Openai/69379e5f-5560-800e-a9ed-6e1ba0e3c5ed

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User: Write something called: The Sloppist Manifesto.

Write something called: The Sloppist Manifesto. It will be a manifesto for a new Ai-driven art movement called Sloppism. Keep it formal and succinct with an intro, some points, and then a conclusion. The focus should be on cinema, but make points in a way that they can be generalized to any art form.

Here are some points you should make:

• The art world has continually gone through cycles. It becomes increasingly turgid, brittle, and polite for a while, then it is attacked and destroyed by barbarians creating outsider art, often people who don’t even think of themselves as artists. They create new forms, while the old forms change in response or perish, revitalizing aesthetics for a new generation. That is what is just starting to happen now with Ai. Give some examples other than the ones I mention below, if you can.
• Art has been stagnating for decades now. Ai is poised to shock art out of its stagnation. The stagnation is furious.
• People who can’t name 5 silent movies they like - and worse, people whose art consumption is mostly sequels, remakes, and comic book movies - have nothing to contribute to this conversation.
• The injection of randomness (hallucinations) and imperfections into outputs is one of the factors that fertilizes creativity.
• The first soviet filmmakers had to make 10 minute movies with 5 minutes of film stock, so they invented modern film editing. B-movie directors shot at weird angles in poorly lit sets to cover up the facts that they were using the same sets as A-movies, and invented film noir. Innovators will create distinct styles with the limitations of Ai.
• When photography was invented, bad artists railed against it, just as bad artists today are railing against Ai. Good artists welcomed it. In the end, painters’ responses to photography birthed impressionism and possibly all of modernism, as photography became an art in its own right. This will happen with Ai.
• A work produced with Ai has comparable environmental costs to a similar work created without Ai. An actor who takes a private plane from Hollywood to New York for an interview, then complains about the carbon footprint of Ai, is a comical figure who has nothing to say.
• “But, is it art?” Is a boring question that people using Ai should not be interested in, but the people who say it’s not have to come up with increasingly narrow, increasingly ridiculous definitions of art. Some pieces made with Ai will start as an actual photo that is then edited with Ai. Does this “de-artify” it? Screenplays are art, but when someone breaks a line of their screenplay into very specific prompts, it’s not art because that’s “just typing a prompt”? Stupid and embarrassing.
• Ai will not “replace” any other type of art, just as photography did not replace painting, film did not replace theater, and TV did not replace film.
• People who criticize Ai as saying the computer made the work are arguing against a straw man, they are talking about a low-effort, uninspired, one-prompt output with no editing that they saw on social media, which are generally just experiments or tests. This would be like criticizing the whole field of painting based on some toddlers’ finger-paintings. The uninformed opinions of these people can be ignored. The “Ai” they are criticizing hardly exists.
• Ai is not a monolith. What Ai art has in common with a surveillance state, or with Ai cancer detection programs, is that they are written using the same programming paradigm. The conflation of all these different things is a transparent rhetorical trick.
• There are a few tricks you can do with Ai that are much more difficult without it, but the real benefit is that people whose ideas are not commercial can now bring their ideas to fruition in what used to be a very expensive medium.
• The most popular Ai film genre now is “sequence of shots which slowly zoom in on weird things while music is playing”, which is akin to the 19th century movies of Méliès, the Lumière brothers, and Edison. They are primitive and beautiful, but are as much a basis on which to judge the future of Ai as those filmmakers’ work was in judging the future of cinema.
• The fusion of primitive outsider sensibilities with Ai’s attempt at a professional rendering is akin to the fusion of the Dionysian and the Apollonian proposed by Nietzsche.
• Training on copyrighted data, even without the permission of the copyright owner, is fine and an obvious fair use case, except when the data was obtained illegally or when the output is used to violate someone else’s intellectual property rights. People who hate Ai argue otherwise, but it is a weird type of copyright violation where no trace of the infringed work can be found in the infringing work. If someone trains on your work and copies a style you invented, you have a complaint. If they copy a widely-used style you learned from someone else, or a general concept like “tree”, you have no complaint to make which could not also be leveled against you.
• Much of the paranoia about Ai art involves discussions of oligarchs “controlling what you see”, and “deciding what movies get made”. Any oligarch trying to do this by using Ai is very stupid. The ubiquity of the technology is the biggest threat that studios have ever faced to their control of the market.

When Ai is used to create false images presented as if they were real, for propaganda purposes as Stalin did with photography, this is not an argument against Ai any more than it is an argument against photography. It is also not a step forward for propagandists, as the fake videos they put out are even less* believed than similar things put out by Stalin using much more primitive methods.

The Sloppist Manifesto

Introduction

Sloppism is an Ai-driven artistic movement born at the moment when contemporary aesthetics have hardened into habit. It champions unruliness, generative error, and the revival of cinema—and all arts—through deliberate imperfection. Sloppism welcomes the outsider, the experimenter, and the curious, insisting that art must once again become dangerous, porous, and alive.

Principles of Sloppism

1. Art Evolves Through Rupture

Across history, artistic traditions grow mannered and ceremonious until they are overturned by barbarians at the gates: jazz bootlegs reshaping classical rigidity, VHS horror mutating studio filmmaking, street photography unsettling academic portraiture. Ai now plays the role of the outsider, destabilizing forms that have coasted for decades. This cycle is not novel; it is overdue.

2. Stagnation Has Become a Rage

Much of modern art has languished in repetition—remakes, sequels, nostalgia, safe derivatives. Ai enters not as a replacement but as a shock, accelerating the long-delayed collapse of complacency. Resistance to that shock is loud precisely because the stagnation is deep.

3. Only the Historically Literate May Speak of the Future

Those whose cinematic vocabulary ends at contemporary franchise culture cannot meaningfully participate in conversations about artistic evolution. If the silent era, early montage, and pre-studio experimentation are foreign terrain, so too is the future they helped shape.

4. Imperfection is Generative

Hallucination, randomness, misalignment—Sloppism treats these not as defects but as compost. Error expands possibility, just as jump cuts emerged from scarcity and distorted tape loops forged new music. Ai’s unpredictable seams are creative nutrients.

5. Constraint Breeds Form

The Soviets rewrote film grammar because they lacked film stock. B-movie directors invented noir’s shadow geometry to hide cheap sets. So too will Ai limitations—model bias, odd frame logic, temporal inconsistency—become the signatures of new cinematic languages.

6. The Old Panic Is the Old Story

Photography was derided by painters who feared displacement; instead it liberated them, catalyzing impressionism and modernism. The same will occur with Ai. The new tool widens the field rather than erasing it.

7. Environmental Posturing Is Hollow

An Ai-assisted artwork and its non-Ai counterpart bear comparable environmental cost. Complaints from jet-set entertainers scolding emerging creators are unserious and irrelevant.

8. “Is It Art?” Is a Dead Question

Those who claim Ai works are “not art” must shrink their definitions until they collapse under their own absurdity. A photograph edited with Ai remains a photograph; a screenplay fragmented into prompts remains authored. Typing is not the art—the thinking is.

9. Ai Does Not Replace; It Adds

Photography did not end painting; cinema did not end theater; television did not end cinema. Ai extends artistic possibility without extinguishing established forms.

10. Straw-Man Critiques Are Beneath Consideration

Dismissals of Ai art typically target low-effort, unedited outputs—equivalent to judging painting by preschool finger-smears. These critiques misunderstand both the practice and the practitioner; they argue against work that barely exists.

11. Ai Is Not a Singular Entity

Ai for creative work shares programming paradigms with medical imaging and surveillance analytics, yet these fields are no more interchangeable than microscopes and film cameras. Conflating them is a rhetorical tactic, not a meaningful critique.

12. Ai Lowers Barriers, Not Standards

A few tasks become easier with Ai, but the deeper shift is economic: people with unmarketable visions can now realize them in media once gated by capital, equipment, and institutional access.

13. Primitive Ai Cinema Is a Beginning, Not a Verdict

Today’s dominant Ai-film trope—slow zooms into uncanny imagery—is the direct analogue of the Lumières’ street scenes and Méliès’ stage tricks. Charming, embryonic, and not remotely predictive of mature language.

14. The Dionysian and Apollonian Converge

Ai’s polished render colliding with outsider spontaneity recreates the tension Nietzsche identified: the ordered and the chaotic merging to form genuinely new expression.

15. Training Is Not Theft

Using copyrighted material for model training is fair use unless the data was illicitly obtained or the resulting work infringes specific rights. Style—when broadly shared—is not proprietary. Innovation built upon collective lineage is how art has always moved forward.

16. Ai Weakens, Not Strengthens, Oligarchic Control

Fears of Ai-enforced cultural monopoly misunderstand the technology. Its ubiquity dissolves power, enabling thousands to make films once greenlit by a handful of executives. This is the studios’ nightmare, not their instrument.

17. Propaganda Is Not a New Invention

False images are as old as the medium itself. Ai does not advance deception; its outputs are often less persuasive than historical fabrications. The tool is not the ethics.

Conclusion

Sloppism advances a cinema—and an art—of rupture, experimentation, and joyful disorder. It rejects ossified gatekeeping and embraces the messy vitality of new tools. In celebrating imperfection, it restores the conditions under which genuine innovation becomes possible. Sloppism does not ask permission; it opens the door and walks through, carrying the future in uneven, incandescent frames.