Latest news with #JamesBlack
Hamilton Spectator
19 hours ago
- Entertainment
- Hamilton Spectator
Is it art, or is it stealing work? Album cover designers stare down an AI future
TORONTO - Finger Eleven guitarist James Black has picked up a new instrument, one that pushes the boundaries of his visual imagination — generative artificial intelligence technology. The Toronto musician and graphic artist admits it's a controversial choice, but over the past year, he's been using the tool to help design his band's new album covers. Each one showcases grand concepts, stunning imagery and ultimately a piece of art that demands attention in an era where all musicians are jostling to stand out. 'We're in the blockbuster age where people like to see big, big things,' Black says from his office. 'Whenever I have an idea, it's usually something beyond what we have the resources to do, and AI means you don't have to put a lid on those ideas.' His work usually starts with typing a few descriptive words into AI software and collecting the images it spits back out. Then, he uses photo editing to fine-tune his favourites so they fit his original vision. Sometimes, he submits those altered images back into the AI to generate more ideas. 'There's quite a bit of back-and-forth where you're applying your own skill and then putting it back in,' he said. 'It's a little bit like arguing with a robot. You have to nuance it into doing what you want.' One of his first experiments was the cover artwork for Finger Eleven's 2024 single 'Adrenaline.' The illustration shows a curvaceous woman in a skin-tight red-and-white-racing suit, her head concealed under a motorcycle helmet. She's standing in the middle of a racetrack with her back to the viewer. A cloudy blue sky imparts an otherworldly calm. Anyone who's seen recent AI artwork will probably recognize the hyperrealistic sheen of its esthetic. Other familiar AI trademarks are there too, including a landscape firmly rooted in a dream world. Generative image models are trained on billions of photographs to learn patterns, such as recurring shapes and styles. They then use that information to construct images that can often seem familiar. Many fear that the tools also draw from copyrighted pieces without permission from their creators. It's a legal quagmire that only skirts the surface of the ethical debate around generative AI models. Beyond the copyright risks, critics fear the technology will cost album cover designers and photographers their jobs. But AI programs such as NightCafe, CoPilot and Adobe Firefly offer cutting-edge possibilities that many artists say they can't ignore. Still, Black said he understands there are ethical concerns. 'I'm definitely torn myself,' he said. 'But I'm using it because it extends as far as my imagination can go.' Other musicians have found that generative AI answers the demands of a streaming industry that pressures them to churn out new music, eye-catching lyric videos and other visual elements regularly. But some fan bases aren't sympathetic to those reasons. Last year, Tears for Fears was slammed on social media after they revealed the cover of their live album 'Songs for a Nervous Planet,' which had several familiar AI image traits. The illustration shows an astronaut staring straight at the viewer, their face concealed under a space helmet. They're standing in the middle of a field of sunflowers that stretches into the distance. A cloudy blue sky imparts otherworldly calm. The cover's creator, Vitalie Burcovschi, described it as 'art created by AI using human imagination.' But fans were quick to accuse the band of using AI that might have scraped copyrighted work. As blowback intensified, the English duo released a statement calling it 'a mixed media digital collage, with AI being just one of the many tools used.' Pop singer Kesha encountered similar flak for the cover of her 2024 single 'Delusional,' which featured a pile of Hermés Birkin bags with the song's name spray-painted across them. Fans instantly recognized common flaws of an AI-created image: misspellings in the song's title, sloppy digital fragments. Some demanded she redo the artwork with paid photographers. It took months, but the singer replaced the image with a photograph of herself tied to a chair. She assured fans it was created with an 'incredible team of humans.' 'AI is a Pandora's box that we as a society have collectively opened, and I think it's important that we keep human ramifications in mind as we learn how to use it as a tool and not as a replacement,' she said in an Instagram post in May. Illustrator and musician Keenan Gregory of the band Forester says he used AI technology to extend the background of an old photograph so it could fit on the cover of the band's upcoming EP. The original image for 'Young Guns' was taken in the 1940s as a vertical photograph and showed bass player Dylan Brulotte's grandfather strolling through the streets of Edmonton. Gregory needed a square shape for the album cover, so he put the shot into Photoshop's generative AI tool, which artificially extended the frame's left and right edges with more detail. He removed certain background elements, like storefront signs, with a blend of traditional photo editing techniques. 'Typically, an artist would have to do that manually,' he said. 'But having AI provide you with options, which you then edit, is very powerful.' Gregory said he considers AI one of a photo editor's many tools, adding he didn't use it to make the cover for Royal Tusk's 'Altruistic,' which earlier this year won him a Juno Award for best album artwork. Even when musicians are transparent about using AI, some fans are not ready to embrace it, as British Columbia rock band Unleash the Archers learned last year. Vocalist Brittney Slayes said their concept album 'Phantoma' told the story of an AI gaining sentience and escaping into the real world in the body of an android. To explore the album's theme, Slayes said some of her songwriting drew inspiration from ChatGPT suggestions, while they used visual AI programs to create inspiration images for songs. She said the band also filmed a music video for 'Green & Glass' and then fed the finished product into an AI model trained on artwork by Bo Bradshaw — the illustrator for the band's merchandise. It spat out an AI-animated version of the video. 'We paid to license all of his artwork ... so he was compensated and he was credited,' she said. But the reaction was swift. Some listeners accused the band of theft, alleging that despite paying for Bradshaw's work, the AI tool likely used other unlicensed art to fill out the visuals. 'We didn't realize that even though our model was trained after one artist, the program was going to fill in the blanks with others,' Slayes said. 'People didn't care. The second the word 'AI' was used, we were targeted. You know, the usual Twitter uproar, being like scraped across the internet as these terrible people that use AI in their music.' Unleash the Archers responded on their socials, issuing a statement acknowledging they had unintentionally implied their video featured original artwork by Bradshaw when it was actually produced through an AI program without his direct involvement. Their statement recognized how fraught the risks are for bands eager to explore new technology, saying that 'while we were expecting some controversy, we weren't expecting as much as we got.' Slayes said the backlash has forever sullied her connection to the album, which she originally intended as an exploration of an inevitable AI future. Instead, to her, it's become a reminder of how fast-developing AI technology is provoking deep-rooted anxieties. 'People are still afraid of it,' she said. 'And for good reason, because it is taking jobs.' For other artists, she urges them to think carefully about how they introduce AI into their own projects: 'If you're going to use AI for your artwork, you've got to have a really good reason.' This report by The Canadian Press was first published June 10, 2025.
Winnipeg Free Press
a day ago
- Entertainment
- Winnipeg Free Press
Is it art, or is it stealing work? Album cover designers stare down an AI future
TORONTO – Finger Eleven guitarist James Black has picked up a new instrument, one that pushes the boundaries of his visual imagination — generative artificial intelligence technology. The Toronto musician and graphic artist admits it's a controversial choice, but over the past year, he's been using the tool to help design his band's new album covers. Each one showcases grand concepts, stunning imagery and ultimately a piece of art that demands attention in an era where all musicians are jostling to stand out. 'We're in the blockbuster age where people like to see big, big things,' Black says from his office. 'Whenever I have an idea, it's usually something beyond what we have the resources to do, and AI means you don't have to put a lid on those ideas.' His work usually starts with typing a few descriptive words into AI software and collecting the images it spits back out. Then, he uses photo editing to fine-tune his favourites so they fit his original vision. Sometimes, he submits those altered images back into the AI to generate more ideas. 'There's quite a bit of back-and-forth where you're applying your own skill and then putting it back in,' he said. 'It's a little bit like arguing with a robot. You have to nuance it into doing what you want.' One of his first experiments was the cover artwork for Finger Eleven's 2024 single 'Adrenaline.' The illustration shows a curvaceous woman in a skin-tight red-and-white-racing suit, her head concealed under a motorcycle helmet. She's standing in the middle of a racetrack with her back to the viewer. A cloudy blue sky imparts an otherworldly calm. Anyone who's seen recent AI artwork will probably recognize the hyperrealistic sheen of its esthetic. Other familiar AI trademarks are there too, including a landscape firmly rooted in a dream world. Generative image models are trained on billions of photographs to learn patterns, such as recurring shapes and styles. They then use that information to construct images that can often seem familiar. Many fear that the tools also draw from copyrighted pieces without permission from their creators. It's a legal quagmire that only skirts the surface of the ethical debate around generative AI models. Beyond the copyright risks, critics fear the technology will cost album cover designers and photographers their jobs. But AI programs such as NightCafe, CoPilot and Adobe Firefly offer cutting-edge possibilities that many artists say they can't ignore. Still, Black said he understands there are ethical concerns. 'I'm definitely torn myself,' he said. 'But I'm using it because it extends as far as my imagination can go.' Other musicians have found that generative AI answers the demands of a streaming industry that pressures them to churn out new music, eye-catching lyric videos and other visual elements regularly. But some fan bases aren't sympathetic to those reasons. Last year, Tears for Fears was slammed on social media after they revealed the cover of their live album 'Songs for a Nervous Planet,' which had several familiar AI image traits. The illustration shows an astronaut staring straight at the viewer, their face concealed under a space helmet. They're standing in the middle of a field of sunflowers that stretches into the distance. A cloudy blue sky imparts otherworldly calm. The cover's creator, Vitalie Burcovschi, described it as 'art created by AI using human imagination.' But fans were quick to accuse the band of using AI that might have scraped copyrighted work. As blowback intensified, the English duo released a statement calling it 'a mixed media digital collage, with AI being just one of the many tools used.' Pop singer Kesha encountered similar flak for the cover of her 2024 single 'Delusional,' which featured a pile of Hermés Birkin bags with the song's name spray-painted across them. Fans instantly recognized common flaws of an AI-created image: misspellings in the song's title, sloppy digital fragments. Some demanded she redo the artwork with paid photographers. It took months, but the singer replaced the image with a photograph of herself tied to a chair. She assured fans it was created with an 'incredible team of humans.' 'AI is a Pandora's box that we as a society have collectively opened, and I think it's important that we keep human ramifications in mind as we learn how to use it as a tool and not as a replacement,' she said in an Instagram post in May. Illustrator and musician Keenan Gregory of the band Forester says he used AI technology to extend the background of an old photograph so it could fit on the cover of the band's upcoming EP. The original image for 'Young Guns' was taken in the 1940s as a vertical photograph and showed bass player Dylan Brulotte's grandfather strolling through the streets of Edmonton. Gregory needed a square shape for the album cover, so he put the shot into Photoshop's generative AI tool, which artificially extended the frame's left and right edges with more detail. He removed certain background elements, like storefront signs, with a blend of traditional photo editing techniques. 'Typically, an artist would have to do that manually,' he said. 'But having AI provide you with options, which you then edit, is very powerful.' Gregory said he considers AI one of a photo editor's many tools, adding he didn't use it to make the cover for Royal Tusk's 'Altruistic,' which earlier this year won him a Juno Award for best album artwork. Even when musicians are transparent about using AI, some fans are not ready to embrace it, as British Columbia rock band Unleash the Archers learned last year. Vocalist Brittney Slayes said their concept album 'Phantoma' told the story of an AI gaining sentience and escaping into the real world in the body of an android. To explore the album's theme, Slayes said some of her songwriting drew inspiration from ChatGPT suggestions, while they used visual AI programs to create inspiration images for songs. She said the band also filmed a music video for 'Green & Glass' and then fed the finished product into an AI model trained on artwork by Bo Bradshaw — the illustrator for the band's merchandise. It spat out an AI-animated version of the video. 'We paid to license all of his artwork … so he was compensated and he was credited,' she said. But the reaction was swift. Some listeners accused the band of theft, alleging that despite paying for Bradshaw's work, the AI tool likely used other unlicensed art to fill out the visuals. 'We didn't realize that even though our model was trained after one artist, the program was going to fill in the blanks with others,' Slayes said. 'People didn't care. The second the word 'AI' was used, we were targeted. You know, the usual Twitter uproar, being like scraped across the internet as these terrible people that use AI in their music.' Unleash the Archers responded on their socials, issuing a statement acknowledging they had unintentionally implied their video featured original artwork by Bradshaw when it was actually produced through an AI program without his direct involvement. Their statement recognized how fraught the risks are for bands eager to explore new technology, saying that 'while we were expecting some controversy, we weren't expecting as much as we got.' Wednesdays Columnist Jen Zoratti looks at what's next in arts, life and pop culture. Slayes said the backlash has forever sullied her connection to the album, which she originally intended as an exploration of an inevitable AI future. Instead, to her, it's become a reminder of how fast-developing AI technology is provoking deep-rooted anxieties. 'People are still afraid of it,' she said. 'And for good reason, because it is taking jobs.' For other artists, she urges them to think carefully about how they introduce AI into their own projects: 'If you're going to use AI for your artwork, you've got to have a really good reason.' This report by The Canadian Press was first published June 10, 2025.
Daily Mail
4 days ago
- Entertainment
- Daily Mail
Robbie Williams trolls Arsenal with Tottenham trophy joke while performing at the Emirates Stadium
Robbie Williams divided north London on Friday night by trolling Arsenal fans with a pro-Tottenham joke while performing at the Emirates Stadium. Former Take That band member Williams — who is now better known as a solo artist — supports Port Vale, having grown up in Stoke-on-Trent. But the 51-year-old also has a soft spot for Spurs. He showed this back in 2023 after James Black, a lifelong Spurs supporter who performs live music on matchdays at the Tottenham Hotspur Stadium, reworked the chorus of Robbie's 1997 mega-hit 'Angels' to create an ode to Ange Postecoglou. It went viral on social media and caught the attention of Robbie himself, who joined Black to record a special version, which the popstar shared via Instagram. During that video, after singing 'I'm Loving Big Ange Instead', Williams quipped: 'I guess I'm a Spurs fan now then.' In response to this, Tottenham sent Williams and his wife Ayda personalised Spurs shirts with their names on the back. Postecoglou famously went on to win the UEFA Europa League in his penultimate game as Tottenham manager last month. Despite ending Tottenham's 17-year wait for a trophy and sealing a spot in next season's Champions League in the process, the Australian was sacked on Friday. His dismissal was largely due to Tottenham's dreadful domestic form, which resulted in their lowest Premier League finish ever. But although Spurs finished 17th — just one place above the relegation zone — many people have claimed that they actually enjoyed a more successful season than fierce rivals Arsenal, who came second in the Premier League after losing to Paris Saint-Germain in the semi-finals of the Champions League. Spurs have now won four major UEFA men's titles in their 142-year history — three more than the Gunners, who lifted the Cup Winners' Cup in 1994. Williams cheekily referenced this at the home of Arsenal on Friday. He began the set-up to his joke by asking fans in the crowd to cheer if they supported Arsenal. He then encouraged those who did not support the Gunners to boo. Next, Williams asked the crowd a question: 'How far away are Arsenal from a European trophy?' He gleefully answered that question himself by declaring: 'Four f****** miles!' — the approximate distance between the Emirates and the Tottenham Hotspur Stadium. Williams was quick to gesture that he was only kidding, urging any Arsenal supporters not to take his joke to heart. But many Gunners fans hit back via social media, where they were keen to point out that Arsenal were the current holders of the UEFA Women's Champions League.
Yahoo
5 days ago
- Business
- Yahoo
Canadian Securities Exchange Welcomes Listing of Aleen Inc
Toronto, Ontario--(Newsfile Corp. - June 6, 2025) - The Canadian Securities Exchange ("CSE" or "the Exchange") today welcomed the listing of Aleen Inc. ("Aleen" or the "Company"). The Toronto-based company completed offerings of approximately 10.04 million special warrants which, when exercised, were automatically converted into an equal number of common shares. The common shares were listed for trading on the CSE today under the symbol ALEN.U. Aleen is a digital startup company focused on AI-driven tools to support the healthcare sector. The Company's website enables visitors to enter their symptoms and receive a free initial health assessment and symptom checks. Aleen also offers a paid service that provides users with deeper access to its AI platform, with enhanced functionality. By providing fast and reliable information, the Company aims to improve the efficiency of the healthcare system. Aleen's AI integrates medical knowledge and is designed to expand its capabilities over time. "AI is a transformative technology with near-endless applications across the global economy," said James Black, the CSE's Vice President, Listings Development. "We applaud the Aleen team for their innovative efforts to harness AI to benefit the healthcare sector, and we are pleased that they chose the CSE for their public listing." "The CSE listing is an important step for us, and one we see as the beginning of a longer journey," said Inna Aksman, CEO of Aleen. "While it marks a new stage in our company's development, it also reflects our steady commitment to growth and continued progress. We are optimistic about the future and excited for what lies ahead." About the Canadian Securities Exchange: The Canadian Securities Exchange is a rapidly growing exchange invested in working with entrepreneurs, innovators and disruptors to access public capital markets in Canada. The Exchange's efficient operating model, advanced technology and competitive fee structure help its listed issuers of all sectors and sizes minimize their cost of capital and enhance global liquidity. Our client-centric approach and corresponding products and services ensure businesses have the support they need to confidently realize their vision. The CSE offers global investors access to an innovative collection of growing and mature companies. STAY CONNECTED WITH THE CSE ============================= Website: TV on YouTube: CSE's "The Exchange for Entrepreneurs™" Podcast: Linkedin: Facebook: Contact:James Black To view the source version of this press release, please visit Sign in to access your portfolio
Yahoo
27-05-2025
- Business
- Yahoo
Canadian Securities Exchange Welcomes Listing of Highland Critical Minerals Corp.
Toronto, Ontario--(Newsfile Corp. - May 27, 2025) - The Canadian Securities Exchange ("CSE" or "the Exchange") today welcomed the listing of Highland Critical Minerals Corp. ("Highland" or the "Company"). The Toronto-based junior mining company completed an offering of approximately 371,000 special warrants which, when exercised, were automatically converted into an equal number of common shares. The common shares were listed for trading on the CSE today under the symbol HLND. Highland is focused on early-stage lithium exploration in Northern Ontario. The Company is currently conducting a Phase I exploration program at its Church property, which is located near the town of Nipigon. Earlier this year, a technical report completed on the property included an opinion that it exhibits characteristics of an early-stage "Property of Merit" that is deserving of further exploration work. "The global energy transition is being powered in large part by lithium-ion batteries, and significant new sources of lithium supply will need to be identified in the coming years to meet rising demand," said James Black, the CSE's Vice President, Listings Development. "We are pleased to see a growing group of greenfield exploration companies, including Highland, stepping up to meet that challenge. We wish the Highland team success at the Church property." "We are extremely pleased to have achieved this important milestone of having our shares listed on the CSE," said Ted Yew, CEO of Highland Critical Minerals. "We look forward to providing further updates to our shareholders and the broader market in the coming months." About the Canadian Securities Exchange: The Canadian Securities Exchange is a rapidly growing exchange invested in working with entrepreneurs, innovators and disruptors to access public capital markets in Canada. The Exchange's efficient operating model, advanced technology and competitive fee structure help its listed issuers of all sectors and sizes minimize their cost of capital and enhance global liquidity. Our client-centric approach and corresponding products and services ensure businesses have the support they need to confidently realize their vision. The CSE offers global investors access to an innovative collection of growing and mature companies. STAY CONNECTED WITH THE CSE ============================= Website: TV on YouTube: CSE's "The Exchange for Entrepreneurs™" Podcast: Linkedin: Facebook: Contact:James To view the source version of this press release, please visit Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data
