{"id":286,"date":"2026-06-03T11:05:24","date_gmt":"2026-06-03T11:05:24","guid":{"rendered":"https:\/\/americanlivingreport.com\/?p=286"},"modified":"2026-06-03T11:05:24","modified_gmt":"2026-06-03T11:05:24","slug":"ai-can-replicate-human-made-art-heres-why-it-can-never-replace-it","status":"publish","type":"post","link":"https:\/\/americanlivingreport.com\/?p=286","title":{"rendered":"AI can replicate human-made art. Here\u2019s why it can never replace it."},"content":{"rendered":"
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As AI continues to encroach on every aspect of our lives, there is a persistent fear or hope, depending on your angle: AI will someday take over art. The internet is full of quizzes showing that most lay people cannot tell the difference between AI-generated art (digital pictures of paintings, prose) and the real thing. Multiple studies have shown that when people are shown AI-generated art and human-made art, but are not told which is which, they tend to prefer the AI-generated art, whether it be images, poetry, or prose.<\/p>\n

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Yet what\u2019s striking is that despite this disparity, people still consistently say that human-made art is what they want.<\/p>\n<\/div>\n

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In one study published in 2023, participants were shown a series of images, each randomly labeled \u201cAI-made\u201d or \u201chuman-made.\u201d Participants rated the images they thought were machine made as worse than the images they thought had been created by a human artist \u2014 even when those were actually human-made.<\/p>\n<\/div>\n

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One conclusion you might draw here is that the widespread disdain for AI-generated art is empty snobbery. If human-made art were so much better, the argument goes, then people would be able to see a real difference.<\/p>\n<\/div>\n

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This line of thinking relies on the belief that \u201cgood\u201d art is something that many people find appealing, at least in a vacuum. At this point, AI has automated that generation fairly successfully. At some point, it may get even better at it.<\/p>\n<\/div>\n

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But I don\u2019t think those study participants were lying when they said they wanted human-made art, even if they couldn\u2019t tell the difference. Even if we get to a future in which AI\u2019s persistent glitches are ironed out, so that there are no more missing fingers and garbled sentences, and AI-generated images and music and poetry and prose and film are completely indistinguishable from the best a human can produce, even to highly trained experts \u2014 even then, I think people would still keep saying they would rather experience art made by humans. And even in such a world, I don\u2019t think they would be lying.<\/p>\n<\/div>\n

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The pleasure of art is specifically related to the human mind on the other side of the product. When we\u2019re told that the mind on the other side is a machine, many of us don\u2019t want to engage anymore.<\/p>\n<\/div>\n

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That loss of interest matters. It is consistent. It has happened before in the history of art.<\/p>\n<\/div>\n

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Two hundred years ago, another new technology emerged that was capable of automating the technical skills many people at the time would have considered one of art\u2019s fundamental functions: the camera. It could capture a likeness perfectly and very quickly, in a moment when almost all of visual arts were organized around capturing a likeness.<\/p>\n<\/div>\n

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The camera changed the way paintings were produced and ultimately valued, but it did not replace the medium entirely \u2014 and the reasons why can help explain why AI-generated art won\u2019t replace human-made art, either.<\/p>\n<\/div>\n

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\u201cArt\u2019s most mortal enemy\u201d<\/h2>\n<\/div>\n<\/div>\n
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In 19th-century Europe, one of the major ways people decided whether a painting was good was by asking the question, \u201cHow closely does this match what I can see with my eyes?\u201d It was important for painters to be able to create something that we would now describe as photorealistic.<\/p>\n<\/div>\n

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What people wanted from art at the time, says Richard Meyer, a professor of art history and director of American studies at Stanford University, was what people expect from a good Hollywood movie now: \u201cYou suspend your disbelief that you\u2019re looking at a flat surface with pigment built up on it, and you fall into the fiction of, here are these beautiful bodies before you, or here is this landscape, or here\u2019s this bowl of fruit.\u201d<\/p>\n<\/div>\n

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An artist\u2019s skill was in large part defined by how faithfully they were able to recreate reality. Many artists were able to make a living painting relatively affordable portraits, which allowed people who weren\u2019t aristocrats or nobility to commission a permanent record of their appearance, says Anju Lukose-Scott, a curator and master\u2019s student at the University of Chicago.<\/p>\n<\/div>\n

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As inventors began to develop early versions of photography in the middle of the 19th century, it started to seem like artists might become redundant. A camera can create an exact record of the way the world looks far faster and more easily than any painter can, no matter how skilled they are with their brush. The new technology, French poet Charles Baudelaire wrote darkly in 1859, was \u201cart\u2019s most mortal enemy.\u201d By the 20th century, as it became possible to reproduce an old masterpiece on a postcard, that original works of art had lost their unique aura.<\/p>\n<\/div>\n

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The immediate implications for a large class of skilled craftspeople were catastrophic. \u201cPortraiture was a huge commercial business,\u201d Lukose-Scott says. The camera made such work nearly obsolete. Some artists went out of business; others pivoted to making daguerreotypes for their clients instead of paintings.<\/p>\n<\/div>\n

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But the effect on painting as a fine art form was different, Meyer says. Painters began to focus on what they could accomplish with their brushes that a camera could not. Instead of trying to capture reality, they began to use colors and textures to convey emotions<\/em>.<\/p>\n<\/div>\n

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Artists in the new impressionist movement would deliberately show their brushstrokes in their paintings, making the texture of the paint and canvas part of the artistic effect they were developing. Since photography was still a black-and-white medium, the impressionists made vivid colors more and more central to their work. They moved away from trying to duplicate the shapes and lines that cameras could record so well, and instead began to explore the way unnatural shapes and lines could provoke a visceral response from a viewer.<\/p>\n

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To the modern eye, it\u2019s these discrepancies between paintings and reality that make these impressionist paintings so exciting and pleasurable to look at. They show us a way of perceiving the world that photography cannot.<\/p>\n<\/div>\n

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As painting evolved, photography took over where trade portraiture left off: It was considered a craft, not an art. When people began to take photography seriously as its own medium in the 20th century, it wasn\u2019t because of photography\u2019s exceptional ability to capture a likeness, Meyer says. The ability to do that could now be taken for granted. Instead, the art of photography was about the choices made by the human using the camera: what to shoot, how to frame the subject, how to light it, how to edit it.<\/p>\n<\/div>\n

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Today, almost all of us carry cameras around in our pockets. But most of us would not describe the quick, functional photographs we take with our smartphones as art, no matter how accurately they capture the world around us. People can and do make art with their phones, but doing so requires a human mind working with intention and craft behind the machine of the camera.<\/p>\n<\/div>\n

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We no longer consider the ability to create a perfect replica of reality to be the main prerequisite to making a piece of visual art. Technology has made it easy enough to do that the skill has lost value. People still care about visual art, but we use different criteria to evaluate it than we did in 1800.<\/p>\n<\/div>\n

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AI\u2019s arrival may very well devalue the ability to create smoothly readable text and pleasant visual compositions, and that could mean bad things for a lot of industries, including journalism. But that doesn\u2019t mean we\u2019ll stop caring about whether or not a human being made a piece of art.<\/p>\n<\/div>\n

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\u201cArt offers us a way of looking\u201d<\/h2>\n<\/div>\n<\/div>\n
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I keep thinking about something Meyer told me about what happened to the 19th-century portrait painters who lost their jobs to daguerreotypists. Meyer argues that there was something about the nature of middle-class portraiture that made people willing to cede it to cameras, in a way that they didn\u2019t feel happy to do with the types of paintings that live on in museums.<\/p>\n<\/div>\n

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In portraiture, Meyer says, \u201cyou\u2019re going not so much for the individual expressive perspective of the artist but for a likeness. It\u2019s really about oneself, the person portrayed, rather than the person portraying.\u201d In contrast, Meyer says, fine art is about the artist, and the way that the artist sees the world.<\/p>\n<\/div>\n

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It\u2019s worth spending a bit of time on the distinction Meyer is drawing. One thing that people who love playing with AI sometimes say is that the pleasure of prompting comes from watching a stray thought become concrete in the blink of an eye: It is a piece of your mind made external, so that you can look at it. An AI prompt is about the person prompting, in much the same way that the average hired portrait was about the person being painted.<\/p>\n<\/div>\n

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If I consider an image or a piece of text to be a reflection of myself, I might not mind using soulless technology to create it \u2014 it\u2019s already interesting to me, because it\u2019s about<\/em> me and for <\/em>me. But when an image or a piece of text is about something else, I feel differently. I want to connect with another person, not something mechanical.<\/p>\n<\/div>\n

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That seems to be the thing that most humans crave from art: an encounter with another human mind. Someone expresses how it feels to be alive in a human body, with a human soul, and another one sees it, reads it, hears it, and grasps at it. That<\/em> is the experience that moves us.<\/p>\n<\/div>\n

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\u201cIt\u2019s about wanting to understand how an individual sees the world differently from how we can see it on our own,\u201d Meyer says. \u201cArt offers us a way of looking.\u201d<\/p>\n<\/div>\n

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So when we think about whether AI-generated content has the potential to be art, to replace art, the question that matters is not whether it can create entertaining or realistic images and text out of nothing. The question is whether the machine allows us to experience the way a different person lives in the world.<\/p>\n<\/div>\n

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For Lukose-Scott, the possibility is unlikely, because today\u2019s LLMs are trained on a corpus of existing art. \u201dWhat\u2019s retained in the invention of photography is a kind of artistic identity. People are using the technology through their own artistic voice, which from my perspective is lacking in AI,\u201d Lukose-Scott says. \u201cMy perception of AI art is that it\u2019s just a self-gratifying loop, because it\u2019s taking from what we already know, and it\u2019s putting it back in the world.\u201d<\/p>\n<\/div>\n

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When a person uses ChatGPT to spit out a Studio Gibliflied replication of their family snapshots, they are not showing us a new form of subjectivity. They are mimicking the subjectivity of Hayao Miyazaki, without bringing Miyazaki\u2019s intention or skill to bear on the finished product \u2014 and they\u2019re able to do so because OpenAI trained its model on Miyazaki\u2019s work without his permission. Unlike the camera, AI is built on a foundation of what is arguably intellectual theft.<\/p>\n<\/div>\n

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This is not to say that it would be impossible for an artist to use AI as a tool to produce new artistic ideas, just as it is not impossible for an artist to use an iPhone camera as a tool to make art. But it would look different from slapping a prompt into Midjourney, for the same reason that most people\u2019s iPhone selfies are not very artistically interesting: Because they are about and for you, not about sharing your embodied experience with the world.<\/p>\n<\/div>\n

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The context matters enormously. The context is what tells me that when I reach out to art with my human mind \u2014 my human soul \u2014 another mind is on the other side, reaching back.<\/p>\n

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See More:<\/span><\/p>\n
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  • Artificial Intelligence<\/li>\n
  • Culture<\/li>\n
  • Explainers<\/li>\n
  • Innovation<\/li>\n
  • Technology<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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