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Photography has long allowed the manipulation of images. But now, with the developments in Artificial Intelligence (AI) no specialist skills are needed as seamless manipulation is built-in to ubiquitously available software. This ready availability of image manipulation is disruptive as the results are displayed digitally, seamlessly and are intangible: their validity and value are impossible to assess. This disruption was contextualised with theories from philosophers, psychologists, theorists of perception, architects and artists. After establishing the power of one of the latest ubiquitous image manipulation tools powered by AI, approaches to navigating this disruption were articulated. One approach was to ‘dissolve’ the horizon line, i.e. to experience an embodied mode of seeing when the world cannot be divided into up or down. As we orientate ourselves without a horizon line we become aware of our non-visual senses’ contributions to our experiences, whether in the real world or artist’s installation. Another approach was to highlight photography and video as a constructed medium using highly visible collage techniques. My methodology was autoethnographic. Experiential case-studies of artists’ work that underpin these approaches were examined. Moholy-Nagy's theory of viewers' reactions to static photographs and moving image (film) and Sze's use of sound to ground a super abundance of images were explored. A phenomenological, embodied approach (Deleuze, Merleau-Ponty) to installations filled with fog created by Gormley and Eliasson was articulated. My practice provided an example of manipulation by AI and key findings from multiple approaches to ameliorating it.