Artificial or human patterns?
I came across this calendar with environmental art created by Jon Foreman, a highly acclaimed British land artist and photographer based along the Pembrokeshire coastline in Wales. Foreman creates his arrangements out of materials like stones, pebbles, shells, driftwood, sand, and fallen autumn leaves, and he believes in the temporary nature of art. Most of his installations are built on tidal beaches or forest floors, and the tide can wash them away or the wind can scatter them. What intrigued me most about the calendar is the “No AI was used” disclaimer, which appears beside his intricate image and perhaps he felt the need to do this because the shapes look so orderly they seem almost algorithmic.
There is an irony in an acclaimed artist needing an AI disclaimer. AI frequently replicates exactly what some land artists do naturally: it looks at patterns in the world and arranges elements into idealized, hyper-pleasing symmetry. Because AI can generate a flawless spiral of stones in 2 seconds, the only thing that separates Foreman's work from a digital file is the actual, physical reality of it. The disclaimer serves to remind the audience: An actual human stood in the freezing wind on a Welsh beach to place these rocks one by one.
So...how will we (humans) package and sell authentic work in the future? Will the authentic pieces have to carry a “non-AI label,” much like food brands use "Certified Organic" or "Non-GMO" labels? The calendar with the “non-AI” disclaimer is also reminding me that the definition of "perfection" has changed. Now that machines can produce flawless imagery instantly, the value may be moving away from the final image and back to the process required to make it. So perhaps, in the future, in addition to the “non-AI label,” it will also be important to show an audience not just the final product, but also how you arrived at that product. In his case, Foreman would have to attach to the calendar additional images or thoughts on how he responded to the tide, the shore, and the stones available, which would tell us what the artist was actually doing?