> The training of painters in past centuries regularly involved copying old master drawings and paintings. To that end, most museums happily allowed students into their buildings for that purpose (some still do). But the practice was not limited to students. Even fully trained old masters copied older masters.
> The practice of copying and recreating paintings by the Old Masters at the Louvre goes back to when the museum first opened in 1793, when any artist could turn up and use a freely available easel to copy a masterpiece.
> ...
> Not all artists copied works to improve their skills. Some took up the practice professionally, since the demand for copies of masterpieces in the Louvre was high throughout the nineteenth century.
> ...
> These days only 250 copyists are permitted to install themselves in front of the museum’s art works, and a two-year waiting list shows that there are plenty of hopefuls waiting in the wings to take up a palette and brush.
> Those granted access have up to three months to work on their copy.
That this exists as a pedagogical exercise does not disprove the original point in any way.
Source: I spent a lot of time in the library copying sketches of the renaissance masters as a kid.
AI is the pencil, not the artist. As cool and capable as large models are they are not even remotely close to replacing self directed human intent. If you do not understand this you do not understand art.
I don't believe there's some magical quality to human intelligence, just that the things we are making today with AI are still orders of magnitude short of the real thing, and that there are still very difficult open questions in that gap.
There are certain jobs that we consider artists, but are very close to someone entering a text to a prompt. Consider a director for theater/film. They are prompting their "tools" (to be reductive) to produce the art they want, and have to sometimes accept when they just can't get the results they want from their tool.
I've kept considering the term hand crafted when reading this thread about what is considered valued art or not as that's what applies to this gemstone TFA directly. Then it went to the painters with brush strokes, and that too keeps the hand crafted idea. That's when I jumped to directors. To step further away from art, and switch it to sportsball. While current managers might have once been a player, now, they are essentially entering text into prompts to get their "tools" to provide the result they are looking for with varying degrees of success. The managers/coaches can't kick/throw the ball themselves to get the results. They just have to get their "tool" to perform better by constantly tweaking the text entered into the prompt. Hell, now I'm thinking parents are constantly tweaking their prompts to get their kids to do something.
Okay, at this point, I'm convinced we're all just part of the matrix.
> Consider a director for theater/film. They are prompting their "tools" (to be reductive) to produce the art they want, and have to sometimes accept when they just can't get the results they want from their tool.
Bluntly, it's clear you have no personal understanding of such productions and did not understand the most important point of my comment and how different it is from piloting a generative model.
Bluntly? You clearly have no idea who I am or what my work experience is like. I have no idea what your response has to do with anything, but I hope you feel better for getting it off your chest.
Humans working on a creative team are not automatons given commands, and this is a pretty basic understanding even if you are super impressed by what large models can do.
I am not super impressed by what LLMs can do, and think the current hype wave is ridiculous. I find them slightly more useful than NFTs.
But if you can't see how a director trying to use phrases like "I see what you're doing, and it's interesting. But let's try saying the actual lines a few more times, and then we'll let you play with it some more", or "okay, that was great. let's do it one more time", or "this time with more energy/angrier/etc", or "that was great everyone! this time, we're going to do the same thing but with..." or any other variations of director speak isn't like a user tweaking their prompt while looking for something entirely different or keeping parts of it while looking to change a different part.
If you can't see how that kind of feedback loop is similar to using a GPT, then you're really being obtuse as it's as blatant as the nose on your face
Copying the old masters is often an important part of developing one's own skills as a painter.
https://www.sightsize.com/old-masters-copying-older-masters-...
> The training of painters in past centuries regularly involved copying old master drawings and paintings. To that end, most museums happily allowed students into their buildings for that purpose (some still do). But the practice was not limited to students. Even fully trained old masters copied older masters.
Why copying old master paintings is useful - https://youtu.be/91UXW_hSpnU
The Art of the Copyist - https://www.metmuseum.org/perspectives/videos/2023/3/copyist...
Art: France’s long history of copying Old Masters at the Louvre - https://www.connexionfrance.com/article/Mag/Culture/Art-Fran...
> The practice of copying and recreating paintings by the Old Masters at the Louvre goes back to when the museum first opened in 1793, when any artist could turn up and use a freely available easel to copy a masterpiece.
> ...
> Not all artists copied works to improve their skills. Some took up the practice professionally, since the demand for copies of masterpieces in the Louvre was high throughout the nineteenth century.
> ...
> These days only 250 copyists are permitted to install themselves in front of the museum’s art works, and a two-year waiting list shows that there are plenty of hopefuls waiting in the wings to take up a palette and brush.
> Those granted access have up to three months to work on their copy.