Abstract
2022 has been heralded as the year of generative artificial intelligence (AI). Generative AI like ChatGPT and Stable Diffusion, along with a host of others, launched late in the year and immediately disrupted the status quo of the literary and art worlds, leading to outcries to ban “AI Art” and spawning an entirely new market of NFTs. Fears over the “death of the artist” and the “death of college composition,” however, are unfounded when considering the historical adoption of emerging technologies by creatives and the reconsideration of authorship that began with post structuralism and the Foucauldian Death of the Author in 1967. Contemporary scholarship has faced challenges in reconciling the function of the human author in conjunction with artificial intelligence (AI) due to the progressive sophistication and self-sufficiency of generative code. Nonetheless, it is erroneous to establish the threshold for authorship based on the development or advancement of AI or robotics, as it falls within the realm of ontology. Instead, assertions of AI authorship stem from a romanticized perception of both authorship and AI during a period in which neither holds significance.
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