Culture risks being overrun by AI-generated images that merely repeat the past over and over, destroying our capacity as humans to connect.

“Refik Anadol: Unsupervised” uses an AI model trained on 180,000 artworks from MoMA’s collection to produce a stream of digital images.

A CambrianAI analyst argues that paid AI image generation services will become ubiquitous, giving creatives an unpleasant choice to face.

Director Emerald Fennell’s film is part queasy satire, part gothic horror… and Linus Sandgren shoots it like a dream.

Many creatives have been struggling over generative AI. Dave McKean went one step further: He wrote a book as he processed how this would change his work and our society. 

Will GenAI tools like DALL-E help us survive and thrive as a creative species, or are they the death knell of creativity as we know it?

AI “makes it so that anyone who has an interest in the process can” be a digital storyteller, says Doc Rock. He thinks that’s good for humanity.

Netflix’s “Painkiller” is not the first show to delve into the opioid crisis; it is likely not the last. Berg’s take relies on a strong cast and nimble crew.

“The Frost,” a new short film from Detroit-based Waymark, is being held up as one of the most impressive examples yet of generative video.

Hear from Kibo121’s Barbara Lange about new initiatives to enable a more sustainable future.

With companies like Microsoft integrating AI tools such as DALL-E 2 into their products, “Creativity As A Service” has finally arrived.

It’s easy to say that AI art is becoming indistinguishable from human creations, but aesthetic conventions often give the game away.