What are we even talking about? It’s too basic but I can’t help it. I ask Lebowitz a clumsy question, something like, ‘Isn’t the labor of trying to make something worth something?” She says of course. The slippery slope tack: if we’ve accepted that cameras do not make the photographs, but that photographers do, why should any succeeding technology that the human mind directs for its purpose not be judged similarly? That is, as a genuine, human act of creation. “Are the only real photographs the ones made on film, not the digital ones? My friend Peter Hujar would say so.” “These are not real photographs, but what are real photographs?” Lebowtiz begins. She repeats an apology to me several times: she doesn’t know what this means, the exhibition, the fact of its genesis. It turns out Miller also interviewed Lebowitz for his documentary, though it doesn’t seem clear why.
#Openai dalle produces fantastical images you generator
She’s thumbing through the exhibition text that was produced for the show by author Benjamin Labatut partially using ChatGPT, an AI text generator also produced by OpenAI. Blunt, coarse bob, big coat, tortoiseshell glasses perched on her nose and another set in her welt pocket. Beguilingly simple, pointing back to nothing. A disk, just a flat circle of some substance, held in the hands of a woman. Here is a mushroom cloud, as if from an explosion, but flattened in a way that, perhaps, Nature wouldn’t allow. Here is a profile that looks Native American, extending an arm that could be a wing, that could be cultural dress.
Some of them seem to represent momentous or historical moments in the past. Often extremely out of focus and piled on with grain, there is just enough form to suggest a subject or a landscape. Sure, many of Miller’s works look like they could be photographs, but many are heavily stylized. Don’t Appear to Be Focused on Artists’ Artificial Intelligence Concerns
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