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@thesaveroom

Michael Berto - pawsmenu.info - thegeography.net - thezium.art

Library of Alexandriapaws.bandcamp.com/musicJoined April 2012

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@thesaveroom

Sep 12, 2021

⛰️The Geography⛰️ An Endless, Nonlinear Orchestration. An Endless Album. A Companion Application. Available now for iOS, Android and Mac, Windows and Linux 🍎apple.co/3A9pf8Q 🟢 bit.ly/3tyjNtX 💾 bit.ly/3hsgwY9 🌐 thegeography.net

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a black and white photograph of a coastline at night

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@thesaveroom

Dec 31, 2022

2022 has been one of the best years of my life, for reasons that are mostly none of your business, unless you were one of the people who shared in these special moments, in which case, thank you, it's been really special. Hope everyone has a happy new year! All the best for 2023!

A digital painting by Michael Berto depicting a lone firework exploding in the skies above a dark park, a tree of smoke looms on the horizon

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@thesaveroom

Jul 30, 2022

The Zium Galley inside The Smithsonian American Art Museum. Come along if you're in Washington DC, and please feel free to take a sticker.

@americanart

#SAAM

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@thesaveroom

Jul 28, 2022

Honestly I couldn't tell you what day of the week it is if my life depended on it.

Anyway, I'm in America now because I'm showing a game I made with a bunch of amazing artists, with some of those artists, at SAAM Arcade which is at The Smithsonian American Art Museum and that's really a big honour. I'm exhausted everything hurts but the vibes are immaculate.

Now this whole situation blew my head out of my face. I audibly said "woah! excuse me??" as I opened the shutters during lights out and the sun was exploding auroras as it was setting behind us. The pilot should have said something. The person sitting next to me gasped.

Render distance is amazing up there. Amazing graphics. Hiding loading the terrain behind clouds is so smart.

Every time I'm up there I think, well, I think how are we supposed to rationalise such a perspective. We're not meant to be up there, but up we go, for a long time, seeing absolutely incredible visions of this planet.

Sol/Nox O3/Łun Ascalia Fashion Catalogue. Collection by Michael Berto. Available at: pawsmenu.itch.io/catalogue #AI #dalle2

I made a little project with

@OpenAI

's DALL·E 2, its called Sol/Nox/O3/Łun and it's an in-fiction fashion catalogue from a place called Ascalia. I also used ArtBreeder to make the faces. Aside from the words, all made with AI. It'll be on itch tonight, free/pwyw. #dalle2

The cover of a fashion catalogue called Sol/Nox/O3/Łun featuring a model in a black cape-like outfit with a silver reflective shirt. They are holding up their hands behind two large hand-like sculptures.

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@thesaveroom

Jun 24, 2022

Window cleaning day at Mithito Cosmetics Headquarters.

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@thesaveroom

Jun 23, 2022

"Looking towards The Ettenmoors from The Mountains of Angmar. The ruin of Weathertop can be seen in the far distance on the horizon, Eriador, Middle Earth, Tolkien, by Albert Bierstadt and Henri Mauperché" #dalle2

"Looking down upon Menegroth, the Thousand Caves, looking out onto the forest realm of Doriath in Beleriand, Tolkien, Illustration, Painting, as painted by Albert Bierstadt and Henri Mauperché" #dalle2

I also really enjoy, with Middle Earth in particular, when you go a bit niche with your requests, places or perspectives you wouldn't necessarily expect there to be much art of, via context, you still get something that feels like an illustrator attuning Tolkien's words.

What I've enjoyed about exploring Middle Earth via the great landscape painters, for example, is that I'm not getting movie stills. I feel like DALL·E 2 is giving me interpretations of the text. I didn't explain more than "The Mines of Moria, The Doors of Durin" + Artists

"The Mines of Moria, The Doors of Durin, as painted by Albert Bierstadt and Henri Mauperché" #dalle2

"Utopian" in almost a purely mechanical sense. For me, from 'the gameplay' comes an incredible stream of creativity, expressly generated from 'playtime'. When 'play' fuels creativity, generating the 'material' from play, bringing it my output of writing, music and art. Utopian.

There are limitations, and I am a fan of them. I am very ok with omitting public figure likenesses, omitting graphic violence. I do not miss or need them to feel and believe DALL·E 2 is the most utopian game I've ever played. I think that the omissions reinforce the feeling.

Then, combining the results, inspirations, with creation; drawing or writing, the positive feedback loop multiplies. It's a tool for imagination expansion, for mind expansion. Time with DALL·E 2 feels like the utopian ideal of what a game. But it's much more, still.

The feedback loop, the impactful, surprising, genuinely awe-inspiring moments are unlike any game. The closest that it comes to for me is making writing or making music, sitting down hearing something for the first time, discovering a new world, exploring, developing.

I've been thinking about DALL·E 2 as a game. And, as a game, it is the most engaging, addictive, enriching, inspirational game I've ever played. The most utopian game I've ever played.

"an abandoned structure in the center of a vast, Icelandic landscape, no people are in the image, in the style of Wes Anderson, Stanley Kubrick, lighting by Roger Deakins" #dalle2

I look forward to my evenings winding down with DALL·E 2 - There are so many interesting and compelling things to explore, notions from the day, new things to discover. I look forward to learning more about how myself and others use the AI. Learning how to converse creatively.

"an overgrown futurist ruin in the center of a sparse floral tundra, there is a single robed figure pointing to the structure, painted by Albert Bierstadt and Hayao Miyazaki and Albert Bierstadt and Katsuhiro Otomo" #dalle2

"sparse natural desert tundra landscape of a mountain clearing with a structure at the center, there are figures in the distance, painted in the style of Vilhelm Hammershøi and Albert Bierstadt and William Bliss Baker and Nicolas de Staël and Eugène Boudin" #dalle2

"sparse natural landscape with a complex abandoned structure at the center, there are figures in the distance, painted by Albert Bierstadt and Tove Jansson and Katsuhiro Otomo and Canaletto and and Hayao Miyazaki" #dalle2

"sparse natural landscape with a complex abandoned structure at the center, there are figures in the distance, painted in the style of Vilhelm Hammershøi and Tove Jansson and Katsuhiro Otomo and Canaletto" #dalle2

“Landscape of a dark desert highway with an abandoned structure and a strange creature" by Vilhelm Hammershøi and Albert Bierstadt and Maureen Gallace and Walt Disney” #dalle2

I find myself using language like a brush, or more-so like some arcane spell-caster. Learning the language to collaborate with DALL·E 2, and to achieve something novel that often transcends even the original prompts.

"at the very bottom of the frame a festival takes place, while the rest of the image is of a night sky filled with stars, by Sol LeWitt, black and white" #dalle2

"Abandoned Town", by Vilhelm Hammershøi" #dalle2

"an anthropomorphic zebra lives in a minimalist city apartment, painted by Edward Hopper" #dalle2

"illustration of a home in the style of functionalism and functionalist architecture, by Egon Schiele" #dalle2

I really enjoy that, for me, the conversation with DALL·E 2 is not unlike a conversation with a human collaborator. We use cultural and historical touchstones to convey an idea quickly. Often, we don't want to replicate, we want to imbue into our work an aspect of an essence.

“A painting of Rivendell in Middle Earth as painted by Albert Bierstadt” #dalle2

I find myself returning to derivations of "Top Down Photograph of a Book" framing as a personal sweet spot aesthetic. I tend to be able to control some aspect of the composition in an aesthetically pleasing way. Similarly if I want landscapes, I use Bierstadt.

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