It's hard to be in more than one place at a time. I need some Beasts of Burden to help me out.

Ways of Seeing II
1/1
200 tez https://objkt.com/asset/KT1PaZqeg2pMonecnfvjRnX9xZRfJgCLzsjg/42

Double Fault
Game, set, match.

This work is composed of two separate works of raw AI.

Harnessing animals for computational power in the 19th century.

Chromolithographic AI work.

Harnessing animals for computational power in the 19th century.

Chromolithographic AI work.

More raw DALL-E glitch aesthetic exploration.

More raw DALL-E glitch aesthetic exploration.

Leaning into glitch aesthetic with some raw DALL-E output again.

In a strict sense, no. I intentionally prompt DALL-E to create a glitch aesthetic. I explored this first in a work called This Is Not A Work Of Glitch Art last year when DALL-E was new.

https://objkt.com/asset/KT1PaZqeg2pMonecnfvjRnX9xZRfJgCLzsjg/9

At a time when one can explore so-breathtaking-it-may-be-becoming-banal verisimilitude with AI tools, I think I prefer to explore raw DALL-E output like this.

G. Washington

"Mother of Our Country"

Part of my ALT HIST PORT series, reimagining U.S. history with AI through alternate history portraits of famous Americans.

Beasts of Burden 008

Harnessing animals for computational power in the 19th century.

Traxuaf 024

The Gallery Copyist; or, A Copy of "The Gallery Copyist," Copied In the Gallery

The Gallery Copyist; or, The Further Away I Get, The More Clearly I Can See

I still read a physical newspaper on the weekend.

The Curtsy

From a series of works called The Gallery Copyist that explores the subject of humans training themselves by copying artworks in museums. The AI works in the series were created by a machine learning/artificial intelligence model trained on a large dataset of images and artworks.