Art in the Age of Artificial Intelligence

"Generative A.I., once an uncanny novelty, is now being used to create not only images and videos but entire "artists." Its boosters claim that the technology is merely a tool to facilitate human creativity; the major use cases we've seen thus far-and the money being poured into these projects-tell a different story. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss the output of Timbaland's A.I. rapper TaTa Taktumi and the synthetic actress Tilly Norwood."

""A.I. has been a source of fascination, of terror, of appeal," Schwartz says. "It's the human id in virtual form-at least in human-made art.""

"Read, watch, and listen with the critics: TaTa Taktumi's " Glitch x Pulse"Cardi B's "Am I the Drama?""Pop Star Academy: KATSEYE" (2024)" Dear Tilly Norwood," by Betty Gilpin (The Hollywood Reporter)Tilly Norwood's Instagram account" Holly Herndon's Infinite Art," by Anna Wiener ( The New Yorker)"2001: A Space Odyssey" (1968)"The Morning Show" (2019-)"Simone" (2002)"Blade Runner" (1982)"Ex Machina" (2014)" The Man Who Sells Unsellable New York Apartments," by Alexandra Schwartz ( The New Yorker)" The Work of Art in the Age of Mechanical Reproduction," by Walter Benjamin" The Death of the Author," by Roland Barthes"

Generative A.I. is being deployed to produce not only images and videos but fully formed synthetic performers and "artists." Prominent projects and investment emphasize constructed artists over purely augmentative tools. Examples include Timbaland's A.I. rapper TaTa Taktumi and the synthetic actress Tilly Norwood. Historical films and television, from 2001: A Space Odyssey onward, are revisited to trace cultural expectations and anxieties about A.I. A.I. provokes fascination, terror, and appeal, functioning as a virtual human id within human-made art. A curated list of songs, shows, films, essays, and social accounts accompanies the examination of synthetic creativity.

Read at The New Yorker