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Cake day: June 12th, 2023

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  • Unless you’re willing to put in some kind of response that basically says “I’m not going to respond to that” (and that’s a sure way to break immersion) this is effectively impossible to do well, because the writer has to anticipate every possible thing a player could say and craft a response to it. If you don’t, you’ll end up finding a “nearest fit” that is not at all what the player was trying to say, and the reaction is going to be nonsensical from the player’s perspective

    LA Noire is a great example of this, although from the side of the player character: the dialogue was written with the “Doubt” option as “Press” (as in, put pressure on the other party). As a result, a suspect can say something, the player selects “Doubt”, and Phelps goes nuts making wild accusations instead of pointing out an inconsistency.

    Except worse, because in this case, the player says something like “Why didn’t you say something to your boss about feeling sick?” and the game interpreted it as “Accuse them of trying to sabotage the business.”










  • Thanks for clarifying. There are a lot of misconceptions about how this technology works, and I think it’s worth making sure that everyone in these thorny conversations has the right information.

    I completely agree with your larger point about culture; to the best of my knowledge we haven’t seen any real ability to innovate, because the current models are built to replicate the form and structure of what they’ve seen before. They’re getting extremely good at combining those elements, but they can’t really create anything new without a person involved. There’s a risk of significant stagnation if we leave art to the machines, especially since we’re already seeing issues with new models including the output of existing models in their training data. I don’t know how likely that is; I think it’s much more likely that we see these tools used to replace humans for more mundane, “boring” tasks, not really creative work.

    And you’re absolutely right that these are not artificial minds; the language models remind me of a quote from David Langford in his short story Answering Machine: “It’s so very hard to realize something that talks is not intelligent.” But we are getting to the point where the question of “how will we know” isn’t purely theoretical anymore.


  • Current-gen AI isn’t just viewing art, it’s storing a digital copy of it on a hard drive.

    This is factually untrue. For example, Stable Diffusion models are in the range of 2GB to 8GB, trained on a set of 5.85 billion images. If it was storing the images, that would allow approximately 1 byte for each image, and there are only 256 possibilities for a single byte. Images are downloaded as part of training the model, but they’re eventually “destroyed”; the model doesn’t contain them at all, and it doesn’t need to refer back to them to generate new images.

    It’s absolutely true that the training process requires downloading and storing images, but the product of training is a model that doesn’t contain any of the original images.

    None of that is to say that there is absolutely no valid copyright claim, but it seems like either option is pretty bad, long term. AI generated content is going to put a lot of people out of work and result in a lot of money for a few rich people, based off of the work of others who aren’t getting a cut. That’s bad.

    But the converse, where we say that copyright is maintained even if a work is only stored as weights in a neural network is also pretty bad; you’re going to have a very hard time defining that in such a way that it doesn’t cover the way humans store information and integrate it to create new art. That’s also bad. I’m pretty sure that nobody who creates art wants to have to pay Disney a cut because one time you looked at some images they own.

    The best you’re likely to do in that situation is say it’s ok if a human does it, but not a computer. But that still hits a lot of stumbling blocks around definitions, especially where computers are used to create art constantly. And if we ever hit the point where digital consciousness is possible, that adds a whole host of civil rights issues.




  • I have a suspicion that all of the layers of “Elon management” at Tesla and SpaceX have given him the idea that he’s a brilliant innovator; he gives them all his outlandish ideas and they get filtered into (normally) reasonable plans, and they guide him down the path they want him to go down while he thinks the good idea is his. And those companies are both doing well, so clearly his style works, at least in his mind.

    But then he bought twitter, which didn’t have anyone devoted to protecting the company from him, and it’s all going to shit.