The fear is that machines will make art. The more precise fear is that they will make so much of it that taste becomes the only remaining craft.
In Tunisian studios, the shift is already visible. A first image appears in seconds. A first paragraph arrives before the coffee. The work begins after that — in the refusal, the edit, the decision that this blue is Tunisian and that gold is not.
Creativity has always been a sequence of choices. AI multiplies the options and therefore multiplies the need for a point of view. Without one, the output is weather: everywhere, and nowhere in particular.
In Tunisian studios, the shift is already visible.
The artists and designers who will define this decade are not the fastest prompters. They are the ones who still know when to close the model and walk to the window. The sea remains a better brief than a dataset.
Leila Ben Youssef