AI-generated artwork is the same as a gallery of rock faces. It is pareidolia, an illusion of art, and if culture falls for that illusion we will lose something irreplaceable. We will lose art as an act of communication, and with it, the special place of consciousness in the production of the beautiful.
…Just as how something being either an original Da Vinci or a forgery does matter, even if side-by-side you couldn’t tell them apart, so too with two paintings, one made by a human and the other by an AI. Even if no one could tell them apart, one lacks all intentionality. It is a forgery, not of a specific work of art, but of the meaning behind art.
Like a programming language interpreter, GPT-3 translates the designer’s intent from a language they’re already familiar with (English) to one they need to learn (Figma’s information architecture, as manifested in its UI.) This can be easier for a new/busy designer, much like Python is easier and faster to work with than assembly language.
But that’s not “designing” — at least not any more than compiling Python code is “programming.” In both cases, all the system does is translate human intent into a lower level of abstraction. Sure, the process saves time — but the key is getting the intent part right. I’ll be convinced the system is “designing” when it can produce a meaningful output to a directive like “change the product page’s layout to increase conversions.”
The decoration of our classical interiors was decidedly regular in its arrangement. The Taoist and Zen conception of perfection, however, was different. The dynamic nature of their philosophy laid more stress upon the process through which perfection was sought than upon perfection itself. True beauty could be discovered only by one who mentally completed the incomplete. The virility of life and art lay in its possibilities for growth. In the tea room it is left for each guest in imagination to complete the total effect in relation to himself. Since Zennism has become the prevailing mode of thought, the art of the extreme Orient has purposely avoided the symmetrical as expressing not only completion, but repetition.