A new age of art?
Smokin' Pre-Raphaelites
As some of those who read my work may realise, I have been experimenting with so called 'artificial intelligence' for the past two years. In addition to testing out generative text applications, I have also used online image generating products such as Dall-E to help produce original designs to illustrate my written work on Vocal.
This has often proved problematic, as the capabilities of generative AI are far more limited than their promoters would want us to believe. There is nothing surprising about this, as technology providers generally exaggerate the capabilities of their products.
Some of the author's works will be on show at this event:
Exhibition coming to South East London (Beckenham, Penge, Crystal Palace) November 2024. Private view Nov 8
View Ray's: Catalogue of digital paintings here
As product capabilities improve, along with my experience of using them, I find that some of the results of my AI generation are to my liking. Almost always, however, there needs to be some post-generation editing and this is no different from taking a photograph and then cropping it and perhaps highlighting colours, contrast, brightness or other aspects of the work.
This is true of each of the images reproduced on this page. They are all produced by me with the assistance of Dall-E 3 and each image has been cropped to highlight the most important parts of the image and cut out irrelevant, badly-generated or otherwise unwanted detail.
As such, the work you see on this page is all my own work, produced by me, using my own skill and experience at manipulating digital images. I therefore own the copyright subsisting in these images under UK legislation and in all jurisdictions that are signatories to the Berne Convention, including the USA.
How can that be? Some will ask, when the work was produced using AI which is well known for stealing online copyright. Well, the simple answer to that question is that, even if it is true that AI copies work without permission, no permission is needed to copy public domain works. This includes the artistic works that are referenced in the images on this page. All are from the Pre-Raphaelite era and are therefore long out of copyright.
Not only that, as already explained, the AI generated images (generated using text strings written by me) have been subsequently modified by me. More importantly, I have added text that I have written without the use of AI. It is all my own work and therefore protected by UK copyright laws as 'literary works.'
This is important because, as a creator of copyright-protected literary and artistic works, I intend to offer these works for sale and profit.
The images on this page are copyright R. G. Taylor, September 2024
I may write further articles about AI and copyright but my position is that I produced these works using certain digital tools including wordprocessing software, image manipulation software and generative AI. None of these tools could make this work without me, any more than a camera can take pictures without a photographer or a paintbrush can paint pictures without a painter.
Moving on to the subjects of this series of paintings, it started out with an attempt to poke fun at the John William Waterhouse painting Lady of Shalott. I wanted a Shalott-like picture but of a laidback lady drinking a glass of bubbly. I made several attempts to generate the image I was looking for without success. This is the closest I got.
As you can see, it is nothing like the Waterhouse Painting and it is not particularly interesting either. So I won't be making any further use for it. It will become one of many hundreds of AI images I have rejected.
Having failed to get the picture I was looking for, I then went on to try something different. I thought that, instead of drinking a glass of fizz, I would get a picture of the lady having a smoke. I wanted to make that a joint but thought if I tried that, the request would be rejected. I therefore retried my generative text but with a request to have the subject smoking a cigarette. What I ended up with didn't even include a boat. After several attempts I got some images I thought I could use (with editing) but were not exactly what I was looking for. Oddly enough, the cigarettes ended up looking like joints so that part of the request was successful at least.
All I had to do then was to crop the images to emphasise the important detail and frame my images the way I wanted them, and then add my witty (I hope) captions.
You can see the results in the first two images above, and the last one below.
What do you think. Is this art? More importantly, do you like it and do you think people would buy this kind of thing if printed out and sold at an exhibition?
Thanks for reading my arty musings, and looking at my latest digital creations. There will be more where these came from coming soon.
As always, please feel free to comment below.
Thanks again and best wishes
Ray
About the Creator
Raymond G. Taylor
Author living in Kent, England. Writer of short stories and poems in a wide range of genres, forms and styles. A non-fiction writer for 40+ years. Subjects include art, history, science, business, law, and the human condition.
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What kind of feelings does the above artwork evoke in you? Can you express them in words? If you are viewing this page as a Vocal creator, then the answer to this question ought to be an emphatic YES, even if the picture does not appeal to you. If you are a reader of stories such as this, and don't think of yourself as a story-writer or poet, then perhaps now is a good time to think again.
By Raymond G. Taylorabout a year ago in Art
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I found it by accident. Tucked between a laundromat and a shuttered bookstore, half-hidden by ivy and time, stood a rusted phone booth. Not the sleek glass kind from movies, but an old metal one—peeling paint, cracked receiver, a dial so stiff it groaned when turned. No one had used it in years. Probably decades.
By KAMRAN AHMAD6 days ago in Art
Catherine: The Unshakable Heart of the Monarchy
The House of Windsor is facing a subtle but undeniable shift. Tension runs high, and the once-clear lines of loyalty and influence are now blurred. At the center of it all stands Catherine, Princess of Wales—a figure who has long been admired for her grace, calm, and unwavering dignity. But recent events have brought a storm to the palace doors, one that threatens to test the very foundation of royal stability. For years, Catherine served as the quiet anchor of the monarchy. She carried her role with elegance, weathering constant scrutiny from the public and press alike. Then came a serious health challenge, a period of uncertainty and silence that left many wondering if she would step back permanently. But she did not. Instead, she returned stronger, her poise and presence commanding renewed attention and respect. Public admiration for her soared, culminating in headlines that celebrated her as more than a royal figure—they crowned her a symbol of strength. This rising public affection, however, has created ripples behind palace walls. Reports suggest that King Charles feels overshadowed, and Queen Camilla may be aligning with palace traditionalists in response to Catherine’s prominence. What was once a harmonious center of royal life now shows signs of friction. Influences are shifting, whispers and press narratives become tools of subtle power struggles, and Catherine, the stabilizing force, is suddenly cast as a threat. This isn’t about Catherine versus Meghan Markle, though the comparison is inevitable. Meghan, once seen as the disruptor, now observes the palace from outside. Her era of controversy shaped her influence, but today’s narrative highlights endurance over disruption. Catherine doesn’t need confrontation to command attention—her consistency, humility, and resilience naturally draw public support. This quiet power is precisely what unsettles those who rely on control and manipulation. Catherine’s return demonstrates a fundamental truth: legacy outlasts noise. She embodies a rare combination of grace under pressure, emotional intelligence, and unshakable composure. Her strength is evident not in headlines or controversy but in her ability to maintain dignity amid chaos. People don’t just admire her; they trust her. They feel her presence, and in her, they see continuity, reliability, and hope for the monarchy’s future. The palace may attempt to manage narratives, deploy commentators, or subtly influence the media, but they cannot manufacture the connection Catherine shares with the public. Her influence is organic. It is the result of years of consistent, visible dedication, and it resonates far beyond the confines of Buckingham Palace. While power struggles may unfold within, the world watches, and the audience has already chosen a champion. Meanwhile, Meghan’s story, once loud and all-encompassing, fades into the background. Her brand of influence—rooted in challenge and controversy—cannot compete with Catherine’s enduring presence. The public craves stability, someone who embodies calm, resilience, and authenticity. Catherine provides that in abundance, and the contrast is unmistakable. Enduring legacy outshines transient disruption. Ultimately, Catherine’s rise is not a threat to the monarchy—it is its lifeline. She is the bridge between tradition and relevance, connecting generations with quiet confidence. The very qualities that some may perceive as challenging palace control—her popularity, her grace, her resilience—are precisely what sustain public trust. This isn’t a story of rivalry; it’s a lesson in the power of character, the influence of consistency, and the enduring appeal of authenticity. History has a way of remembering who strengthens institutions and who allows petty conflicts to erode them. Catherine stands as a testament to steadfast leadership, quiet courage, and the enduring bond between a royal and her people. Those who underestimate her do so at their peril, for her strength is both visible and deeply felt. The narrative is clear: Catherine isn’t merely surviving; she is thriving. She faces pressure, criticism, and palace politics with unflinching dignity, reinforcing her role as an indispensable figure in the monarchy’s future. Her story reminds the world that true influence is built on resilience, authenticity, and the unwavering commitment to serve, rather than to command attention. As the palace navigates shifting alliances and personal insecurities, the public stands with Catherine. Her legacy, already forming, will outlast the temporary noise of gossip and speculation. She is the embodiment of stability, grace, and leadership—a woman whose presence strengthens the monarchy and whose endurance inspires the world. The House of Windsor may grapple with internal tension, but Catherine has already secured her place in the hearts of those she serves. In a world of fleeting attention and manufactured drama, Catherine proves that true influence is quiet, steady, and lasting. She faces life’s storms not with theatrics, but with poise and resilience, leaving a legacy that no palace intrigue can diminish. The world watches, admiration grows, and history quietly notes who stood firm, who served with dignity, and who became a true icon of endurance. Image Creation Format for This Story: Subject: Catherine, Princess of Wales, standing gracefully in a sunlit palace courtyard, with subtle shadows representing tension behind palace doors. Mood: Elegant, dignified, serene, yet powerful—contrast of calm versus tension. Style: Realistic digital painting, slightly cinematic, focus on light and expression.
By Behind the Curtain4 days ago in Art
Comments (3)
All great art and what you did with that one caption "This is really good shit." I thought it was a joint. I remember over here in the US there was commercials using animals smoking cigarettes for an antismoking campaign. What you did was more creative, I think.
My impatience could never. I'd rather browse through Pexels or Unsplash for pictures rather than fighting with AI to produce the image that I want 🤣🤣🤣🤣🤣
I believe that anything that speaks to you can be considered art. If it evokes some feelings connected to appreciation of beauty, nature, or humanity in general, it's art in my book. Great images, Raymond.