Indeed, there are still no clearly established norms regulating artists’ rights and obligations using neural network technologies. Such a question arose especially sharply in the context of commerce and property rights.

However, the fact remains that neural networks are growing, and we can see more and more content generated by special algorithms. For example, you can visit play-fortune.ro/jocuri/pacanele-gratis or another portal with a large content of graphic elements. You can hardly tell which of them are created with the help of neural networks and which are the result of the painstaking work of the web designer. Even though the technology is still quite raw, its potential is great, and development is moving by leaps and bounds.

Impact of Modern Technologies on Art

Initially, this technology attracted a lot of attention due to the appearance of deep fakes. These small videos were used with the technology of superimposing the faces of various celebrities, politicians, and so on on the faces of imitators to compromise. For those who do not really understand what they are looking at, such materials can really have a significant impact and convince them of their veracity.

In addition to being used in an openly negative and provocative way, this method has become the object of attention of visual content makers. The creators of anime characters especially paid attention to it since they got the opportunity to process photos of famous actors and models. Neural networks also helped to improve the quality of blurry photos.

Developers of gaming software did not lag behind anime creators, who began actively using modern technologies to get better graphics and realistic characters.

Users of neural networks noted that GANs use a uniquely creative approach and self-learning methods in the production of paintings. That is why machines can independently improve picture quality with minimal human intervention.

Example of Using GANs

Deep Style is a great example of such a network, which can recognize objects and textures. All you need is to provide a photo and a picture written in a certain style. After processing, this program creates an analog photograph that is made in the style of a picture you uploaded.

Some may think it is just an analog of Photoshop, but this is not. Artists can use this program as an advanced tool. It is another example of how technology always keeps pace with art. If we look deep into history, we can see a lot of examples. For instance, a similar situation was with impressionism, which appeared thanks to discoveries in the field of optics.

Those skeptics who think this technology is not autonomous enough to be entitled as “art”, can watch so popular YouTube videos where people create ultra-realistic portraits by simply drawing in all directions. In fact, this is a mechanical reproduction (or tracing) and does not fundamentally differ from Deep Style. Moreover, in this program, you can make adjustments (using various incoming data) based on which the algorithm will do its job.

Basic Reasons Why AI Works Can not be Considered Real Art

Below, you can check the main reason which prevents us from taking pictures powered by aI as real art. At least the current situation will definitely be changed in the future.

Lack of emotions

According to the general opinion, art is something that has become a product of skills, imagination, experience, and so on, and that brings aesthetic pleasure to people around. It is something that contains a part of the artist’s inner world. In this case, we are talking about the result of human work, with a lot of time and effort spent.

Of course, machine intelligence also spends resources to arrange images and combine them following an algorithm. However, within the existing paradigm, it is difficult to perceive it as 100% art.

Uniqueness

The issues of uniqueness are quite confusing since people can hardly create 100% unique paintings that would not have an analog in the world. However, in the case of artificial intelligence, the situation is more trivial.

They are clearly using existing paintings to create new works. Combining algorithms create a picture that should illustrate a certain plot, have the necessary art forms, and so on. Suppose you decide to visit the Jozz Casino (by the way, more information about Jozz Casino on this page) and enjoy your favorite 3D slot with bright and vivid graphics.

There is a high probability that all visual content of the game was created using AI, and it is based on already existing pictures. Of course, this will not prevent you from getting aesthetic pleasure from a high-quality picture. However, from an expert point of view, all tempting pictures will only be the result of the processing of existing ones.

Issues with copyright

Since artificial intelligence uses works that real artists have already created, the issue of copyright is more than actual. There are lively discussions and disputes on the net regarding who created this or that picture: a machine or its user.

Some of the original authors of the works are interested in legal liability and the opportunity to assert their rights in court. Obviously, this situation does not contribute to the merger and harmonious development of AI and the art industry. On the contrary, they only encourage further discussion regarding the non-recognition of AI works as commercial art products. A possible solution to this problem can be clear legal norms that could end disputes and help both spheres develop harmoniously.

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Type of sculpture, closely related to the architecture and natural landscape, called monumental decorative sculpture. It is engaged in decorating the facades and interiors of buildings, bridges, triumphal arches, fountains, small architectural forms, included in the natural environment of gardens and parks. Sculpture can serve as a support in the architectural design (atlantes, caryatids) or decorate buildings (pediments, metopes, portals, molded plafonds, panels).

Sculpture is designed for a particular architectural and spatial or natural environment. It has a pronounced public character, addressed to the masses of viewers, placed primarily in public places.

Monumental and decorative sculpture is designed to concretize the architectural image, to complement the expressiveness of architectural forms with new shades. The ability of monumental and decorative sculpture to solve large ideological and imaginative tasks with a particular completeness is disclosed in the works, which are called monumental and which usually include urban monuments, memorial monuments, memorial buildings. The majesty of form and longevity of the material is combined in them with the elevation of the image system, the breadth of generalization.

In monumental and decorative sculpture, as well as in the sculpture of the monumental, of great importance is the proportionality of scale and ratio of the monument and the space in which it is placed. Monumental and decorative sculpture includes garden sculpture: statues, busts, fountains, decorative vases, etc. This sculpture is closely connected with the landscape of the park, it is in harmony with the green background, or with the colors of the fall foliage.

In monumental and decorative sculpture, as well as in monumental sculpture, of great importance is the proportionality of scale and ratio of the volume of the monument and the space in which it is placed. At the same time, the sculptor needs to keep in mind not only the mathematical scale and the right relationship with the proportions of architecture, but also the possibility of human vision and perception. Monumental and decorative sculpture refers to garden and park sculpture: statues, busts, fountains, decorative vases, etc. This sculpture is closely connected with the landscape of the park, it is in good harmony with the green background, or with the colors of the fall foliage.

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In the last decades of the 20th century genres that were unusual for sculpture – still life and landscape (most often in ceramic sculpture) – emerged. New forms of easel sculpture appeared – abstract compositions, objects on the verge of an object, technical construction and sculpture. easel sculpture uses different technical methods – modeling, cutting, carving, casting, hammering, forging, embossing, welding, various materials – stone, metal, wood, clay, gypsum, ceramics, glass, plasticine, wax, synthetic polymer compositions. Ready-made objects borrowed from everyday life or technical sphere can also be introduced into the composition.

Easel sculpture, both cult and secular, has been known since antiquity: it was widespread in the art of the Ancient East and antiquity (portrait, votive sculpture, small plastics). In Modern times easel sculpture meant work intended for exhibitions, museums, public and private interiors (in the 19th century the notion of “cabinet sculpture” arose) and for sale on the art market.

Easel sculpture is intended for perception from a close distance, it is not connected with the objective environment and the architecture of a particular interior, it assumes continuous contact with the viewer, encouraging him to empathize. The usual size of easel sculpture is less than natural size, equal to it or slightly higher.

Easel sculpture is characterized by narrative, psychological, often using the language of metaphor and symbol. By virtue of the relative independence of the surrounding environment and the architectural situation, as well as the diversity and mobility of used techniques easel sculpture can have a pronounced experimental character. It can easily embody new ideas, comprehensively manifested features of the author’s individuality.

In the XX century easel sculpture, expanding its species and genre boundaries, is getting closer to painting, arts and crafts, architecture and theater.

Animalistic genre
Animalistic genre involves the image of animals. Such statues are often installed in parks or public gardens. Public recreation areas and serve to decorate the existing space.

Idealistic genre.
Station sculpture can be of the idealistic genre, when the author tries to allegorically convey a feeling, such as kindness or past-future. The artist tries to convey feelings through various hints.

Portrait genre.
Portrait genre sculpture conveys the real appearance of various historical figures. In the past, when there was no photographic technology, various scanning tools, sculptors and artists portrayed kings, nobles, philosophers or other worthy important people to give descendants an idea of the real faces of their ancestors.

This type of sculpture, at different eras, was especially popular among the nobility.

The historical genre
The historical genre depicts various historical scenes through single-figure or multi-figure compositions. Which depicts scenes of battle, victory, celebration, and more. Sculptor Emphasis is placed on costumes and other decorative elements, emphasizing the characteristic of the era conveyed by the author.

Mythological genre
The mythological genre involves depicting mythological characters from different cultures and their stories and scenes with their direct participation. At this time it is important for the sculptor to convey the personality of mythological characters through various distinctive elements. Poseidon, for example, holds the famous samovar. Sirenosis shows his tail, etc.

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Monument always addresses to the masses of viewers and positive image (of course, in terms of those who erect this monument). Urban monuments (their erection is usually under the control of the state) perpetuate those people who have gained universal fame. It is not possible to put a monument in a town square to a person who is close only to the sculptor himself – wife, brother, friend (not only for technical and economic reasons), while creating their portraits for an exhibition or museum in easel plan is quite possible. This is where the watershed between easel and monumental art lies.

Sculpture:

• Designed for a specific architectural-spatial or natural environment;
• addressed to the general public;
• designed to specify an architectural image and to complement the expressiveness of architectural forms with new shades.

Monumental art includes:

• monuments and monuments;
• sculptural, pictorial, mosaic compositions for buildings;
• stained-glass windows;
• Urban and park sculpture;
• fountains, etc.

Master of monumental monument should be able to “put” the figure correctly, make the silhouette expressive and beautiful from all sides and from different distances. The content of the monument should be perceived both from the first glance and when moving past the monument or around it – from many points of view. Various aspects, developing the main idea of the monument, make it more multifaceted and richer. The pose, the gesture of the figure, its movement should be compositionally resolved so as to make its content clear. The expressiveness not only of the face, but of the entire statue, the full conformity of the outwardly-plastic form to the inner world of the hero is an obligatory condition for a monumental monument. Some people perceive it from a distance and, therefore, as a whole; others, those who approach the monument at a close distance, can peer into the facial expression of the statue. The monument should not only have an expressive silhouette, but it should also be proportionate, proportional, a complete work of art. After all, along with the ideological content the monument has architectural and artistic functions. It is not just a beautiful vertical line, volume or rhythmic alternation of volumes but an expressive image of the person that gives sense to the whole architectural ensemble, it centers, crowns the space of the square.

But not every monument will look good against the open space of the square. If the sculptor decided the composition of the monument in the form of a sitting figure, the monument is more appropriate in the park, in the “interior” of the courtyard, or against the background of the architectural structure, than in the middle of the square of the city. It’s much more natural and organic to put such statue where there is no noisy traffic, where the environment disposes spectators to stop near the sculpture, sit and, taking their time, consider it at a close distance. Moreover the sight radius of the sitting figure is reduced to 180 degrees of the circle because of the inexpressiveness of the point of view from the back, and that is why it is better if the sitting figure backs up to the wall of the building or to the park greenery.

The role of the pedestal is very important in the artistic conception of any monument. It’s not just a pedestal under the figure (to be seen better). It is exactly the pedestal on which the hero is elevated for his services to the people. The pedestal must match the architectural surroundings, the character, style and scale of the monument as a whole. Often its facets are decorated with reliefs, more fully revealing the historical significance of the hero. The most common ratio of the figure to the pedestal is 1:1, although other proportions also occur.

A considerable role in the installation of the monument is played by its position in relation to the countries of the world, which determines the nature of its lighting at this or that time of day.

A special section of monumental sculpture is a memorial sculpture (tombstone), which are set on the graves in memory of the merits and moral virtues of the deceased. Art history knows a huge number of types of tombstones – from the majestic Egyptian pyramids to the modest wooden cross-pigeon in the village cemetery. While a city monument seems to address everyone, a gravestone most often addresses only the person closest to it. The sounding of a memorial gravestone is usually lyrical, intimate.

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