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Today, we're going to take a look at issue 48 of the Intersect newsletter.

This one's from April 8, 2025, and it was curated by Jurgen Berkessel.

So we're really going to be focusing on his commentary on the articles.

Yeah, it's like getting a direct line to his thoughts on these fascinating intersections of art and tech.

And it's all laid out in the newsletter, right?

Issue 48 is themed Imagination to Reality.

When Art Leads, Technology Follows.

It explores how artistic visions in different fields often end up paving the way for actual technological advancements.

So where does Jurgen kick things off?

Well, he starts by looking at the potential origins of space exploration.

He focuses on an article from Hacker Noon about how science fiction has deeply influenced how we think about space travel.

It's fascinating to think about writers like Verne, Clark, Heinlein, Asimov.

I mean, they weren't just writing stories.

They were kind of shaping our expectations of what space travel could be.

Think about a trip to the moon.

Starship Troopers.

Exactly.

Jurgen's point is that they weren't just entertaining us.

They were planting those seeds for our understanding and expectation of space travel.

And it goes beyond space travel, too.

He talks about how things like microscopic voyages, you know, like in Fantastic Voyage and underwater cities, were also first imagined by artists.

It's that same theme of artists and writers imagining things and then scientists and engineers actually trying to build what they envisioned.

It really makes you think differently about how progress happens.

It does.

Jurgen actually quotes the Hacker Noon article.

The quote is, what's important to take away, though, is that humans have always dreamed of traveling through the stars.

And then he asks, were we ever really independently chasing the stars, or were we just trying to catch up to what artists had already imagined for us?

That's a good question.

It really is.

So what's next?

Next, Jurgen looks at the world of music.

He brings up a report from CMU about an open letter from hundreds of UK orchestral musicians to the Culture Minister Chris Bryant about fair pay for musicians when their music is streamed.

Right.

And his commentary focuses on how, while streaming is the current context, the issue itself is more about copyright law and who gets paid when music is played on platforms like Spotify and Apple Music.

It's not really about the technology of streaming itself.

So it's about the structure beneath it.

Exactly.

He explains that in the uk, musicians who aren't considered featured artists often don't get any money from these streaming platforms unless they've made special deals.

And this frequently happens to orchestral and session musicians.

It's a legal structure that seems to favor some types of creative contribution over others.

Yeah, that's a big question.

In the newsletter, they actually quote the open letter from the musicians.

It says, if musicians create something someone can profit from, then surely we should be paid fairly for that in every case.

And then Jurgen asks this really fundamental question.

He says, why is there a system that doesn't pay all the musicians who contribute to a piece of music?

It makes you think about how we value different roles in the creative process.

Absolutely.

Okay, so moving on.

What does Jurgen look at next?

He looks at the visual arts.

There's this KQED report about Oakland First Fridays using an AI generated flyer for promotion.

Really?

Yeah.

And apparently they did it because of budget limitations.

Now, Jurgen actually runs a First Fridays event himself, and he mentions that his organization chooses not to use AI for their materials.

Interesting.

Yeah.

His commentary says that they believe human made art helps to set a certain tone for the event.

But he also recognizes that nonprofits often face tough financial constraints.

So he distinguishes between using AI for practical reasons like marketing versus presenting AI creations as if they were artwork.

Right.

So the purpose is important.

Exactly.

The newsletter includes a question the event organizers asked.

What's better?

Having your event not get noticed because you can't afford marketing?

Or because it takes too long to hire graphic designers?

Or using new technologies to promote things effectively?

Jurgen then wonders if maybe the real issue isn't so much about AI itself, but more about artists feeling like their value isn't being recognized or that they're being excluded from these opportunities.

That's an interesting take.

What's up next in the newsletter?

Next up is a feature from demilked.

It's called 25 Instagram vs Reality Photos.

Okay.

This article basically shows behind the scenes looks at influencer travel posts, mostly from TikTok creators like RomerProductions.

It reveals how much work goes into creating those seemingly spontaneous and serene travel photos.

It's often very staged, even in crowded locations.

Oh, wow.

Yeah.

Jurgen actually shares some of his own experiences with this.

He talks about trying to get those perfect, peaceful travel shots while surrounded by tons of other tourists.

He gets the desire to present a place as if you've discovered it, untouched and special, even when it's not really like that.

It's that curated version of reality.

Right.

And he makes an interesting comparison to his work as a product photographer.

In New York City.

He talks about how those polished studio shots you see in ads often hide the reality of the set.

All the cables, lights, reflectors, you know.

So in a way, he's saying that photography has always been about constructing an idealized image.

That's a good point.

It is.

And then Jurgen asks, are these perfect photos we see online really something people aspire to?

Or are they more like a curated form of nostalgia, longing for an idealized past that never really existed?

It makes you think about why we create and consume this kind of content.

That's a really good question.

What does Jurgen talk about next?

Next he talks about an exhibition at the Je de Paume in Paris.

It's called Le Monde Salon Lye, which means the World According to AI.

It's a survey of works by artists who use AI in their practice.

Jurgen points out that this exhibition is different because it goes beyond just showcasing the individual tech wizard artist.

Instead, it presents a whole field of art, artistic exploration.

The works include generative art, analytical AI applications, conversational interfaces, even works about surveillance and the environmental impact of AI.

It's a pretty wide range.

It sounds like it, yeah.

Jurgen also highlights how this exhibition shows a shift in how we're thinking about AI in art.

It's not just a cool new tool or mysterious add on anymore.

It's becoming a medium in its own right, something artists can actively shape and question.

He mentions artists like Trevor Paglen and Hito Style, who are known for their critical approach to technology.

So it's about moving past the novelty of it.

Exactly.

The curator of the exhibition, Antonio Somini, is quoted as saying, it is often through artistic works that we become more aware of the impacts and implications of AI.

And Jurgen ends by wondering if we're finally starting to see AI art more for its artistic approach and less for the technological wizardry.

That would be interesting development.

What else does Jurgen cover in this issue?

He also talks about an interview in My Modern Met with a UK based digital artist named Carl Roberts.

Roberts talks about his frustration with people mistaking his handcrafted, surreal digital photography for AI generated art.

Wow, that must be frustrating.

It is.

Jurgen really empathizes with Roberts.

He remembers a time before AI when artists would spend hours and hours creating these kinds of surreal and hyper realistic images using traditional photography, collage and manual editing in Photoshop.

You know, real locations, real props, weeks of detailed work, and now people just assume it's AI.

I can see how that would be disheartening.

Definitely.

The article quotes Robert saying, everything you see in my pictures is a real photograph.

Knowing that process can now be trivialized with AI is really heartbreaking, to be honest.

And Jurgen then asks what signals artists can use or reclaim to make sure that human artistry is still valued in the digital world.

That's a big question for artists right now.

It is.

Okay, so what's the last thing Jurgen discusses in this issue?

The last thing is a piece from Fast Company about Google's installation at Saloni del Mobile in Milan.

It's called Making the Invisible Visible.

They worked with artist Lachlan Turdsan, and it uses laser light to create a tactile art experience.

It reacts to touch like fabric.

Yeah.

Jurgen found it interesting that a big tech company like Google was trying to present technology as something emotional and human through this installation.

He acknowledges that art is abstract, but he wonders about the authenticity when a corporation does something like this.

Is it genuine artistic expression or is it just branding?

That's a good question.

Yeah.

The newsletter quotes Ivy Ross, Google's head of device design, saying, we have to get to a place where we're not competing with technology, but we're interacting with it, moving modern life forward.

And Jurgen ends by asking if technology can really be quiet, soft and generous, or if that's just a marketing narrative.

It's a question worth considering.

It is.

Well, that brings us to the end of our look at Jurgen Berkessel's commentary in issue 48 of the Intersect.

We hope this has given you some food for thought about the ever evolving relationship between art and tech.

If you want to learn more about any of these topics or read the original articles, be sure to visit theintersect Art.

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