Art (,the thread about)

[Obolus]

I wonder if there could be any unintended consequences of waging war digitally like that.

[Kheone]

Hmm. Interesting. Anyone have an explanation of how it works? The article makes it seem very organic.

[anon45924993]

Here’s a link to the Nightshade paper. It specifically attacks vulnerabilities discovered in the Stable Diffusion XL (SDXL) model. I imagine it requires Nightshade’s authors to have some intimate familiarity with the particular model that is being targeted, and is not a generalized attack that would work for all generative models universally, but I haven’t read the paper and might be wrong about that.

It’s a relevant question though. Does using Nightshade protect me from SDXL but not Midjourney or Dall-E? If that’s the case, it’s not very useful.

In fact, we could start to see these as arms in an arms race, and those who are doing battle are not necessarily on our “side”, they are merely engaged in combat with one another in a fight for survival. If this tool torpedoes SDXL and leaves other models untouched, you’ve actually assisted the other models by using it.

But I dunno. What am I trying to say? Artists should airgap themselves from the internet forever? That’s obviously not going to work either.

Edit: you can learn more about Glaze here, which is where Nightshade will land when it becomes generally available.

[mei]

i saw Christian Marclay’s 48 War Movies at Paula Cooper in 2019, and ever since i’ve had this extremely silly idea in the back of my head. last night i was bored enough to do it – i present to you, 48 ASMR Videos:

48 ASMR Videos

[anon45924993]

I love this! I’ve been mixing asmr videos myself but hadn’t arrived at this point yet. It works!

[tehn]

recall this gem — https://f1f2f3f4f5f6f7f8f9.online

[marcus_fischer]

Ha. That’s amazing (and furious)

[eblomquist]

@anon45924993

it’s hard to ignore the approaching … whatever it is that is approaching…

I have no idea what is approaching but from the early stages of its image production, it’s got quite a lot of Bosch in it…

Much of the imagery feels very hallucinogenic and underworldly, and reminiscent of pictures we looked at as kids in the 60s in weird books by allegedly psychotic people.

In other words, quite troubling. But also very interesting in an alien consciousness kind of way…

Not at all sure what’s coming…

[anon45924993]

I was always attracted to the works of Bosch and Dali and Escher, not to mention the deconstruction of postmodernists. So, the aesthetics of recombination and altered physics/geometry were appealing to me long before diffusion models started pulling perceived aesthetics out of Gaussian noise.

This attraction and interest long preceded my 90s experiences with heroic doses so I can’t even blame the drugs for my psychosis. I can, however, blame my psychosis for my psychosis. But I think Bosch, Dali, and Escher are proof that it is possible to live a productive, albeit psychotic (at times) life.

…

I’ve spent a fair amount of time experimenting with diffusion models to generate images. It’s fascinating on a number of levels but I’ve shared very little of the outcome of those investigations because I don’t want add fuel to any enthusiasm for the problematic approach. But I will say that those experiences have raised a large number of questions that I long to explore with a responsible community of artists. It’s just unfortunately impossible to achieve at the moment as the technology for training primary language models is still far too expensive for responsible community of artists to be able to afford.

[Angela]

I want to try to crack using ink wash. I’m really inspired by Matteo Scalera’s work and want to make drawings with that much drama, and atmosphere, and warmth (or, like, there’s a ‘texture’ quality that’s like what film grain is to movies).

I watched a video where he talks about his materials and drawing station, and I’ve tried to set up my ink like he does. I’m very much getting used to the tones. I feel a bit out of control. So far what I think I can’t avoid any further is that I need to plan the tones in my drawings just a bit more. And also I go too dark—and too soon—but Matteo lays in dark tones as his 2nd or 3rd step so I don’t think laying off dark tones at the beginning is any kind of rule.

I’m also figuring out what to bring in when. Nib pen when? Do I even want to use white gauche? (I’m leaning ‘no’…unless I mess up)

I’m trying to figure out what I like.

[wick]

just having fun jejejejejej

[dcardillo]

From my sketchbook: gouache, ink, and colored pencil on paper

[Angela]

A friend asked me to contribute to a zine she’s putting together of small graphic scores for improvisers. This was the brief:

• an image, no text
• black and white, so will work in one-colour print
• size: A7 double page spread max: aka width 148mm by height 104mm (bearing in mind the page break)
• to be put in front of improvisers about to play; to inspire soundmaking

^That last statement makes me feel like the musicians won’t get too much time to reflect on the scores. So I made something pretty literal and with–hopefully–clear sections, with enough drama to evoke sound.

[Nwilton]

Couple of iPad drawings

[Jiffybox]

I am absolutely in love with this piece. I get so lost in it in the very best way. Terrific work

[dcardillo]

thanks for your kind words…glad you enjoyed this sketchbook page…

[wick]

making my modular bbq art poster for my modular event on december

[marcus_fischer]

I’ve posted about it on the portland events page before but figured it would make sense here too.

I’ve got a solo exhibition up at Oregon Contemporary until February 11th.
you can read about it in the gallery guide in this link as well as see some photos.

https://www.oregoncontemporary.org/marcus-fischer-what-was-lost-and-what-remains

you can see video of one movement in the central piece “Mass” from a prior exhibition

Marcus Fischer "Mass" (May excerpt, movement 5 of 12)

[Bryan_Rohmer]

Album cover musings

[wick]