Welcome back to the Intersect.

If you're new to the show, we explore the fascinating world where art and technology collide.

We're also the audio companion to the newsletter of the same name.

And this week, we're taking a look at issue 25, curated by Jurgen Burkessel.

He's a photographer, musician, and product developer.

Talk about someone who understands this intersection.

Yeah, he really put together a great selection of articles.

I was really struck by how much AI is playing a role in so many different artistic fields right now.

Right.

AI is everywhere you look these days, and we're all kind of figuring out what it means.

This issue kicks off with music, specifically Imogen Heaps, AI project, AI Mojin.

I read about it in Design in Dhaba, and it just blew me away.

She basically created an AI of herself.

Oh, wow.

I can harmonize and remix her music.

That's why.

So is she, like, letting the AI take over or.

No, that's so cool.

She's using it as a tool to expand her own creativity, which seems to be where a lot of artists are at with AI right now.

This idea of using AI to enhance what we do, not replace us.

I think that's the big question everyone's grappling with right now.

Definitely.

And it's not just music, it's visual art, too.

The New York Times had a piece about how the art world is obsessed with photography right now, even as AI generated images are becoming more and more realistic.

That's an interesting paradox.

Like, on one hand, you've got these insanely realistic images being created by algorithms, and then on the other, this renewed appreciation for the real thing, you know?

Totally.

And it's like we're craving authenticity in a world where anything can be faked.

Makes you wonder, what even is a photograph now in the age of AI?

Right.

Is it a document of reality or just another form of illusion?

Artist Trevor Paglen said that the link between a photograph and the outside world has been broken.

Wow, I like that.

So where does that leave us?

That's a big question and one that the Conversation piece really tries to tackle.

They connect this whole debate about AI and photography to a similar struggle in journalism.

You know, both fields are facing ethical challenges in the age of digitally manipulated information.

True.

And how do you maintain integrity when the tools are making it easier to blur the lines?

Right.

And then they quoted photographer Kirsty mackay.

Oh, yeah, I saw that.

Who talked about how even traditional photography has ethical dilemmas.

She mentioned the power dynamic inherent in, like, a middle class photographer profiting off stories of working class subjects.

It's something we don't always think about.

It's true.

And it feels like AI is just magnifying these ethical concerns.

It's forcing us to confront those questions about exploitation and authenticity and who ultimately benefits from the art.

Totally.

And Jurgen takes us even deeper into that debate with the hyperallergic report about the petition signed by over 25,000 artists protesting the use of their work to train AI without their consent.

Yeah, there were some big names on that list too, like Amaroko Boafo and Lynn Goldsmith.

Right.

And the artists see it as straight up exploitation.

AI companies profiting off their creativity without permission or compensation.

Yeah.

And it all boils down to fair use, which is at the heart of this legal battle.

Yeah.

I mean, where's the line?

Artists are always inspired by other artists, but is it the same as just taking their work and feeding it into an algorithm?

Exactly.

And Ed Newton Rex, who's a composer and spearheaded that petition, put it pretty bluntly.

He said, these AI companies are building their businesses on the backs of artists, life's work.

It's a complicated issue for sure, because AI could democratize art in a lot of ways, making it more accessible and pushing creative boundaries, but, you know, not at the expense of artists.

Right.

And then just when you think Jurgen's going to keep us in this AI headspace, he throws us a curveball with a V and a blog article about watercolors of industrial landscapes.

What?

Yeah.

Factories, quarries, canals, all rendered in delicate watercolor.

That's so unexpected.

Right?

It's not what you typically picture with watercolors.

Definitely not.

I think it's that unexpected juxtaposition that makes it so interesting.

Like you have this soft, fluid medium, usually used for serene landscapes, but applied to these harsh industrial scenes.

I love that it makes you rethink your assumptions about what is beautiful and worth capturing in art.

It does.

It really does.

And it's a good reminder that inspiration can come from anywhere.

And sometimes the most interesting art happens when we break those traditional boundaries.

Absolutely.

And then Jurgen takes us to Asheville, North Carolina, where Artsville reported on the impact of Hurricane Helene on the city's River Arts District.

Oh, yeah.

That was just heartbreaking to read about.

Something like 80% of the structures in the district were affected.

Such a massive blow to that whole artist community.

So many studios and galleries and creative spaces just wiped out.

It's a reminder of how vulnerable artists can be.

They're often operating on tight margins, and then something like this happens.

It can set them Back years.

It's true.

And artsville's doing important work in keeping that story alive.

Yep.

And advocating for continued support.

They really are.

And, you know, speaking of supporting artists, Jurgen highlights a piece from Whitewall about the art collective.

They blend technology with organic forms in really interesting ways.

Oh, yeah, I've heard of them.

Their latest installation in Paris is no exception.

So what's it all about?

Well, it uses digital art to explore the natural world.

And it's fascinating how D Rift keeps coming back to nature as a theme, even though they're based in a major urban center.

Yeah, you don't know what you've got till it's gone, right?

Right.

Maybe being surrounded by concrete and technology just makes you crave nature even more.

I had a photography professor who used to say, a thing is what it is only in relation to what it is not.

So maybe for artists like Drift, the absence of nature in their daily lives makes it that much more powerful.

I like that.

It kind of ties in with this study from Sustainability that Jurgen included about virtual immersive art installations.

The research suggests these installations can actually provide a similar restorative experience to actually being in nature, especially for city dwellers.

So, like a virtual escape?

Yeah, exactly.

That's pretty wild.

I can definitely see the appeal.

But I do wonder if something's lost when we try to replace the real thing with a digital version.

I see what you mean.

Can you really capture the feeling of being in nature through a screen?

It's a good question.

And then Jurgen throws us another curveball with a review from White Hot magazine of Tiffany Schlain and Ken Goldberg's exhibition Ancient Wisdom for a Future Ecology.

Oh, wow.

I did not see that one coming.

Right, so they used dendrochronology, which is basically the study of tree rings and these amazing reclaimed wood sculptures, to challenge the way we think about history.

Challenging how we think about history.

How so?

Well, we tend to view the past as this linear progression, but this exhibition really pushes back on that.

One piece that stood out was Schlein's Dendrafeminology, a feminist history tree ring which uses AI to reframe history through a feminist lens.

That's interesting.

It highlights how history is always subjective.

For sure, it depends on who's telling the story exactly.

And Schlain says something like, progress doesn't always work in one direction.

Yeah, we tend to think of history as this straight line, but it's so much more complicated than that.

Right.

And finally, we come back down to earth with a Bloomberg report about shifts in the Art market.

Oh yeah, I saw that one.

What was it about again?

So it seems that high net worth individuals aren't investing in art as much as they used to.

Interesting.

The research showed that art investments by the ultra wealthy have actually dropped significantly in recent years.

So less money flowing into the art world?

Well, that's how it seems at first, yeah.

But it's created an opportunity for more affordable art to gain traction.

Oh, so kind of a leveling of.

The playing field potentially.

Yeah.

You know, less emphasis on the blue chip artists and more attention on emerging talent.

That could be a good thing, right?

I think it could.

It means more people can actually afford to buy art and younger artists might have an easier time breaking through.

But there are challenges too, though, right?

Oh, absolutely.

Like now those younger artists might feel pressure to create work that sells, even if it means compromising their vision.

Yeah, it's a tough balance.

Staying true to yourself while also trying to make a living.

It's the age old struggle for artists.

Yeah, it's a tough one for sure.

But that's what I love about the art world.

It's always changing and responding to new things.

I think that's what makes these conversations so important too.

There's so much potential at the intersection of art and technology, but also a lot of really complex challenges.

Absolutely.

And big thanks to Jurgen Birkastel for putting together such a thought provoking issue.

Yeah, great pick, for sure.

You can find all the links and full articles in issue 25 of the.

Intersect newsletter at the Intersect Art.

And make sure to subscribe while you're there so you don't miss any future issues.

Until next time, keep exploring and creating.

And keep those conversations going.

Exactly.

See you for the next issue.