From a blog post by Bryan Alexander about the same synthography Ars Technica piece I responded to last night…
As with any storytelling project or information technology this art form should also elicit criticism, even hostility. Some will charge users for not making “real” art, since they’re relying on large language models instead of actually drawing images or taking photos themselves. (Cf the critiques of the electric guitar or DJing.) Others will critique the form for complicity with the owners of the technologies and their bad practices: training bots on the work of uncompensated artists, forcing viewers into certain platforms, perhaps arrogating ownership of the results, and so on. Another critique might stem from supporters of other art forms, seeing #AICinema as unfair or illegitimate competition along economic, aesthetic, and/or political grounds. Imagine what might occur when people start making provocative or explicitly political stories.
Anticipating criticism seems wise.
No comment about people making provocative or explicitly political stories. We don’t have to imagine any more. It’s no longer a what if. It’s a what.
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