This episode examines how platforms like Spotify can create echo chambers in musical taste, limiting our exploration of new sounds. The conversation shifts to the impact of AI on artistic creation, highlighting an exhibition that contrasts traditional photography with AI-generated images. We also delve into the role of artists in shaping public policy and how a recent British art fair embraced digital art, signaling a shift in perception. Lastly, we touch on blockchain's potential to enhance the art world by providing transparency and empowering artists. Join us as we unpack these thought-provoking topics.

Find the latest episode at https://theintersect.art/issues/42/ , and sign up for the newsletter at The Intersect of Tech and Art website

Takeaways:

• The potential of Spotify to create musical echo chambers, limiting our exploration of new sounds.
• Artists embedding themselves in government agencies are reshaping public policy through creative perspectives, as noted in the latest issue.
• The distinction between AI-generated art and traditional photography raises questions about authenticity and artistic integrity.
• 'Creative smuggling' in the Apollo 12 mission shows that artists have always sought to push boundaries, even in space.
• Blockchain technology is emerging as a tool to enhance the art world, offering transparency and fair valuation for artists.
• The growing acceptance of digital art at events like the British Art Fair indicates a shift towards recognizing its legitimacy in the art community.

Welcome back to the Intersect, everybody.

For anyone new here, this is where we kind of unpack the coolest stuff at the intersection of art and technology.

Pulling out all the thought provoking bits from articles and insights.

Right.

All curated by Jurgen Berkessel.

And we are diving into issue 42 of his newsletter today.

Fantastic collection this time, I have to say, really wide range.

We've got Spotify's influence on musical taste and then artists actually embedding themselves in government.

So.

Wow.

Yeah.

Okay, let's jump right into that first one.

Jurgen kicks things off with a piece from the LA Review of Books.

It got me thinking right away.

He's pointing out how easy it is for us to get stuck in a rut musically on platforms like Spotify.

Yeah, really interesting, isn't it, that Spotify, while it's so convenient, could also be limiting our horizons because it just keeps feeding us what we already know it does.

Juergen even called it an echo chamber of familiar sound and contrasted that with, like, you know, actually seeking out new music, whether it's digging through records or taking a friend's recommendation.

There's that element of risk.

Right.

You might not love everything you hear.

Exactly.

But you might discover something truly unique.

That's the trade off.

Exactly.

A potential for finding something new.

The article also mentioned how actively seeking new music can lead to a much deeper appreciation for it.

Like you're training your ear to recognize different styles and nuances, the emotions in the music.

Yeah, you're really engaging with it.

And there's a real sense of agency there too.

You're shaping your own musical journey rather than just letting an algorithm dictate it, Right, Definitely.

And it sounds like Jurgen sees a similar thing happening with visual arts, especially with AI image generation becoming so popular.

This next article that he's included focuses on an exhibition in Brazil called Rivals, Photography versus Promptography.

Yeah.

So the show features both traditional photography and then what they're calling promptography, which is basically images that have been generated by AI using text prompts.

And Jurgen, in his commentary, talks about how he's been fascinated by artists who use Photoshop and other tools to create these surreal, dreamlike images, which you could.

Say is kind of a precursor to what AI is doing now.

But Jurgen seems to draw a distinction.

And it's all about the human element.

Absolutely.

He specifically says that the AI pieces that really grab him are the ones where the artist has clearly gone beyond just the initial output.

Like maybe they've incorporated some real photography or they've manipulated the image in a way that really shows their vision, making it their own.

Exactly.

He actually says it's this integration that elevates the work from a technical trick to a true artistic process.

I love that.

It really makes you think, where do we draw the line between automation and art?

What does it mean for an artist to use AI as a tool in their process?

And how does all of this influence our perception of what is real and what isn't?

There's so much skepticism now around extraordinary photography.

People just assuming that anything too incredible must be AI generated.

Oh, that reminds me of the next article Jurgen includes.

It's about the astrophotographer Andrew James McCarthy.

He captured this absolutely insane shot at the International Space Station, passing in front of the moon's Shackleton Crater.

And you guessed it, some people immediately jumped to fake.

Of course.

And as Jurgen notes, it really says something about the digital landscape we're living in.

Instead of just celebrating the skill and dedication it took to achieve something like that, our first instinct is to doubt, especially when it comes to images.

It's kind of sad, really.

This photographer put in so much effort to plan this shot.

Even dealing with equipment malfunctions, we're like, nah, must be AI.

It really makes you wonder.

Does that kind of skepticism push photographers to go even further to prove their work is real?

Or does it ultimately devalue their achievements?

Such a good question.

It's Almost a catch 22.

The more amazing the image, the less likely people are to believe it's authentic.

Okay, ready for a story that takes art pushing boundaries to a whole other level?

Space.

We're going to space.

Jurgen's inner geet is coming out with this one, and rightfully so.

Wait, seriously?

I did not know about this.

Yeah, it was a small ceramic tile with artwork on it by Said this Andy Warhol, Robert Rauschenberg, and a few others smuggled onto the spacecraft and just left there on the lunar surface.

Wow.

So this wasn't some official NASA art project.

Not at all.

Jurgen highlights this idea of creative smuggling, which is just such a great phrase.

It really challenges this whole notion that space art is a modern concept.

Concept.

These artists were already finding ways to get their work out there, even if it meant breaking the rules a little.

That's incredible.

And this little piece of art has just been sitting there on the moon for over five decades.

Really makes you think.

If artists were doing this back in 69, what's the future of art?

Beyond Earth going to look like?

It's a fascinating question, especially as we see all this talk about permanent settlements on the moon and Mars.

What role will art play in those new societies?

Will we have entire galleries on other planets?

It's mind blowing to consider, but for now, back down to Earth we go.

This next article, Jurgen included, takes us into the world of public policy, where artists are finding ways to influence policy through their work.

This is a really interesting piece from Next City.

It profiles artists who are actually embedding themselves in government agencies, using their creative skills to tackle all these complex policy challenges.

One of them, Amanda Lovely, actually says that her medium is government, which is a pretty bold statement.

It is, and it really changes how we think about art in the public sphere.

We usually see art in government buildings as decoration.

Right.

But these artists are actually using their work to like, reimagine policy and bring new perspectives to issues like transportation and water management.

It's pretty incredible.

And Jurgen seems really excited about this kind of cross disciplinary experimentation, but he does sound a note of caution too.

What do you mean?

Well, he acknowledges that artists can bring all these fresh ideas, but he also says that not every creative person should be shaping public policy.

He uses this really interesting analogy.

He compares policy writing to science fiction, saying it's all about imagining a future that doesn't yet exist.

That makes sense.

I mean, it's one thing to create art about a future world, but to actually write the policies that will shape that world, that's a whole other level of responsibility.

Exactly.

And it leads to this kind of unsettling question.

What happens when the wrong kind of artist decides their medium is government?

It's a little scary to think about.

It is.

It also makes you pause.

Okay, let's move on to something a little less intense.

Speaking of challenging conventions, the next article Jurgen talks about takes us to the British Art Fair, which for the first time in its 36 year history, had an entire section dedicated to digital art.

Yeah, this was called Pivotal Digitalism, curated by Rebecca Polly Georgia and it actually broke attendance records.

Clearly there's a growing appetite for digital art among collectors and enthusiasts.

For sure.

Jurgen actually got to meet Rebecca and he was really struck by her perspective on digital art.

She emphasized how it's not about replacing traditional mediums like painting or sculpture.

It's about continuing art's evolution, seeing it.

As another movement in art history, like empowerism or surrealism.

I think that's such an important point because there's still this tendency to see digital art as less legitimate or less Permanent than traditional forms?

Absolutely.

And Jurgen seems to agree, questioning whether we're doing enough to bridge that gap.

He sees digital art as deserving of equal footing with those more traditional art forms.

It's an ongoing conversation for sure, and one that's further complicated by the emergence of blockchain technology and how it's impacting the art world.

The final article Jurgen included focuses on senart, which is a blockchain initiative that's trying to solve issues of authenticity and fair valuation in the art market.

Now, blockchain can be kind of a confusing concept.

What is signart's approach and how does Jurgen see it fitting into the art world?

So Cinart uses a blockchain to create a more transparent and secure way to authenticate artwork, track ownership, and even help figure out fair market value.

It's all about empowering artists and protecting their work.

So instead of relying solely on opinions of critics or collectors, which can be so subjective, artists can actually leverage all these data driven insights that blockchain can provide.

Almost like leveling the playing field, especially for emerging artists.

Exactly.

That's Jurgen's point.

He sees blockchain as a tool that can actually enhance the art world, not destroy it.

He challenges those who are resistant to it to really ask themselves, is it the complexity that's holding them back, or is it a deeper resistance to change within the art world itself?

That's a really great question.

It's easy to dismiss something new, especially when it seems complicated or disrupts the way things have always been done.

But I think Jurgen is right to push artists and collectors to explore what the blockchain could bring to the table.

It really could change the future of art as we know it.

Well, I think that about wraps up issue 42 of the Intersect.

Another great collection of articles and insights curated by Jurgen Berkessel.

Definitely check out the full issue at the Intersect Art for all the links and Jurgen's complete commentary.

It's worth a read.

Absolutely.

And we'd love to hear what you think about any of these topics.

Head over to TheIntersect Art and join the conversation.

Let's keep exploring this amazing intersection of art and technology together.