From Moonlight Cyanotypes to AI Deepfakes: Art’s Crossroads with Tech — Issue #34 December 31st 2024

Greetings from Juergen

Hi all,

This week, we’re exploring how art and technology intersect in meaningful, provocative, and sometimes unexpected ways. From Riley Walz’s digital nostalgia project turning forgotten YouTube clips into a living archive, to the cyanotype moonlight experiments of Ala Ebtekar, these stories remind us that creativity often flourishes in the unlikeliest places.

We’ll also reflect on the societal impact of university-arts collaborations, the evolving nature of public art funding, and the unsettling rise of AI deepfakes featuring public figures like Pope Francis. Plus, there’s a fascinating look at tools protecting artists from AI replication and performance art critiquing AI’s dehumanizing potential. I hope these narratives spark curiosity and invite deeper thought about the possibilities and challenges at this intersection of art and tech.

Prefer to listen instead? Follow "The Intersect: Art in Tech and Tech in Art" podcast, where we unpack these stories in a conversational, audio-friendly format.

Art Narratives

The Artist Exposing the Data We Leave Online

Riley Walz’s project, “IMG_0001,” highlighted in The New Yorker, transforms forgotten YouTube clips into a living archive of early digital life. These videos—mundane, shaky, and often unseen—capture a time before social media’s polish took over. It’s fascinating to see Gen Z artists like Walz, who didn’t grow up with the early Internet, mining it for inspiration and meaning.

What struck me most about Walz’s approach isn’t just the nostalgic lens, but how his “art”—if we call it that—extends to real-world experiments. For instance, he and his friends once turned a prank into a pop-up steakhouse after listing their apartment as a restaurant on Google Maps. That’s not something I’d ever think to do, but it says a lot about how this generation sees creativity.

“It’s just a very different way to think about art and a different way to think about the Internet as well.”

Does archival nostalgia have artistic merit, or are we just slapping the “art” label on clever stunts? What do you think?

Photography

Thirty-Six Views of the Moon: Reviewed by Brian Arnold

Ala Ebtekar’s Thirty-Six Views of the Moon, reviewed by Brian Arnold, is a poetic intersection of science, art, and mysticism. Published by Radius Books, the cyanotype series uses negatives from the Lick Observatory, exposing sensitized pages from centuries-old books to moonlight. The result? A profound visual dialogue between the physical and the metaphysical, amplified by essays from diverse thinkers like Alexander Nemerov and Ladan Akbarnia.

Reading about Ebtekar’s process brought me back to my early days at the University of Georgia, crafting pinhole cameras and using cyanotypes. “Seeing” was more about intuition and understanding light than mechanics—a mindset that shaped my entire approach to photography. It’s fascinating how the deliberate constraints of process can lead to unimagined discoveries.

"Ebtekar’s cyanotypes remind us that embracing the tactile, imperfect qualities of process reveals layers of meaning no algorithm could replicate."

How does the handmade process shift your perception of art in a world dominated by technology?

Public Art

The Transformative Power of Sculptures and Landmarks in Urban Spaces: The Case of AL Khobar, Saudi Arabia

In a piece for ArchDaily, the role of sculptures and landmarks in shaping Al Khobar, Saudi Arabia, is explored through projects like the Alarda and Aebayah Roundabouts. These works, supported by the Mujassam Wattan competition, highlight how public art can redefine urban spaces, blending cultural heritage with modern design to foster civic pride and identity.

What struck me is the contrast in how public art is funded. Historically, religion anchored cultural investments—cathedrals and town squares were once the centerpieces of civic life. Today, in places like Saudi Arabia, government-backed initiatives provide robust support. Meanwhile, in Western capitalist societies, public art often hinges on commercial motives.

“Public art now demands a deliberate investment, especially in systems where economic priorities overshadow cultural enrichment. Without government backing, it often becomes a tool for tourism or economic gain, rather than a pure celebration of art.”

Can public art thrive without being tied to commerce, or has the West resigned itself to art as merely another product?

Societal Impact of Art and Tech

Generating Societal Impact From Collaborations Between Universities and Arts and Culture Organisations (ACOs)

Federica Rossi, Ning Baines, and Evelyn Wilson’s recent article in Technovation (February 2025) examines how collaborations between UK universities and arts and culture organizations (ACOs) generate societal impact. Their research identifies three distinct types of collaborations: transactional, integrative, and transformational, each creating unique ripples across the organizations and communities they touch.

What stood out to me was the clarity they brought to these categories. Transactional efforts—like consulting or commissioned research—benefit the ACO directly. Integrative collaborations, however, foster mutual growth for both parties. But it’s the transformational partnerships that interest me most, where the impact radiates outward, reaching external stakeholders and creating societal change.

"This framework highlights how different types of collaboration can be designed to serve specific goals, whether internal growth or broader societal impact."

How often do we pause to consider whether our creative tech collaborations are truly transformational—or are we settling for transactional?

The God Illusion: Why the Pope Is So Popular as a Deepfake Image

Experts in a recent article from The Guardian delve into the viral allure of Pope Francis as an AI deepfake muse, from his iconic Balenciaga puffer jacket moment to a bizarre embrace with Madonna. The piece also highlights the sheer ease of generating these images, thanks to AI tools like MidJourney and Krea.ai, and explores the satirical appeal of placing public figures in surreal contexts. Credit to the author for unpacking this fascinating phenomenon.

I have to admit, that puffer jacket Pope was my introduction to the deepfake world, and I secretly loved it. What strikes me here is the contrast: Pope Francis as an unwilling participant, dragged into absurdity by algorithms, while Madonna gleefully leans into the scene, reposting AI creations as if it's her latest art project. It’s both amusing and oddly revealing about their public personas.

“The pope is so frequently featured in the public eye... it becomes a lot easier for these models to replicate the facial features and likeness of individuals like the pope,” says Sam Stockwell from the Alan Turing Institute. That digital omnipresence makes him an open canvas for satire, willing or not.

Are these AI creations harmless fun, or do they blur the line between art and exploitation in ways we’re not ready for?

AI in Visual Arts

Artist Protection Tools - Glaze Protects Artists by Preventing AI From Mimicking Their Unique Styles

The TrendHunter article highlights Glaze, a tool from the Glaze Project that shields artists from generative AI systems mimicking their styles. It doesn’t just block direct replication; it disrupts AI’s ability to analyze and emulate the essence of an artist’s work—a critical innovation as these tools grow increasingly invasive.

This raises a bigger, thornier question for me: what does it mean to own a style? AI doesn’t steal images outright; it replicates patterns, textures, and subtleties. But does that make your style—your fingerprint—any less yours? More pressing, though, is discoverability. As search engines shift toward generative AI, visibility becomes a new challenge. Artists may find themselves erased in a world where users simply ask, “Who’s a painter like X?”

"The real fear isn’t just theft—it’s being erased entirely. If ChatGPT doesn’t know you exist, how do new audiences find your work?"

So, how do we ensure artists remain visible in a world driven by AI-driven search engines?

Artist Being Electrocuted to Show the Sinister Implications of AI Among Highlights of the Asia Pacific Triennial of Contemporary Art 11

Thai artist Kawita Vatanajyankur's visceral performance, created with scientist Pat Pataranutaporn, is a centerpiece of the 11th Asia Pacific Triennial of Contemporary Art. As reported by The Art Newspaper, the piece, The Machine Ghost in the Human Shell, involves Vatanajyankur enduring electric shocks as she struggles to draw a spiral—an unsettling critique on AI’s potential to dehumanize labor. The work, acquired by Queensland Art Gallery, explores how advancing technology might exploit humanity rather than empower it.

Is self-harm as protest justifiable? I’ve wrestled with this. Historically, performance art has embraced physical endurance to provoke empathy or highlight injustice.

But here’s the thing: “I think it might evoke empathy from humans, but it is unlikely to convince any robots.”

The question lingers: do acts like this actually shift perspectives, or do they merely leave us as uneasy spectators? What do you think?

Definitely Not AI

Psychedelic Distortions and Glitches Streak Across Alexis Mata’s Bold Paintings

Mexico City-based artist Alexis Mata bridges analog and digital worlds with his striking oil paintings, as explored in an article by Colossal. His work distorts traditional landscapes and still lifes into glitchy, surreal forms, mimicking digital mishaps like pixelation and compression artifacts. Mata’s process includes everything from AI experiments to hand-drawn sketches, weaving together technology and tradition to create something uniquely disorienting yet captivating.

These paintings remind me of the early days of digital photography. My first digital camera had just 320 pixels of resolution, producing grainy, artifact-filled images. I recall a New York exhibition where artists blew up similar low-res photos to massive sizes—embracing and amplifying the imperfections. Mata's work feels like a continuation of this idea, but with oil paint as the medium, which gives it a fascinating organic twist.

"When your eyes look too long at the same thing, your mind makes the change," Mata explains. His art invites us to question perception itself—how our brains, like faulty algorithms, misinterpret and reconstruct what we see.

How do you feel about glitch aesthetics—nostalgic experimentation or something more profound?

Art & Science

Museum's High-Tech Camera Is Helping to Monitor Meteorites Arriving From Space

An intriguing piece from North Wales Live highlights how the Oriel Môn museum in Llangefni is stepping into the interstellar with a high-tech camera tracking meteorites. Partnering with the SCAMP network, this museum—better known for its connection to ancient history—is now collecting data on celestial fragments streaking through the Welsh sky. It’s a fascinating blend of science and the arts, with meteorites as cosmic artifacts joining school programs and public education.

Here’s my take: there’s something poetic about a museum roof doubling as a gateway to the stars. A space rock crashing onto a driveway might sound like the setup to a sci-fi film, but these fragments hold deep stories about the universe’s beginnings. And isn’t that, in its own way, art?

“A meteorite could easily sit beside a sculpture or a painting—it’s a story frozen in physical form, traveling through time and space.”

What do these fragments say about how we frame art and science as separate worlds?

The Hidden Science Swirling in ‘The Starry Night’

Researchers have long admired the swirling beauty of Vincent van Gogh’s The Starry Night. Now, as reported in The Washington Post, physicists are uncovering a deeper layer—one that resonates with the mathematical principles of turbulence. By analyzing the luminance and patterns of his brushstrokes, studies suggest that Van Gogh’s intuitive artistry mirrors statistical laws like Kolmogorov's scaling, typically used to describe chaotic fluid motion.

This fascinates me. The idea that Van Gogh, through sheer observation and intuition, captured something as universal and complex as turbulence is both humbling and beautiful. It reminds us that science and art aren’t separate languages but overlapping ways of understanding the world.

“What I take away from studies like this,” astrophysicist James Beattie wrote, “is that Van Gogh captured some of this universality… The swirls and whirls—they are familiar to us.”

Could the artist’s eye, unbound by equations, have glimpsed truths that scientists are only now quantifying?

The Last Word

Thanks for taking the time to explore these stories with me. I’m always inspired by the conversations sparked by these topics, and I’d love to hear your thoughts on the questions raised. Whether it’s the role of nostalgia in art, the ethics of AI, or how we define creativity in a tech-driven world, let’s keep the dialogue going.

Your interest and support mean a great deal. These discussions are richer because of your engagement, so don’t hesitate to share your perspectives or even recommend topics for future editions. Together, let’s continue to explore and question the evolving relationship between art and technology.

Warm regards, Juergen