My Brain on Pixel Space and Boring Rules

Sometimes my brain independently interviews itself on certain topics. This time, a background process researches what I think about photography as an artistic medium. I managed to grab it by the tail.

Will AI Kill Photography?

Do you think AI will, at some point, become better at taking pictures than humans, and photography will be dead?

I am not afraid of what will happen. Stronger, there will be a point in time when AI will be better at creating a particular kind of picture. But that is not as disastrous as photographers think it is.

  1. The current capabilities of AI are vastly overrated. AI is still an aggregation of what is out there. There is no invention, no novelty. Will there ever be surprising novelty? Maybe. But would you be interested in it? I doubt it. For advertising, as illustration, but as art, that surprises and moves. I doubt it.

But suppose AI becomes better than us at taking pictures:

  1. Keep making pictures anyway. People are still playing chess. It’s the process, dude. I guess each of us needs to consider why we are taking pictures in the first place. Do you really want to leave such an important activity to an AI?
  2. It is our challenge to find something that AI can not do better than we can. It is our challenge to find something no one can do better than you, in general, as makers. AI capabilities would be a fantastic challenge to human creativity. We should embrace that challenge rather than be afraid of it.

Will things change? Yes. But we should not react with the same Luddite arguments as photographers did when digital photography emerged.

david hockney - collage of cropped photos

On Cropping and Creative Freedom

Something different: Do you crop your pictures?

Uninteresting question, and you will see why. Yes. I crop whenever I want to remove things from the picture I don’t like. I am not religious about cropping. Or applying whatever modification to the picture, in fact. If someone can make a lovely image from a photo by cropping everything except a single pixel, I am totally ok with that. Or when someone glues 273 images together to create a great picture, it’s totally fine.

Really, I am fearful of orthodoxies. You must… use 28mm for real street, apply golden rules, only photography at dawn/sunset/hard light/…, shoot from the hip/viewfinder, use layers/deadpan/… in your pictures, never crop, never pose, … Screw all that. Wolfgang Tilmans blew up low-res images to great pictures. David Hockney cut and glued images to create fabulous artworks. Even Elliott Erwitt cropped the hell out of his photos.

I don’t want to limit my creativity by any such orthodoxy.

The Finite Space of All Images

My brain is researching the creative border. On that … Lately, I was also thinking about the limited pixel space we operate in. Say our images are 1000 by 1000 pixels, that is 1 million pixels, but the size does not really matter. It could be a million by a million, that is not the point. Each pixel in the one-million-pixel space can have 256 different color values (or 16000; again, the exact number does not matter). Then the total number of possible pictures is 256^1000000 (256 to the power of 1000000). That is a lot, but it is a finite number of pictures. Think about that.

These pictures include everything we can photograph around us, at any moment in time. Everything we see today, tomorrow, any picture we take fits in that space. And anything that happened in the past. A portrait of Napoleon, the building of the pyramids, a Neanderthal, a dinosaur, the Earth being hit by a giant meteor, everything.

I am only orthodox about trying not to be orthodox.

Lijstjes #1: Nederlandstalige fictie

Max Havelaar van Multatuli - lijstje beste nederlandstalige fictie

In willekeurige volgorde.

De man achter het raam – Gerrit Krol Een van de eerste boeken over AI, ver voordat het een realiteit was. Het boek werd in 1982 uitgegeven. Krol is een vergeten schrijver, ondanks zijn volstrekt eigen stijl. Zelfs internationaal zijn er weinig vergelijkbare schrijvers.

De donkere kamer van Damokles – W.F. Hermans Behoeft weinig betoog. Hermans is voor mij een van de twee beste Nederlandstalige schrijver van de vorige eeuw; de tweede is Hugo Claus.

Een opsomming van tekortkomingen – Ine Boermans Een bijzonder boek van een eigenzinnige schrijfster.

Reis door mijn kamerJ.M.A. Biesheuvel Bizarre, grappige en aandoenlijke verhalen.

De joodse messias – Arnon Grunberg Misschien wel het beste boek van Grunberg.

Max Havelaar of de koffij-veilingen der Nederlandsche Handel-Maatschappij – Multatuli Tsja, een klassieker natuurlijk.

Dichtertje, De uitvreter, Titaantjes – Nescio Verrassende verhalen met een geheel eigen stijl en wereld.

Herinneringen van een engelbewaarder – W.F. Hermans

Terug naar Oegstgeest – Jan Wolkers

Stenen voor een ransuil – Maarten ’t Hart

Mijn lieve gunsteling – Marieke Lucas Rijneveld Een verrassend boek. Spierballenliteratuur, schreef ik eerder in een notitie.

Wat mis ik?

Otterspeer over W.F. Hermans – deel I

 De mislukkingskunstenaar Willem Frederik Hermans
Auteur: Willem Otterspeer

Ik las het eerste deel van de biografie van Willem Otterspeer over W.F. Hermans – De mislukkingskunstenaar. Goed geschreven, al had de detailanalyse van bepaalde aspecten, zoals zijn werk, wat beknopter gekund. Of weggelaten. Otterspeer lijkt geen detail te kunnen overslaan, wat ertoe heeft geleid dat de biografie twee dikke pillen beslaat.

Daarnaast verbaas ik me af en toe. Otterspeer doet nauwgezet, tot vervelens toe, analyse van het werk van Hermans en de relatie tussen de romanpersonages en hun wederwaardigheden met het leven van de auteur zelf. Vervolgens is Otterspeer verbaasd dat er een sprekende overlap is te ontdekken tussen Hermans’ leven en werk. Dat is zoiets als naar Frankrijk reizen en je er dan over verbazen dat de inwoners van dat land allemaal Frans lijken te spreken.

Voor mij het meest karakteriserend: Hermans’ eigen analyse van wat betekenisvolle literatuur levert. Volgens Hermans moet de schrijver zich bezighouden met de vreemdheden om ons heen, deze gefascineerd analyseren en zich daar zonder met een ander rekening te houden in verdiepen. Dat leidt tot de enige waardevolle literatuur. Maar ook tot een onbegrijpend en onverschillig publiek, en tot een eenzame schrijver.

Dat is een uitstekende zelfanalyse van de schrijver die haast systematisch iedereen van zich af duwde en genadeloos de zelfgenoegzaamheid in het werk van anderen exposeerde.

Otterspeer beschrijft dit allemaal uitvoerig. Misschien wel té uitvoerig.

Straw Dogs by John Gray

Straw Dogs is John Gray’s assault on humanism. Gray, a British philosopher, doesn’t do optimism. He challenges the belief in human progress and our supposed uniqueness in nature.

The title comes from an ancient Chinese ritual: straw dogs were treated as sacred during ceremonies, then unceremoniously discarded afterward. For Gray, humanity itself is such a straw dog. Temporarily elevated by our own narratives, but ultimately disposable in nature’s indifferent scheme.

Straw Dogs by John Gray

Against Humanism: The Religion of Progress

Humanism, Gray argues, is a post-Christian religion masquerading as secular rationality. The assumption that humans can improve the world through reason and moral action is, in his view, dangerous folly inherited from Christianity’s teleological worldview.

Where Christianity promised salvation through Christ, humanism promises salvation through science, technology, and moral progress.

But Gray sees no evidence for this optimism. Humans became the dominant species not just through evolutionary luck. Climate change may be the mechanism through which the planet strikes back. Like other animals under stress, humans respond to environmental pressure with reduced reproduction, increased infections, and war. Not with enlightened cooperation but with the exact brutal mechanisms that govern all of nature.

Human (Non-)Exceptionalism

Gray’s most provocative claim: human consciousness does not make us special.

He draws on Schopenhauer’s dismissal of Kant’s rational individual. Humans are not autonomous conscious agents but, like all animals, embodiments of a universal Will. Our self-awareness is neither unique nor elevating.

This connects to Douglas Hofstadter’s “strange loop” theory in Gödel, Escher, Bach. Consciousness emerges from lower-level neural activity, like intelligence emerges from an ant colony.

Where Hofstadter finds beauty in this emergent complexity, Gray sees only further evidence that our consciousness is nothing special. Just another natural phenomenon. Nothing that elevates us above other animals or grants us cosmic significance.

Free will? A trick of the mind. A post-hoc rationalization we use to justify our actions. We tell ourselves stories about our choices, but these narratives are illusions.

Unconsciousness is just as powerful as consciousness, which is why meditation and similar practices aim to quiet the chattering mind. Gray doesn’t criticize these practices. He frames them as a correct understanding of the human condition and a solution to the problem of the burdensome conscious self.

Technology: Master or Plaything?

We cannot control technology, Gray insists. Humankind will misuse it despite our benign intentions. Science cannot bring reason to an irrational world. This contrasts with our current techno-optimism.

Gray’s vision of humans being replaced by their technical creations parallels Yuval Noah Harari’s warnings about AI and biotechnology. But Harari’s view is humanistic, concerned with preserving Homo sapiens as we know them. For Gray, human obsolescence is simply another turn in nature’s wheel. His question, “Would these machine replacements be more destructive than humans? Would it be worse?” betrays his anti-humanist stance. There is no cosmic scorecard. No inherent value in human survival.

In the future Gray envisions, digital technology will create a new wilderness, incomprehensible to humans in its entirety, extending the real world. Machines will have souls, spirits. Animism will extend to technology.

This is not science fiction dystopia but natural evolution. Consciousness was never exclusively human, so why shouldn’t it manifest in our mechanical offspring?

Language, Media, and the Manufactured Self

We use language to look back and forward, to create stories about ourselves. Christianity and humanism both destroy tragedy as a concept because they insist that there is always a better life possible. Either in this world through progress or in an afterlife.

But tragedy requires accepting that some suffering is meaningless, some losses irredeemable.

Gray observes that consciousness emerged as a side effect of language. Today, it has become a byproduct of the media. This connects directly to Neil Postman’s argument in Amusing Ourselves to Death about how media shapes consciousness.

Postman warned in his book that our obsession with entertainment and visual media would create what Huxley feared: a trivial culture “preoccupied with some equivalent of the feelies, the orgy porgy, and the centrifugal bumblepuppy.”

Gray’s observation that consciousness itself has become a media byproduct represents the ultimate fulfillment of Postman’s prophecy. We no longer consume media; media constitutes our inner lives. The self is manufactured, edited, and curated. A performance staged for an audience of ourselves and others, mediated through screens and feeds.

This connects to Marshall McLuhan’s famous dictum: “the medium is the message.” The technology itself, not its content, shapes consciousness and social organization. As Oliver Burkeman argues in Four Thousand Weeks, we’ve become so addicted to our devices and information streams that we’ve lost touch with our finite existence.

Gray would agree. Our media-saturated consciousness is just another distraction from the fundamental fact that we’re animals, not special beings with privileged access to truth or meaning.

Morality as Accident

Gray follows Freud in arguing that a sense of justice depends on childhood accidents. Being good is a result of good luck, not moral choice.

Moral intentions have a short history. Equality, the current moral orthodoxy, may well be succeeded by another framework. And so will our concepts of justice.

This relativism extends to the good life itself. Personal autonomy is an imagination. The most essential things in our lives are unchosen. We must improvise. The good life has no principles, no purpose. It simply is. What needs to be done is individual, not bound by universal morality. It comes naturally—or it doesn’t.

Provocatively, Gray notes that pleasure is most intense when mixed with sensations of immorality. (Like humor is best when it has a vile edge.) The good life flourishes not through following moral truths but despite, or because of, immorality.

This isn’t nihilism so much as naturalism. Animals don’t consult ethical frameworks, yet they live and flourish.

Economic Realities and the Obsolescence of the Masses

Industrialization created the working class and will make it obsolete. Gray predicted this before Piketty and Sandel analyzed how meritocracy creates a new aristocracy.

Sandel’s The Tyranny of Merit nails it: our meritocratic system humiliates losers while making winners insufferable. Piketty and Sandel want progressive taxation, greater equality, and what Sandel calls “contributive justice”. Ensuring everyone can contribute to the common good and receive recognition.

Gray would call this a more humanist delusion. The very belief that we can engineer a more just society through policy reform is the folly he attacks. Moral intentions have a short history. Today’s orthodoxy of equality will be succeeded by another. Justice itself is contingent, not absolute.

Economic life is geared toward satisfaction, manufacturing increasingly exotic needs, goods, and experiences. Drugs, sex, violence: antidotes to boredom. This is consumer capitalism’s truth, stripped of pretense. We’re not building toward anything. We’re distracting ourselves from the void.

Gray wrote during a period when wars were increasingly seen as non-state-driven: Al Qaeda, terrorism. We know better now. Russia operates as a mafia-based anarcho-capitalist state, spreading its model across the Western world. The US, Hungary, elsewhere. (Putin’s kleptocracy as export model—what a time to be alive.)

Future wars will be wars of security, not ideology. War has become a game, an entertainment for consumers in rich countries. Real war remains a habit of the poor, a violent chase for the dream of freedom.

Religion, Atheism, and the Death of God

Atheism, Gray argues, is part of Christianity. In polytheism, it never existed.

Christianity was the first religion to claim exclusive truth: one God, one path to salvation. When Europeans stopped believing in God, they didn’t abandon this structure. They simply replaced God with other absolutes: progress, reason, science, humanity.

Technical immortalists believe technology can make humans immortal. (Really, these Silicon Valley types are just monks in hoodies.) They’re engaged not in a scientific project but in a religious one, attempting to free us from fate and mortality.

Suffering, savior, deliverance: constructs designed to attract and retain believers in faiths, including Christianity and humanism. In humanism, miracle, mystery, and authority are embodied by science and technology.

But this is, as the Dutch say, a hersenschim—a phantom, an illusion.

The advance of our knowledge deludes us into thinking we’re different from animals. We’re not.

Gray’s Consolation: The Art of Contemplation

After this relentless demolition, Gray offers an unexpected consolation, a way to deal with the horrific facts we mortal humans face.

Action to create progress is illusory. Contemplation is underrated. Progress implies a destination. Play has no point. We labor like Sisyphus, pushing the boulder up the hill, watching it roll back down.

But can we make labor more playful? Can we approach technology and science not as means of mastering the world but as forms of play? No mastering, no progress. Just play.

Spiritual life, in Gray’s conception, is a release from the search for meaning. The perfection of humankind is a dreary purpose. The idea of progress is like searching for immortality, a denial of what we are.

Contemplation means surrendering to the never-returning moments, turning away from yearnings, and focusing on mortal, transient things. Groundless facts, things that simply are, without justification or purpose, are the proper objects of contemplation.

The aim of life: to see.

Not to improve. Not to progress. Not to perfect. Just to see. Clearly. Without humanistic hope blurring the view.

Conclusion: Debunking as Philosophy

Gray’s Straw Dogs is philosophy as demolition. Not comfort, not guidance. Just stripping away delusions.

Harari warns of AI doom. Piketty and Sandel champion equality. Postman’s media warnings were vindicated and ignored. We still believe in progress, in human perfectibility.

Gray’s voice? Either necessary corrective or intolerable provocation.

Probably both.

Connections

Without a preconceived plan, I have written about Neil Postman’s media critique, about Burkeman’s meditation on mortality in Four Thousand Weeks, about McLuhan’s “the medium is the message.” Gray’s pessimism dialogues with all of them. Also with Hofstadter on consciousness, with Piketty and Sandel on meritocracy, with Harari on technology’s future.

Gray rejects control and mastery, like Taleb in Antifragile. Taleb’s distinction between the fragile (technology, complex systems) and the antifragile (natural processes, ancient wisdom) parallels Gray’s preference for contemplation over action. Both recognize that human attempts to engineer perfect systems inevitably backfire.

Burkeman’s meditation on our four thousand weeks echoes Gray’s call to surrender to finitude. Where humanists seek immortality through progress or technology, both Burkeman and Gray counsel acceptance of mortality as the path to authentic living. The “paradox of limitation” Burkeman describes (that embracing our constraints makes life more meaningful) is fundamentally Gray’s position: stop trying to transcend your animal nature and simply live within it.

Hoofdkussenboekjes

Dat valt dan weer tegen: het boekje van Nooteboom over Japan dat ik cadeau kreeg, blijkt een bundeling van verhalen die ik al eerder las in andere boeken van hem.

Desalniettemin lees ik weer met interesse over het hoofdkussenboek van Sei Shonagon.

Een hedendaags hoofdkussenboek, je draagt het bij je om erin te schrijven zodra je je even kunt terugtrekken. Of, zoals ik, een half uurtje in de ochtend, voordat de dagelijkse beslommeringen losbarsten. Ik heb een rij kussenboekjes. Ik schreef al eerder over mijn notitieboeken.

Austin Kleon schrijft grappig over zijn notebook-rituelen en gunt ons een kijkje in zijn notitieboeken.

Hier een kijkje in de mijne: eentje uit 2017 en eentje uit 2009.

Notitieboek uit 2017 met handgeschreven notities en schetsen
Notitieboek uit 2009 met dagelijkse observaties