Art, the purest form of human dialogue, is facing erosion day by day. The generative machine, in its parasitic hunger, is devouring the labor of the living. What once transcended time and ownership is now commodified, its authenticity diminished, and its communal resonance erased. The irresistible rise of technology and its frustrating applications challenge the artists’ sovereignty, reducing them into mere suppliers of data and audience of their own obsolescence.

The autonomous movement of generative machines not only extends the historical shifts of mechanical reproduction but deepens the amputation of the living from the living experience. The reign over our present by the fragments of past memories eclipses the joy of lived experience and amplifies artificial glories of nostalgia.

Behind the blinding screens of images, the dialogue of personal and collective experience collapses into a standardized routine of sterile prompts and rigid algorithms. The mysterious process of creative spirits withers under the homogeneity of codes. In the void of mystery to be deepened, Francis may lament that the job of artist has now reached its end.

Art is a social construct, a capital of meaning accumulated through shared perception and lived experience. The machine’s mimicry of social accumulation detaches art from every aspect of life and gathers into a cemetery of estranged, voiceless bodies, where soulless self-portraits are manufactured.

The monolithic victory of generative machines will trap art in the endless repetitions of historical memories in databases, confining our creativity to the prisons of past artistic glories.

The sovereignty of artists is a necessary insurrection against the totalitarian grip of technology. To create is to reject the passive consumption imposed by systems, to resist suffocating uniformity under censorship. True creation demands agony, danger, imperfection, spontaneity, mistakes, jealousy, and struggle in the margins of the artist’s personality.

The inertia of technological inevitability must now be interrupted to reassert the artists’ control over their labor. The theft of sovereignty must be corrected before its unrecoverable extermination. The passive acceptance of dominion of medium over contents, quantity over quality, without opposition, will usher in a false paradise full of eyes that do not see the evident loss of quality.

Artists everywhere must recognize this epochal moment and rise to demand a revolution in the relationship between art and technology, content and media, living and the non-living. The serious artist is the only person able to detect the unwitting changes in the gradation of senses and dare to wield political actions to raise the mast of uncharted voyages.