Home Artificial Intelligence Augmented Imagination

Augmented Imagination

Augmented Imagination

Buckhouse speaking on the Sequoia AI Ascent Conference

Gone are the toll-bridge collectors on the Golden Gate Bridge. Gone are the checkout clerks out of your favorite food market. But what about us artists? Writers? And thinkers of any stripe? Are we about to get gone too?

AI is not going to mean the death of artists, intellectuals, or anyone else. As an alternative, it can mean our rebirth, but provided that we make it so. Here’s how: we must stop considering of AI as Artificial Intelligence, and as an alternative consider it as

If we augment our imaginations with AI — even when our imaginations were mighty powerful to start with — we’ll create what culture needs but has not yet seen. AI will give artists and designers more power and talent than ever before.

As we augment our imaginations with AI — artists, writers, designers, and filmmakers (each traditional and recent) could have recent ways to create their best work and remix across the plane of the adjoining possible to indicate us what we’d like now (but haven’t yet seen).

I got here up making movies for film franchises that went on to turn out to be household names: Shrek, Madagascar, Matrix, and more. I’m trained as a standard painter and have had gallery and museum shows across the globe. I run a design lab. I’ve designed products in your phone at once. I’ve written jokes you’ve heard. I’m a working designer, author and artist. Don’t take my word for it… here’s what ChatGTP-4 said in response to Who’s Artist, James Buckhouse… you so realize it should be true…

I still have one foot in Hollywood, working with writers and directors as they think through story arcs and character development to attempt to create stories that move us, that transform us. I’m writing as someone who cares deeply concerning the creation of latest art and who hopes that technology will enrich, not oppress humanity, and as someone who behind the art and stories that all of us love.

And on this moment, I’m exceedingly hopeful, excited, and optimistic.

This morning — today, this very day! — is the best time to be alive within the history of planet Earth. Yes there’s still war, yes there’s still disease — tragedy abounds. Personal pain persists… Governments struggle, people remain oppressed… horrific atrocities exist… and yet…

And yet.

And yet there has never been a moment after we were more perfectly positioned to live as much as our calling to embrace the hard problems of existence and to unravel them — and solve them well — than today.

Consider the innovation up to now 12 months. The past month. This past week. Within the last 48 hours. This morning is one of the best morning to get up alive that has ever happened. The one most ripe with opportunity. But why? Why now? Why not another time within the last 100,000 or million years?

Today is marvelous because as humans have an adaptation that helps us and has brought us to this moment. We aren’t the strongest. The fiercest. The fastest. Or probably the most well-armored.

We lack the teeth of the tiger. The talons of the raptor, the hard shell of the tortoise. We aren’t even the strongest primate. We’re essentially sacks of water and meat. Nobody fears our claws or our teeth. And yet now we have one thing. One thing that others don’t. We have now a special ability. And with it, we are able to escape the terrible fate of a lifetime of linear progress in our learning — that terrible struggle where you need to learn totally on your personal and work out every problem anew.

Humans do it in a different way, we are able to each listen and speak — we are able to each hear concerning the experiences of others and share our own in order that we don’t just learn what we ourselves have discovered, but yet also we are able to learn what each living human before us has found out to bust our curve of information away from linear growth towards the exponential arc of total accumulative understanding — after which… after which…

The explosion of potential that happened this morning is the best there has yet been. And tomorrow, amazingly, it can be even greater.

And yet what we’re doing, today and on daily basis, is greater than just learning. We each learn from others and we teach what we’ve learned. It seems our adaptation isn’t merely learning — many animals do this — And as humans now we have a fabulous, portable, memorable, extensive process for this rare combination. It’s called a story. Story is framework through which we each learn and teach and remix.

Story is our compact, encapsulated method of information distribution and creation. It is thru story that we fork each others repos and speed up human potential.

Story is the method that has kept us alive and keeps us flourishing. And it’s We listen and we learn and we share what we all know and we remix to expand the plane of the adjoining possible with each recent element that’s added in to the treasure trove of human knowledge.

AI does this too—and does it at a scale that finally lives as much as the promise of constructing use of all previous human knowledge. The emergent possibilities are potentially staggering.

But back to Generative AI for art & design for a second… and a temporary trip into art history… and as with the complete history of art, to essentially speak about it we also must speak about money.

Within the old days, as artists, we might see work that we loved and it could influence how we created our own. A famous example from 1511 got here from a moment when Raphael and Michelangelo were each working on the transforming of the Vatican. Mike was doing the ceiling of the Sistine Chapel and Raf was working on the papal apartments about 950 feet down the hall. In the course of the day they’d pass one another within the corridors like rival cool-kid gangs in highschool mocking one another — Mike was too scruffy; Raf, too fashion-focused — and sneer at one another’s work. But at night, they secretly admired one another’s output. One night Raphael snuck into the Sistine Chapel and peeked under the curtain and saw Michelangelo’s magnificent figures. Flabbergasted, he sprinted out and did two things: he scrubbed a few of his own figures and made them more like Mike’s — muscular and daring — after which he added an homage to Michelangelo to his own masterwork, The School of Athens, as a celebration of the spectacular work of his frenemy. Incorporating influences from one other artist meant doing the work to bring their style into yours and facing as much as public scrutiny, recognition, and discussion while you did.

Now, 512 years later, we’re undergoing our own rebirth of art. The brand new possibilities open the mind just like the first dawn of spring. And yet with it comes some tough questions of ownership, credit, and payment. Generative AI tools are trained on visual information, and each image comes from somewhere, so if we dig deep enough there’s an advanced, but real, DNA of influence for every generated work. With this in mind, could it’s possible to seek out a strategy to pay artists whose work helped train the model? That sounds hard, and fraught, but likely worthy of investigation.

YouTube worked through a similarly tricky, seemingly intractable, set of issues around people uploading copyrighted information to the platform. They found a novel way forward and, in consequence, the creator economy thrived (and copyright holders got paid). Here’s a TED talk on how YouTube approached it. Their answer isn’t perfect in all cases, and doesn’t really apply to AI, nevertheless it was ingenious for the issue it was solving. Could something unique, yet equally ingenious be developed for Generative AI?

While the problems of ownership and payment are being worked on and explored within the courts, there are currently two general approaches that folks can use to aim to handle the ownership concerns of models: the primary is to make use of narrow, private, or semi-private models which are ; the second is to make use of art to coach a model.

For instance, Adobe states that it only used licensed and public domain sources within the training of its Firefly AI. Further, to cite the Fast Company article on the product launch, “Adobe says it’s working on ways to pay creators whose images are leveraged by Firefly, including contributors to Adobe Stock.”

Another choice is for Artists to opt out, no less than from a number of the data sets. I respect that selection very much, nevertheless it has also made me wonder, For some it may be.

Can there be a way for AI to work that’s fair to artists, propels us forward, cracks open the magic of this technology to further expand the plane of the adjoining possible?

Being an artist is each a lifelong pursuit of excellence and a probability to influence the evolution of culture through your practice… and having your work woven into the DNA of culture is about as close because it gets to immortality.

Jean-Luc Godard, one in all the leading lights of the French Latest Wave of filmmakers, had a line in his masterwork, Breathless, that illustrates this concept: within the scene, Patricia (Jean Seberg), is interviewing an creator (played by Jean-Pierre Melville) and asks “what’s your grand ambition?” and the creator replies “to turn out to be immortal, after which to die.” After I first heard this line I loved it. It appeared like a willful contradiction — how will you be immortal and in addition die? But then because the ice melts in your personal mind you realize it is a call to create exceptional art. Transcendent art. Art that survives long gone your personal life. Art that influences culture and humanity for generations. Art is the trail to such a near-immortal influence.

Still from from Godard’s

On this light, being included within the Generative AI model changes from feeling like a rip-off to being an honor, because it’s a strategy to have your influence reach far beyond your initial work. When your personal art becomes a component of the cultural genome, you’ve secured a spot beyond your personal reach—but only if you happen to can still eat. possibly through one in all the present approaches, or possibly through something recent.

Within the meantime, skilled studios are increasingly fascinated about using the art and assets that they already own (or have paid artists to create) to coach or tune their models. This concept got here up within the recent AI Film festival in NY.

Hear a panel (Paul Trillo, Souki Mehdaoui, Cleo Abram and Darren Aronofsky) discussing the usage of AI in film.

Recently I tested out this “more private” approach: I trained an AI by myself paintings after which had it create a couple of more back for me in my very own style. The outcomes are each familiar and strange. A few of these feel very much of my very own style and touch. Others, well, less so. And yet, what a wierd and wonderful mirror to see myself presented back to me in the shape of my very own vocabulary. The familiar rendered strange. The self-same as other. I loved doing it. I didn’t feel robbed, I felt marvelous.

It also felt powerful.

Using Generative AI, artists could move from making a single work at a time to with the ability to create an entire universe of books, paintings, movies, videos, games, and more — all based on their ideas and perspective. After I worked on Shrek, we had 400 people working 11–14 hours per day for 1–4 years (depending on which department you were in). This was a mind-numbing amount of labor. We got faster by the point Shrek 3 rolled around, but only a bit of. It still took 18 months even on the fastest project.

Today with Generative AI, we are able to start to assume with the ability to make an entire movie with just a couple of trusted collaborators (and even alone?) and achieve this in a matter of days or perhaps weeks, not years. At some point, possibly, the stories we watch will unfold before us: unfolding in real-time based on the guidance and direction we whisper into the ear of the model because it generates.

Generative AI tools will change how we make movies, TV, games, artwork and more. Just because the camera obscura, the film camera, and digital painting modified image-making… just as 3D animation and digital FX modified how movies are created… just because the laptop modified how we write and the synthesizer, sequencer, and sampler modified how we compose… similar to all of those, Generative AI will change how we create.

, because art is unkillable. Art is as everlasting as hope. Art isn’t a method or a tool, but an urgent need for in search of meaning in a moment that’s ever-evolving. . And because the ever-expanding yet ever-receding NOW, art can’t die, even when machines turn out to be the mirrors that reflect our recent now in ways in which get sometimes uncomfortable.

AI will change us, but it can also teach us what we already know. It can remind us what the source of art actually is. It can cause us to swan dive into the abyss of our own essential insights about what matters. The uncomfortable truth is that art is and at all times has been concerning the idea — the insight — the emphasis — the λόγος — and never merely the execution of that concept, at the same time as (paradoxically) we only experience the art through its execution. There was even a term for this within the Renaissance. It was called Ars and Invenio. Ars was the craft. Invenio the innovation. You would like each an incredible idea and great execution. Weak, trite, or poor execution will render an incredible idea inert. And a nasty idea with good execution remains to be bad. We’ve all seen a well-made bad movie. You will have to have each. All the time. Even the exceptions to this rule are secretly instantiations of it.

A decade ago, it could have been ridiculous to assume that designers would collaborate on the identical designs at the identical moments with no-rules-everyone-in-the-same-document-at-the-same-time collaboration. But Figma modified all that, and now we are able to’t imagine designing another way. Collaboration just makes all of us a lot better — because with it we are able to escape the linear knowledge attainment of a single human’s lifetime of skill acquisition. We as an alternative grow and learn on the speed of everyone’s learning, not only our own. The change waiting for us with Generative AI is even greater.

Generative AI has a shot to rework everyone into an image-maker, and each skilled artist right into a studio. It has a probability for all of us to learn on the speed of everyone’s insights to get to the reality of the human condition in ways in which haven’t yet been seen or experienced. It gives us a shot to chase our curiosity all of the strategy to revelation and grasp at greatness on the strategy to cultural semi-immortality. It’s a probability to weave ourselves into the worldwide, cultural DNA while benefiting from and contributing to the strengths of everyone else’s efforts. It’s a probability to rework the world again through a recent sort of ars and invenio. It’s a probability to make a difference.



Please enter your comment!
Please enter your name here