Titus FLUX Korrect

Rembrandt van Rijn (Dutch, 1606–1669) A Man in Oriental Costume, c. 1639 Medium: Oil on panel (poplar or lime wood) Dimensions: 102.8 × 78.8 cm Housing: Collection of the Duke of Devonshire and the Trustees of the Chatsworth Settlement, Chatsworth House, Derbyshire

Jordan Peterson: For most of the last 500 million years, Earth was not only much warmer than it is today, but atmospheric CO₂ levels were five to ten times higher than they are now. "Yet during that period, life flourished abundantly." "Also, the carbon dioxide and the

Pieter Bruegel the Elder (ca. 1525–1569) The Painter and The Buyer, 1565 Pen and ink on brown paper, 25.5 cm × 25.1 cm ( Albertina, Vienna

Art today is the intentional human creation of meaning through form, in an environment where form is cheap and meaning is contested. Only humans can want something to matter. That wanting — felt, conscious, responsible — is the last definition of art left standing.

French School, Unknown Master active c. mid-16th century Portrait of the One-eyed Flutist, 1566 Oil on wood (oak panel) 62 × 50 cm Musée du Louvre, Paris

AI makes images abundant. AI makes style cheap. AI makes creativity look like a commodity. The great contemporary artist flips the script: “Here is something a machine cannot want.”

Creativity is (just) combinatorics with constraints. Every creative system—human or artificial—draws from: • memory • pattern libraries • recombination • analogy • transformation • variation • error • constraint satisfaction

AI can create the creative object. It cannot create the occasion for meaning.

Portrait of Pope Innocent X by Diego Velázquez, circa 1650, Galleria Doria Pamphilj in Rome.

JAN van EYCK, PORTRAITIST: Portrait of a Man with a Carnation

Pieter Paul Rubens (Flemish, 1577 – 1640) - Rubens's Son Nicolaas Wearing a Red Felt Cap 1625, Albertina, Vienna

Amazing! Thank you! 🙂

Albrecht Durer, Portrait of Albrecht Durer’s Father, 1497

Raphael, Studies for the Transfiguration