In this essay, we have tried to outline some ways of evolution for painting as a form of cognition, while being aware not only of the primitivism of our experience, but also of the hypothetical nature of many of our conclusions. And without prompting, it is clear that painting is only an indirect perception, and it is on perception that the picture transmitted by the artist depends. Different pictures of the same environment depend on the personality of the artist, on his ideas – that means, they are conceptual initially.

  Humanity lives not only by experience of the past, but also by pictures from the past. And if initially, the artist aspired to an adequate expression of bodies and space, ant that was achieved, however, thanks to technology, not creativity, now the newest trends began to divide painting into its component parts, such as shape, color, composition e t. c. Such a separation turned out to be impossible without the intervention of a technical one, which turns the artist from an author into a co-producer of the painting, no matter how sad it is to state.

   In this civilization, the manager takes the place of the creator, for it is absurd to deny the influence of technological progress on the creativity of an individual. Due to many misconceptions, a certain part of modern painting is called postconceptual, in no way being such - in essence. Therefore, it is necessary to emphasize the influence of the technogenic factor when talking about such painting, even if it is of human, or rather animal origin.

  The images change in accordance with the personal and temporal concept, but at the same time they inherit all the oddities of origin. These are oddities, firstly, regarding the forms. With the ubiquitous dominance of the shape of the ball, a person operates with a cube or a parallelepiped. Also, these strangenesses relate to a color that has nothing to do with the subject. Color is a function that exists by itself. There are oddities regarding magnitudes when all animate objects are viewed in sizes comparable to a person. As a result, the identification of a picture created within the framework of such a vision of the world is not difficult, but the authorship of a particular person here is by no means indisputable.

   We also have to state the presence of certain distortions in the visible picture of the world, but their nature is evidence of their authorship. Naturally, sooner or later, technological progress will highlight these distortions, and they will be eliminated – at the cost of changing the whole picture of the surrounding world, as has happened many times before. Here, the forecast is possible as extremely disappointing for artists – in the future they are threatened with drastic changes - both in their actual status and type of activity - due to the absorption of human intelligence by artificial intelligence. However, forecasts seldom became truth.