8Un articolo su The Verge descrive la rivoluzione creativa che uno strumento di intelligenza artificiale, DALL-E 2, potrebbe generare.

DALL-E 2, evoluzione di un modello presentato nel 2021, per il momento è accessibile solo su invito ma per avere un’idea delle sue potenzialità è sufficiente seguire gli hashtag #dalle e #dalle2 su Twitter o il canale dedicato su Instagram.

DALL-E — a portmanteau of the surrealist Salvador Dalí and Pixar’s WALL-E — takes text prompts and generates images from them. In January 2021, the company introduced the first version of the tool, which was limited to 256-by-256 pixel squares.

But the second version, which entered a private research beta in April, feels like a radical leap forward. The images are now 1,024 by 1,024 pixels and can incorporate new techniques such as “inpainting” — replacing one or more elements of an image with another. (Imagine taking a photo of an orange in a bowl and replacing it with an apple.) DALL-E has also improved at understanding the relationship between objects, which helps it depict increasingly fantastic scenes — a koala dunking a basketball, an astronaut riding a horse.

Tra le implicazioni dell’impiego di DALL-E 2 per fini commerciali, discusse in un articolo del New Yorker, c’è l’impatto sulla professione del grafico e del designer:

I’ll stick with the logo I’ve got. But if I were an illustrator, I might appreciate the alternate suggestions, if only for the inspiration.

It’s also worth considering what creative potential these tools might open up for people who would never think (or could118 afford) to hire an illustrator. As a kid I wrote my own comic books, but my illustration skills never progressed very far. What if I could have instructed DALL-E to draw all my superheroes for me instead?

“I’m gonna lose me job,” one commenter, whose profile said they were a graphic designer, posted, below an image of polymer-clay dragons eating pizza on a boat.

Un ulteriore aspetto di questa rivoluzione, secondo un articolo di ArsTechnica, riguarda la necessità di un lavoro di curatela e selezione sia dei risultati che delle immagini utilizzate per l’addestramento delle AI.

Unlike painters and sculptors, photographers and AI artists have to deal with an abundance of (digital) objects, whose curation is part and parcel of the artistic process.