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Labor·P Space·Evidence-backed problem·Published 2026-07-20

Garbage in, garbage out? How the monster of AI art reflects human fault, bias, and capitalism in contemporary culture

Abstract This paper examines the relationship between artificial intelligence, contemporary artistic production and content creation through an intersectional feminist framework, arguing that AI operates as a reflective system that reproduces and amplifies existing social, economic, and cultural biases. Beginning with examples of AI artistic collaborations such as 'What I Saw Before the Darkness', and 'Théâtre D'opéra Spatial' the research investigates how generative AI exposes underlying tensions surrounding cr…

TRV-2026-0394Peer-reviewedPermanent record — cite & verify
Garbage in, garbage out? How the monster of AI art reflects human fault, bias, and capitalism in contemporary culture

Ethics zh-hant by 老陳. CC BY-SA 3.0 · https://creativecommons.org/licenses/by-sa/3.0

The quick read

Published January 2026 in AI & SOCIETY, this peer-reviewed paper examined AI artistic collaborations, art competition controversies, interviews with professionals, and gallery experiments to test how generative models handle creativity, authorship, labour and representation.

It matters because it reframes AI art from autonomous creation to a reflective system that amplifies techno-patriarchal and capitalist biases, raising unresolved questions about copyright, compensation for marginalised artists, and ethically grounded development practices.

Main points
  • Paper uses intersectional feminist framework to analyze AI collaborations including 'What I Saw Before the Darkness' and 'The9e2tre D'ope9ra Spatial'.
  • Method includes art competition controversies, interviews with industry professionals, and experimental comparisons between AI-generated and human-curated gallery representations.
  • Finds models privilege replication of established and commercially legible styles over novel aesthetics, governed by Garbage In, Garbage Out logic.
Problem

Generative art systems accelerate inequities in visual arts by appropriating intellectual property from marginalised artists and reinforcing Eurocentric and gendered commodification.

The rundown

The analysis is framed by the principle of Garbage In, Garbage Out as governing training, and situates AI art within platform economies, copyright ambiguity, environmental cost, and labour displacement.

Experimental comparison of AI-generated versus human-curated gallery representations is used to argue AI is not an autonomous creative agent but an extension of human decision-making requiring accountability and artist participation.

Sources

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The debate