Yesterday, I just watched my first professional wrestling show in Denmark, Nordic Elite Wrestling (NEW) based out of Copenhagen. The event was Dreamchasers in the Basement. The short form: it was a lot of fun.
Today, I want to talk about the difference between what artists and audiences want vis-a-vis artificial intelligence. And why the artists are going to lose. (Yeah, I know I’m an artist. People often confuse my predictions with my desires. I’m not saying I relish this world, only that it will likely happen.)
When studying AI, there’s a strong tendency to look at what computer scientists are doing. Well, right now, the Writer’s Guild of America is on strike. One of the key elements of the contract is they don’t want AI to write or rewrite scripts. The answer from the studios has been a flat “no.”
As it so happens, an actress from a 1980s sitcom is also a computer scientist, and she gives a warning about AI. The actress, Justine Bateman, was on the sitcom “Family Ties.” It was something watched in my household. I barely remember it, to be honest, but it ran for seven seasons, so someone must have liked it.
Like all modern AIs, Memphis was antagonistic. To develop its arguments without guidance, it had a sub-routine that questioned everything it did. While not forward facing, this antagonistic routine had to be as powerful as the generative model for Memphis to do its job.
– Professor Holly Wu
Joey Henley was high as a kite and fucking around with BibleChat. He was in his Bakersfield apartment on a Saturday afternoon, a vape pen by his computer, between bouts of League of Legends.
He said, “Computer God dude, my job sucks ass. I do construction shit, y’know, and my knees are hurting all the time except when I’m fucked up, and my back is going, too. I can feel it. And the work isn’t steady, so, like, I’m on unemployment a lot, and that sucks as bad as my knees hurting, y’know? I need to make some fucking money.”