I've logged in after 10 years to express my disagreement with this misguided and shallow post.
1. Taste is trainable, and far more malleable than the author believes. Good examples of this include "unclassifiable" films such as Parasite, which reached immense global success with both critical and popular audiences, and stood out precisely because it was so different, along with a remarkable depth in its craftsmanship (a given).
2. Overconfidence in hermeneutics. For one, little details are critical and are precisely the mark of superior craftsmanship (or shoddy work if they are neglected). You can see this in the dialogue around detecting AI-generated images. A cool example is the 4-second crowd scene in Miyazaki's The Wind Rises (2013), which took an entire year to animate.
3. A superficial and overreaching view of art. You can see this both in the way they discuss artistic value (external activity and metrics), and also their limited artistic vocabulary (the Louvre as a whole, Elvis, Abba). What about Edo period Japanese painting? What about Abbasid architecture? What about that simulated black hole in Intellerstar (to give a technological example)?
This kind of technological slop drives distrust with other industries (especially creative ones), rather than the productive and empowering dialogue we should be having. I hope we can do better on HN, and that for his own sake, the author gains some faith in art again.
1. Taste is trainable, and far more malleable than the author believes. Good examples of this include "unclassifiable" films such as Parasite, which reached immense global success with both critical and popular audiences, and stood out precisely because it was so different, along with a remarkable depth in its craftsmanship (a given).
2. Overconfidence in hermeneutics. For one, little details are critical and are precisely the mark of superior craftsmanship (or shoddy work if they are neglected). You can see this in the dialogue around detecting AI-generated images. A cool example is the 4-second crowd scene in Miyazaki's The Wind Rises (2013), which took an entire year to animate.
3. A superficial and overreaching view of art. You can see this both in the way they discuss artistic value (external activity and metrics), and also their limited artistic vocabulary (the Louvre as a whole, Elvis, Abba). What about Edo period Japanese painting? What about Abbasid architecture? What about that simulated black hole in Intellerstar (to give a technological example)?
This kind of technological slop drives distrust with other industries (especially creative ones), rather than the productive and empowering dialogue we should be having. I hope we can do better on HN, and that for his own sake, the author gains some faith in art again.