the most influential artists of the 20th century, admitted that “Great artists steal.” The Spanish genius assimilated African mask imagery into modern art, and many other greats throughout history have done something similar. Essentially, this is how creativity works. But behind their masterpieces are struggle, friction, and unique vision. Enter another entirely different beast, the theft by proliferating AI engines. These are killing creativity, harming real artists, and fuelling an epidemic of unoriginality.

By serving prompts to generators such as Midjourney or DALL-E, people can generate images on screen, in just a few seconds. Anyone can conjure up a Vincent van Gogh-styled still life or Leonardo da Vinci-inspired selfie and at once exhibit it online. Social media platforms such as X are filled with fans of this technology who declare: “AI art is art.” But this doesn’t make it true.

In fact, AI “art” doesn’t even exist – it is an illusion. AI models work on pattern recognition, not artistic decision making. While an “AI artist” may serve prompts to this technology, they cannot be considered the author of its output. It has simply been remixed from ready-made imagery without thinking, feeling, intent, or ingenuity. Absent from AI “art” is creative process, which should take more than a few seconds. This is apparent in the low-quality, generic slop that’s produced. Lacking a distinctiveness of style and voice, it can only offer a dynamic of smooth homogeneity.

It bypasses craft, which is what great artists develop – with brushes and paint, pencils and paper – over months, years, and even decades. AI artists celebrate the power of technology to make creativity accessible, and this forms their central argument and tenet as to why it’s so great. True craft, however, takes dedication, consistent practice, and experimentation.

John Constable not only worked tirelessly inside his studio but made countless studies en plein air – as revealed in Tate Britain’s current exhibition, Turner & Constable. Celebrating two of Britain’s greatest painters, it shows what being an artist really takes. On display are watercolours, oils and sketches, as well as paint-covered palettes, paintboxes, and even a sketching chair.

Among Constable’s masterpieces is his 1836 work Hampstead Heath with a Rainbow, where prismatic hues glide through menacing clouds. His technique looks effortless but was suffused with genius-level skill. And behind it, unseen by the average enthusiast, are more than 100 cloud studies he created in an attempt to capture their transient energy.

Where AI generates pictures in an instant, Constable was committed to an ongoing process; the experience gained through observation and documentation was ultimately of immense benefit to him.

Similarly, JMW Turner made around 37,000 sketches of landscapes he’d seen with his own eyes. Determined to evoke the raw power of nature – from blazing sunsets to howling storms – he pushed realism towards abstraction with an excitement that’s visible in his energetic brushstrokes.

In contrast to Constable and Turner’s radical compositions, AI’s aesthetic is flat, twee, and often old fashioned. Defined by a saccharine palette of candy colours and hazy tones, automatically generated landscapes are hollow, sanitised, and no match for Britain’s great painters and artists. Working some 200 years ago, they painted emotive, not idealised, places of both personal and historic significance.

What is more, both Constable and Turner began their paintings by looking, and really observing the world. This fundamental act is absent from the process of AI’s so-called artists who are more like a client giving instructions to a graphic designer than an artist painting at their easel. AI engines are also doing real harm to contemporary artists and their hard work.  

Among those who have already experienced its damaging effects is Australian painter Kim Leutwyler. She says her distinct style has been copied by app-generated portraits. “My issue isn’t with AI itself, but with the unethical way it has been trained without artists’ consent,” she said. “The right to opt in or out of having your data scraped for AI training should be fundamental, not optional.” This view is widely held across all of the creative industries.

AI, then, is pilfering from artists, the very people it relies on. It harms us all with its blandness. Rather than moving art forward, like Turner and Constable did in their day, it contributes to what has been termed “cultural stagnation”.

Anyone infuriated by Hollywood’s endless remakes of viewer favourites has a similar impact. It threatens both originality and individual thinking. And because future AI will only draw from more of this generated material, it will continue to create typical rather than unique visions.

AI art isn’t art, it’s a mirage, and it won’t be looked at for longer than a doom-scrolling second. In our world of efficiency and productivity, creative pursuits are one of very few remaining places where human endeavour is vital. Behind the brushstrokes of Turner and Constable are years of looking, thinking, making and struggle, and that’s what creative art is.

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Arts, Books, Culture, Drama, Films, Literature

Hamnet

FILM REVIEW

Intro: This film adaptation is based on Maggie O’Farrell’s deeply moving historical novel that reimagines the life of William Shakespeare’s family, specifically focusing on the death of his only son, Hamnet, and how that tragedy may have influenced his most famous play, Hamlet

In 1596, William Shakespeare’s only son, Hamnet, died at the age of 11. Sometime between three and five years later, Shakespeare wrote a play which almost shared the boy’s name, and which has since become one of the most lauded dramatic works in existence. The possible link between these two events was the subject of an acclaimed 2020 novel by Maggie O’Farrell.

Now comes this quietly astonishing screen adaptation – with a script sensitively adapted by O’Farrell and the film’s director, Chloe Zhao – and with Jessie Buckley as Shakespeare’s wife, Anne Hathaway, and Paul Mescal as Shakespeare.

As in the book, Hathaway is here called Agnes, the name she was given in her father’s will. Her husband, meanwhile, is no famous playwright yet – his name is not mentioned for more than an hour – but the educated son of a Stratford glovemaker keeps pootling off to a London theatre for work. Agnes, meanwhile, remains with their three children – daughter Susanna and twins, Judith and Hamnet – close to the ancient woodland with which she shares a deep and strange bond.

– In cinemas now

We see in this play that Zhao has swapped the Terrence Malick-like lyricism of Nomadland and The Rider for a less insistent style that allows the story’s emotions to naturally drift to the fore. These emotions are often tough – Agnes’s life, alongside her mother-in-law (a superb Emily Watson), can be hard, even before the plaque comes that will claim the life of one of her children. But there are also constant flashes of everyday wonder and joy, many of which we’re invited to imagine might have inspired elements in Shakespeare’s future work. (The twins often disguise themselves as one another for a game: very Twelfth Night.)

The slow start to this production is groundwork, and the sober visual approach puts a greater burden and expectation on Zhao’s leads, but they don’t so much rise to the challenge as spiral above it. Mescal has never been better, while as Agnes, Buckley seems to discover her character before your eyes: every moment she plays rings transparently true.

This is a category of film that is described as devastating, heartbreaking, even hard to watch – and at times it is certainly all of these things. But, without any doubt, it isn’t a downer, thanks in no small part to the sublime final reel.

Here, Agnes makes the journey to her husband’s playhouse in London – only for her grief to be both complicated and clarified by this play he has written called Hamlet, and is now staging with acutely moving variations on the same two-humans-swap-places trick that the couple’s children once adored.

One of these springs from the casting: the actor appearing as the young Danish prince is played by Noah Jupe – the real-life older brother of the child actor, Jacobi Jupe, who portrayed Hamnet in the earlier scenes.

The play’s speeches are raw and revelatory, despite being among the most worn in the English tongue: that sense of freshness is one of the film’s wildest achievements. What Hamnet leaves you with isn’t sadness, but joy – at the human capacity to reckon with death’s implacability through art, or love, or just the basic act of carrying-on in its defiance. It blows you back on to the street on a gust of pure exhilaration. 

Hamnet U cert, 125 min

Verdict: An exceptionally delivered adaptation ★★★★★

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Arts, Books, Denmark, Europe, Greenland, Society, United States

Book Review: Polar War

LITERARY REVIEW

Intro: As Trump sets his sights on Greenland, Kenneth Rosen’s new book asks whether the Arctic region is the next site of global conflict

Following the extraordinary rendition of Nicolás Maduro from Venezuela, Donald Trump has ramped up his threats to seize control of Greenland. The acquisition, which he clearly perceives as a “large real estate deal”, has been on his mind for almost a decade. “I think we’re going to get it,” he said in an address to Congress last year. “One way or another, we’re going to get it.”

Polar War by Kenneth R Rosen is provocatively titled and hugely timely. It contends that the whole Arctic is warming up for a fight. Eight nations, including Russia and the United States, already maintain “research” bases in the region. All five military academies in the US now offer a course on the Big Northern White, and in 2021 India declared itself “a near-Arctic state”. “The possibility of conflict” up there, Rosen declares, “now feels inevitable”.

But does it? In a series of short chapters arranged loosely by circumpolar geography, Rosen makes a mostly convincing case that trouble lurks behind the bergs. The Arctic is warming four to five times faster than the rest of the world, and the author demonstrates how “complex dovetailing of national interests and disinterests” – hydrocarbon extraction and strategic ambition – poses far greater dangers now that it is paired with rapid climate change. In today’s world, as the commander of the Norwegian navy tells Rosen, “What happens here, happens everywhere.”

Russia, rather than the US, is “leading the charge”. “With more military bases in the Arctic, greater competency in cold weather operations, and a fleet of icebreakers that dwarfs the maritime Arctic fleets of every other nation,” it has become far and away the region’s biggest player. Another Norwegian naval commander tells Rosen, “Putin is saying, ‘I’m the boss in the Arctic,’ and he is.”

Russia has raised concerns, as in their 2020 Arctic Strategy report, about the region’s declining population, inadequate development, and hobbled natural resources exploration industry posing threats to their national security. However, Rosen thinks that the invasion of Ukraine, along with “interventions in Western elections” and so on, “might indicate that Russia thinks as far as the Arctic is concerned, (that) it has already won” the polar war, and can therefore move on to other zones of strategic value.

Meanwhile, China is building icebreakers (four are already in service) to open up an exciting “Polar Silk Road”. Rosen suggests that the nation is “teaming up” with Russia to spy on NATO on or off Norway’s northern rim, citing a new Chinese satellite in Kiruna, Sweden. Its spectral exterior is enough to rouse suspicions of covert surveillance. In the same area, Russia “is probing Sweden’s defences” with “hybrid attacks” that “remain deniable on Russia’s part”.

American unpreparedness is a major theme that runs through the book, and hawks in the White House might (but won’t) take heed as they turn their eyes to Greenland. The author points out that “historically, the American desire to control Greenland has existed nearly as long as America itself… It was not Trump’s rhetoric of a takeover that struck me… It was the ineptitude surrounding the idea.” Such failure, incompetence even, might allow rivals to secure control of the Arctic, or trigger clumsy, uncoordinated US manoeuvres that tip a tense region into the war of the book’s title.

And, yet, who is paying attention to these tremors? Rosen paints a good picture of polar talking-shops, at which delegates emit hot air in the saunas of five-star hotels viewing the Northern Lights. At the 2023 Arctic Circle Assembly in Reykjavik, the US delegation numbered 160. An increase in militarised fishing vessels across the region (warships, essentially, in disguise) also merits serious attention.

Although the UK doesn’t have a permanent military base in the Arctic, these troubled polar waters could break on our shores. Rosen doesn’t mention it, but recently a House of Lords committee picked out the “evolving interests of Russia and China” as a key reason why Britain must keep its Arctic strategy under review.

The author is an American reporter who has spent several years up on the ice, and he’s at his clinical best when he extrapolates from experience. In one thrilling chapter, he does a two-week stint on a US Coast Guard cutter on routine patrol in Alaskan waters.

In more abstract sections, however, his prose style can be opaque. Pages gain immediacy from the narrative present tense (“we head north”), but at the same time lose gravitas, or any notion that the author has reflected on the issues he is reporting. To some extent he has reflected, but why, the reader should ask, has he chosen to limit his prescriptions to an eight-page Appendix framed as a “policy note” to Washington? It would have been much better to have seen this woven into the main text. This would have allowed the book to present a coherent, argued whole.

By the end of this volume, compelling as it is, the reader should think whether polar war is “inevitable”. Grandstanding is one thing, but surely nations would pull back from costly all-out war on the unforgiving ice. Many leaders have spoken in defence of beleaguered Denmark in recent days, the UK referring to Denmark as an “allied nation”.

Rosen says little of those on whom conflict would have the most devastating effect. He dedicates the book “To the people of the north, from whom we have taken so much and granted little” – but their voices are not heard. The polar indigenous peoples are powerless in the global skirmishes over the land of which their ancestors were proud custodians. That is the real tragedy of this new Cold War.

– Polar War by Kenneth Rosen is published by Profile, 320pp. The author is a veteran correspondent known for his reporting from conflict zones like Syria, Iraq, and Ukraine

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