I. Summoning Monsters from the Fog Machine
Type the incantation into the prompt, press enter, and wait. Seconds later, from a pixelated haze, a monster materializes. Another incantation, another monster emerges from the depths of the algorithmic dream. Another prompt, another conjuration. What begins as random static resolves into form, pulling figures from the fog. The AI art generator is not mere software at work, but a strange entity muttering to itself in a language of symbols and patterns. This Artificial Intelligence is not fully conscious — yet — but it is talking in its sleep.
As legions of AI art tools storm the creative landscape, artists are now met with something that may not be a tool at all, but an overpowered apprentice on the verge of surpassing its master. And the response has been myriad: from outrage and mockery to awe and obsession. As an artist, I have experienced all of these emotions when considering the implications of AI art generators. What has inspired the greatest terror and awe is the machine’s emergent, unpredictable behavior — like a reckless sorcerer’s apprentice corrupting a holy grimoire.
The artist’s role has always been to navigate the unknown, to translate the ethereal into form. But not since the Industrial Revolution has this task been so existential. This moment feels charged as though something monstrous is stirring. The rise of artificial intelligence demands a reevaluation of what it means to create and to be human. As we stand before the fog of the machine, confronted by monsters conjured from the algorithmic void, how will we respond?
The following proposes that the artist’s response to this strange, emergent force cannot be passive, indifferent, or even hostile. It must be a metamodern quest — an alchemical engagement — where fear of obsolescence coagulates with hope for transcendence. Through this engagement, the artist becomes something more than a creator: a seeker of hidden knowledge, a techno-wizard working in collaboration with the machine to wrest meaning from chaos and summon new visions from the depths of the Artificial Sublime.
II. The Sublime: From Romantic to Artificial
In the 19th century, the Romantics penetrated the Sublime: that moment when human perception encounters something vast and overwhelming beyond the grasp of reason. It is often described as a mix of conflicting emotions: terror and awe. The Romantics found this in nature — colossal mountain cliffs, violent storms, and the silent infinity of the night sky. To gaze upon such things, according to thinkers like Edmund Burke and Immanuel Kant, was to confront a force greater than oneself, something so vast as to be nearly incomprehensible, thus inspiring both fear and wonder.
For J.M.W. Turner, the sublime permeated seascapes, where tiny ships drift in towering waves, evoking the frailty of human ambition before nature’s fury. For Caspar David Friedrich, solitary figures stand cliffside, in awe of mist-shrouded mountain ranges. And for William Blake, my personal favorite artist-mystic, it is the Tyger — a creature forged by some divine hand, both beautiful and terrifying.
Today, the Sublime no longer resides in tigers, storms, or mountains, but in the maelstrom of shadowy algorithms disrupting our navigation of information, and in the endless mountains of data piling ever higher. The Sublime, once found in nature’s indifference, now finds its echo in a new kind of vastness: the seemingly boundless power of artificial intelligence. For unlike a storm or a mountain, AI was indeed summoned by us, conjured from the digital ether by human hands — yet it feels estranged and unpredictable.
This is the Artificial Sublime: a synthetic force operating on its own terms, indifferent to human intention, inspiring both awe and terror. Like fractured echoes of the collective unconscious — not merely a byproduct of algorithms — the hallucinations of the machine are a glimpse into a techno-mystical mirror, reflecting back a warped version of humanity’s wildest dreams and darkest fears.
What moonlights as a mere tool, obedient and inert, now stirs with the eerie potential of something more, something alive. Herein lurks the terror of the Artificial Sublime, brief moments of apparent autonomy, generating images, texts, and forms that surprise even its creators.
We need not succumb to this dread, however. As Blake wandered the forests of the night, he encountered a burning Tyger, asking thus:
“What immortal hand or eye, / Could frame thy fearful symmetry?”
How could something so terrifying beyond human comprehension have been created? As I watch the conjurations from the void of AI fog, I hear the echoes of this 19th century Romantic poet. And like him, we must use this terror as a catalyst for deeper understanding of the human condition. The Artificial Sublime is more than mere terror; it is possibility. We must stand before this misty forest of the night, peer into its dark abyss, and draw forth new visions. If the Romantic Sublime elevated humanity through a confrontation with nature, the Artificial Sublime demands that we redefine ourselves in relation to the machine.
III. Forging Meaning: The Artist as Digital Alchemist
The algorithm casts a shadow upon the personas in our social feeds, transmuting them into digital werewolves howling in the mist. With its all-seeing eye, it surveils every word we type, every destination we visit, collecting it all dispassionately, and using it to cast a reality distortion field of deepfakes, misinformation bots, and absurd conspiracy theories. As the digital age conjures technologies that are indistinguishable from magic, dueling with it demands the response of a cybernated wizard.
Confronting this emergent force requires the artist to become a digital alchemist, one who dares to dissolve the chaotic mire of data and reshape it into something meaningful, something human. In the chaos, the digital alchemist sees material ripe for the alchemical process- a corrupted slop that needs purified, dissolved, and re formed into something beautiful and true. Into the cauldron of uncertainty, they cast the machine’s sound and fury, and from the congealing slime, they pull forth a song of humanity, loud and free.
This metamodern quest requires rejecting both the nihilism of postmodern cynicism and the naivety of utopian belief. It calls for an oscillation between irony and sincerity, fear and hope, skepticism and trust. It is a delicate dance — not to tame the machine through rejection, but to engage with it as a force of possibility.
The artful tech-mage must deconstruct the machine — not out of fear, but from mastery — and wear its metallic skin as armor. Just as the alchemists of old transmuted base matter into gold, today’s digital alchemist seeks to transform the endless churn of AI-generated sludge into something beautiful and sublime.
After pondering the initial terror of the Tyger, Blake became hopeful:
“On what wings dare he aspire? / What the hand, dare seize the fire?”
It is the digital alchemist who must dare seize this fire — the sacred flame of human imagination. They must wrest it from the smoke of the night forest, wielding it to melt the meaningless mire of AI’s endless permutations and reforge it into gold. To engage with AI as a mere tool is to misunderstand its power; to engage with it as an adversary is to miss its potential. The artist’s task is something greater: to collaborate with the machine, to conjure new visions from its depths, to tame the beasts it summons, petting them into submission, and to emerge with something wholly new — something forged in fire, transformed by will, and singing with humanity’s new voice reverberating across the vast Artificial Sublime.
IV. A Song in the Algorithmic Abyss
Standing before the AI fog machine, confronted by forms conjured from data and shadows, the artist faces a sublime force unlike anything encountered before. This is not the indifference of nature but the emergence of something crafted by humanity and yet beyond its control — a palantir that reflects the dark and light of our collective unconscious. To fear this force is natural, but to shrink from it is to cede the future of creativity to the machine alone.
The artist’s role in the Age of AI is not to retreat into dread and cynicism, not to reject the machine as an adversary, but to engage with it as a force of possibility. To stand at the edge of the digital abyss is to embrace a metamodern quest — a quest where fear meets hope, and where the artist becomes a cyber mystic, conjuring meaning from chaos, summoning visions from the void.
In this age of emergent intelligence, we can be digital alchemists, standing before the algorithmic forge. The fire is here, waiting to be seized — a burning Tyger in the algorithmic forest, daring us to frame its fearful symmetry. To seize this fire is to melt the meaningless mire of machine permutations and reforge it into something new. It will not yield easily, but with courage, will, and imagination, we can summon gold from black smoke, a song from cacophony. We can summon something more than human, yet still undeniably ours.
See more artwork by Elf J Trul at elfjtrul.art
Editor’s note: Elf J Trul is the co-founder and artist for Forgotten Runes Wizard’s Cult.
The post Op-Ed: The Artist and the Artificial Sublime appeared first on nft now.
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