{"id":1925,"date":"2023-07-21T13:21:43","date_gmt":"2023-07-21T05:21:43","guid":{"rendered":"https:\/\/www.atelierauction.com\/globalupdates\/?p=1925"},"modified":"2023-07-21T13:21:43","modified_gmt":"2023-07-21T05:21:43","slug":"deviantarts-decision-to-label-ai-images-creates-a-vicious-debate-among-artists-and-users","status":"publish","type":"post","link":"https:\/\/www.atelierauction.com\/globalupdates\/artist\/deviantarts-decision-to-label-ai-images-creates-a-vicious-debate-among-artists-and-users\/","title":{"rendered":"DeviantArt\u2019s Decision to Label AI Images Creates a Vicious Debate Among Artists and Users"},"content":{"rendered":"

San Francisco\u2013based concept artist RJ Palmer got his big break on\u00a0DeviantArt<\/a>. After joining the image-sharing platform in 2005, the 33-year-old began posting realistic drawings of Pok\u00e9mon there in the style of the Japanese anime\u00a0Monster Hunter<\/em>. His work soon made the rounds online and, in 2016, the production designer for the movie\u00a0Detective Pikachu<\/em>\u00a0reached out. Palmer has freelanced ever since for the entertainment industry, primarily for video games.<\/p>\n

\u201cDeviantArt for me was a pretty big deal,\u201d Palmer told\u00a0ARTnews<\/em>. \u201cI became one of their success stories.\u201d But these days, Palmer describes the site as an \u201cunusable mess\u201d because of \u201cAI crap\u201d\u2014work produced by AI-powered text-to-image generators like\u00a0Midjourney, Stable Diffusion, and OpenAI\u2019s DALL-E.<\/p>\n

With more than 75 million users, DeviantArt is one of the latest\u2014and largest\u2014online spaces to grapple with AI-generated images. Last month, the site announced that it would\u00a0require users\u00a0to disclose whether works they submitted were created using AI tools; the announcement followed one by\u00a0Google\u00a0in May of a similar plan to label \u201cAI-generated images,\u201d just weeks before the\u00a0European Union<\/a>\u00a0urged other Big Tech platforms to follow suit.<\/p>\n

Both the EU and Google\u2019s argument for labeling AI-generated images has centered on misinformation. When an image of\u00a0Pope Francis in a white puffer jacket<\/a>\u00a0went viral earlier this year, for example, many people didn\u2019t immediately know it was faked. The threat of misinformation around news events or elections appears obvious. But another debate around AI labeling touches on the core of how we define art, who gets to make it, and who can profit from it. That conversation has enraged creators on both sides.<\/p>\n

\u201c[DeviantArt] can be like, \u2018Oh, there\u2019s suddenly all these people using our service, they\u2019re uploading tons of images.\u2019 It\u2019s good for\u2014at least they think it\u2019s good for\u2014the site\u2019s health, even though it\u2019s driving \u2026 actual longtime users and \u2026 regular artists away from the service,\u201d Palmer said.<\/p>\n

As a successful digital artist, Palmer has become a spokesman of sorts for artists on DeviantArt who object to AI-generated images on the platform.<\/p>\n

The first issue, for Palmer and other digital artists, is how such generators were developed\u2014by \u201cstealing\u201d other artists\u2019 work, as he put it. Most programs were trained on the LAION dataset, a collection of 5.6 billion images scraped primarily from public websites. A class action lawsuit filed by artists in January against DeviantArt, Midjourney, and StabilityAI\u2014the company behind Stable Diffusion\u2014estimated that 3.3 million images<\/a>\u00a0in LAION were ripped from DeviantArt. (DeviantArt has said in public statements that it was never asked, nor did it give, permission for this.)<\/p>\n

Artists like Palmer were already upset when those text-to-image AI generators launched early last year, but the conflict escalated in November when DeviantArt released its own version,\u00a0DreamUp, that automatically included\u00a0 users\u2019 creations in its dataset. Opting out required users to delete each individual image, a prohibitive burden considering that many, like Palmer, have thousands of works on the platform.<\/p>\n

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In this photo illustration, a woman\u2019s silhouette holds a smartphone, with the DeviantArt logo in the background.<\/span>SOPA IMAGES\/LIGHTROCKET VIA GETTY IMAGES<\/cite><\/figcaption><\/figure>\n<\/div>\n

Less than 12 hours after DreamUp\u2019s launch, DeviantArt\u00a0announced that it was reversing the policy\u00a0and not keeping users\u2019 artworks in the dataset by default. But that was mostly a feint: DreamUp was built on Stable Diffusion, and therefore, on the LAION dataset, which already includes countless images by DeviantArt users.<\/p>\n

Palmer\u2019s criticism of DeviantArt is as much about the platform\u2019s tone-deaf execution of AI as about AI itself. The day DreamUp launched, Palmer conducted a\u00a0Twitter Spaces\u00a0conversation with several DeviantArt executives. One question on which Palmer pressed the company: If DeviantArt was intent on creating an AI image generator, why not use an \u201cethically sourced\u201d dataset?<\/p>\n

CMO Liat Karpel Gurwicz told Palmer that users would upload AI images even if the platform banned them. By introducing its own generator, DeviantArt retained some control. \u201cWe cannot go and undo what these datasets and models have already done \u2026 \u201d Gurwicz said. \u201cWe could build our own model, that\u2019s true \u2026 But doing that would take us probably a couple of years in reality.\u201d<\/p>\n

Despite DeviantArt\u2019s insistence that it was protecting artists, DreamUp fueled a massive user backlash. They spoke out to the media and launched\u00a0online protests<\/a>; message boards\u00a0were rife with complaints, and some users said they would leave the site entirely.<\/p>\n

Beyond the ethics of AI training datasets, Palmer\u2019s issue with AI-generated images\u2014and why he supports labeling\u2014comes down to time and creativity. Users say DeviantArt\u2019s homepage and search are now flooded with low-quality, AI-generated images that likely took seconds or minutes to create, many of which aren\u2019t labeled, despite the site\u2019s new requirement. By Palmer\u2019s measure, AI has turned a vibrant artistic community into an image dump.<\/p>\n

Palmer has also noticed other users\u00a0imitating his work using AI\u00a0(and not well, he said). If the training improves, he\u2019s worried AI could replace him or other artists entirely. Unfortunately, they can\u2019t copyright style, only specific artworks. And according to the\u00a0US Copyright Office,<\/a>\u00a0AI creators can\u2019t even do that.<\/p>\n

This past March, the office\u00a0released an official position\u00a0that only \u201chuman-authored\u201d works are eligible for copyright. Many artists applauded the decision, as it seemingly eliminated corporations\u2019 ability to profit from AI-generated images and, therefore, offered some hope for the protection of artists\u2019 livelihoods. AI labeling, then, would help establish what images can and cannot be legally protected.<\/p>\n

But for Jason M. Allen, the 40-year-old founder of tabletop games studio Incarnate Games, arguments over copyright miss the point. Artists and AI similarly create artworks influenced and derived from an amalgamation of images, experiences, and art.<\/p>\n

\u201cSo really, every experience that you have, every book that you read, every piece of art that you look at, is going through your neural network. And then you\u2019re using that experience and your recollection of these ideas and combination of concepts to then express yourself using your choice of medium and technique,\u201d Allen said of the artistic process. \u201cAnd I can\u2019t? Because it\u2019s artificial intelligence?\u201d<\/p>\n

This past September, Allen won first place at the Colorado State Fair annual art competition with his AI-generated image\u00a0Th\u00e9\u00e2tre d\u2019Op\u00e9ra Spatial.<\/em>\u00a0By Allen\u2019s estimation, he spent more than 80 hours experimenting with different prompts on Midjourney to generate the image. He also founded Art Incarnate, where he sells prints and other upcoming AI creations.<\/p>\n

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A selection of images on DeviantArt\u2019s labeled AI-images page.<\/span>SCREENSHOT<\/cite><\/figcaption><\/figure>\n<\/div>\n

The US Copyright Office\u2019s decision, Allen argues, ignores the creativity in\u00a0using<\/em>\u00a0AI tools, and he\u2019s since appealed in an effort to copyright his award-winning piece. For Allen, forced AI-labeling produces a similar bias against AI creators and creates multiple \u201ctiers\u201d of artists.<\/p>\n

\u201cI feel like it\u2019s impossible to remove the human element from the work,\u201d said Allen, who doesn\u2019t consider himself an artist. \u201cThere\u2019s always a user, there\u2019s always a person, there\u2019s always a creative force.\u201d<\/p>\n

The idea that AI generators are just another tool for artists has parallels to 19th-century debates about photography, which was seen, at the time, as a mechanistic reproducer of fact rather than a conduit to creativity. In an 1884 US Supreme Court case, a lithograph company that reproduced a photograph of Oscar Wilde argued the original\u00a0could not be copyrighted because photographs lacked originality, being the result of a simple button push. In the decision, Justice Samuel Miller deemed it an \u201coriginal work of art,\u201d noting the creative decisions that went into the portrait\u2019s production. Similar debates and court cases were waged in France, the United Kingdom, and elsewhere at the time.<\/p>\n

Ahmed Elgammal, a professor of computer science at Rutgers University and the director of the Rutgers Art and Artificial Intelligence Lab, sees photography and AI similarly, as tools.<\/p>\n

\u201cI think it might be fair to think of labeling [images] as AI the same as labeling an image a photograph or labeling an image as digitally created,\u201d Elgammal told\u00a0ARTnews<\/em>, adding that fake images circulating on social media are \u201creally problematic.\u201d<\/p>\n

Even if platforms agree that all AI-generated works should be labeled, the challenge remains how to do so. User reporting has obvious problems. Google\u2019s AI labeling tool,\u00a0rolled out in May, asks text-to-image generators to\u00a0label works at the point of production.\u00a0The company said Midjourney and others would join in the coming months. Meanwhile, using an algorithm or automated detection system to determine whether something was created with AI could introduce more problems than it solves.<\/p>\n

\u201cA technological solution to a technological problem, that\u2019s gonna lead to more technological problems,\u201d Jennifer Gradecki, assistant professor of art and design at Northeastern University, told\u00a0ARTnews.<\/em><\/p>\n

Derek Curry, also an art and design professor at Northeastern, told\u00a0ARTnews\u00a0<\/em>that algorithmic detection would likely end up with false positives and false negatives. That could have a major impact on artists, depending on how platforms and governments choose to approach AI copyright in the future.<\/p>\n

The real problem with labeling AI, Gradecki and Curry believe, is that the lines are blurry. Almost all smartphone cameras and many digital cameras already use AI to enhance images with image stabilization or color optimization. Image-editing software also offers AI enhancement. How much AI processing is acceptable before an image is deemed AI-generated?<\/p>\n

\u201cEven if you require large companies that are under some sort of regulation to label AI-generated content, within that even there\u2019s a question of what constitutes AI-generated content,\u201d Curry said.<\/p>\n

While it\u2019s clear that AI image generators are not going anywhere, Elgammal, the computer science professor, thinks the threat to artists will blow over.<\/p>\n

\u201cSoon people will realize that they are losing a lot by using these tools, their identity is lost, control is lost,\u201d Elgammal said. \u201cAnd at the end, art created by these kinds of tools will look the same. For me, anything produced by Midjourney looks the same.\u201d<\/p>\n

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Source: https:\/\/www.artnews.com\/<\/p>\n","protected":false},"excerpt":{"rendered":"

San Francisco\u2013based concept artist RJ Palmer got his big break on\u00a0DeviantArt. After joining the image-sharing platform in 2005, the 33-year-old began posting realistic drawings of Pok\u00e9mon there in the style of the Japanese anime\u00a0Monster Hunter. His work soon made the rounds online and, in 2016, the production designer for the movie\u00a0Detective Pikachu\u00a0reached out. Palmer has […]<\/p>\n","protected":false},"author":2,"featured_media":1926,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[5,13,7,4,3],"tags":[],"class_list":{"0":"post-1925","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-artist","8":"category-auction","9":"category-events","10":"category-gallery","11":"category-latest-news"},"yoast_head":"\nDeviantArt\u2019s Decision to Label AI Images Creates a Vicious Debate Among Artists and Users - Investable Art Auctioneer<\/title>\n<meta name=\"description\" content=\"San Francisco\u2013based concept artist RJ Palmer got his big break on\u00a0DeviantArt. 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