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HD Video (5:40), Monitor, 2021

石橋 友也  新倉 健人
    Tomoya Ishibashi Kento Niikura  

Photo: Ken Kato Photo courtesy: Tokyo Arts and Space




The left monitor shows a famous painting, the center monitor shows a description of the painting generated by the image description generator, and the right monitor shows an image generated by the text-to-image generator based on the text in the center. In other words, a series of processes to generate AI-interpreted paintings were presented.

Due to the accuracy of current AIs, mismatches can often happen, such as misinterpreting a farmer's arm in Millet's The Gleaners as a "herd of elephants." Starting with Giotto and moving on to 20th-century paintings, the AI makes relatively reasonable interpretations of realistic paintings, but the gap widens as it moves on to abstract paintings. In addition to interpreting Kandinsky as "a bunch of scissors," it can also generate images with strange coincidences of color and composition and return heuristic interpretations including Pollock as "a tree in the forest." 

The title "Lesson" is a metaphor for the process of human growth in art appreciation and creation. This work is an attempt to question the subjectivity and contingency of the interpretation of artworks and the act of creation through the perspective of a machine.


コトバノキカイ/Machine of Words, Tokyo Arts and Space hongo (6/1/2021-6/20/2021)


The Crucifixion of Our Lord Christ, Giotto di Bondone, ca.1300
The Last Supper, Leonardo da Vinci, ca.1495
Aldobrandini Madonna, Raffaello Santi, ca.1500
The Milkmaid, Johannes Vermeer, ca. 1658
The Gleaners, Jean-François Millet, 1857
The Luncheon on the Grass, Édouard Manet, 1863
Sunflowers (F456), third version: blue green background, Vincent van Gogh, 1888
The Young Ladies of Avignon, Pablo Ruiz Picasso, 1907
Composition VII, Wassily Kandinsky, 1913
The Treachery of Images, René Magritte, 1929
Composition with Red, Blue and Yellow, Piet Mondrian, 1930
Mural on Indian Red Ground, Jackson Pollock, 1950
Just what is it that makes today's homes so different, so appealing?, Richard Hamilton, 1956
COMPOSITION, Mark Rothko, 1959
Concetto Spaziale/Attese, Lucio Fontana, 1961
Three Studies for Portrait of George Dyer (on pink ground), Francis Bacon, 1964
Anna's Light, Barnett Newman, 1968




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