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"Confrontation or Acceptance": Understanding Novice Visual Artists' Perception towards AI-assisted Art Creation

Shuning Zhang, Shixuan Li

TL;DR

G-AI's impact on visual artists and their relationship with GAI are investigated and the miscellaneous opinions of the society on visual artists' creative work are revealed to address future HCI research opportunities.

Abstract

The rise of Generative Artificial Intelligence (G-AI) has transformed the creative arts landscape by producing novel artwork, whereas in the same time raising ethical concerns. While previous studies have addressed these concerns from technical and societal viewpoints, there is a lack of discussion from an HCI perspective, especially considering the community's perception and the visual artists as human factors. Our study investigates G-AI's impact on visual artists and their relationship with GAI to inform HCI research. We conducted semi-structured interviews with 20 novice visual artists from an art college in the university with G-AI courses and practices. Our findings reveal (1) the mis-conception and the evolving adoption of visual artists, (2) the miscellaneous opinions of the society on visual artists' creative work, and (3) the co-existence of confrontation and collaboration between visual artists and G-AI. We explore future HCI research opportunities to address these issues.

"Confrontation or Acceptance": Understanding Novice Visual Artists' Perception towards AI-assisted Art Creation

TL;DR

G-AI's impact on visual artists and their relationship with GAI are investigated and the miscellaneous opinions of the society on visual artists' creative work are revealed to address future HCI research opportunities.

Abstract

The rise of Generative Artificial Intelligence (G-AI) has transformed the creative arts landscape by producing novel artwork, whereas in the same time raising ethical concerns. While previous studies have addressed these concerns from technical and societal viewpoints, there is a lack of discussion from an HCI perspective, especially considering the community's perception and the visual artists as human factors. Our study investigates G-AI's impact on visual artists and their relationship with GAI to inform HCI research. We conducted semi-structured interviews with 20 novice visual artists from an art college in the university with G-AI courses and practices. Our findings reveal (1) the mis-conception and the evolving adoption of visual artists, (2) the miscellaneous opinions of the society on visual artists' creative work, and (3) the co-existence of confrontation and collaboration between visual artists and G-AI. We explore future HCI research opportunities to address these issues.

Paper Structure

This paper contains 36 sections, 4 figures, 1 table.

Table of Contents

  1. Introduction
  2. Background & Related Work
  3. Positionality Statement
  4. Study Setup
  5. Experiment Design
  6. Participants
  7. Procedure
  8. Data Analysis
  9. Limitations
  10. RQ1: Evolution of the Opinions towards AI Tools
  11. Evolution
  12. Refuse Reasons & Disadvantages
  13. Accept Reasons & Advantages
  14. Mental Model
  15. Discussions
  16. ...and 21 more sections

Figures (4)

  • Figure 1: The different stages of art practitioners' practice of AI-assisted creation. 1) Before usage, art practitioners were negative towards AI's usage due to different pre-conceptions. 2) Upon usage, they found AI could complete some basic tasks for them and thus increased their preference. 3) However, with time, they found the tasks that AI could not complete could not easily be solved. Besides, the capability of AI still could be satisfy their need and aesthetic requirement at most times. Thus they decreased the preference. 4) Some practitioners keep on interacting with AI tools and gradually mastered the generation skills. Their preference increased steadily before converging with the increasing of art work's quality.
  • Figure 2: The different collaboration modes where AI participate.
  • Figure 3: The viewpoints of different stakeholders: clients, audience and artists.
  • Figure 4: The potential confrontation and collaboration of different majors, represented by spectrum graph.