UNIVERSITI TEKNOLOGI MARA

CODE AND NAME COURSE:

RMD557: RESEARCH METHOLOGY

SEMESTER:
MARCH 2022 – AUGUST 2022

TITLE:
Disadvantages of AI Art to Artists

NAME: AIDA HAZIRAH BT MOHD YUSSUF

GROUP : AD228

STUDENT ID : 2020614312

PREPARED FOR: EN. RADIN ERUS

 CHAPTER OUTLINE

ABSTRACT
ACKNOWLEDGEMENT

CHAPTER I: INTRODUCTION
1.1 Introduction
1.2 Problem Statement
1.3 Research Objective
1.4 Research Question
1.5 Significance of Research
1.6 Delimitation
1.7 Limitation

CHAPTER II: LITERATURE REVIEW

2.0 Introduction
2.1 AiArt: Towards Artificial Intelligence Art

2.2 Who Gets Credit for AI-Generated Art?

2.3 Conclusion
 11
CHAPTER III: RESEARCH
METHODOLOGY
3.0 Introduction

3.1 Research Design

3.2 Research Method
3.3 Instrument
3.4 Respondent
3.5 Data Collecting
3.6 Data Analysis
3.7 Conclusion

CHAPTER IV: FINDINGS

4.1 Introduction
4.2 Data Analysis I: Observation
4.3 Data Analysis II: Questionnaire
4.4 Conclusion to findings

CHAPTER V: CONCLUSION & RECOMMENDATIONS

5.1 Introduction
5.2 Conclusion to The Research
5.3 Recommendations and Discussion
REFERENCE
CHAPTER I : INTRODUCTION

1.1 INTRODUCTION

In the art industry, AI has shown to be a strong yet controversial tool. What exactly is AI
art? When a machine can imitate or outperform a person in some aspect of intellect or ability,
this is referred to as AI. AI Art, on the other hand, refers to any artwork made with the help of
artificial intelligence. It might be an independent work made by AI systems or a collaborative
piece created by a person and an AI system. Many people wonder if it is art because of its usage.
Is it unethical? And who gets the credit?

Artificial intelligence is a field of science that uses algorithms to create machines that
resemble human intellect. Basically, AI artwork is any artwork made by artificial intelligence. AI
artists collaborate with AI algorithms to develop guidelines for how the machine analyses
images—often thousands of images—in order to comprehend a certain creative process, such as
an aesthetic or an art movement. The AI then develops shapes, forms, patterns, and figures
depending on what it has learnt to construct something.

AI artwork may be traced back to the early ideas of AI in the 1800s and the introduction
of AI in the late 1950s. The creative use of AI, on the other hand, truly came into its own in the
2010s. With improvements in AI technology, a Google researcher called Alexander Mordvintsev
was able to develop the DeepDream algorithm in 2015 to examine how these sophisticated
computer neural systems understand visual ideas.

Access to open-source databases is increasing by the minute, and the application of these
AI developments is generating more and more AI art generators every day. Because many of
these AI art generators are open-sourced, these various types of AI use artworks scraped from the
internet, frequently without permission or due credit. This means that AI's analysis affects
everyone from Picasso to tiny, independent contemporary artists.
 One disadvantage of AI-generated art is the issue of authenticity and originality. As
AI-generated art grows more realistic, it can be difficult to distinguish if a piece was made by a
human or a computer. This begs the question of who should be credited with creating an
AI-generated piece of art, as well as the idea of originality in art. Another possible disadvantage
of AI art is that it may lack the emotional connection that we seek when seeing artwork made by
another human. Some claim that because AI art is created by machines, it lacks the emotional
resonance and connection to human experience that traditional art forms have. Some argue that
because AI art can be created by anybody using freely available software, it is less unique and
hence less valuable.
1.2 PROBLEM STATEMENT

Over the past 50 years, the usage of AI art technology to produce art has increased. The
AI creates artwork using the data it has gathered from the input, drawing inspiration from
thousands of previously created works of art that match the user's specific aesthetic. The problem
with AI art is that its influence could eventually have an impact on how much artists are paid.
Although some would claim that using AI to recreate existing images is innovative, questions
regarding the method's ethics have emerged. Plagiarism may be committed if parts of the
photographs are stolen and copied. The main problem is that jobs requiring creativity may be
replaced by AI. It won't be long before careers in the arts are replaced by automation like AI. As
AI art develops, so does the long list of downsides that come along with the technology,
including impacts on the world of artists due to its exploitative nature since it draws from a fairly
large library of credited source images and the possibility that automation like AI may eventually
replace artists.

1.3 RESEARCH OBJECTIVES

1. To identify the risks that artificial intelligence-generated art poses to human artists’ job
security in a very competitive industry.
2. To propose recommendations on safeguarding AI technology to prevent AI artworks
from replacing the work of human artists.

1.4 RESEARCH QUESTION

The research method refers to the resources utilised in a study. In this study, the
researchers applied research approaches to acquire data and information regarding the downsides
of AI art. The strategies used are intended to make it easier for the researcher to collect data for
this study.
1.4.1 QUESTIONNAIRE
Researchers utilised Google forms to collect information on the disadvantages of AI art to the art
community. The researcher will use a Google form to ask questions about the case study. This
study's target audience includes artists, art enthusiasts, and art students. The study expects to get
30 people to fill out the form using the Google form given.

1.4.2 RESOURCES ON THE INTERNET

Researchers employed a number of resources, including the internet, to do their study. The
investigation was done in greater depth by making use of relevant websites in order to learn more
and acquire resources for the study conducted more clearly.

1.4.3 INTERVIEW
To accomplish the aims of this research, the researcher intended to interview two artists,
Aimman Hafizal and Mohd Fazli Othman.

1.4.4 LIBRARY
In addition, when conducting study, researcher use books, journals, and other library materials
located nearby. This is due to the fact that researchers have the option of accessing the library to
obtain knowledge relevant to the chosen topic, which will aid to further solidify the information
previously gathered.

1.5 SIGNIFICANCE OF RESEARCH

Through the comprehensive exploration of this study on the disadvantages of AI Art to the art
community, the researcher managed to highlight how the rise of AI Art can be dangerous to the
art community if it is not safeguarded.
This study will give awareness to society on how this technology might affect the future of
artists’ jobs. Moreover, through this research, related entities and institutions will have a new
approach on how to safeguard the AI technology to prevent AI artworks from replacing the work
of human artists. Lastly, this research will be helpful for future researchers and discussions and it
may lead to more in-depth analysis.
1.6 DELIMITATION

The research is regarding the rise of Artificial Intelligence (AI) Art in the world and its
disadvantages. The main purpose of this study is to investigate the impacts of AI Art on the
artistic industry in the future. Besides, the research’s objective is to propose recommendations on
safeguarding AI technology to prevent AI artworks from replacing the work of human artists.
The data will be collected through Google Form with respondents from Malaysia and other
countries. The data will be collected in a week and will involve 30 respondents. Each of the
respondents will be given a questionnaire to answer. Data is collected by conducting research
from the Internet, doing questionnaires, interviews and literature review. The researcher has
confined this study’s primary data method intro two which are: observation and
questionnaire survey. In gathering the primary data, it will be done online through Google Form
and social media platforms like Twitter and Instagram. For the primary data collection, two
artists will be interviewed. The artists will also be interviewed to answer the questions in meeting
the objectives of this research. Two artists who are under consideration to be the
researcher’s interviewees are, Aimman Hafizal and Mohd Fazli Othman. The researcher decided
to do an online survey through Google Form and the link to the survey will be shared via
Whatsapp, Twitter and Instagram. A total of 50 respondents are targeted for the online survey.

1.7 LIMITATION

The limitation of this research is that this research does not focus on the potential
advantages of AI Art Technology. The research will only focus on the risks and disadvantages of
AI Art, and will discuss brief history of AI Art Technology and not an in-depth history. Another
limitation of this research is finding suitable topics and titles that are relevant to the researcher’s
majoring subject. Time constraint problem is inevitable as the researcher has to deal with other
tasks as well as conducting this research. There’s also the problem finding enough respondents
for data collection although AI Art is a current trending topic within the art community. Many
respondents expected from social media are not bothered by the distribution and constant sharing
of the online survey, thus the targeted number of respondents might not be reached.
CHAPTER II : LITERATURE REVIEW

2.0 INTRODUCTION
Prior studies that are particularly relevant to the topics under discussion will be discussed
in this section for advice and reference by researchers as they prepare to conclude this
investigation.

2.1 AI ART : TOWARDS ARTIFICIAL INTELLIGENCE ART

According to the research titled “AI Art : Towards Artificial Intelligence Art”, the
objective of this article is to describe AiArt as an approach in order to separate it from other art
forms and to give fresh inspiration and direction for artists, theorists, and scientists. This paper
first analyses the recent evolution of AiArt before attempting to describe the essence and
qualities of this new type of art by evaluating the disciplines underlying the AI artworks. This
study concludes that the essence of AiArt is subject diversity, media intelligence, and
modernization of expression, which are the essential indications that separate AiArt from
traditional arts such as painting, sculpture, and digital art. AiArt is expected to include four
additional aspects in addition to the creative, historical, and aesthetic characteristics of general
art: synesthesia experience, flowability and changeability, interactivity and communication, and
penetration and integration.

AI is a new technology revolution that will significantly alter how people make artworks
while also expanding our creative potential and creativity. The merging of AI with art has given
rise to a new type of art known as AiArt, which has its own set of creative criteria and
characteristics that require further investigation and development. In 2017, AI specialist Kaifu Li
wrote a book titled Artificial Intelligence, which addressed the link between AI and artistic
production. He thought that the artistic process based on AI algorithms is just the reproduction of
a certain creative style of artworks generated by artists by studying a large number of human
works as a database. As a result, there is little chance that computers will be able to compete with
or exceed human artists in the next few years.

AiArt provides a multisensory, all-encompassing, and omnidirectional experience. It not

only has perceptual, visual, and aural experiences, but also a higher level of psychological and
thinking experiences, with which the directivity and powerful contagiousness may clearly,
vividly, and fully communicate the creator's ideas, feelings, and will. AiArt with flowability and
changeability is entirely different. It represents the changing nature of objects and their mobility.
The fundamental characteristics that separate AiArt from other creative forms are interaction and
communication.

In the future of AiArt, audiences will be able to connect not only verbally and physically
with artworks, but also spiritually with artists and participate in the reconstruction of their works.
This interaction can be audible or quiet; it can be direct or indirect; and it can be close or far
away. AiArt will be a very complete cross-media art that combines not only numerous
components such as sound, light, video, image, and text, but also pictures with exhibition space,
virtual space, and actual space. What's more, it fills the gap between technology and art, breaks
down barriers between science and art, and provides a new avenue for artists to express their
thoughts and emotions.

In conclusion, the researchers believed that the nature of AiArt is determined by three
factors: a diverse creative subject, an intelligent creative medium, and a modern expression of
meaning; on the other hand, we summarised the fundamental characteristics of AiArt from now
to the future: synesthesia experience, flowability and changeability, interaction and
communication, penetration and integration.

2.2 WHO GETS CREDIT FOR AI-GENERATED ART?

The recent sale of an AI-generated portrait for $432,000 at Christie's art auction has
sparked debate over how to give responsibility and credit to those responsible and how the
anthropomorphic perception of the AI system should be managed. The success of the artwork
was aided by the AI system. On October 25, 2018, a portrait produced by a generative
adversarial network (or GAN) (Goodfellow et al., 2014) algorithm sold for $432,500 at Christie's
art auction. The art world was stunned by the piece's sale for more than 40 times Christie's initial
estimate of $10,000. The painting, titled Edmond De Belamy (see Figure 1), sparked controversy
regarding the nature of copyright and artificial intelligence (AI). It was marketed by Christie's as
"the first portrait made by an algorithm to come up for auction" (Cohn, 2018).

Without human assistance, Edmond de Belamy would never have been created. The
artwork was chosen, printed, promoted, and sold by the Parisian art collective. Obvious, but
there is still more human involvement. Even though Edmond de Belamy's genesis story
essentially left out the humans that were engaged, the AI itself was frequently described as
possessing human-like traits. The narrative of Edmond de Belamy highlights two universal
challenges to the governance and accountability of AI systems that are essential to
comprehending the difficulty of determining credit and responsibility in AI art examples.

The first challenge is identifying the group of potential human stakeholders and their
relative positions inside an AI system. The practise of domesticating AI systems is a second
obstacle. But what do we lose when we humanise AI? Recent studies have shown that
anthropomorphization might weaken trust.

In this article, we examine these issues in the context of AI art using the instance of
Edmond de Belamy: not only was there ambiguity over the people participating in the creation
process, but there was also widespread anthropomorphization of the process itself. No AI makes
decisions independently of human influence. Even the work of art by Edmond de Belamy, which
was said to have been "completely realised by an algorithm," was the result of the imagination,
labour, and choices made by many different people.

We discover that anthropomorphizing the AI system serves to enhance responsibility to

some individuals and lessen duty to others, as opposed to decreasing perceived accountability of
all individuals involved. In particular, humanising the AI system increases the responsibilities of
the technologist while reducing that of the artist. Critically, this implies that the choice of
terminology and frame used to explain AI art will determine the level of responsibility that will
be assigned to persons in its development. The audience needs to be selective about the
narratives they consume, and it is crucial for artists, computer scientists, and the media to be
conscious of the power of their words. The responsibility issue in the Edmond de Belamy case is
clarified by our findings. The artist received the greatest credit and criticism, followed by the
curator, the technologist, and lastly the audience.
CHAPTER III : RESEARCH METHODOLOGY

3.0 INTRODUCTION
The disadvantages of AI art to artists are the subject of this study. The researcher
provides a thorough explanation of how the data and information required to meet the study's
objectives and questions were collected, organised, and analysed in this chapter. There are
explanations and justifications for the study's design, instruments, data sources, data collection
methodology, data display strategies, and analytical techniques.

3.1 RESEARCH DESIGN

The researchers utilised qualitative research methodology approaches to get the necessary data
for this study. It would be unstructured interviews with open-ended questions to produce
qualitative data. This approach, sometimes referred to as a non-statistical approach, enables
respondents to express themselves freely and in their own words, giving the researcher a true feel
of how each respondent views the problem.

3.2 RESEARCH METHOD

Because it uses a research method, this study utilised a qualitative methodology.
This technology allows it to do simultaneous analysis. According to Kothari (2004), a qualitative
method is focused on the researcher's perceptions and beliefs, and it involves a subjective
examination of attitudes, opinions, and behaviours. In this study, respondents provided their
judgments of lived experience using a Likert-type scale, which was included in the questionnaire
to enable quantitative interpretation.

3.3 CLASSIFICATION OF METHOD

3.3.1 Primary data

Interviews and observation serve as the primary data sources. The artists will speak on behalf of
the respondents during the interview survey session. Two artists will be interviewed for the
primary data collection. In order to achieve the goals of this research, the artists will also be
interviewed. Aimman Hafizal and Mohd Fazli Othman are two artists who the researcher is
thinking about interviewing for her project.

3.3.2 Secondary data

The information gathered from the researcher's previous literature reviews and studies is referred
to as secondary data. Compared to primary data, secondary data are thought to be easier to find.
To support the goal of this research, data collection is required. The second technique, called
descriptive, involves gathering written materials from books, journals, articles, websites,
newspapers, or other media.

3.4 INSTRUMENT

The researcher used survey tools such questionnaires, interviews, analyses, and case study
observations to evaluate the disadvantages of AI Art to artists in order to respond to this case
study. Research tools must be able to support the accomplishment of research objectives, aims,
and questions as well as the acceptance or rejection of research hypotheses. There should be no
bias in the data collection process and it should be clear how the research tools should be used.
The three different sorts of questionnaire response forms are listed below.
1. Can AI Art replace human artists’ jobs one day?
2. Is AI Art considered plagiarism?
3. How can we safeguard AI technology to prevent AI artworks from replacing the work of
human artists?

3.5 RESPONDENT

Respondents are people who participate in research projects such as surveys, interviews, and data
collection. Respondents may be of any age, but the age at which they are required to provide
informed consent depends on the scope of the study. Additionally, this study employs a
qualitative methodology. As a result, respondents' thoughts and emotions drive interactions in
qualitative research. Google Form will be used to collect the data from responders in Malaysia
and other nations. 30 respondents will participate in the data collection, which will take a month.
A questionnaire will be supplied to each respondent for them to complete.

3.6 DATA COLLECTING

Data collecting is the method of getting data from all truly relevant sources in order to find
solutions to the study issue, test the hypothesis, and evaluate the conclusions. There are two
categories of data gathering techniques: primary data collection and secondary data collection.
Primary data refers to information that has never been seen before. The two types of primary
data are qualitative and quantitative data. This inquiry made use of the qualitative approach. On
the other hand, numbers and mathematical calculations are excluded.

The use of words, sounds, sentiments, emotions, colours, and other non-quantifiable factors is
heavily correlated with qualitative data collection techniques. Open-ended interviews, focus
groups, and observation are some of the sources of information used to provide the highest level
of comprehension. Quantitative data collection is an additional option. The quantitative data
from this study was not selected for this investigation. To obtain quantitative data, mathematical
calculations in a range of formats are used. Closed-ended questionnaires, correlational and
regression techniques, as well as mean, mode, and median analysis, are used to gather and
analyse quantitative data.

Secondary data collection is the process of gathering information that has already been published
in a book, newspaper, magazine, journal, online platform, or blog. Regardless of the research
topic, this secondary data includes a wealth of knowledge regarding studies. As a result,
secondary data should be assessed using a variety of important factors, such as correctness and
applicability to the current research issue. Techniques for gathering secondary data provide a
number of advantages, including the potential to save time, effort, and money.
3.7 DATA ANALYSIS

Applying statistical and logical methods to interpret, present, condense, summarise, and evaluate
data is known as data analysis. In order to condense data into a story and then analyse it to make
conclusions, researchers employ research data analysis. Cleaning, converting, and modelling data
are all steps in the data analysis process, which aims to produce information that is usable. The
goal of data analysis is to draw out relevant information from data so that decisions can be made
based on it. The data aids the researcher in refining, organising, focusing, removing, and
sharpening data in order to more thoroughly validate findings.
3.8 CHAPTER OUTLINE

CHAPTER OUTLINE

ABSTRACT
ACKNOWLEDGEMENT

CHAPTER I: INTRODUCTION
1.0 Introduction
1.1 Background of Research
1.2 Problem Statement
1.3 Research Objective
1.4 Research Question
1.5 Significant of Research
1.6 Delimitation
1.7 Limitation

CHAPTER II: LITERATURE REVIEW

2.0 Introduction
2.1 AiArt: Towards Artificial Intelligence Art

2.2 Who Gets Credit for AI-Generated Art?

2.3 Conclusion
11
CHAPTER III: RESEARCH
METHODOLOGY
3.0 Introduction

3.1 Research Design

3.2 Research Method
 3.3 Instrument
3.4 Respondent
3.5 Data Collecting
3.6 Data Analysis
3.7 Conclusion

CHAPTER IV: FINDINGS

4.1 Introduction
4.2 Data Analysis I: Observation
4.3 Data Analysis II: Questionnaire
4.4 Conclusion to findings

CHAPTER V: CONCLUSION & RECOMMENDATIONS

5.1 Introduction
5.2 Conclusion to The Research
5.3 Recommendations and Discussion
REFERENCE
3.9 RESEARCH SCHEDULE
4.0 REFERENCES
References

Chen, W., Shidujaman, M., & Xuelin, T. (2020). AiArt: Towards Artificial Intelligence Art.

Retrieved from ResearchGate website:

https://www.researchgate.net/publication/342642793_AiArt_Towards_Artificial_Intellige

nce_Art

Epstein, Z., Levine, S., Rand, D. G., & Rahwan, I. (2020). Who Gets Credit for AI-Generated

Art? IScience, 23(9), 101515. https://doi.org/10.1016/j.isci.2020.101515