I’ve gotten into AI assisted art in the past month. I would agree that a pure text-to-image approach does imply a lot of creative control given over to the AI tool - sometimes that results in happy accidents, sometimes that leads to very generic looking generations.
There are a wealth of tools and techniques at an artists fingertips (and free or cheap) that help constrain the generation to a visual thinker’s sketch or apply style to the image. Most AI platforms incorporate image-to-image and serviceable artworks can be generated from a very rough sketch of a composition. Text-to-image can be constrained with extensions like controlnet (automatic 1111, stable diffusion) where you can take a reference image or a black and white image of diffused shapes indicating depth and have the generated image tied such that you can have very predictable compositions.
Pure text-to-image, I see the writer’s point. However that’s really only scratching the surface of what can be done and not a fair assessment of “AI art isn’t suited for visual thinkers” in my opinion. Taking an AI output and tossing it into photoshop (or Krita) as a foundation to be worked on is also a valid path - you could then take that worked image and then do image-to-image on it and see what you get. To me, it’s more of a collaboration with the tool of AI rather than an all powerful genie. If I have a strong visual idea in my head, I sketch it, or even photograph me doing it and use that as a base for the AI to work with.
I will add though, that the downside of AI assisted workflows is feeling less connected to the art - I didn’t spend the time with the image to feel out each piece and it’s quirks. The image appears, and I have to pour over it and touch it up to feel more ownership of the result.
I can see the image fine on kbin, you could also be getting randomly consistent server errors cause there is a little bit of instability in the platform.
I'm disappointed, but not surprised. Still, I cannot imagine spending a lifetime dedicated to a craft, honing it, immersing myself in the work of it, only to have it celebrated as either a gendered exception or as an accomplishment somehow credited to abusive ex.
Many artists are part of communities. Some artists receive recognition, some do not, but we're often so eager to insist that those we recognized first somehow influenced everyone else, and seldom was it the other way around, or an exchange.
It's such a common narrative, as if we appoint these figures to be the main characters of artistic history and the entire narrative of that movement must revolve around them somehow.
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