Signed in
We value your privacy
This site uses cookies to improve your browsing experience, analyze site traffic, and show personalized content.
Welcome to Pump.fun!
Pump lets anyone create coins, giving everyone equal access to buy and sell from the start. Prices can move quickly, so trade carefully.
By clicking this button, you agree to the Terms and Conditions, Privacy Policy, and certify that you are over 18 years old.
We value your privacy
This site uses cookies to improve your browsing experience, analyze site traffic, and show personalized content.
Too many fingers or too many teeth — as generative AI imagery exploded across the internet last year, these bodily mishaps became both a punchline and a tell-tale sign that these photographs weren’t real. Instead, they were a machine’s best-guess at the world through human prompts. The images that went viral were often unnerving: high-flash nostalgic party pictures of grinning models with extra molars, or portraits of a sobbing Steve Harvey sloshing liquor in a pitch-black room. But over the past two years, the Brooklyn-based photographer and director Charlie Engman has been intentionally leaning into the strangeness of AI photographs, generating eerie images — using the program Midjourney — that feel set in the real world but toy with anatomy and gesture in disquieting ways. In his book “Cursed,” a man in a suit steps knee-deep into a shallow puddle in the morning light, swan wings extending from his shoulders. In another image, a woman stares at a ruddy sculptural bust with her own features that seems to be staring back. Limbs morph and disappear altogether, faces are slick and masklike, and inanimate objects resemble human limbs. People hold animals close and sometimes start to become them, the new forms seemingly evolving or decaying. “(AI) does things very wrongly,” Engman explained to CNN in a video call. “It has this tertiary relationship to the physical world, where it’s representing a human’s representation of (it). And so it deconstructs physical gestures and human bodies… in just this really raw and sort of a guttural way.”
