![]() Similar debates raged in the early days of cinema, and have once again arisen in the case of videogames, with philosophers such as Aaron Smuts making cogent arguments for their potential status as artworks. In 1853, photographer John Leighton had opined that “hotographic pictures are at present too literal to compete with works of art”, and despite the pioneering attempts of early photographers such as Alfred Stieglitz, it was only in the 1940s that photography began to be broadly accepted as an artform in its own right. SUGGESTED READING Computer creativity is a matter of agency By Dustin StokesĬontroversies about the relationship between technology and art are hardly new. ![]() While he claimed to have been open about this fact when entering the competition, many commentators were unimpressed as one of them put it, “typing keywords in a good enough sequence isn’t art.” The artist, Jason Allen, had used a computer program called Midjourney to generate the image from a text prompt. What caused the controversy was not the piece’s content, however, but the mode of its creation. The piece, the cleverly titled Théâtre D’opéra Spatial, depicts an imaginary operatic performance before a small crowd in front of a vast circular window, through which is dimly visible a seemingly alien or otherworldly background redolent of the space operas of science fiction. In August this year, the Colorado State Fair found itself at the centre of an international news story when it announced the winner of its digital art competition. ![]() So, what impact does the human have on the creation of art when a new technology can replace skill? This problem isn’t a new one, instead we should look at the long history of new technology to see how new tools always extend the definition of what art is, writes Henry Shevlin. ![]() The technical skill and style of artists can now be replicated by artificial networks to reproduce new work. Creativity is the last refuge of the artist. ![]()
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