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Finally something that explicitly ties AI into the culture war: Why I HATE A.I. Art - by Vaush
I endorse pretty much all of the points he makes in this video. I do recommend watching the whole thing all the way through, if you have time.
I went into this curious to see exactly what types of arguments he would make, as I've been interested in the relationship between AI progress and the left/right divide. His arguments fall into roughly two groups.
First is the "material impact" arguments - that this will be bad for artists, that you're using their copyrighted work without their permission, that it's not fair to have a machine steal someone's personal style that they worked for years to develop, etc. I certainly feel the force of these arguments, but it's also easy for AI advocates to dismiss them with a simple "cry about it". Jobs getting displaced by technology is nothing new. We can't expect society to defend artists' jobs forever, if they are indeed capable of being easily automated. Critics of AI art need to provide more substantial arguments about why AI art is bad in itself, rather than simply pointing out that it's bad for artists' incomes. Which Vaush does make an attempt at.
The second group of arguments could perhaps be called "deontological arguments" as they go beyond the first-person experiential states of producers and consumers of AI art, and the direct material harm or benefit caused by AI. The main concern here is that we're headed for a future where all media and all human interaction is generated by AI simulations, which would be a hellish dystopia. We don't want things to just feel good - we want to know that there's another conscious entity on the other end of the line.
It's interesting to me how strongly attuned Vaush is to the "spiritual" dimension of this issue, which I would not have expected from an avowed leftist. It's clearly something that bothers him on an emotional level. He goes so far as to say:
and, what was the real money shot for me:
Now, on the one hand, "leftism" and "Marxism" are absolutely massive intellectual traditions with a lot of nuance and disagreement, and I certainly don't expect all leftists to hold the same views on everything. On the other hand, I really do think that what we're seeing now with AI content generation is a natural consequence of the leftist impulse, which has always been focused on the ceaseless improvement and elevation of man in his ascent towards godhood. What do you think "fully automated luxury gay space communism" is supposed to mean? It really does mean fully automated. If everyone is to be a god unto themselves, untrammeled by external constraints, then that also means they have the right to shirk human relationships and form relationships with their AI buddies instead (and also flood the universe with petabytes of AI-generated art). At some point, there seems to be a tension between progress on the one hand and traditional authenticity on the other.
It was especially amusing when he said:
I guess everyone becomes a reactionary at some point - the only thing that differs is how far you have to push them.
I've been going over Chesterton and Lewis lately and I can think of something from both of them that seems relevant to this matter:
Chesterton, Heretics Ch. 17 ("On the Wit of Whistler):
Lewis, The Great Divorce. (Here we have a conversation between a heavenly Spirit and a Ghost coming from hell, both of whom were artists in life):
Now. Personally, I have already felt the sting of feeding one of my own drawings - one that I had thought was one of my best - into Stable Diffusion's "img2img" and, via the magic incantation "trending on ArtStation," seeing the results come out in some ways better than what I had put in. Not in every way, not yet, and of course there are mangled faces and hands and all sorts of details where, if you asked yourself "so what is that, exactly," you'd find yourself disturbingly unable to answer, but - it could still do much better rendering and textures than I had.
I said that stung, and it did, but how did I deal with it? I had to remind myself why I made art in the first place. Did I do so to make money? Now, if I had, I would have had a material complaint - but ha ha, no, I was never remotely good enough for that to be on the table anyway. The threshold of commercial viability was always out of reach for me - and for most everybody - anyway.
But more dangerously, was I making art to say something about myself? To give myself a self-image, to bind my self-worth to being able to do something others couldn't? To make myself a special person? Well, if so, I would have been doing a pretty poor job of it anyhow, but as both those authors say, that's a corrupting impulse on a person, anyway.
No, the good reason I have for creating is because I have something to say. Because there's some idea or image in my head that I need to get out of it, at the very least because I don't want to forget it, as I would if I left it at the mercies of my own squishy memory. As such, I expect that even if I did drink from that Lethe-like fountain, I'd still have something to appreciate in my own works, because they're about things that I've been interested in anyway.
Well, perhaps that fountain is right before us all now. Perhaps pride in proprietorship is something that's about to be technologically taken from us. But perhaps this isn't such a bad thing; perhaps, while I lose the ability to pride myself on being a More Creative Person than others, I gain the ability to actually get ideas out of my head that I never would have managed before. See all the beauty and wonder that I've hitherto seen only "through a glass, darkly" in much greater detail. So have I lost or have I gained?
(Of course, this doesn't resolve the question of losing one's livelihood, so I note that this analysis is sharply limited!)
You can’t see the problem with AI art if you just focus on you, yourself, and your personal capacities and motivations for artistic production.
The problem lies in how AI art alters the nature of art and how we relate to it, at a societal level.
Vaush gestured towards this by attempting to locate the problem in communication - highlighting the relationships between people rather than focusing on individual people in isolation.
I hope to have more to say on these points in a future post.
So there's another good reason to focus on art as expression - you won't have a problem with ai art.
Jokes aside, I think you have been duped, or are duping. The critics of ai art are not concerned about society, they are concerned about themselves. We have had this argument before, and it invariably comes down to insecurity about the future. It is no different here. And we know it is no different because depending on how you look at it Vaush and other ai critics have had at least 5 years - if not a hundred - where they knew this was coming and did nothing about it. It wasn't a problem until it threatened their livelihoods, or the livelihood of someone they love, because it is only a problem because it threatens their livelihoods.
5 years ago I thought that everyone concerned about AI was crazy. I just didn't think the technology was there. I imagine others felt the same.
DALL-E 2 is the first thing that made me pay attention and acknowledge that there really was something there. Maybe machine language translation should have done that sooner, but it didn't, for whatever reason. DALL-E 2 was the first time where I was truly blown away by a new technology in at least the last 15 years.
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