lying on the free table in front of the estate auction house on main street… an art magazine dedicated to the 400th anniversary of the birth of Peter Paul Rubens… i flip through the pages and find reproductions of his drawings and paintings of women… i love the feminine… i love womanhood… i tuck it in my backpack and continue down the sidewalk…

i am out for my daily walk… photographing… thinking… getting some exercise… i will arrive at Bigmouth coffee shop at 7, when it opens… i am shaking up my morning routine a little… maybe a new coffee shop environment will help break the creative block i have been experiencing… i have been unable to write or make photography consistently for a couple of years now… perhaps calling it a creative block isn’t quite correct… i have been exploring trans feminine space… this has involved a complete redo of my wardrobe… countless hours scouring the internet and local shops for dresses, skirts, blouses, shoes, makeup, accessories… what i have been going through has appropriated all creative energies during these years… clothing, makeup, jewelry, shoes… then testing new outfits in the morning at the local coffee shops… i have a good solid wardrobe now… there are still some holes in it though… shoes have been especially difficult… quality women’s shoes in my size are hard to find… last week i spent several hours shopping for shoes on line… i found some new sources… i ordered a pair of lovely red knee height boots and a pair of pecan brown leather kitten heal sandals… recreating myself continues…

even so, i am getting restless… the creative urge is building towards and around other expressions… photography, writing…

my new coffee shop routine will be sat, sun, Kitchen & Coffee, because Bigmouth doesn’t open till 8 AM on weekends… mon, Bigmouth… tue, kitchen and coffee because favorite baristas work the opening shift… wed, thu, fri, Bigmouth…

i stand in front of Bigmouth waiting… a little after 7 the door pops open and a Rubenesque young woman, with radiant smile and pleasant demeanor, pops out carrying a piece of sidewalk furniture… i wait for her to complete the transfer of furniture from inside the shop to sidewalk… when finished, she invites me to come in… i do… she takes up her place behind the counter… i ask her to remind me of her name… Chelsea… i place my order… i ask her how she is today… i compliment her necklace assemblage… she smiles and thanks me… she remembers me, which is impressive… i don’t come here often… she remembers i always ordered decaf… i can’t remember coming here enough to have an always order… i find two packages of coffee beans and request a chocolate chunk oatmeal cookie, which turns out to be the Godzilla of chocolate chunk oatmeal cookies… $50… mostly for the the coffee beans…

i haul beans, Godzilla cookie, coffee, iPhone, backpack and myself to the big round table in the back, my preferred table… after arranging self and things i decide to have a look at the Rubens birth anniversary magazine… i get to page 16 and am drawn to the words RAVISHED BEAUTIES and the adjacent reproduction of The Rape of the Daughters of Leucippus… i read the caption…

According to Greek myth, Phoebe and Hilaria, daughters of king Leucippus of Messene, were snatched away from their husbands-to-be by Castor and Pollux, the twin sons of Zeus. Rubens delighted in such stories, which provided him with almost inexhaustible opportunities to portray his favorite subject: the female nude. **The Rape of the Daughters of Leucippus** (2.25M x 2.10M), painted around 1619, is not a tragic picture: the maidens, like the impish cupid clinging to the horse's bridal at left, **do not seem unduly perturbed by what is going on**.

the news has been thick with the Jeffrey Epstein scandal… Epstein trafficked women globally… many of his victims were under age… highest level powerful men used his services…

highest level powerful men have also worked hard to burry the scandal… giving Epstein sweetheart plea deals… transferring his accomplice, Ghislane Maxwell, to sleep-away-camp prison and providing her with work release privileges… in exchange for her silence and/or misdirection?…

nothing to see here!…

in an ironic twist, the scandal has renewed legs because Trump’s MAGA base was promised full disclosure of the Epstein files to encourage their support… i think they imagined it would be mostly liberals who were implicated… they haven’t backed off now that “dear leader” seems to be among the implicated… sex trafficking minors may be one of the few bridges too far for them…

as i read the caption of the Rubens rape painting i see a 400 year old patriarchal permission slip for rape, interpreted exactly that way by the relatively contemporary caption… the accompanying article was written by a man and published in the June 1977 issue of The UNESCO Courrier… it would not be until 1993 that the United Nations would issue a declaration on violence against women… too late for this publication… one hopes better editorial decisions relative to the portrayal of women were made well before 1993…

i am less upset about the artist and the painting itself, than the patriarchal scholarly contention that the picture lacks tragic import because the women don’t appear “unduly disturbed”… it is difficult to stomach… the women have been rendered as the male gaze fantasizes them… they wanted it, didn’t they?…

in an unexpected twist, i read that the arrival of humanism opened the doors to the painting of female nudes, even nude rape victims… as long as it was grounded in myth…

an AI search summary of the purpose of myth…

Myths explain natural and cultural phenomena, provide moral guidance, and help individuals understand their place in the world. They also connect people to their cultural heritage and address universal human concerns such as creation, life and death.

they also serve to entrench and perpetuate the patriarchal and misogynous underpinnings of European society…

some brief poking around confirms that there is a greek myth about two young male gods, Castor and Pollux, who abducted Leucippus' daughters away from the men they are betrothed to, killing the fiancés in the process… such was the world back then… “they aren’t yours if you can’t keep them,” to paraphrase a line from the TV series Your Friends and Neighbors… in Castor and Pollux’s defense, they were gods and they did marry and have children with the women…

the abduction of women (what rape meant back in the day) has been a thing for a very long time… powerful men and gods do what they wish with the women around them…

how little things have changed… how unbelievably long they have been the same…

I have been in a creative funk; unable to write compellingly; unable to focus on moving photographic work forward. My “Feminine Mystique” project, which at the beginning of the year I imagined myself deeply engaged with by now, is creeping along at the proverbial snail’s pace. I have felt that I am pressing against cosmic headwinds to do anything at all.

Except…

I have been working very hard at reinventing my look. Last year I began exploring a feminine space. I did a lot of writing about it. As fall began coloring the landscape in yellows, oranges and reds, I began coloring my lips in natural and coppery pink, wearing my hair down with 60’s style headbands, wearing my nails longer and pulling tunic like garments out of my closet that I hadn’t worn in ages because they connected my outward appearance with the intense feminine I was feeling inside.

I have always had a strong feminine side, though I did not manifest it much outwardly. For a long time I have preferred the company of women more than most men I meet. And when I say I prefer the company of women to men, it is not only about sexual attraction. I identify with them more deeply than I do men. I like cooking, keeping the house, talking about the things women talk about. I don’t watch sports, I am not interested in fast cars, I have no desire to be a corporate titan, or a corporate anything at all. I don’t play golf, tennis or racquet ball. I do yoga. I have always operated at the fringes of what is normal for my sex and generation, making forays into alternative ways of conceiving myself and then scurrying back to the outer boundaries of normalcy.

In place of the creative projects I envisioned at the start of the year, I am spending a ton of time on women’s clothing sites looking for women’s clothing I can wear. I purchased my first sweater dress from Poetry in early December and it looks great on me. People have been complimentary. I wear it mostly over black slimline jeans. In that configuration it presents more as a tunic than a dress. I have also worn it with tights. In that configuration it presents very much as a dress. I have purchased some colorful knit tops and a couple of statement necklaces. I get compliments on these too when I wear them.

For the past few weeks I have been focusing on my spring wardrobe. The goal is to present in a feminine way without looking ridiculous or pathetic. To walk a fashion line that swings back and forth between feminine and masculine. I ordered a pencil skirt to see how such a skirt would fit on me and discovered that I might not be able to do pencil skirts which might also nix some of the denim sheath skirts I was lusting after. So now I am focusing on tunics and leggings, shirt and sweater dresses, and A line skirts. I have started looking for tops to go with the skirts. I am very enthusiastically putting time and resources into my look, which I have never done before.

It finally occurred to me that my creative project is what I am putting my time and resources into, and right now, that is myself. I am a caterpillar that has spun its transformation cocoon and is busy reinventing itself. What kind of butterfly or moth will I become? I am spending most of my time and a lot of my money, as well as psychological and emotional energy into revisioning my outward appearance. My artwork is me. Until I figure out my inward/outward self, I won’t be able to make art or write much. But when I have this transformation firmly in hand and have rolled it out to public spaces, I have no doubt that I will start making art around it.

This is a complex undertaking in which I continually feel I am risking things. I am risking people’s respect (am I doing this in a dignified way or in a way that makes me seem ridiculous?). I am risking the stability of my friendships (who among my friends will understand and who will distance themselves from me?). I am risking the stability of my marriage (How much change and how fast can our relationship handle?).

I am excited and scared. I also feel gratitude that at the age of 68 going on 69 I am able to reinvent myself like this. It is a beautiful gift to my aliveness.

It is the responsibility of artists to pay attention to the world, pleasant or otherwise, and to help us live respectfully in it.

Artists do this by keeping their curiosity and moral sense alive, and by sharing with us their gift for metaphor. Often this means finding similarities between observable fact and inner experience—between birds in a vacant lot, say, and an intuition worthy of Genesis.

More than anything else, beauty is what distinguishes art. Beauty is never less than a mystery, but it has within it a promise.

In this way, art encourages us to gratitude and engagement, and is of both personal and civic consequence.

—Robert Adams

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It was clear to me early in the week that I wanted to write more directly about art and that I wanted to consider the question of whether AI could make art.

Much of the criticism of AI generated art revolves around the idea that AI isn’t human, doesn’t have the experiences of a human, doesn’t feel the way humans do, doesn’t suffer the way humans do. Therefore, it can’t make art. At least not in the sense suggested above by Robert Adams.

I started this post with the idea that I would make the case that art needs humans and functions best when, as suggested above, it is a process of comprehending, connecting and inspiring. That it’s a human to human gesture and can only be meaningful in that context. The problem with this thesis is that humans are, for now at least, required to start the AI process of making an art object.

Did you know that ’prompt engineering’ is one of the hottest jobs in generative AI? A Prompt Engineer specializes in asking the right questions in order to get the best results from AI. This means that there is a moment of opportunity for human creativity (or lack thereof).

I imagine museum worthy art will arise out of the interface of generative AI and gifted artists and that AI will become a tool of working artists just as cameras became a tool of working artists. Some artists will specialize in prompting AI into the generation of art. It will be their medium. And exceptionally talented individuals will tease out of it “a moment of intuition worthy of Genesis.”

When the photographic process was invented many artists, especially the painters, were hostile towards it. They worried that it would devalue their work much the way artists worry AI will devalue their work now. Before long though cameras were embraced as both an art medium and a tool in the artist tool box. Human beings were required to generate anything from it. As long as humans are required, there is the possibility of art. We give tools purpose. This doesn’t mean there wasn’t disruption, as some illustration work, fore example, was replaced by photographic representation, depriving some artists of a means to support themselves while those embracing the new tool had new horizons for monetization.

A lot of people will use AI to make “art” in the same way that they use cameras to make “art.” They will share it on social media and many will get generous appreciation from their friends and acquaintances. With a little compositional skill, it is easy to make an image that makes people feel something and they will like it. But is that art?

I recently revisited the Hipstamatic app on my iPhone. It’s an app that mimics the effects of plastic cameras. It applies a set of filters to the photograph to give it a ‘look.’ Here is an example:

The picture on the left has the Hipstamatic effect. The one on the right is straight out of the iPhone camera. Which do you prefer?

I have always been hesitant to make Hipstamatic effects a part of my art practice. It felt like cheating to me. It felt like a superficial way to engage people through, in this case, their fondness for nostalgia. And it does work. Consider this photograph I made and shared last week:

It prompted much more engagement from the community I shared it with than most of the other photographs I have shared with them. Most of the time I get no response at all.

Here’s an image that is more typical of the pictures I like to make and share:

Which attracted you more? The Hipstamatic version of the Sunoco gas station or this ‘abstract’ made by composing the drainage basin, concrete pad, asphalt and crack in the asphalt within a rectangular frame. If you said the Sunoco picture, emotionally, I agree with you. Intellectually, I prefer the drainage basin abstract.

Don’t get me wrong, I love nostalgia, just as most people do. It’s like mashed potatoes, comfort food, but I don’t want to make work that panders to that nostalgia love but does little else. Art needs to contain more than an emotional hook for me. As I sit here writing about it, I have to acknowledge that one could make a legitimate art portfolio with the Hipstamatic app and that perhaps I should attempt to do so. Such a portfolio would have to be exploring something conceptual, like making a demonstration of how anything can be made appealing if you put the right color glasses on to look at it and what does that mean about us and society. Something like that might head in the direction of a worthy intuition.

A lot of what people will make with generative AI will be compelling, but it won’t be art in the sense that Robert Adams tries to get at in the quote I started this post with. What will happen, unfortunately, is that it will further devalue the artist in the eyes of the general public, because “my five year old could make that.”

A little over a week ago I attended the opening of an art show at the Public Library in Saugerties, NY. It was a good show. Each of the artists was asked to make something out of a discarded book. The results were amazing. It was fun to attend the opening and talk with the artists or eavesdrop as they talked with friends. This is not, I thought, the kind of assignment one could give to AI. An artist working with AI might prompt it to generate some of the materials to be incorporated into the work, but making three dimensional art out of found materials seems beyond the present capacity of AI. There’s also nothing quite like the experience of being with art and artists in the flesh. Human to human.

Here is some of the work I saw:

”Maggie” Brian Lynch

”Discover, Explore, Immerse Yourself” Grey Morris

”Once Upon a Time” Ann Morris

”I Promessi Sposi” Steven Parisi-Gentile

I am comforted by the idea that there are modes and vehicles of human expression that are hard for AI to tackle. That even with AI, gifted human interface will still be needed to make the best art, and that getting together and sharing art is the more fulfilling experience.

I wonder if I could become a good prompt artist? I think I am going to have to play with it some. I will report back when I do.

The chance of gain is by every man more or less over-valued, and the chance of loss is by most men undervalued, and by scarce any man, who is in tolerable health and spirits, valued more than it is worth. —Adam Smith

I am a determinist. As such, I do not believe in free will. The Jews believe in free will. They believe that man shapes his own life. I reject that doctrine philosophically. In that respect I am not a Jew… I believe with Schopenhauer: We can do what we wish, but we can only wish what we must. Practically, I am, nevertheless, compelled to act as if freedom of the will existed. If I wish to live in a civilized community, I must act as if man is a responsible being.

I am enough of an artist to draw freely from the imagination. Imagination is more important than knowledge. Knowledge is limited. Imagination encircles the world. —Albert Einstein

While I certainly wasn’t done with my thinking about AI, I did not expect to be returning to the topic so soon, but there was a cascade of stories in my news feed about AI that I felt compelled to save for future reference and it turned into the dominant trend for the week. So, here I am again.

Let me start by sharing that cascade with you:

Sci-Fi Mag Pauses Submissions Amid Flood of AI-Generated Short Stories

The rise of AI-powered chatbots is wreaking havoc on the literary world. Sci-fi publication Clarkesworld Magazine is temporarily suspending short story submissions, citing a surge in people using AI chatbots to “plagiarize” their writing.

Viral “Photographer” Reveals His Images Were AI-Generated

Jos Avery was surprised when his portraiture account amassed nearly 30,000 followers in just five months. The self-described photographer primarily posted heavily retouched black-and-white portraits accompanied by fictional stories about the subjects to @averyseasonart. But Avery recently came clean and told the world that his “photos” were actually generated by Midjourney, a text prompt-based artificial intelligence image-generation program.

Mueseum Under Fire for Showing AI Version of Vermeer Masterpiece

… critics of AI technology found the museum’s decision to show Midjourney-generated art concerning. Artist Iris Compiet commented on the My Girl with a Pearl Instagram post that she found the amount of AI images entered an “incredible insult,” and others agreed. Some artists have heavily condemned the platform and other similar tools like Stable Diffusion for scraping potentially copyrighted works to create datasets, allegedly without seeking artists’ permission. Midjourney and DeviantArt are part of a class-action lawsuit recently filed by the United States District Court for the Northern District of California accusing the platforms of copyright infringement.

And then there was John Oliver’s contribution to the subject:

John Oliver on new AI programs: ‘The potential and the peril here are huge’

It’s hilarious. Time well spent even if it glides over the longterm threat a little too smoothly by telling us not to worry, the AI we are dealing with is narrowly focused and therefore not capable of taking over the world, yet. He does, however, get to something that is important, which is that these AI iterations are something of a black box. We don’t know how they do what they do. Right now that’s because the driving algorithms are proprietary and secret. Oliver argues for transparency which is well and good, but, it is probable that this intelligence will self develop itself to a place where we really can’t understand how it does what it does.

Here are a couple of my own offerings on the subject in the past two months:

What is ChatGPT For?

In which I conclude…

My most optimistic self says this isn’t the invasion of the body snatchers or the Borg. We will continue to do what we do, be what we are, love and hate one another, gather in communities small and large. While doing so, we will be parts of something that is more.

And…

Nick Cave Vs. ChatGPT

In which I observe:

Much as I admire Nick Cave and my musician friend for being the valiant and vibrant creators that they are, I think the argument that ChatGPT doesn’t feel and hasn’t experienced is beside the point. It doesn’t need to feel, it only needs to make human beings feel in this particular game. It only needs to predict what will bring tears to our eyes and laughter to our faces, what will draw us deeply in and help us transcend ourselves. I suspect that ChatGPT and other AI like it can and will get very good at that.

And finally, a talk I gave at the New York Society for Ethical Culture in 2009:

What Intelligent Life Is Made Of

In this talk I reviewed the publicly available information about AI and robotics and concluded that we should call it “Alternative Intelligence,” not Artificial. It also contains a pretty interesting excerpt from the Unabomber Manifesto if you’re interested.

So, why another post about AI? Because I want to get a few things straight in my/our minds about AI.

• AI is here to stay.
• AI is the continued evolution of intelligence on the planet.
• AI is already very good at, and will get even better at, getting us to engage with it.
• There will certainly be good that comes of AI.
• There will certainly be bad that comes of AI.
• We are not in control of the evolution of AI and never will be.
• We can be happy, creative and productive in spite of AI.

So, let’s take each of these statements in turn.

AI is here to stay.

No matter what we think about it, no matter how angry we get with it, no matter how afraid we are of it, we are not going to stop it from happening. It is the product of a global economic system that is utterly entrenched and stands to benefit from it enormously. Because there is so much for some to gain from it, vast sums of money are being and will continue to be invested in it. Because it is the exciting cutting edge of computer technology there will be an endless supply of young engineers that will want to work on it.

AI is the continued evolution of intelligence on the planet.

I believe that AI is part of an evolutionary step in the development of intelligence on the planet and there are evolutionary processes behind its emergence that are not comprehensible to us because we are enmeshed in them, subsumed by them.

AI is already very good at, and will get even better at, getting us to engage with it.

If you think Facebook and Twitter and Instagram were addictive, AI will make them seem like child’s play in its ability to serve up what makes us smile, laugh, cry, angers us, you name it. If we can feel it, AI will learn to serve up content that makes us feel. This will be very addictive.

There will certainly be good that comes of AI.

Think health and well being. Thinking affordable legal assistance. Think self driving cars and trucks (they will get here). There is lots we can be helped with.

So, we have to decide how we want to deal with it. How we want to be with it.

There will certainly be bad that comes of AI.

Whether or not “Skynet” ever evolves, there is plenty to be worried about. Think user addiction (see above). Think the ultimate scam artist. Think behavior we can’t explain or control (the black box problem, see above).

We are not in control of the evolution of AI and never will be.

I personally don’t think we have ever been in control of it and aren’t about to start being in control of it. Intelligence is evolving. It was always going to do that. Short of societal collapse (which is not an impossibility by any stretch of the imagination given the threats to the globe currently unfolding), AI will continue to progress. What it evolves into is a huge question that can’t be fully answered right now though Hollywood is not at all short on speculation (see the Terminator series, 2001 A Space Odyssey, Battlestar Galactica, etc).

We can be happy, creative and productive in spite of AI.

Assuming there is no “Skynet” scenario, assuming we are not enslaved by it, then I think we might coexist with it, that we will be a part of it even as we go about our daily lives.

This past Friday I attended an art exhibition in the library of Saugerties, NY. Here is some of the artwork I saw:

Each of the artists invited to the show was given a discarded book and asked to create a site specific sculpture. It is a unique show in a local setting. At the beginning of the year I set an aspiration to support the artists I know and art in general by being present to it, attending openings, seeing shows, especially local ones. This is the level where face to face contact with human imagination and its products is to be experienced. I saw some very good art on Friday. I got to talk with a few of the artists about their work and eavesdrop on a couple others talking to friends and others about their work. It was a direct, visceral experience.

I am convinced that the best way to navigate the changes that are coming our way is to go local. Either as artist or art appreciator, go local. Share your work locally, seize every opportunity you can to see and appreciate local work and meet the artist. You may or may not be creating or witnessing “museum worthy” work, but you will be participating directly in the culture of the place you are in. This is a level of being and interconnection that I don’t think AI can disrupt except to the extent that it entices us out of this local experience. Locks us up in our homes, offices and studios, starring at the computer screen. We must allow ourselves to be compelled to be human.