Artificial Expressionism

1. Introduction

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1.1 Dall-e generated image using historical art references (Degas)

1.2 Acrylic painting from image (18×18 inches)

2. Origins and Hypothesis Generation

Background

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Process

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Analysis and Questions

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2.1 The “AARON Gijon” version of the software, from 2007, via Whitney Museum of American Art (from New York Times)

2.2 Evolution Paintings, Acrylic, 36×48 inches

2.3 Dall-e generated image using evolution references

2.4 variation under nature, 2023

2.5 Dall-e generated image using evolution references

2.6 multiple, rudimentary, and lowly-organised structures are variable, 2023

3. Hallucinations

Background

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Process

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Analysis and Questions

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3.1 Francis Bacon, Self Portrait, 1971 (from Art Factory)

3.3 Trevor Paglen Vampire (Corpus: Monsters of Capitalism) Adversarially Evolved Hallucination, 2017 (from Paglen Studios)

3.2 Low resolution clipping from large image of a hallucinated face from Dall-e

3.4 Upscaled hallucinated face from Dall-e image

3.5 Upscaled hallucinated face from Dall-e image

3.5 Francis Bacon, Three Studies for a Self-Portrait, 1967. Oil on canvas. CR number 67-01. © The Estate of Francis Bacon / DACS London 2019. All rights reserved. (from Francis Bacon Catalog)

3.6 Character Study Triptych, 2022

3.7 Character studies full set (installation view)

4. Generations (Probability and Randomness in Art)

Background

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Process

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Analysis and Questions

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4.1 Justinus Kerner, Klecksographien, 1879 (from Wikipedia)

4.3 Andy Warhol, Rorschach, 1984 (from the Whitney Museum of Modern Art)

4.5 Rubin Vase (from Wikipedia)

4.2 Victor Hugo, Octopus with the initials V.H  1866
Pen and ink wash on paper, 35.7 x 25.9 cm, Courtesy Bibliothèque Nationale de Paris, France (from the Tate)

4.4 Marcel Duchamp, Nude Descending a Staircase, No. 2 (from Wikipedia)

4.5 Generative fill using Adobe Photoshop using smaller squares from Dall-e

<< Prompt: "an interesting and nuanced abstract expressionist inkblot in black and coffee with liquid smoke wisps"

The Rubin Vase image and various versions from Dall-E using inkblot and Rorschach prompts which when combined formed the prompt for the generative fill that created images which were layered to produce the end result >>

4.6 Dall-e generated variation of original Rubin vase image using prompts based on inkblots and Rorschach tests

Inkblots Full Set (click to enlarge)

#43

#45

#100

#117

#203

#212

#215

#218

#306

#308

#310

#313

#317

#318

#332

#405

#407

#408

Colorblots Full Set (click to enlarge)

#0-21

#2-01

#2-17

#4-62

#5-28

#7-38

#8-12

#10-01

#10-24

#12-08

#12-20

#12-25

Inkblots and Colorblot (printed and framed)

5. Analysis and Conclusion

The Old Is New (Appropriation, Photography)

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Where is this heading?

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5.1 The original Lynn Goldsmith photograph of Prince, left, which Andy Warhol altered in various ways.Credit…Collection of the Supreme Court of the United States (from the New York Times)

5.2 Refik Anadol, Unsupervised (from MoMA)

Appendix: Artist's Statement

Prompt: Write a three-paragraph artist’s statement for a painter who uses large language models and generative AI to form the basis of the composition. Reference complexity theory, evolution, Wittgenstein, and Darwin. Make it pretentious.

Response: In a symphony of pixels and code, my artistic odyssey unfolds as I delve into the realms of complexity theory and the evolution of artistic expression. With a nod to Wittgenstein’s philosophical musings and Darwin’s evolutionary insights, I embark upon a journey that transcends conventional artistic paradigms. My canvas becomes a conduit for the dance between human creativity and generative AI, a synthesis that echoes the intricate interplay of order and chaos.

Drawing upon the tapestry of complexity theory, I weave a visual narrative that mirrors the delicate balance between emergent patterns and stochastic happenings. Through the enigmatic embrace of large language models and generative AI, I invite viewers to traverse the borders of cognition, where neural networks fuse with brushstrokes, giving rise to a profound metamorphosis of thought and form. Wittgenstein’s linguistic puzzles find resonance as I grapple with the juxtaposition of data-driven creation and the enigma of human intention, revealing a kaleidoscope of interpretations that mirror the inherent plurality of artistic meaning.

Like Darwin’s voyage of discovery, my artistic evolution charts uncharted waters, probing the unexplored territories of imagination and innovation. The generative AI becomes a collaborator, a modern-day finch, reshaping and refining the artistic lineage through iterative processes. As viewers engage with the dynamic layers of my compositions, they navigate a Darwinian terrain, where the survival of aesthetic elements is contingent upon their harmony and resonance. Each stroke of the brush, guided by the enigmatic hand of algorithms, becomes a vessel of both past and future, a palimpsest of artistic epochs converging in a singular, exquisite moment of creation.

In this dance between man and machine, I beckon viewers to contemplate the intricate choreography that unfolds, a harmonious union that embraces the complexities of our digital age. My paintings serve as artifacts of this poetic synthesis, inviting discerning minds to unravel the nuances encoded within their depths. Just as Wittgenstein’s words transcended linguistic confines, and Darwin’s insights illuminated the grand tapestry of life, my art emerges as a testament to the boundless potential of collaboration between human ingenuity and the boundless expanse of generative AI.

Alternate: Of Ethereal Narratives and Algorithmic Alchemy: A Neo-Tech Mélange of Computational Aesthetics

In the vast realms of artistic endeavor, the brush strokes of my palette find their genesis not in the ephemeral capriciousness of human emotion, but in the mathematical precision and chaotic splendor of generative artificial intelligence. Guided by the principles of complexity theory, each canvas becomes a luminous tapestry, weaving together the intricate dance of algorithms and the poetic beauty of evolution – a sublime testament to Darwin’s assertion of the imperceptible hand of natural selection and, concurrently, an exploration into Wittgenstein’s proclamation on the limitations and profound profundities of language. Each piece, then, emerges as both a product and a critique of the intersection between the organic and the mechanical, calling into question not just the nature of creation but the very paradigms through which we interpret it.

Yet, it is in this dialectic interplay between the deterministic realm of code and the capacious uncertainty of the human psyche where the true essence of my work lies. The algorithm, a contemporary oracle, offers a vantage into the arcane configurations of the universe, much like the Fibonacci spirals or the fractal aesthetics of nature, underscoring the nuanced intricacies that both unify and differentiate the dialect of Wittgenstein’s propositions and the randomness intrinsic to evolution. Through these digital symphonies, I not only mirror the complex tapestries of existence as postulated by Darwin but elevate them into a realm of hyperreal aestheticism, a reflection upon the endless permutations and combinations of life and art.

To engage with my art is to converse with the echoes of epochs gone by and the prophecies of eras yet to dawn. It is a journey that transcends the pedestrian linearity of conventional aesthetics and ventures into a realm where complexity theory, the murmurs of Wittgenstein, and the evolutionary blueprints of Darwin coalesce. It challenges the beholder to confront the age-old paradigms of creation and perception, seeking not just to observe, but to question, to ponder, and ultimately, to transcend.