The first installment of a new online series landed this week, and it refuses to give artists an easy answer about their jobs. The question at its core: can artificial intelligence make real art, or is it just fast copying? The author spends most of the piece defining creativity itself before getting anywhere near a conclusion.
The practical takeaway is blunt. If creativity means generating something new and useful, AI clears that bar.
It produces novel outputs that work. The author points to cognitive scientist Margaret Boden’s framework, which splits creativity into three types. Combinational creativity remixes existing stuff.
Exploratory creativity works within established rules. Transformational creativity breaks the rules to invent entirely new forms.
AI handles the first two without breaking a sweat. It can take thousands of paintings and spit out a new image in Van Gogh’s style. It can learn the rules of a sonnet and generate passable poetry.
The system does what it’s trained to do. The third type is where things fall apart. Transformational creativity — the kind that gave the world Cubism — remains out of reach.
The source material puts it plainly: “The system cannot, on its own, decide to break the rules of the sonnet form to invent a new poetic structure.” That decision, the author argues, requires a human who has a reason to rebel. A machine has no reason for anything.
The author draws a useful analogy. Think of a chef inventing a recipe versus a microwave following one. Both produce a meal.
Only one of them tasted, failed, and adjusted. The microwave never burned its tongue.
It never learned anything. The series is set in Los Angeles and published online this week. It does not pretend AI is about to replace artists.
Instead, it frames the technology as a collaborator — one that handles the grunt work of generating options. The human still has to pick, and shape, and decide what matters. The piece does not offer a tidy yes-or-no answer.
It walks readers through a working definition of creativity and leaves them with the harder question: is there something irreducibly human about making something new? The author seems to think so, but the evidence is still coming in.
What this means for someone staring at a blank page or canvas is practical. The grunt work gets easier. The hard work does not.
AI can flood you with possibilities. It cannot tell you which one is worth pursuing.
That judgment, the series suggests, still belongs to a person who has lived enough to know what matters. The series is new. The questions are old.
What counts as creation? What counts as a creator? The first installment does not settle the debate.
It just draws the lines more clearly. AI can produce.
It cannot rebel. And rebellion, the author implies, might be the whole point.
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