Artindustry
Art Money pulls back in economic squeeze
On 7 June, Art Money founder Paul Becker released a statement announcing the business will ‘pause new business operations whilst we recapitalise’ – a decision that Becker did not make lightly.
Art Money is an Australian art fintech business that offered interest-free, 10-month payment plans for artwork purchases between $500 to $1 million. Its goal has been to make art collecting accessible, affordable and sustainable.
Read more: https://www.artshub.com.au/news/news/art-money-pulls-back-in-economic-squeeze-2728918/
Artindustry
We Asked 10 Art Industry Savants to Share the Top Artists Residencies Around the World. Here’s What They Told Us
Whether starting one’s art career or entering a more established stage, artist residencies can offer valuable resources and professional connections in a mostly opaque art world, not to mention time to focus on making work.Finding the right fit can depend on key factors: financial benefits, covered costs, what is asked of the participating artist, and what kind of exposure a program offers to the regional and international art crowd. Often, what may seem like an attractive place to work may end up including additional pressures to donate work or considerable time in exchange for the costs of running a program. This needs to be weighed individually by artists.
Read more: https://news.artnet.com/art-world/artists-residencies-2509519
I’ve got 99 problems with A.I., but intellectual property ain’t one.
Media and entertainment industries have lately been consumed with questions about how content generated by artificial intelligence systems should be considered under intellectual property law. Last week, a federal judge ruled against an attempt to copyright art produced by a machine. In July, another federal judge suggested in a hearing that he would most likely dismiss a copyright infringement lawsuit brought by artists against several artificial intelligence art generators. How A.I. might alter the economics of the movie and TV business has become one of the primary issues in the strike by writers and actors in Hollywood. And major news companies — including The Times — are weighing steps to guard the intellectual property that flows from their journalism.
Read more: https://www.nytimes.com/2023/08/25/opinion/ai-art-intellectual-property.html
The Hollywood writers’ strike has put a spotlight on the impact artificial intelligence may have on artistic endeavour
The Writers Guild of America strike, which began in May and may well continue into next year, was originally a response to economic hardship. Specifically, to the cascading inequities of the US television industry, which, despite offering ever more plentiful outlets for screenwriters (599 English-language scripted shows aired in 2022, according to FX Research, up 7 per cent from 2021), has managed to turn what had been a comfortable middle-class profession into a red-in-tooth-and-claw manifestation of the modern gig economy – a frantic, patchwork hustle of shorter contracts, fewer positions and reduced wages, with even established writers scrambling to earn enough each year to qualify for healthcare.
About a month before the strike began, however, the discussion abruptly pivoted. Yes, all those things were important, but there was also another, even more significant issue to address. The growing sophistication of artificial intelligence modules had taken many by surprise – including those responsible for inventing them. (“I thought [machine intelligence] would happen eventually, but we had plenty of time: 30 to 50 years,” said Geoffrey Hinton, the British scientist whose work developing neural networks paved the way for platforms such as ChatGPT. “I don’t think that anymore.”) Suddenly social media was awash with examples of AI-generated storytelling, some of it even accompanied by rudimentary visuals.
