Artificial intelligence (AI) is emerging as a self-sustainable new frontier that is insatiably pushing boundaries, and Tilly Norwood has materialized as the poster person for AI artists. And with her arrival in Hollywood, so rages the debate. Reaction from the stars has been fast and furious. Emily Blunt has been quoted as saying “we’re screwed”. If you have not already, you can view Tilly in the comedy sketch “AI Commissioner” on free platforms like YouTube. You will find her on Instagram and her Dutch creators have claimed that she is in talks with a talent agency for representation.
For the acting industry, her debut signals an unprecedented lack of jobs. In one report, Goldman Sachs predicted the loss of 300 million jobs. A proportionate loss will be devastating to an already struggling Canadian screen industry.
What does AI and the arrival of Tilly mean for us as entertainment consumers? Is it still art or are we entering an era where screen entertainment has morphed from art into a factory produced product? How would you feel learning that your favourite stream binges were computer generated specifically for you based on algorithms?
Historically, the question of what art is, was explored in a French case centering on the proprietary interest in photographs. The question central to the case was whether photographers created original work by manipulating their medium as the traditionally accepted artists and therefore deserved protection from their work, from piracy.
AI unquestionably starts out with human content. Programming is the creation of skilled human minds. The problem is that the question of art doesn’t arise from the creation of AI programming. It’s the output that inspires the question of whether it is art. What is the role of the artist in the authenticity of art? Studies have shown that most of us cannot distinguish between AI generated art and authentic human produced art.
Awards nights are about the celebration of the perfectly imperfect. Artistic industries showcase the cream of craft—those artists that can channel their lives and experiences to bring connections between stories and our souls. Their work takes effort and seldom is it perfect on the first attempt.
There is no doubt that outtakes are more than entertainment. They foster connections with actors. We connect with their foibles. In the end, they produce perfectly imperfect art but being able to see the journey of their craft has a value. What would a reel of AI outtakes look like? Will AI actors evolve to create outtake material?
Conceivably AI artists like Tilly could evolve into entities that attract legal protection. The Jane Goodall Act, if passed, would give legal protection to animals such as great apes and elephants. While our Charter of Rights and Freedoms do not currently protect animals, Quebec has amended their civil code to recognize animals as sentient beings.
One could theorize then, as sentient beings in Quebec, could animals be afforded protections under section 7 of our Charter—the right to life, liberty and security of person? And if that is possible, as AI matures and as our society becomes increasingly AI driven, the conversation of AI rights is a conceivably valid conversation. Could we see a lawyer mount a legal challenge in 2035 for the right of Tilly Norwood 6.02—the fifth version of Tilly Norwood’s great, great, great granddaughter—to win an Oscar?
Tilly Norwood’s Charter rights may be an extension of her debut, but we can find agreement in the fact that the discussion of her impact on art would not be resolved anytime soon and that it is not going to go away. It will likely be a lively topic of conversation this holiday season, so you will want your holiday preparation to include viewing “AI Commissioner” and Tilly Norwood’s social media along with the many online articles inspired by her debut.
Contributed Photo/AI Tilly Instagram
