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Picasso, the African Mask, and Les Demoiselles. AI generated     Introduction: The New Anxiety of Art The recent proliferation of images generated by artificial intelligence has sparked both fascination and disquiet. For some, these images represent dazzling new frontiers of creative expression; for others, they signal a loss—the end of something human, authentic, or irreducibly imaginative. This tension is hardly unprecedented. In the 19th century, the invention of photography sparked similar unease. Portrait painters feared obsolescence. Ironically, some of those who initially resisted technological mediation later became its pioneers. A few daring artists, such as Edgar Degas and Édouard Baldus, eventually incorporated the camera into their practice. What these historical echoes suggest is that the core debate may not lie in the tools themselves but in how we define authorship, invention, and artistic legitimacy. Are machines capable of creative agency? Is art still art...

Writing Without Origin. AI generated   Introduction: Fault Lines in a Storied Paradigm Noam Chomsky revolutionized modern linguistics by proposing that human language is rooted in a biologically endowed faculty of mind. In his view, language is primarily an internal system for organizing thought, not a tool for communication. The hypothesis of a Language Acquisition Device (LAD), governed by an innate Universal Grammar (UG), positioned human cognition at the center of linguistic creativity and syntactic complexity. Language, Chomsky famously argued, is “a mirror of mind” (Chomsky, 2000, p. 4). Today, however, Large Language Models (LLMs) such as ChatGPT, Claude, and Gemini challenge this vision. These systems, devoid of any biological substrate or mental architecture, generate coherent and seemingly intelligent discourse through purely statistical operations. Their success forces us to reassess the foundations of linguistic theory. More provocatively, Chomsky himself has ...