In AI Art: Machine Visions and Warped Dreams, Joanna Zylinska pulls no punches. Most of what passes today for AI art is bad. Really bad—a dismal portfolio of robot-made Rembrandts, Van Goghs, and vapid AbEx takeoffs ejaculated by the R&D wings of the world’s favorite tech corporations. “Kindly put,” Zylinska writes, “much of generative AI art celebrates the technological novelty of computer vision, fast processing power and connection-making algorithms by regaling us with a dazzling spectacle of colours and contrasts as well as the sheer volume of data” (76). But

unkindly put, it becomes a glorified version of Candy Crush that seductively maims our bodies and brains into submission and acquiescence. Art that draws on deep learning and big data sets to get computers to do something supposedly interesting with images often ends up offering a mere psychedelic sea of squiggles, giggles and not very much in-between. (76)


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