• 4 Posts
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Joined 2 years ago
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Cake day: July 31st, 2023

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  • Yes, the example of films is a really good one that most people can clearly see. Among other reasons, I personally refuse to watch most franchises, sequels, reboots and crossovers because I find them extremely patronising.

    While I’m disappointed that capital has crushed the opportunity to make a living from the arts for the vast majority of us I also think that this process is increasingly alienating creative people and pushing them to give up making work that ingratiates itself with a superficial, mundane and homogenous culture. For example more and more of the musicians I know are deciding not to release their music on Spotify, YT music et al because they see no point in it and feel insulted by it. Their creative paradigm is no longer shaped by satisfying these algorithms (values) and so they now have more creative latitude. I think this is necessary for art that has human value.

    There are some experimental private funding models gradually emerging to support this but in the meantime I think it’s better for all of us if artists are willing to be poor than willing to sell out.






  • Most artists and people who take an interest in the arts agree that this homogenisation was happening before AI and would be still be happening without it. No doubt this new technology is adding automation to the process of producing homogenous art but in my opinion the root cause of it is a deeper cultural problem. It seems to me that human existence has been completely penetrated by the values of business and commodification, which having been established are now in a phase of refinement and consolidation.

    My felt experience is that there’s an ineffable pressure to conform that is constantly increasing, in both the content of the art and it’s context/how it’s presented.

    I think that what we’re likely to see are parallel worlds of art. The first and biggest being the homogenous, public and commercial one which we’re seeing now but with more of it produced by machines, and the other a more intimate, private and personal one that we discover by tuning back into our real lives and recognising art that has been made by others who are doing the same. I’m quite excited about that actually. It’s an opportunity for a revolution while the rest of the world is looking away.