Hey, everyone.

Welcome back.

For those tuning in, for the first time, we break down interesting articles and research so you don't have to.

In this companion podcast, we cover all the topics from the Intersect Art newsletter and make the complex art and tech stories there a little more digestible.

So today we're looking at issue number 31 of the intersect, curated by Jurgen.

Right.

And he's really put together a fascinating exploration of how art and tech are influencing each other these days.

It's a landscape that's constantly evolving, always something new to discover.

So be sure you're signed up over at the Intersect Art, where you can find all the full articles and insights we are discussing.

Right on.

So let's get started with issue number 31.

One of the first things that jumped out at me was this project called Infinite Artist by Maya Kortzka.

It's featured in the newsletter.

Yeah, it is.

And it's all about how in the digital age, our identities are kind of fragmented and constantly shifting.

Corteza uses AI and algorithms in the project to try to visualize that, which.

Is really interesting to think about how that even works.

It is.

Yeah.

And she talks about this idea of the post face.

Okay, the post face.

Yeah.

It's not just a face anymore.

It's reflecting this post truth world where.

Nothing is real anymore.

Yeah, well, where AI generated images can make it really hard to tell what's real and what's fabricated.

So it's like our faces have become these masks that we're constantly adjusting.

In a way.

Yeah.

And it makes you wonder, if images can be manipulated so easily, what does that mean for truth?

That's a big question.

And Korotska actually says the face, no longer just a face, but a post face, continues its presence in the realm of visual representation, undergoing dynamic transformations in the way it is depicted.

So basically, she's saying we can't even trust what we see anymore, at least.

When it comes to digital representations.

Yeah.

Which is a bit unsettling, to say the least.

It definitely raises some concerns about how we navigate this digital world.

It does.

And speaking of unsettling things, there's a report in the newsletter that paints a pretty bleak picture for visual artists in the UK.

Yeah, their earnings have dropped something like 40% since 2010.

40%?

That's huge.

It is.

And their median income is now only around 12,500 pounds, according to the Guardian.

Right, right.

They were reporting on a study by the Design and Artists Copyright Society.

Wow.

That's a far cry from the glamorous image we often have of the art world.

Definitely.

And the report points to things like inflation and funding cuts as contributing factors, which makes sense.

But it also talks about the impact of AI.

Right, yeah.

And it's interesting because they don't necessarily.

Blame AI entirely, but it's definitely part of the problem.

Well, as Dr.

Amy Thomas, one of the researchers on the report, puts it, it's very tempting to lay the blame at the feet of AI, but I think it is the straw that broke the camel's back.

So it's more like AI is adding to an already difficult situation.

Exactly.

It's complex.

And then you add Brexit into the mix and it seems like UK artists are facing a whole bunch of unique challenges.

It makes you wonder if this is just a British problem or if it's a sign of things to come for artists globally.

That's a good question, one that we might not have an answer to just yet.

We'll have to see how things play out.

We will.

But for now, let's shift gears a bit and talk about a place where tech and art seem to be getting along a little better.

Australia, Australia.

The newsletter highlights how their contemporary art scene is really embracing technology in some really cool ways.

Yeah, they're creating some truly immersive and innovative experiences.

And F80 magazine actually has a great article by Gaston Lugoff that captures this energy perfectly.

He talks about artists like Stuart Camel, also known as Suthu, who's doing amazing work with AR and VR storytelling.

I've seen some of his stuff.

It's pretty mind blowing.

It is.

And institutions like the Australian center for the Moving Image are incorporating AI into.

Their installations, creating these incredible soundscapes and visuals.

They're pushing the boundaries of what's possible.

And Legoff sums it up nicely, says the scene is obviously going high tech because new mediums as well as tools allow creative individuals to come up with brand new forms of artwork.

It's like they're not afraid to experiment and see where technology can take them.

Exactly.

And speaking of new terms, have you heard of promptography?

Yeah, it's basically a way to distinguish AI generated art from traditional photography.

It's catching on to.

I've seen a lot of artists calling themselves prompters now.

Well, the term was coined by Christian Vince, but it's really been championed by artist Boris L.

Daxson.

And there's a really interesting article in Fast Company that explores this whole phenomenon.

It looks at whether promptography is just a rebranding or if it actually changes how we think about AI generated art.

Because is it really art if you're just typing in a prompt and letting the AI do the work?

That's the debate.

Right.

Where does the authorship lie?

An artist, Marcus Wallander, actually has a quote in the Fast Company article where he says, while AI brings unpredictability, it's my responsibility to shape that unpredictability into a cohesive and compelling vision.

So he's saying that even though the AI is doing the generating, the artist is still the one guiding the process.

Which is an interesting perspective, kind of like a collaboration between human and machine.

It'll be fascinating to see how this whole promptography thing evolves.

It will.

But let's move from the digital realm to the physical world for a bit and talk about architecture.

Okay, sounds good.

The newsletter features an article on parametric architecture, and it highlights the work of Renzo Piano.

He's known for creating these stunning structures that are like works of art.

Exactly.

And his whole philosophy is about architecture as a unifying force, bringing people together.

Which you can see in his buildings like the Shard in London and Kansai Airport in Japan.

They're more than just buildings.

They're like landmarks that shape the landscape and how we interact with our surroundings.

And Jurgen, the curator of this issue, actually shares a personal reflection about this.

He does.

He talks about how he really appreciates architectural common spaces, especially those related to transportation, because they truly bridge gaps between the various classes and segments of society.

It's a perspective that adds this whole other layer of meaning to these spaces.

It does.

It makes you realize that architecture can be about so much more than just functionality.

It can be about creating connections and fostering a sense of community.

Exactly.

And while we're on the topic of architects who push boundaries, we have to talk about Frank Gehry, another visionary.

His use of technology is just incredible.

He uses this software called kti, which was originally designed for aerospace engineering, and.

He uses it to create these incredibly complex and fluid structures like the Guggenheim.

Museum Bilbao and the Walt Disney Concert Hall.

They're iconic.

They really are.

And it's like he's blurring the lines between art and engineering with his work.

He's definitely transcending that old debate of.

Form follows function, because in his case, form is function.

They're inseparable.

And he's proving that technology can be a tool for unlocking new forms of.

Creative expression, which leads to a really interesting question.

Does the technology we use limit our artistic expression, or does it expand it?

Are we shaping the tools, or are the tools shaping us?

It's Something to think about.

And it's a question that applies to more than just architecture.

It's relevant to any field where art and technology intersect.

And speaking of intersections, the newsletter also dives into the increasingly blurred lines between video games and movies.

Yeah, there's a great article on new digital storytelling.net called the Intersection of Gaming and Popular Culture by Ernest Hemingway.

He talks about how these two mediums are constantly borrowing from each other.

Video games are incorporating more cinematic storytelling, while movies are drawing inspiration from the immersive worlds of games.

It's like this creative feedback loop.

Exactly.

And both industries are being pushed forward by advancements in technology like motion capture.

And ar, which are creating these incredibly realistic and immersive experiences.

It's getting harder and harder to tell where one medium ends and the other begins.

And Hemingway says in his article that this reciprocal borrowing of ideas and stories has helped elevate both industries, creating a continuous loop of inspiration and adaptation.

It's a pretty amazing time to be a consumer of both video games and movies.

It really is.

And it makes me wonder if we're on the verge of seeing a whole new art form emerge from this fusion.

One that combines the best of both worlds.

That would be pretty incredible.

And it makes me think, are we ready to accept video games as a legitimate art form?

That's a question that's being asked more and more these days.

And it'll be interesting to see how the answer evolves over time.

Definitely.

But for now, let's move on to another project that's bridging the gap between art and technology.

Astrobeat, right?

Yeah.

It's led by the Malta College of Arts, Science and Technology, or mcf.

They're doing some really interesting work exploring the practical and artistic possibilities of space.

So on the practical side, they're researching the use of cold welding for repair, pairing spacecraft hulls aboard the International Space.

Station, which is pretty essential stuff.

It is.

But then they're pairing this research with live streamed musical performances inspired by space.

It's a fascinating juxtaposition of the very practical and the more abstract.

Right.

And it raises the question, are these two disciplines truly speaking to each other, or are they just being forced together?

Like, is it a genuine fusion or just a fancy layered presentation?

The project lead, Dr.

Leonardo Barilaro, seems to believe in the fusion aspect.

He does.

He says in space, there is space for everyone, literally and figuratively.

So he sees this project as a way to make space more relatable and accessible through art.

I appreciate that sentiment, but I do wonder if it's truly successful in bridging the gap between art and science.

It's a valid question, and it makes you think about what constitutes a successful collaboration.

Does it require complete understanding, or can there be beauty in the tension and contrast?

That's a great point.

It's something to consider as we explore these different intersections between art and technology.

And speaking of contrasts, the newsletter also highlights a trend that seems to go against the grain of our increasingly digital world.

The rise of analog aesthetics.

Exactly.

Even as we're surrounded by digital interfaces and AI generated imagery, there's this growing desire for the tangible, the authentic, the human touch.

It's like people are craving a break from the digital perfection that sometimes feel cold and impersonal.

And Canva's 2025 Design Trend Report actually predicts this trend will continue to grow.

They're seeing a huge surge in searches for things like scrapbook, silly and handwritten elements on their platform, which suggests people.

Are looking for authenticity and imperfection.

It's funny, because in a world obsessed with filters and digital enhancement, we're seeing this appreciation for the raw and unfiltered.

It's like a counter movement to the digital slickness that's become so prevalent and fast.

Company, which reported on the Canva report, quotes it as saying, hand drawn, analog and organic elements with a human touch become points of differentiation.

So it's not just about nostalgia.

It's about standing out in a digital.

World by embracing the imperfections and the uniqueness of the handmade, which ultimately speaks.

To our need for connection, for something that feels real in a world that's increasingly virtual.

It's a really interesting trend, and it makes you wonder if this is just a passing fad or a sign of a deeper cultural shift.

I'm inclined to think it's more than just a fad.

Me too.

It seems to be manifesting in so.

Many different ways the popularity of video content, the emphasis on personal stories, and SEO.

It all points to a desire for genuine human connection in a world that.

Can often feel isolating.

So as we wrap up this first look at issue 31 of the Intersect, what's standing out to you is the most significant takeaway.

I think the recurring theme of tension and balance is really fascinating.

We've seen it in the discussion of the post face and the blurring of reality and fabrication.

We've seen it in the economic anxieties of artists grappling with the impact of technology.

And we've seen it in this unexpected resurgence of analog aesthetics in the digital age.

It's like this constant push and pull between the digital and the physical, between innovation and tradition, between anxiety and optimism.

And it's within this tension that creativity flourishes.

It forces us to question, to experiment, to push boundaries and reimagine what's possible.

It's been a really interesting journey so far, and I think Jurgen deserves a huge shout out for putting together such a thought provoking collection of stories.

Absolutely.

He's given us a lot to think about, and I'm excited to see where this exploration takes us next.

Me too.

So to our listeners, we encourage you to head over to the Intersect Art to read the full newsletter.

There's so much to unpack and explore there.

And as always, thanks for joining us on this deep dive into the world of art and tech.

We'll catch you next time.

Take care.