innovation.....“Unhuman: Art in the Age of A.I.,” an exhibition in Los Angeles this October, will feature 12 of the original, A.I.-produced pieces used in the Rutgers study. And after this debut, Elgammal’s algorithm has plenty of room for career growth. That’s because the coders in the Rutgers lab haven’t exploited all the “collative variables” that can be used to jack up the “arousal potential” of the images the algorithm generates. The higher the arousal potential (to a point), the more pleasing the A.I. art is to humans (and the more likely they are to buy it, presumably).
Despite all the A.I. art naysayers, here’s the thing that should make painters and the dealers who represent them nervous: Elgammal claims that the images his computer code generates will only get better over time. “By digging deep into art history, we will be able to write code that pushes the algorithm to explore new elements of art,” he says confidently. “We will refine the formulations and emphasize the most important arousal-raising properties for aesthetics: novelty, surprisingness, complexity, and puzzlingness.”
It’s the kind of exquisite irony that sparks conversations about creeping dystopia and the decline of culture: To regain their edge and pull higher scores on Professor Elgammal’s next Turing test, humans might have to start painting more like robots
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