It’ll happen by evolution. Just complex systems trending the way they trend.

But AI might in fact do the exact opposite and reverse the privatization trend that the West has been going through for the last 400 years. All of our copyright laws rely on the idea that there is a human consciousness behind the copyright. The more AI has input, the less we can claim ownership. If AI returns everything to the commons, then it results in a much more egalitarian world.

Hilariously, many people, especially artists, see the return of the commons as an assault against them. They’re so captured by copyright that they assume any infringement on their copyright is inherently fascist. It’s ridiculous. Copyright is a corporations number 1 weapon when it comes to creating a moat and keeping the masses out.

The original intent of copyright, in fact, was an incentive to return an idea to the commons. Experts used to hide their discoveries in order to keep them for themselves. Copyright provided an opportunity to release this knowledge and still profit. There were even several cases where it was established that those who claimed copyright could retain copyright even if the idea had been previously discovered. This created a huge incentive: release the knowledge or risk having your process copyrighted by the opposition. But that system worked because copyright could only exist for so long (14 years, doubled if they filed again.)

Now copyright is a lifelong sentence at almost 100 years. The entire purpose of it has been undermined. Corporations own all your childhood and by the time you can profit off of it, it’s outdated.

A world where the mainstream is primarily a commons seems to me like an egalitarian world. I’d like to live in that world.

The only reason why people think this is valuable is that it’s scarce, and scarcity is a terrible metric for art

American AI desperately wants AI to intensify the wealth disparity and therefore justify the wealth grab that the rich have done for the last 3 decades and AI is just not cooperating

I don’t necessarily ascribe to their views, but I bring it up because you said art has always been this way and it hasn’t always been this way

There are a lot of reasons why the intention of the artist is a bad metric for artistic value and there’s a ton of important literature about this

The first obvious point is that the meaning of communication is defined by its endpoint. If I send a message that says “I love you” and somehow the message gets garbled in transmission and ends up reading “I hate you,” then the message that I’ve sent is “I hate you” regardless of my intentions. You can take this a step further: if you want to write an essay attacking capitalism, but everyone who reads it comes out thinking more highly of capitalism and your essay is successfully used for years to help defend of capitalism from critiques, then what you’ve written is a defense of capitalism. This is the main gist behind what’s called Reader Response Theory: the meaning is generated by the reader (or in between the reader and the text) and not by the writer.

As a communications problem, this is even more relevant for art because art is indirect communication by its very nature. Storytelling, for example doesn’t ever actually try to communicate any single thing. The storyteller creates many fictional people, each of whom have their own messages they want to get across, and creates a web of relationships/events between them. It’s an ecosystem at heart. Without any clear/direct message, the margin for error rapidly increases. The artist obviously has to know that this is the case when they choose to make art. If they wanted to get across a single message or intention, then why did they choose a medium that’s so notoriously bad at getting across a single intention? Obviously some artists are just delusional and don’t accept the reality of their medium, but that doesn’t change the facts

Imagine a hypothetical scenario where a storyteller writes a story with a narrator that clearly handholds the audience and explicitly says what the artist means, but the audience doesn’t agree with the narrator. In that case, how many readers will praise the storyteller for their interesting use of an unreliable narrator? Art functions this way on its own, and this is another reason why intentionality is a bad metric: the artist has to make the art work, and that functionality has properties of its own that supersede the artists intentions. This was the main argument of an historically important essay entitled The Intentional Fallacy by Whimsat and Beardsley: Primarily, the story must work. The meaning comes secondarily from trying to understand why it works. We forget this, but the art that we engage with is always art that has been pre-selected by the demands of the art form itself, which no single artist has control over. We engage with art through survivorship bias.

Where I think most people get tripped up is that one of the recent and most popular demands of art has been Conceptual Art, which focuses on the idea or intention rather than the object itself. This is an outgrowth of an individualistic art movement that, honestly, is popular because of political motives. The CIA straight up funded it. I’m not saying that’s bad. Honestly I love any government that funds the arts. I’m just saying it’s not the entirety of art and we can’t be subservient to it and the ideology it represents. You don’t need to justify your enjoyment of a blurry image because it has a story behind it. Moreover, it doesn’t make sense to ignore the image and argue that the story is the meaning or the value of the art. Art that uses backstories effectively can just be redefined as multimedia art that combines the art medium with storytelling, and now suddenly what you thought was the intention of the artist is just the quality of the output again

Big opinions there. A large amount of art that you think comes from individual expression is often not. There are countless examples of artists that secretly used algorithmic processes. A great example is Vermeer: https://youtu.be/94pCNUu6qFY?si=M6UQ-XuHNtoj2-3a.

This is what I mean about how this individualistic philosophy of creativity actually just results in artistic gatekeeping and manipulation of the audience

It’s very common for artists to add on individual expression narratives at the end of the process just so they can market the art, and the reality is that the individualism was never there to begin with. It’s just manipulation and advertising, and it sucks because the success of advertising like this actually undermines the quality of the art world. Because audiences are so susceptible to advertising narratives, artists are forced to spend more time on advertising more than art

> Art for the most part has always been the expression of an individual, even art tightly bound to a cultural context.

This is also not true. This idea mostly comes from the Romantic period. Modern day versions of it are often really just referencing a single book from the 1930s called The Principles of Art by a guy named R.G. Collingwood. It’s a very recent way of seeing art. Historically, art was connected to religion, and therefore thought to be valuable because it was universal rather than individualistic and personal

Take for example (an extreme example) the paintbrush. Do you care where each bristle lands? No of course not. The bristles land randomly on the canvas, but it’s controlled chaos. The cumulative effect of many bristles landing on a canvas is a general feel or texture. This is an extreme example, but the more you learn about art the more you notice just how much art works via unintentional processes like this. This is why the Trickster Gods, Hermes for example, are both the Gods of art (lyre, communication, storytelling) and the Gods of randomness/fortune.

We used to assume that we could trust the creative to make their own decisions about how much randomness/automation was needed. The quality of the result was proof of the value of a process: when Max Ernst used frottage (rubbing paper over textured surfaces) to create interesting surrealist art, we retroactively re-evaluated frottage as a tool with artistic value, despite its randomness/unintentionality.

But now we’re in a time where people are doing the exact opposite: they find a creative result that they value, but they retroactively devalue it if it’s not created by a process that they consider artistic. Coincidentally, these same people think the most “artistic” process is the most intentional one. They’re rejecting any element of creativity that’s systemic, and therefore rejecting any element of creativity that has a complexity that rivals nature (nature being the most systemic and unintentional art.)

The end result is that the creative has to hide their process. They lie about how they make their art, and gatekeep the most valuable secrets. Their audiences become prey for creative predators. They idolize the art because they see it as something they can’t make, but the truth is there’s always a method by which the creative is cheating. It’s accessible to everyone.