In the Age of AI Art, What Can Originality Look Like? | Eileen Isagon Skyers | TED

譯者: 麗玲 辛 審譯者: Yanyan Hong

I want you to envision a single piece of artwork

請你想像一件藝術品，

generated by artificial intelligence.

由人工智慧生成的藝術品。

When most of us think of AI art,

大多數人想到 AI 藝術時，

I bet we're imagining something like this.

我打賭都在想像類似這樣的東西。

We're all probably picturing something totally different.

我們可能都在心中想像截然不同的畫面。

Today, with machine learning models like DALL-E, Stable Diffusion and Midjourney,

如今，有了 DALL-E、Stable Diffusion 和 Midjourney 等機器學習模型，

we've seen AI produce everything from strange life forms

我們已見識到 AI 所創造的 各種作品，從奇怪的生命形式，

to imaginary influencers

到虛構的網紅，

to entirely foreign, curious kinds of imagery.

甚至是全然陌生、稀奇的各種意象。

AI as a technology is fascinating to us

AI 作為一項科技， 對我們來說非常迷人，

because we're inherently drawn to things we cannot understand.

因為我們天生就會被 無法理解的事物所吸引。

And with neural networks processing data from thousands of other images

通過神經網絡， 處理來自數千張圖像的數據，

made by people from every possible generation, every art movement,

這些圖像由每個世代、 每個藝術時期的人們所創造，

millions of images in one simple scan,

一次掃描即可獲取數百萬張圖像，

they can produce visuals that are so familiar

它們既能生成如此熟悉的視覺效果，

yet strikingly unfamiliar.

卻又異常陌生。

More poetically, AI mirrors us.

更具詩意的是，AI 映照我們自己。

The world is beginning to change right before our very eyes,

世界就在我們眼前開始改變，

and it's basically divided into two schools of thought.

人們基本上分持兩種觀點。

There are pessimists who think AI poses a great threat to human creativity.

悲觀主義者認為 AI 對人類創造力 構成了巨大威脅。

And then optimists who see it as an extension of our creativity.

然而樂觀主義者則將其視為 人類創造力的延伸。

So is it even possible to be truly original as an artist anymore?

藝術家是否還能做出真正獨創的作品？

How do we begin to critically engage with artworks made by machines?

我們如何開始批判性地 接觸機器所創作的藝術品？

We can start by looking at some metaphors,

我們可以從一些藝術家的比喻、 敘事和見解中著手，

narratives and insights from artists

who are truly pushing the boundaries of AI.

這些藝術家真正 拓展了 AI 的界限。

Let's look to these moments of delight, surprise,

讓我們回顧一下這些帶來喜悅、 驚訝、困惑和驚奇的時刻，

confusion and wonder

that give us just one small glimpse

這些時刻讓我們短暫感受 與這項科技相遇的各種可能性。

into the possibilities of encounter with this technology.

Because as we've seen,

正如我們所見，

this is a very moral and ethical encounter

這不僅僅是美學上的相遇， 更是道德和倫理上的交鋒。

as much as an aesthetic one.

Mario Klingemann sold this piece on auction in 2019.

馬里奧·克林格曼（Mario Klingemann）

於 2019 年在拍賣會上賣出這件作品。

It is running an AI model trained on thousands of portraits

它運行著一個 AI 模型，

該模型由 17 到 19 世紀的 數千幅肖像畫訓練而成。

from the 17th to 19th centuries.

The model constantly reveals uncanny interpretations of the human face.

這個模型不斷呈現出人臉的離奇詮釋。

Each one is unique,

每個圖像都獨一無二，

generated in real time as the machine reads its own output.

在機器讀取本身的輸出時實時生成。

For the viewer, it's almost like peering into the machine's hallucinations

對觀畫者來說， 每當機器生成一張新的肖像，

as it conjures each new portrait.

幾乎就像是凝視著它的幻覺。

Sofia Crespo's series "Neural Zoo" uses neural network interpretations

索菲亞·克雷斯波的系列作品 「神經動物園」

使用神經網絡詮釋真實世界，

of the real world

to generate unreal sea creatures and diverse biological forms.

生成虛構的海洋生物 和各種不同的生物形態。

Frogs look like flowers.

青蛙看起來像花朵。

Translucent jellyfish have vivid internal organs.

半透明的水母有清楚的內臟器官。

There’s no one real creature in these images,

這些圖像中沒有一個真實的生物，

but AI allows us to envision otherworldly lifeforms in impossible detail.

但 AI 使我們得以想像 異世界的生物，帶有不可能的細節。

This abstract piece by Sara Ludy began as a digital painting.

莎拉·盧迪（Sara Ludy）的這幅抽象作品 最初是一幅數位繪畫。

It was augmented to fit a 16-by-9 ratio,

它經過調整， 以 16 比 9 的比例呈現，

using a prompt for "torn edges" in DALL-E 2's Outpainting.

使用 DALL-E 2 的 Outpainting 「撕裂邊緣」提示。

Outpainting allows artists to extend their creativity

Outpainting 讓藝術家 透過簡單的語言提示，

beyond the frame using simple language prompts like "torn edges."

如「撕裂邊緣」， 將創意延伸到畫框之外。

This piece by Ivona Tau might read as a photograph,

伊馮娜‧陶（Ivona Tau）的這幅作品 可能會被解讀為一張照片，

but it is also the work of AI.

但這也是 AI 的作品。

It's the result of GAN training on thousands of images

這是對數千張圖像進行 生成對抗網路訓練的結果，

from the artist's personal photo collection.

這些圖像來自藝術家的個人照片集。

Tau curates from her own photographs,

伊馮娜‧陶從自己的照片中挑選素材，

carefully choosing the inputs and outputs for the model.

精心選擇模型的輸入和輸出。

In many ways, AI art is a form of curation.

從很多方面來說， AI 藝術是一種策展形式。

It becomes the process of selecting from hundreds of images at a time.

它變成一次從數百張圖像中 進行選擇的過程。

This video pulls from models trained on a massive data set of Tau's photos,

這段視頻取材自對伊馮娜‧陶的照片 進行大數據訓練的模型，

resulting in a kind of algorithmic memory.

從而產生了一種演算法記憶。

But she also created a destructed data set for the model

她也為這模型創建了 一個毀壞的數據集，

to symbolize forgetting or fleeting memory.

象徵著遺忘或瞬息即逝的記憶。

And finally, we have Claire Silver.

最後，還有克萊爾·西爾弗（Claire Silver）。

Silver has called herself a “collaborative AI artist”

西爾弗自稱「AI 協作藝術家」，

in that she works intentionally with the machine to produce her art.

因為她有意識地與機器合作創造藝術。

Her process is constantly evolving as the tools evolve.

隨著工具的發展， 她的創作流程也不斷進化。

She often works with inpainting techniques,

她經常以圖像修復的手法進行創作，

masking and transforming just one small piece of an image.

遮住、轉換圖像的一小部分。

For this portrait, she shifted the opacity of various sections with an Apple pencil,

這幅肖像，她使用蘋果觸控筆 調整了各個部分的透明度，

transforming it bit by bit.

一點一點地改造它。

She likens this technique to her version of glazing in oil painting.

她將這種技術比作她的油畫上光版本。

Silver feeds AI-generated images from one model into another,

她將由一個模型生成的 AI 圖像 餵給另一個模型，

effectively creating new forms of language and understanding

有效地為機器本身創造了 新的語言和理解方式。

for the machine itself.

Her work is half master painting, half digital art.

她的作品有一半是大師繪畫， 也有一半是數位創作，

Both old and new.

既古老又新穎。

This piece pulls inspiration from famed artists

這件作品的靈感來自著名藝術家

like John Singer Sargent, Evelyn De Morgan and Gustav Klimt,

像約翰·辛格·薩金特（ohn Singer Sargent）、

伊芙琳·德·摩根（Evelyn De Morgan） 和古斯塔夫·克里姆特（Gustav Klimt），

almost as an homage.

幾乎可以看作是對他們的致敬。

Because different AI models are trained on different sets of information,

因為不同的 AI 模型是 根據不同的數據集進行訓練的，

it's almost like they're all speaking different languages.

就好像他們都說著不同的語言。

AI is everywhere now.

現在，AI 無處不在。

We are all now collectively co-creating with AI,

無論我們是否意識到， 我們都在與 AI 共同創造，

whether we're aware of it or not.

If we want to be a part of these worlds, we cannot design alone.

如果我們想成為這些世界的一部分， 我們就不能獨自設計創作。

If we want to be culturally literate

如果我們想在這些新型圖像、 預測和形式方面具備文化素養，

in these new kinds of images and predictions and forms,

then looking to the work of artists is a very productive place to start.

那麼從藝術家的作品中汲取啟發 會是富有成效的起點。

We need to brace ourselves for an increasingly technological future,

我們要為日益增長的 科技未來做好準備，

which is only going to multiply

現在，創意的可能性倍增， 而且都觸手可及。

all the creative possibilities at our fingertips now.

Thank you.

謝謝。

(Applause)

（掌聲）