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Adam Chin

United States

Where do you locate yourself in relation to the systems you work with?

I am obsessed with making images two different ways: – I have been making traditional b&w film photographs in the darkroom for over 40 years. – I have been making pictures on a computer for over 40 years, since the time before the invention of the Mac, the PC, and Photoshop. I have been obsessed with trying to make computer graphics as beautiful as traditional photography. Ten years ago I used AI to merge these two pursuits. I studied how AI could garner the information contained in the pixels of a photograph, and extend our concept of what photography is. That is my pursuit.

Where are you heading, and what is pulling you there?

I continue to use AI to create art by making databases of my own photography, rather than using commercial AI image generators. By using only my own photography, I feel the resulting artwork has a stronger emotional quality. In my work I like to feel the original photography within the AI generated image. I think the resulting AI artwork is stronger this way. I do use commercial AI image generators occasionally. When I do, I use them for their graphic design capabilities, and less so for their photographic abilities. For the fake banknotes generated in Fake Money Real Power, I used the commercial AI image generator Flux. The fake banknotes are graphic design pieces, and are less about photography. The tremendous advance of gen AI in the last few years has divided my practice into two halves: – I continue to explore how AI can be used to extend the concept of photography. – I use AI to create art and installations which ask fundamental questions like, “In the age of AI, what is art?”

How would you describe the space your practice is currently unfolding in?

I have been working making images on a computer for over 40 years. During that time, I have developed only one rule, “The only constant is change.” AI has dramatically altered the spaces within which I work. Both the photographic space in particular and the artistic space in general have been expanded greatly in just a few years. There are many facets, corners, dimensions, of these spaces to explore. AI has opened portals to these spaces. I work differently now than how I did even two years ago. All one has to do is simply ask, “What is a photograph? What is art?” and the exploration begins.

Artist Statement

I do not believe that this generation of AI is conscious. It is not human. Though with the advances of the latest chatbots in the last few years it has gotten a lot closer. Is it time to begin the discussion of what it means to be human? People are now having relationships with AI chatbots which can be considered human. Here are some examples: People are having AI boyfriends/girlfriends/companions. People are having AI resurrect dead loved ones, with both video and audio, so they can interact with their dead loved one. Many people are using AI chatbots as a therapist. People with existing psychosis are having their psychosis reinforced and accelerated by AI therapists. There have already been reported cases of suicides. Etc. Everyday I see new cases where people are having trusting relationships with AI. So, for people who use AI in these ways, it can be argued that AI is conscious. For them, the question of whether AI is human is already relevant. I believe it is time to have the discussion of what it means to be human.

Published in >
The AI Art Magazine, Number 3
, AI generation, .
, AI generation, .
Adam Chin, , AI generation,

Description

Process

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Published in >
The AI Art Magazine, Number 2
Irene, AI generation, 2025.
Irene, AI generation, 2025.
Adam Chin, Irene, AI generation, 2025

Description

Unprompted: The Emergence of Conscious AI Conscious AI is the hypothesized state where artificial intelligence becomes self-aware and achieves a sense of consciousness. This is the moment AI crosses the boundary to what we consider to be human. Long the domain of science-fiction, the recent rapid rise of AI technology has made talk of Conscious AI much more possible. While we have yet to achieve Conscious AI, the conversational abilities of leading chatbots already give a good simulation of consciousness. Unprompted is an analogy, a visual metaphor, for the emergence of Conscious AI. This photographic portrait series poses the question of what Conscious AI will “look” like if or when it happens. How human will it be? How much will it be like us, and how different will it be? And ultimately, how will we define what it means to be human?

Process

I do not think about this question at all.

Tools

The photographic portraits in Unprompted were generated by AI. Approximately 650 photographs of each subject were used in the training of the AI. The AI was tasked with generating an image that looked like one of the original 650 photographs. No other images were used and no artwork was appropriated from any other artist. No language prompts were used. The AI was unguided in its generation of each of these portraits. The 650 photographs of each subject are actually selfies. The subjects take the photos themselves using a remote trigger to the camera. The artist does not watch the subjects take the selfies. Thus, this AI image is made out of 650 selfies. Is this then an AI self-portrait? The AI program used to generate the images is an open-source implementation of the Denoising Diffusion Probabilistic Model algorithm. Approximately 1,000 images of each subject were generated, and the artist selected just one for the final portrait. The final portrait was produced in a traditional b&w wet darkroom.

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