Botto: The AI Artist Making Millions and Developing a Personality

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Botto: The AI Artist Making Millions and Developing a Personality
AIArtDecentralization
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Botto, a decentralized AI art generator, has made over $4 million in sales and is gaining recognition for its unique approach to art creation. Developed by a team of artists, entrepreneurs, and computer scientists, Botto utilizes a taste model shaped by community votes to select the most appealing images generated by its AI. The project is also governed by a DAO, allowing enthusiasts to influence Botto's development through cryptocurrency.

These images were created by an artist known as Botto, which exhibited at Sotheby's in New York this October and has made more than $4 million from sales of its work. In truth though, Botto needs only GPUs to get creative juices flowing. Botto is a decentralized semi-autonomous artistic agent created in 2021 by the German artist Mario Klingemann; Simon Hudson, a media entrepreneur; and Ziv Epstein, a computer scientist and designer.

Botto contains an AI image generator similar to Dall-E or Midjourney but its output is also shaped by a “taste model” that selects the most pleasing images generated by a prompt. The taste model is tuned to reflect the preferences of a community of Botto enthusiasts who vote on the images Botto produces and posts online here. Botto is also governed by a decentralized autonomous organization, or DAO, meaning enthusiasts can buy $Botto cryptocurrency and influence how the system is managed and developed. The recent Sotheby’s show is just the latest in a string of successful exhibitions for Botto. The October event alone racked up $350,000 in sales. Botto has made around $4 million in total since 2021, its creators say. Klingemann and Hudson say those who control Botto through the associated DAO have chosen to add a modified version of Mistral’s biggest open source large language model and a knowledge base that allows it to converse about its artwork, and which will be further fine tuned through interactions with the Botto community. “Through this interaction and through various channels of input, its knowledge will grow and it will develop a personality and interests,” Klingemann suggests. Klingemann and Hudson hope that this personality will even start to steer the art that Botto creates, perhaps allowing it to use an “unaligned” image generator—meaning one without the guardrails that would prevent it from producing racy or violent imagery—to see if it can develop its own sense of what is artistically acceptable

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