1. Anonymity signifies a move towards liberation, allowing artworks to transcend the confines of the artist’s intention. They exist as independent entities, subject to objective inspection, criticism, and diverse interpretations.

2. By directing focus to the artwork itself, anonymity accentuates the power of medium and materiality.

3. Anonymity blurs the lines between the artist’s intention and the influence of non-human agencies within artworks. Material resistance, automated processes, unforeseen events, AI generations… display creative tendencies that are not exclusive to humans.

4. In this ambiguous amalgamation, artists are akin to materials, embodied by decisions, actions, labor, language, and more.

5. Anonymity foreshadows the inevitable relinquishment of authorial rights. In the current technologically dominated environment, tools largely determine artistic expression, surpassing the artist's personal identity and creative trajectory.

6. The infiltration of technology and its subtle influence on consciousness, dissolves independent subjectivity, rendering the idea of a single author obsolete.  An artwork is an assemblage. So is an artist.

7. Anonymity is plural, collective. Anonymous artwork transcends individual perceptions and becomes a broader cultural expression, reflecting shared social experiences and underlying realities.

8. In a post-human context, anonymity serves as a deliberate attempt to decentralize the supreme human authorship in artistic practice. It challenges established power hierarchies and the conventional notion of human-centric creativity.

9. The extensive adoption of anonymity as a strategy for a paradigm shift could radically alter the existing value system of the art market.

10. Anonymity opens a gap between the artwork and its meaning, a void to be filled by the viewer's imagination. The artwork thus becomes a new point of departure, rather than closure.

A set of nested squares displays images generated from the prompt "human, plants" across varied guidance scales. The guidance scale, an added parameter in stable diffusion 2, controls how closely the image aligns with the text prompt, in other words, the generator's interpretative freedom.

Referencing Josef Albers' square paintings, known for the study of color progression and mechanisms of vision, this work explores, instead, the progression of control shaping the aesthetics and the mechanism of machine vision, corresponding to the very spectrum of human cognition.

The notion that humans are the primary caretakers and possess a dominant position over plants is pervasive in contemporary society. This thesis investigates how these perceptions of human-plant relationships are represented in AI-generated images. Using AI image generation as a research tool and employing visual semiotics for image analysis, this thesis identifies three recurring patterns: the predominance of houseplants as the primary representation of plants, the use of the color green more than it is found in nature, and the portrayal of human hands as a symbol of connecting with plants. 

These patterns reflect a human-centered perspective in which plants are primarily viewed through their values to humans, taking on roles as commodities, as objects that require human care, and as an ostensible fix to the lost connection with nature. This anthropocentric logic, which is embedded in technological actions and manifests as cultural bias, forms the basis of decisions that perpetuate the separation between humans and the environment.

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