Accelerated Integration of A.I. to Safeguard the Arts

Accelerated Integration of A.I. to Safeguard the Arts

This article is based on this Dutch article of Martijn Benders

Ilonka van Bercken – what an optimistic woman she must be to still dare to ask for a “vision” from something that bears the creepy name “The Fund for Cultural Participation.” Vision, what kind of elitist nonsense is that?

But I am a bit elitist, I freely admit it. And from all my elitism, the vision naturally arises that the 80 employees of this “Fund for Cultural Participation,” who collectively cost society about 4 million euros a year, could easily be replaced by A.I.: this would free up enough money to continue nurturing all that musical talent and remove only the useless overhead.

Even now, the new cabinet (like all previous cabinets, by the way) claims it will downsize the civil service, yes, even now this “Fund for Cultural Participation” (can’t this be renamed to Fund for Carnival and Fairground?) is still looking for new employees. The fun-job militia continues under all circumstances.

No, please just give that money to the musicians, the writers, the artists: that was its original purpose, not setting up a fun-job structure. Yet in practice, you see that the longer such funds exist, the more everything begins to revolve around that structure as a goal in itself. You then get that artists and writers become a sort of means to endlessly make them dance like a bunch of monkeys to fabrications whose sole purpose is to reinforce this order of meaningless jobs.

For why, if I appeal a decision by the Letterenfonds about the quality of a book, do I face no less than 3 lawyers? Here, I would have wanted to see 3 writers instead. Putting 3 lawyers there indicates that literature is not the focus. Placing 3 lawyers there signals that the “objection procedure” is primarily meant to be intimidating.

Instead of actually supporting artists and writers, it seems that such funds shift their focus towards creating a bureaucratic infrastructure that sustains itself. This shift leads to the resources, which were originally intended to promote creative talent, being swallowed up by administrative costs and salaries of officials who are often far removed from the artistic reality. This results in a waste of potential and resources that could otherwise have been used to directly support creative projects and initiatives.

Moreover, using art and culture as a means to achieve economic or political goals leads to the instrumentalization of the arts. Artists are often subjected to the whims of policymakers and financiers, limiting their creative freedom. This results in art that is not authentic but rather a reflection of the policy agendas that finance them. This system discourages independent and innovative artistic expression, as artists are forced to adapt their work to meet the expectations and demands of those who control the funds.

Finally, replacing human employees with A.I. in funds for cultural participation would not only be cost-effective but could also contribute to a fairer and more objective evaluation process. Art and culture are subjective and sensitive to personal preferences, biases, and political influences. A well-designed A.I.-based system can minimize these biases and ensure that subsidies are awarded based on objective criteria such as artistic quality and impact. This could lead to a fairer distribution of resources and more diverse and inclusive support for art and culture.

Martijn Benders, 11-07-2024

About the author

Martijn Benders has published twenty-six books, eighteen of which are in Dutch. Critics such as Komrij and Gerbrandy have hailed him as one of the greatest talents of his time. He has also written three philosophical works, one of which is in English and focuses on the Amanita Muscaria, the Fly Agaric. Publishing on the international platform of The Philosophical Salon, he has also gained international recognition as one of the most remarkable thinkers from the Netherlands.


There exists a considerable group of leftist individuals who vigorously opposed the prevailing coronavirus narrative, including some of the world’s leading philosophers, such as Agamben and Kacem. However, this stance was heavily censored and vilified by what is referred to as ‘neocon-left’ or ‘woke-left’, as something associated solely with what they deem ‘far-right’. In my book, I discuss the reasons behind these actions, the underlying motives, and how this is emblematic of a new form of fascism aimed at seizing power permanently.

The middle section of the book is dedicated to poetry. It features a beautiful selection of poems from the Mediterranean region, by poets from Turkey and Greece, who have been imprisoned and tortured by the regime.

The final part of my book is a manifesto against literary nihilism, as manifested in the Literature Fund. It reveals how this fund is dominated by a group of Christians and ‘wokies’, which is undesirable in a free society.

Amanita Muscaria – The Book of the Empress is an exceptional work that sets a new benchmark in the realm of mycophilosophy. While one might be tempted to classify the book within the domain of Art History, such a categorization would fail to capture its true essence. 

Amanita Muscaria – The Book of the Empress – De Kaneelfabriek, 2023

You don’t have time to read this, but that’s because you are no longer human. If anything remained of the original person within you, the old mycelia of childhood, you would learn a great deal from this book. In fact, its magical knowledge might become your most valuable possession. This is a book about human imagination and how it fell into the iron grip of transdimensional cockroaches. Additionally, it offers magical tips to significantly improve your life and time acceleration. M.H.H. Benders also takes a light-hearted yet scathing look at the entirety of Dutch literature. What more could you want?