In this era of AI slop, the idea that generative AI tools like Midjourney and Runway could be used to make art can seem absurd: What possible artistic value is there to be found in the likes of Shrimp Jesus and Ballerina Cappuccina? But amid all the muck, there are people using AI tools with real consideration and intent. Some of them are finding notable success as AI artists: They are gaining huge online followings, selling their work at auction, and even having it exhibited in galleries and museums. 

“Sometimes you need a camera, sometimes AI, and sometimes paint or pencil or any other medium,” says Jacob Adler, a musician and composer who won the top prize at the generative video company Runway’s third annual AI Film Festival for his work Total Pixel Space. “It’s just one tool that is added to the creator’s toolbox.” 

One of the most conspicuous features of generative AI tools is their accessibility. With no training and in very little time, you can create an image of whatever you can imagine in whatever style you desire. That’s a key reason AI art has attracted so much criticism: It’s now trivially easy to clog sites like Instagram and TikTok with vapid nonsense, and companies can generate images and video themselves instead of hiring trained artists.

Henry Dauber created these visuals for a bitcoin NFT titled The Order of Satoshi, which sold at Sotheby’s for $24,000.
Henry Daubrez created these visuals for a bitcoin NFT titled The Order of Satoshi, which sold at Sotheby’s for $24,000.
COURTESY OF THE ARTIST

Henry Daubrez, an artist and designer who created the AI-generated visuals for a bitcoin NFT that sold for $24,000 at Sotheby’s and is now Google’s first filmmaker in residence, sees that accessibility as one of generative AI’s most positive attributes. People who had long since given up on creative expression, or who simply never had the time to master a medium, are now creating and sharing art, he says. 

But that doesn’t mean the first AI-generated masterpiece could come from just anyone. “I don’t think [generative AI] is going to create an entire generation of geniuses,” says Daubrez, who has described himself as an “AI-assisted artist.” Prompting tools like DALL-E and Midjourney might not require technical finesse, but getting those tools to create something interesting, and then evaluating whether the results are any good, takes both imagination and artistic sensibility, he says: “I think we’re getting into a new generation which is going to be driven by taste.” 

Kira Xonorika’s Trickster is the first piece to use generative AI in the Denver Art Museum’s permanent collection.
Kira Xonorika’s Trickster is the first piece to use generative AI in the Denver Art Museum’s permanent collection.
COURTESY OF THE ARTIST

Even for artists who do have experience with other media, AI can be more than just a shortcut. Beth Frey, a trained fine artist who shares her AI art on an Instagram account with over 100,000 followers, was drawn to early generative AI tools because of the uncanniness of their creations—she relished the deformed hands and haunting depictions of eating. Over time, the models’ errors have been ironed out, which is part of the reason she hasn’t posted an AI-generated piece on Instagram in over a year. “The better it gets, the less interesting it is for me,” she says. “You have to work harder to get the glitch now.”

ai-generated tomato head character vomits spaghetti onto its lap as it sits on a sofa
Beth Frey’s Instagram account @sentientmuppetfactory features uncanny AI creations.
COURTESY OF THE ARTIST

Making art with AI can require relinquishing control—to the companies that update the tools, and to the tools themselves. For Kira Xonorika, a self-described “AI-collaborative artist” whose short film Trickster is the first generative AI piece in the Denver Art Museum’s permanent collection, that lack of control is part of the appeal. “[What] I really like about AI is the element of unpredictability,” says Xonorika, whose work explores themes such as indigeneity and nonhuman intelligence. “If you’re open to that, it really enhances and expands ideas that you might have.”

But the idea of AI as a co-creator—or even simply as an artistic medium—is still a long way from widespread acceptance. To many people, “AI art” and “AI slop” remain synonymous. And so, as grateful as Daubrez is for the recognition he has received so far, he’s found that pioneering a new form of art in the face of such strong opposition is an emotional mixed bag. “As long as it’s not really accepted that AI is just a tool like any other tool and people will do whatever they want with it—and some of it might be great, some might not be—it’s still going to be sweet [and] sour,” he says.

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It is a yellow blob with no brain, yet some researchers believe a curious organism known as slime mold could help us build more resilient cities.

Humans have been building cities for 6,000 years, but slime mold has been around for 600 million. The team behind a new startup called Mireta wants to translate the organism’s biological superpowers into algorithms that might help improve transit times, alleviate congestion, and minimize climate-related disruptions in cities worldwide.

Mireta’s algorithm mimics how slime mold efficiently distributes resources through branching networks. The startup’s founders think this approach could help connect subway stations, design bike lanes, or optimize factory assembly lines. They claim its software can factor in flood zones, traffic patterns, budget constraints, and more.

“It’s very rational to think that some [natural] systems or organisms have actually come up with clever solutions to problems we share,” says Raphael Kay, Mireta’s cofounder and head of design, who has a background in architecture and mechanical engineering and is currently a PhD candidate in materials science and mechanical engineering at Harvard University.

As urbanization continues—about 60% of the global population will live in metropolises by 2030—cities must provide critical services while facing population growth, aging infrastructure, and extreme weather caused by climate change. Kay, who has also studied how microscopic sea creatures could help researchers design zero-energy buildings, believes nature’s time-tested solutions may offer a path toward more adaptive urban systems.

Officially known as Physarum polycephalum, slime mold is neither plant, animal, nor fungus but a single-­celled organism older than dinosaurs. When searching for food, it extends tentacle-like projections in multiple directions simultaneously. It then doubles down on the most efficient paths that lead to food while abandoning less productive routes. This process creates optimized networks that balance efficiency with resilience—a sought-after quality in transportation and infrastructure systems.

The organism’s ability to find the shortest path between multiple points while maintaining backup connections has made it a favorite among researchers studying network design. Most famously, in 2010 researchers at Hokkaido University reported results from an experiment in which they dumped a blob of slime mold onto a detailed map of Tokyo’s railway system, marking major stations with oat flakes. At first the brainless organism engulfed the entire map. Days later, it had pruned itself back, leaving behind only the most efficient pathways. The result closely mirrored Tokyo’s actual rail network.

Since then, researchers worldwide have used slime mold to solve mazes and even map the dark matter holding the universe together. Experts across Mexico, Great Britain, and the Iberian peninsula have tasked the organism with redesigning their roadways—though few of these experiments have translated into real-world upgrades.

Historically, researchers working with the organism would print a physical map and add slime mold onto it. But Kay believes that Mireta’s approach, which replicates slime mold’s pathway-building without requiring actual organisms, could help solve more complex problems. Slime mold is visible to the naked eye, so Kay’s team studied how the blobs behave in the lab, focusing on the key behaviors that make these organisms so good at creating efficient networks. Then they translated these behaviors into a set of rules that became an algorithm.

Some experts aren’t convinced. According to Geoff Boeing, an associate professor at the University of Southern California’s Department of Urban Planning and Spatial Analysis, such algorithms don’t address “the messy realities of entering a room with a group of stakeholders and co-visioning a future for their community.” Modern urban planning problems, he says, aren’t solely technical issues: “It’s not that we don’t know how to make infrastructure networks efficient, resilient, connected—it’s that it’s politically challenging to do so.”

Michael Batty, a professor emeritus at University College London’s Centre for Advanced Spatial Analysis, finds the concept more promising. “There is certainly potential for exploration,” he says, noting that humans have long drawn parallels between biological systems and cities. For decades now, designers have looked to nature for ideas—think ventilation systems inspired by termite mounds or bullet trains modeled after the kingfisher’s beak. 

Like Boeing, Batty worries that such algorithms could reinforce top-down planning when most cities grow from the bottom up. But for Kay, the algorithm’s beauty lies in how it mimics bottom-up biological growth—like the way slime mold starts from multiple points and connects organically rather than following predetermined paths. 

Since launching earlier this year, Mireta, which is based in Cambridge, Massachusetts, has worked on about five projects. And slime mold is just the beginning. The team is also looking at algorithms inspired by ants, which leave chemical trails that strengthen with use and have their own decentralized solutions for network optimization. “Biology has solved just about every network problem you can imagine,” says Kay.

Elissaveta M. Brandon is an independent journalist interested in how design, culture, and technology shape the way we live.

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This week we had some terrifying news from the World Health Organization: Antibiotics are failing us. A growing number of bacterial infections aren’t responding to these medicines—including common ones that affect the blood, gut, and urinary tract. Get infected with one of these bugs, and there’s a fair chance antibiotics won’t help. 

The scary truth is that a growing number of harmful bacteria and fungi are becoming resistant to drugs. Just a few weeks ago, the US Centers for Disease Control and Prevention published a report finding a sharp rise in infections caused by a dangerous type of bacteria that are resistant to some of the strongest antibiotics. Now, the WHO report shows that the problem is surging around the world.

In this week’s Checkup, we’re trying something a bit different—a little quiz. You’ve probably heard about antimicrobial resistance (AMR) before, but how much do you know about microbes, antibiotics, and the scale of the problem? Here’s our attempt to put the “fun” in “fundamental threat to modern medicine.” Test your knowledge below!

This article first appeared in The Checkup, MIT Technology Review’s weekly biotech newsletter. To receive it in your inbox every Thursday, and read articles like this first, sign up here.

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Used in aviation, book and claim offers companies the ability to financially support the use of SAF even when it is not physically available at their locations.

As companies that ship goods by air or provide air freight related services address a range of climate goals aiming to reduce emissions, the importance of sustainable aviation fuel (SAF) couldn’t be more pronounced. In its neat form, SAF has the potential to reduce life cycle GHG emissions by up to 80% compared to conventional jet fuel.

In this exclusive webcast, leaders discuss the urgency for reducing air freight emissions for freight forwarders and shippers, and reasons why companies should use SAF. They also explain how companies can best make use of the book and claim model to support their emissions reduction strategies.

Learn from the leaders

  • What book and claim is and how companies can use it
  • Why SAF use is so important
  • How freight-forwarders and shippers can both potentially utilise and contribute to the benefits of SAF

Featured speakers

Raman Ojha, President, Shell Aviation. Raman is responsible for Shell’s global aviation business, which supplies fuels, lubricants, and lower carbon solutions, and offers a range of technical services globally. During almost 20 years at Shell, Raman has held leadership positions across a variety of industry sectors, including energy, lubricants, construction, and fertilisers. He has broad experience across both matured markets in the Americas and Europe, as well as developing markets including China, India, and Southeast Asia.  

Bettina Paschke, VP ESG Accounting, Reporting & Controlling, DHL Express. Bettina Paschke leads ESG Accounting, Reporting & Controlling, at DHL Express a division of DHL Group. In her role, she is responsible for ESG, including, EU Taxonomy Reporting, and Carbon Accounting. She has more than 20 years’ experience in Finance. In her role she is driving the Sustainable Aviation Fuel agenda at DHL Express and is engaged in various industry initiatives to allow reliable book and claim transactions.

Christoph Wolff, Chief Executive Officer at Smart Freight Centre. Christoph Wolff is currently the Chief Executive Officer at Smart Freight Centre, leading programs focused on sustainability in freight transport. Prior to this role, Christoph served as the Senior Advisor and Director at ACME Group, a global leader in green energy solutions. With a background in various industries, Christoph has held positions such as Managing Director at European Climate Foundation and Senior Board Advisor at Ferrostaal GmbH. Christoph has also worked at Novatec, Solar Millennium AG, DB Schenker, McKinsey & Company, and served as an Assistant Professor at Northwestern University – Kellogg School of Management. Christoph holds multiple degrees from RWTH Aachen University and ETH Zürich, along with ongoing executive education at the University of Michigan.

Watch the webcast.

This discussion is presented by MIT Technology Review Insights in association with Avelia. Avelia is a Shell owned solution and brand that was developed with support from Amex GBT, Accenture and Energy Web Foundation. The views from individuals not affiliated with Shell are their own and not those of Shell PLC or its affiliates. Cautionary note | Shell Global

This content was produced by Insights, the custom content arm of MIT Technology Review. It was not written by MIT Technology Review’s editorial staff. It was researched, designed, and written by human writers, editors, analysts, and illustrators. AI tools that may have been used were limited to secondary production processes that passed thorough human review.

Not all offerings are available in all jurisdictions. Depending on jurisdiction and local laws, Shell may offer the sale of Environmental Attributes (for which subject to applicable law and consultation with own advisors, buyers might be able to use such Environmental Attributes for their own emission reduction purposes) and/or Environmental Attribute Information (pursuant to which buyers are helping subsidize the use of SAF and lower overall aviation emissions at designated airports but no emission reduction claims may be made by buyers for their own emissions reduction purposes). Different offerings have different forms of contracts, and no assumptions should be made about a particular offering without reading the specific contractual language applicable to such offering.

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