
Removing the grit
AI, Botox, weight-loss drugs ... are we in danger of losing the wrinkles that give life its grit? asks Eva Wiseman.
Two moments from the depths of the half-term holiday: scrolling with my children through videos of animals doing unlikely and adorable things (such as the parrot who waddles along the back of a sofa to announce "Hi babe" and "I love you" into the camera, and who we mimic now on lazy mornings or when we need to make up) my eyes glaze slightly. And I'm thinking now about work or lunch or war, so when a kitten emerges from a honeyed slice of toast it takes me a beat ("kitten is toast?") before I hurriedly swipe the screen away, before the AI takes root in their soft brains.
Then, some days or months later (perhaps it's gauche now to comment on the duration of school holidays, but since lockdown even a long weekend brings a kind of breathlessness, all these boiled and formless hours), they are suddenly both fixated on drawing an axolotl and immediately right now.
If you're not accustomed with this critically endangered paedomorphic salamander, the axolotl is a pink fish that walks and has the benign vibe of a stoned but lovely drag queen. Anyway, I brought up a Google image search and my daughter instantly went: "nope that's AI". These interactions have become like a dystopian episode of Is It Cake? , with me alternately insisting that fake things are real then real things fake, but with no sharp knife to cut through to the sponge for proof. We had some high-pitched back and forth then, during which I cursed once again the robots that are raising us, that are both complicating and smoothing our lives in ways that only become evident once we have already set up home in the uncanny valley, built our little huts there out of marshmallow and Bitcoin and it's far too late to leave.
It's the smoothing aspect that bothers me today. Both in the aesthetics of AI imagery (kitten is toast) with its inhabitants made of glazed rubber and its nature made of nostalgia from racist leaflets, and in its intentions.
You see the impulse with modern cosmetics, too: the products to blur the skin, the Botox to freeze the muscles. Again it's both an aesthetic smoothing and a philosophical one, a decision to remove signs of real life in a way that makes the journey through this said life so much simpler. It's something I think about a lot during discussion of weight-loss drugs, the way they iron out hunger and a certain desire. A day without hunger, what a thing! How is a day without hunger a day at all? A day might as well be a swimming pool or a shoe, so ill-defined its shape, so abstract its use. But what it is, what the drugs do very well, is sand the edges off a life in order that its owner might move through it faster, more productively.
And so it is with AI. Students, all of who will have originally signed up to a course intending to learn something, when offered the opportunity to write an essay with ChatGPT (the Child Catcher offering sweeties) allow themselves to take it, to outsource the brain. People are doing it with love as well, both those paying for AI girlfriends to message them at night and, to an extent, my friends who have given up on dating altogether after infinite scams and ghostings and app-based sexual terrorism. A smoothing occurs. Life is simpler, but also lesser.
The writer Will Storr, noticing the similarity in style of a glut of viral personal essays on Substack recently, found that they'd been written by AI. He describes the essays as "gruel": thin and tasteless, "and yet you have the vague sense that swallowing it is supposed to be somehow good for you". In this case, it's not just the value and production of the essay that has been blurred, it's the humanity of the readers who are responding to it, claiming to be deeply moved by these banal self-help memoirs, crying at their computers at an algorithm's poem on grief.
The soul itself has been smoothed to avoid discomfort. There should be no pain — emotion is controlled, intellect blunted. A friend posts their daily ChatGPT therapy online, and I am always shocked, first by the toadying tone of its compliments and advice, but also by the fact that my friend keeps going back for more.
And yet I understand. I love comfort; I love closing my eyes and the warmth of the sun and hitting the shrug emoji upwards of 15 times a day. It's far harder to interrogate one's behaviour and attempt to change, of course, far easier to take the advice of a machine designed to keep you feeding it crumbs of your own humanity. The thorns of our rose bushes are plucked one by one, the spines from our cacti. In this way, our lives become easier to handle, but stray further from (and sincere apologies for sounding like AI Substack) what it means to be human.
There is much to resist, today, much to focus on, much to do. If the chance to cut a little corner, to shave off an hour, arises then the choice not to do so instantly becomes harder and more political. Another world is right there, tantalisingly close, and by anaesthetising ourselves to what is real by creating something that is almost so feels sometimes like an act of protection.
But the blurring brings its own discomfort, like tinnitus or the forgetting of words — if we don't grit our roads we will slip on the ice. The axolotl is real, I insist, with increasing hesitance. — The Observer

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Otago Daily Times
2 days ago
- Otago Daily Times
Removing the grit
AI, Botox, weight-loss drugs ... are we in danger of losing the wrinkles that give life its grit? asks Eva Wiseman. Two moments from the depths of the half-term holiday: scrolling with my children through videos of animals doing unlikely and adorable things (such as the parrot who waddles along the back of a sofa to announce "Hi babe" and "I love you" into the camera, and who we mimic now on lazy mornings or when we need to make up) my eyes glaze slightly. And I'm thinking now about work or lunch or war, so when a kitten emerges from a honeyed slice of toast it takes me a beat ("kitten is toast?") before I hurriedly swipe the screen away, before the AI takes root in their soft brains. Then, some days or months later (perhaps it's gauche now to comment on the duration of school holidays, but since lockdown even a long weekend brings a kind of breathlessness, all these boiled and formless hours), they are suddenly both fixated on drawing an axolotl and immediately right now. If you're not accustomed with this critically endangered paedomorphic salamander, the axolotl is a pink fish that walks and has the benign vibe of a stoned but lovely drag queen. Anyway, I brought up a Google image search and my daughter instantly went: "nope that's AI". These interactions have become like a dystopian episode of Is It Cake? , with me alternately insisting that fake things are real then real things fake, but with no sharp knife to cut through to the sponge for proof. We had some high-pitched back and forth then, during which I cursed once again the robots that are raising us, that are both complicating and smoothing our lives in ways that only become evident once we have already set up home in the uncanny valley, built our little huts there out of marshmallow and Bitcoin and it's far too late to leave. It's the smoothing aspect that bothers me today. Both in the aesthetics of AI imagery (kitten is toast) with its inhabitants made of glazed rubber and its nature made of nostalgia from racist leaflets, and in its intentions. You see the impulse with modern cosmetics, too: the products to blur the skin, the Botox to freeze the muscles. Again it's both an aesthetic smoothing and a philosophical one, a decision to remove signs of real life in a way that makes the journey through this said life so much simpler. It's something I think about a lot during discussion of weight-loss drugs, the way they iron out hunger and a certain desire. A day without hunger, what a thing! How is a day without hunger a day at all? A day might as well be a swimming pool or a shoe, so ill-defined its shape, so abstract its use. But what it is, what the drugs do very well, is sand the edges off a life in order that its owner might move through it faster, more productively. And so it is with AI. Students, all of who will have originally signed up to a course intending to learn something, when offered the opportunity to write an essay with ChatGPT (the Child Catcher offering sweeties) allow themselves to take it, to outsource the brain. People are doing it with love as well, both those paying for AI girlfriends to message them at night and, to an extent, my friends who have given up on dating altogether after infinite scams and ghostings and app-based sexual terrorism. A smoothing occurs. Life is simpler, but also lesser. The writer Will Storr, noticing the similarity in style of a glut of viral personal essays on Substack recently, found that they'd been written by AI. He describes the essays as "gruel": thin and tasteless, "and yet you have the vague sense that swallowing it is supposed to be somehow good for you". In this case, it's not just the value and production of the essay that has been blurred, it's the humanity of the readers who are responding to it, claiming to be deeply moved by these banal self-help memoirs, crying at their computers at an algorithm's poem on grief. The soul itself has been smoothed to avoid discomfort. There should be no pain — emotion is controlled, intellect blunted. A friend posts their daily ChatGPT therapy online, and I am always shocked, first by the toadying tone of its compliments and advice, but also by the fact that my friend keeps going back for more. And yet I understand. I love comfort; I love closing my eyes and the warmth of the sun and hitting the shrug emoji upwards of 15 times a day. It's far harder to interrogate one's behaviour and attempt to change, of course, far easier to take the advice of a machine designed to keep you feeding it crumbs of your own humanity. The thorns of our rose bushes are plucked one by one, the spines from our cacti. In this way, our lives become easier to handle, but stray further from (and sincere apologies for sounding like AI Substack) what it means to be human. There is much to resist, today, much to focus on, much to do. If the chance to cut a little corner, to shave off an hour, arises then the choice not to do so instantly becomes harder and more political. Another world is right there, tantalisingly close, and by anaesthetising ourselves to what is real by creating something that is almost so feels sometimes like an act of protection. But the blurring brings its own discomfort, like tinnitus or the forgetting of words — if we don't grit our roads we will slip on the ice. The axolotl is real, I insist, with increasing hesitance. — The Observer


Scoop
2 days ago
- Scoop
New Exhibitions By Vanessa Arthur And Yasmin Dubrau Set To Inspire Audiences
Press Release – Hastings Art Gallery Two up-and-coming Hastings artists – one with recent international exposure and another having her very first hometown exhibition – are about to show their latest work at the home of contemporary art in Hawke's Bay. Wonder Goggles: Vanessa Arthur and Tales of a New Moon: Yasmin Dubrau open this Saturday, June 14. Arthur is a contemporary jeweller, while Dubrau works between weaving, photography, watercolour, mobiles and origami. Wonder Goggles explores connections between jewellery, paint and everyday surroundings. It includes wearable and painted objects crafted from offcuts, precious metals, stones and industrial materials. Arthur describes Wonder Goggles as an exhibition which grapples with a 'deficit of wonder'. 'People today often have a question and they look on their phone or rely on Google to get the answer, rather than wondering about it or using their own imagination and ideas to find an answer. The aim when making this exhibition was to explore our everyday environments with wonder, thinking about these spaces through a fresh lens. 'This is the first time I've made something in a bigger scale – the height of the gallery has allowed me to create a metal structure. It's arranged to be directly in your path of observation as you enter, with lots of details to focus on. The octagonal shape of the gallery is great for that kind of viewing.' Arthur has recently spent time overseas, exhibiting at Munich Jewellery Week – one of the most influential events for international contemporary jewellery – as part of a group of New Zealanders and at Galerie Door in Nijmegen, the Netherlands. 'It's great to see what's happening over there and talk to a different audience,' Arthur says. 'But I think it's really great to build strong connections with audiences in Aotearoa first. It's important to have a solid foundation here to take overseas.' Tales of a New Moon is Yasmin Dubrau's first solo exhibition at a public gallery. She creates abstract landscapes in her work, drawing patterns and shapes from the environment and architecture. Dubrau's watercolours reference Japanese ink painting and calligraphy, as she lived there for several years. Dubrau has been a practising artist for about two decades. She has exhibited internationally – for instance in Japan and France – and nationally in cities like Auckland and Invercargill. Originally from Motueka, she lived in Auckland and Japan before moving to Hawke's Bay nine years ago. Although she has recently exhibited at The Rabbit Room in Napier, Tales of a New Moon marks the first time she has exhibited in her current hometown. 'It's quite rare to have an opportunity like this,' Dubrau says. 'I feel like I know a lot of people who had no idea that I made art or what kind of art I make. A lot of people know me through my previous job, as manager and teacher at the Hōhepa Rose Weavery, and art doesn't necessarily always come up, let alone the opportunity to see it in action.' Gallery Director Sophie Davis says it's a treat to have such talented Hastings artists exhibiting at the gallery. 'We're excited to open these exhibitions alongside each other, and for audiences to enjoy the conversation between them. Vanessa and Yasmin share an interest in hands-on processes and experimentation with traditional craft forms – they tap into local, national, and international conversations.' The exhibitions will both run until 11 October. The gallery will be holding a programme of events alongside the exhibitions – check for the latest details.


Scoop
2 days ago
- Scoop
New Exhibitions By Vanessa Arthur And Yasmin Dubrau Set To Inspire Audiences
Two up-and-coming Hastings artists – one with recent international exposure and another having her very first hometown exhibition – are about to show their latest work at the home of contemporary art in Hawke's Bay. Wonder Goggles: Vanessa Arthur and Tales of a New Moon: Yasmin Dubrau open this Saturday, June 14. Arthur is a contemporary jeweller, while Dubrau works between weaving, photography, watercolour, mobiles and origami. Wonder Goggles explores connections between jewellery, paint and everyday surroundings. It includes wearable and painted objects crafted from offcuts, precious metals, stones and industrial materials. Arthur describes Wonder Goggles as an exhibition which grapples with a 'deficit of wonder'. "People today often have a question and they look on their phone or rely on Google to get the answer, rather than wondering about it or using their own imagination and ideas to find an answer. The aim when making this exhibition was to explore our everyday environments with wonder, thinking about these spaces through a fresh lens. 'This is the first time I've made something in a bigger scale – the height of the gallery has allowed me to create a metal structure. It's arranged to be directly in your path of observation as you enter, with lots of details to focus on. The octagonal shape of the gallery is great for that kind of viewing.' Arthur has recently spent time overseas, exhibiting at Munich Jewellery Week – one of the most influential events for international contemporary jewellery – as part of a group of New Zealanders and at Galerie Door in Nijmegen, the Netherlands. 'It's great to see what's happening over there and talk to a different audience,' Arthur says. 'But I think it's really great to build strong connections with audiences in Aotearoa first. It's important to have a solid foundation here to take overseas.' Tales of a New Moon is Yasmin Dubrau's first solo exhibition at a public gallery. She creates abstract landscapes in her work, drawing patterns and shapes from the environment and architecture. Dubrau's watercolours reference Japanese ink painting and calligraphy, as she lived there for several years. Dubrau has been a practising artist for about two decades. She has exhibited internationally – for instance in Japan and France – and nationally in cities like Auckland and Invercargill. Originally from Motueka, she lived in Auckland and Japan before moving to Hawke's Bay nine years ago. Although she has recently exhibited at The Rabbit Room in Napier, Tales of a New Moon marks the first time she has exhibited in her current hometown. 'It's quite rare to have an opportunity like this,' Dubrau says. 'I feel like I know a lot of people who had no idea that I made art or what kind of art I make. A lot of people know me through my previous job, as manager and teacher at the Hōhepa Rose Weavery, and art doesn't necessarily always come up, let alone the opportunity to see it in action.' Gallery Director Sophie Davis says it's a treat to have such talented Hastings artists exhibiting at the gallery. 'We're excited to open these exhibitions alongside each other, and for audiences to enjoy the conversation between them. Vanessa and Yasmin share an interest in hands-on processes and experimentation with traditional craft forms – they tap into local, national, and international conversations.' The exhibitions will both run until 11 October. The gallery will be holding a programme of events alongside the exhibitions – check for the latest details.