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weirdmindofesh

Muscles and Armor
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So let’s clear up one thing first. The AI isn't. It has no intrinsic knowledge of what it's doing which leads to most of the weirdness it produces. It does not understand the why. Rather it's chucking the prompts into a blender and hoping for the best. Simple prompts it's likely to get a positive result but more complicated prompts are likely to miss and miss hard. The processes are iterative, and the generator relies on the human operator to guide it. With that out of the way, lets begin. Should the users of this iterative process generator be called an artist? Yes, they should. It is ultimately up to the human to know when the process has yielded desired results that have artistic merit. An analogy could be drawn between them and a wood worker. The wood worker does not affect the processes which the wood is grown, but rather takes the result of the wood growing and shapes it. Wood workers have long since been granted the right to call themselves an artist yet, all they have done was shape the wood. Granted this is a simplification of the process but the idea is the same.


Adding on to this is something far more personal, while I was learning my own tools of the trade in digital art, I was told multiple times that it could not be art as I had never touched a pencil in the creation of a piece. By that definition a sculptor who works in clay can never produce art as they also never need to touch a pencil in the creation of their work. (Maybe they do as a tool to shape a piece.) This logical fallacy that only one type of art could be called art has never sat well with me and I chafe at the idea.


I am not suited to handle the thorny issue of copyrights; such issues are best left to those more versed in the law. My opinion in this regard is that these iterative processes are more akin to a sampling DJ. Pieces and parts are pulled from the sources and the process itself, and as I said before, put into a blender and hoping for the best. Much like the musicians the DJ sampled have little claim on the finished track, same to do the artists sampled by the program have little claim on the finished piece.


And finally, I’d like to address the claim that this program can replace a human artist all together, right now, no. IT doesn’t understand the why nor does it know when to stop iterating. Various programs and projects have shown us what happens when iterative processes are left uncheck, notably the Google Deep Sleep program which consistently generated fractal like patterns roughly around the shape of the original prompt. Going off a similar advancement in speech synthesizers which can generate near natural speech, the people that would have been directly impacted would be voice actors, and they have yet to be massively displaced by these synthesizers.


In my conclusions, I have the following: The AI does not understand the fundamental why’s of art leading to still rely on a human operator to guide it. The human operator does deserve the title artist as they have the eye to know when and how to operate the program to generate desired results with artistic merit. We should not gatekeep these artists simply because the tools they have chosen are new. Copyright is still and will forever be a thorny and complicated issue, however I believe the result of the iterative process does deserve a copyright itself. The various art AI’s will not be replacing human artists any time soon.

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...goes to a friend of mine and fellow deviant :iconlook-away:  (Go give her some love. :P)

I just received my Christmas present from her.

Flowers Talk of Me by look-away
I've never thought of flowers for their symbolism.  (I'm going to have to look that up.)

From :iconlook-away: directly:
"Anemone (Garden) - Forsaken
Marigold - Grief
Mistletoe - I surmount difficulties."

And now I have something to ponder...
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Oops.

Sorry all if you saw a flurry of activity from me.  It just noticed deviations that should have been posted where in sta.sh, but I had posted a later copy.  (I am so confused.)

I think I got it figured out now.  Some new artwork head your way...

(I'm not dead.)
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I'm writing in this at 0300 after posting Resisting My Darkness.

I hinted at this in the description.

Kyo and Dark Kyo are in short, me.

Here is where I get this from:

Kyo represents me.  Where as I view Dark Kyo as a personification of my own personal demons.  I translate over my triumphs to Kyo, and my fears and worries to Dark Kyo.  I've been doing since I created the characters, this is what has helped me tremendously while I'm struggling against depression and fear of failure.

You can see this progression in my drawing folder, since 2007 to 2010, I drew Dark Kyo 13 different times.  Now, from 2010 to 2013, four maybe five times.  (This is not counting the doodles or drawings that have not been scanned.)

Recently, I can no longer live in fear of failure, I have to succeed.

Acceptance Reflection is my own acknowledgement of my own demons.  When put in that context I can best them, just like in my story Kyo bests Dark Kyo.

Resisting My Fear is knowing that I can fall back, go back to being terrified of failure, letting my demons win.

FLO Training is perhaps apprehension?  The expectation of failure?  I can't say with this one as I can with the other two.

I'm not trying to be highbrow with this, I'm stating a connection I've made years ago and never stated at the time.  I was in denial, refusing to believe these two characters where representations of me and know I acknowledge the two are parts of me.  And I have been better for it.
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That one year old entry has to go!

Since I have started working with digital art back in 2007ish, to now, I have been learning constantly.

Although sometimes I wonder if I have hit the limit of what I can do with GIMP, which of course the answer is no.  I have not mastered the use of all the tools and when I do encounter a problem, there is always a solution.

Compare if you will this piece: The first piece I did with GIMP back in 2008.  (The adsolute first was done in 2007 but on photoshop, which hasn't been used since.) To this piece: Recently posted.

Huge difference.  The first piece was done without layers or any knowlegde beyond afew basic tools and a vague understanding of how they worked.  I don't think I realized layers were there until 2009.  Once I found that, the layers exploded, I found I could use layers for anything!  Better understanding of how tools worked lead to better utilization and optimization of the them.  (I just got the bend tool to work right for me.)

Now, I am pushing what GIMP can handle and finding out the hard way when I push too far and too hard.  Crashes are minor, non-undoable actions, mildly annoying, file corruption, put my fist through a monitor!

Cutting a pixel is half and creating a haxel, entertaining, but annoying to fix.

Of course, I have been getting calls to abandon GIMP altogether.  Not happening, too much time and effort have been invested for me to switch to new software and be able to work at the capacity I expect of myself. 

This journal entry started with me stating an idea, going back and redoing some of my first pieces of digital art, but then, I realized its a terrible idea.  Why would I want to overlay an out of date drawing with my newer techniques? 

I forgot what I was going to say....

Well, in short, hey, look at how much my skills have improved, hooray.  Or something like that.

If you take away one thing from this, don't create haxels, they are a pain to deal with.
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Featured

And many thanks... by weirdmindofesh, journal

Crash Course in Sta.sh by weirdmindofesh, journal

Kyo, Dark Kyo, Me. by weirdmindofesh, journal

Digital Revisitation (Revelations?) by weirdmindofesh, journal

Moving On by weirdmindofesh, journal