It’s back to school and back to the blog too for the 31st time since 1995, and today’s topic will be AI and Creativity. The idea is to deal with the topic of artificial intelligence, not from a technical perspective, but from a more philosophical one, drawing both on my digital and artistic backgrounds. In 2026, the fourth version of my programme entitled “Content Creation in the Age of AI” will be delivered to all the students of the Omnes Education Group. A previous video was recorded in 2024 on that subject, and a serious refresh was needed. I have therefore gathered enough hindsight to learn more about the impact of AI, especially on music and the creative arts. And I decided to focus on just three things, to avoid getting lost in too broad a subject. First, the seeming popularity of AI artists on streaming platforms like Spotify, taking the example of an act called Breaking Rust. Second, the Stanford GSB study on visual arts and the impact of AI on creators. Third, my own thoughts and conclusions based on the above. Has AI Stifled Creativity? A 2024-2026 Perspective AI and Creativity and manufactured popularity, because such things exist as well. In 2024, I asked myself the question, “Will AI stifle all creativity?” as part of my Shift24 programme designed especially for Omnes Education Group. This programme cannot be shared online, but my colleagues at Omnes were kind enough to let me publish this wee piece for the benefit of my readers and followers, and I wish to thank them warmly for this as well as their renewed support these past four years. In this video dedicated to ‘creativity’, drawing on Merriam-Webster, I distinguished innovation from invention and chose to focus on the latter, specifically in music, a topic not yet covered in earlier courses. I then illustrated this with Suno, which could churn out up to 900,000 pieces of music a day as early as 2024 (far outpacing Bach’s 1,128 compositions over a 65-year lifetime). Hence, I shared a song I had generated myself, “The Dying Cyberspace.” I won’t say that I’m proud of this song, but at least I had great fun generating it, and it was instant gratification. All this was raising questions related to the value of musical creation, the risk of creative stagnation, and the thorny issue of intellectual property, since these AIs are trained on centuries of human-created music. So far, nothing new under the sun. Almost every other journalist must have written the same story for the past three years. However, I thought it lacked a bit of perspective. I then tempered the novelty of the phenomenon by pointing to historical precedents: Gershon Kingsley’s “Popcorn” (1969), Zoe Keating’s loop-based compositions (one example amongst many others), and Google’s Project Magenta as far back as 2016. These are mere examples. I decided to keep it short, but there has been no shortage of technology-backed creativity in music these past 50 years or more. Think of the late Klaus Schultze and his pals from Ash Ra Temple, Tangerine Dream, Kraftwerk, and all the so-called Krautrock school of thought to start with, not mentioning the new wave movement from the 1980s. I also cited Wim Mertens, Philip Glass, Laurie Anderson, and German artists like Nils Frahm, who blended electronic and acoustic elements long before GenAI. The real difference today, I argued, is one of scale: such tools are now in everyone’s hands. Be it to create music of the ilk of the Dying Cyberspace or more ambitious AI-produced work like this entire fake Pink Floyd album, which didn’t sell as well as The Dark Side of the Moon or Wish You Were Here. Somewhat courageously, I concluded at the time that AI wouldn’t replace musicians but would become just another instrument in the creative toolkit, with real innovation coming from how humans use these tools. Since music remains fundamentally about human expression and emotion, I thought rather optimistically, if not naively, that AI music didn’t mark the end of musical invention but rather the beginning of a new chapter. Such were my thoughts from two years ago, now is the time to move forward and take a look at what happened in 2025-2026. As exmplained above, I focused this new research on three things. First, the seeming popularity of AI artists on streaming platforms like Spotify, taking the example of an act called Breaking Rust. Second, the Stanford GSB study on visual arts and the impact of AI on creators. Third, my own thoughts and conclusions. Breaking Rust Breaking Rust: a Spotify hit Let’s start with Breaking Rust. Breaking Rust is an AI country act which hit number one on the Billboard Country Digital Song Sales chart in November 2025, on Spotify. The numbers are seemingly enormous: over 2 million Spotify monthly listeners, and over 3 million streams in under a month. The project is credited to Aubierre Rivaldo Taylor, even though very little is known about him. Rivaldo Taylor is apparently paid, I found out, on downloads only. How much is it worth? I tried to measure what this Billboard chart placement might actually bring to Mr. Taylor. Looking just at Spotify, and reckoning that musicians get paid anything between $0.003 and $0.005 per stream, the potential income was somewhere in the region of $9,000 to $15,000 for that first month alone. Extend that over a year and you probably reach something in the region of $100,000, assuming the popularity of the act does not dwindle, which it does tend to do, since it is already getting harder to find Breaking Rust on Spotify. Then I tried to understand what it would take to push a song like this to number one on the charts. Say I create an AI track on Suno or a similar application, post it on Spotify, and want to shoot it to the top of the charts. What I learned is that so few pieces of music are actually bought by listeners on these platforms that if you simply buy a thousand downloads, you will reach number one very easily for this kind of music. So my reckoning is that if Rivaldo Taylor did this, it would have cost him something in the region of a thousand dollars for those thousand downloads. That’s a cheap and easy way to tweak the results and a rather easy path to the top. Did Breaking Rust fake the applause? Sure lives on borrowed time, so he says. Growth hacking What happens on these platforms is not just about the content. It is about what digital marketing experts call growth hacking, in other words tweaking the stats, and this domain is fraught with fraud. Bot-driven streaming is the starting point, with bots listening, or rather fakely listening, to tracks to make them appear more popular than they really are. On Deezer, one of the streaming platforms, it was found that 70 to 85 percent of streams are flagged as AI. This has reached a point where it now threatens the platforms themselves, because who really wants to listen to that much slop? Breaking Rust is not that bad, actually I find it rather good, but I do not feel like listening to it day in, day out. I want to listen to real artists. The method that may have been used by Breaking Rust is common. It is hard to say for certain whether it was used here, but it is likely. The same kind of tricks turn up on other platforms, such as Instagram. An Instagram “photographer” named Joss Avery, supposedly based in London and shooting with a Nikon D810 camera, turned out to be an AI avatar posting machine-made photographs generated with Midjourney and Photoshop. When I looked at his Instagram feed, it was fairly obvious to me his portraits were AI-generated. Maybe Instagram users can’t tell the difference. AI and Creativyu : the cost of AI for real visual arts creators Looking at visual arts, I turned to the Stanford GSB study comparing 2024 and 2025. AI is growing overall platform sales, so the pie is getting bigger, but the creator’s share of it is shrinking dramatically. This is something we have seen across content, platform marketing and social media, and it is now happening with AI as well. It’s typical platform marketing. There is so much slop that the share of value going to content, and its price, is going down the drain. The impact on visual arts is significant. In a 2026 survey, 32 percent of illustrators reported lost commissions due to generative AI. The average annual loss among UK illustrators affected by this AI boom was around 9,000 pounds. According to the Society of Authors, 26 percent of members reported lost work due to AI, with an associated loss of income in the region of 40 percent. That is massive. So what we can say is that AI has probably not done away with creativity, but it has certainly done away with the value associated with it. I can confirm the same has happened in content marketing. Film photography revival has a cost and I’m not even talking abou that beautiful beast up there on the righthand side. But I think there is going to be a revival, much like what happened with film photography, and as you know, I am a photographer myself. I recently purchased a brand new camera dating from 1966, and I fetched my father’s old Canon AE-1. I have gone back to shooting film, even though I am in fact a digital photography pioneer, having started in 1995 and never having stopped shooting digital since. Yet I now find there is an incentive for photographers to go back to film. The first reason is to do away with the AI suspicion that has already hit text, where people’s writing has been rejected because it contained em dashes, even though everybody used em dashes before AI made them suspect. There is rising suspicion, and users and clients are keen to know where content actually comes from. Did you make this yourself, or did you make it with AI? And if you made it with AI, that does not necessarily mean it is bad, but it certainly m