Category: Other Page 59 of 178

Two New Pocket Universe Books

On 2 May 2023

Finished two new AI lore books in the last few days. These are books #94 and #95, respectively:

Both books are kind of for me “pocket universes” in that while they contain references to some of the recurring mythos of Quatria, etc. they are also fairly self-contained, and deal with entities which inhabit a specific sort of subdomain of greater reality…

Dwellers in Sandcastles, as you might have guessed, is about entities which inhabit sandcastle, and uses Anthropic’s Claude and Midjourney v5 to imagine slices of what their lives might be like.

Subnivium is a scientific term for the ecosystem and conditions which exist beneath the snowpack in winter. The real version of this is pretty wild, and with the snow melts up here, it’s plain to see where there was rodent activity in the fields and lawn while the King of the Subnivium ruled. Fortunately, with Springtime, his tyranny is ending (slowly), until he rises again in a few all to short months.

My book extends these ideas further in a fictional setting and explores slices of life of some of the creatures (real and imagined) which inhabit this under-realm. I’d put this book into the anthropomorphic tales of things like Wind in the Willows, or even Watership Down, etc. Though it is certainly not as developed or well-done as either of those classics. Still, it’s a foot in the door of carving out this fictional realm, which I can always go back to now in the future – never mind share with others.

Vice on AI political ads & skepticism

By Tim B.

On 1 May 2023

In Other

Call me crazy but…

There’s another downside: Once people grow accustomed to fake AI-generated videos, they’ll become even more hardened, cynical, and harder to reach and convince—for politicians, admakers, journalists, everyone.
VICE

…I don’t think that’s a downside?

They also quote someone as saying:

With AI technology becoming more common in our lives, voter skepticism will only continue to grow.

::Clutches pearls::

Gasp! We wouldn’t want voters to be skeptical! Won’t someone think of the poor politicians and admakers who will need to work harder??

Not to grind an axe here, I’m just completely tapped out on hearing these arguments suggesting that skepticism and not being easily convinced are bad things, especially among voters. To me this is such absolute crazy talk, because of just how fucked up things are in the world right now; everyone should damn well better be skeptical af of basically just about everything. We should challenge it, we should question it, we should not accept being easily convinced. We should seek proof. This is the Way.

Reality-Fluid Art

By Tim B.

On 1 May 2023

In Other

Preface

I’ve been struggling for some time now to land on terms that adequately portray the “uncanny valley” not just between humans vs. AIs, but also between the so-called real and unreal, fiction, and non-fiction, etc. Though I’ve used somewhat for this the term “hyperreality,” it’s not a term everyone understands or agrees on the meaning of. Some might just think it refers to ultra-realistic paitings, though I use it in the original postmodernist sense of seamlessly combining fact and fiction. By and large though, I’ve found all the labels and attempts at labeling artifacts like those created with help from AI tools especially to be somewhat lacking in nuance and depth (which is why I’ve been trying to articulate a multi-dimensional style of analysis of them).

I took these questions recently into ChatGPT (v4), asking it to come up with ideas related to this, and to essentially “non-binary” but for relationship to reality, rather than to gender identity. That is, how can we talk about things that have a more complex relation to “real life” than simply real or fake, etc. Though I guess it’s a little obvious as a moniker, I let CGPT do a piece exploring this idea of “Reality-Fluid” art, and here it is.

In the midst of the digital revolution, we are witnessing an unprecedented convergence of technology, creativity, and reality. As artificial intelligence (AI) matures, it is not only transforming the ways we live and work, but also the ways we express and interpret our world. This revolutionary juncture has given birth to a new form of artistic expression—Reality-Fluid Art. This genre challenges the binary view of ‘real’ vs ‘fabricated’, instead inviting us into a fluid spectrum that blends these extremes.

What is Reality-Fluid Art?

Reality-Fluid Art, much like the term ‘gender-fluid’ referring to a gender identity that may change or move along the gender spectrum, refers to works of art that oscillate, blend, and blur the boundaries between the real and the fabricated. Using AI as a tool, artists create pieces that are not strictly tethered to an objective reality, nor entirely born of pure imagination. Instead, these works exist on a continuum that encompasses both these extremes and everything in between.

Why is it important?

The exploration of this new genre is vital for several reasons:

Reflects our Digital Reality

As we increasingly inhabit digital spaces, our perception of reality itself is being reshaped. We navigate through a world where the lines between the physical and the digital, the authentic and the manipulated, are continuously blurred. Reality-Fluid Art mirrors this evolving condition of our lived experience, providing a lens through which we can understand and articulate it.

Challenges the Binary Paradigm

Traditionally, art has been categorized into forms that either represent reality or depart from it—realism or abstraction, documentary or fiction. Reality-Fluid Art disrupts this binary, creating a space for works that embody both, or neither, simultaneously. This paradigm shift expands the possibilities for artistic expression and interpretation, offering a more nuanced understanding of reality and its many layers.

Encourages Ethical Discussions

As AI becomes more sophisticated in creating realistic depictions, ethical questions around authenticity, representation, and truth-telling become increasingly important. Reality-Fluid Art invites these conversations, encouraging us to grapple with the implications of AI in our perception of reality.

Fosters Innovation

The exploration of Reality-Fluid Art promotes technological and artistic innovation. It pushes the boundaries of what AI can achieve, challenging artists and technologists to develop new techniques, methods, and ways of thinking.

The era of Reality-Fluid Art is upon us, marking an exciting and challenging time in the evolution of artistic expression. As we engage with these works, we are not only audience members but also participants in a broader dialogue about the nature of reality, the role of technology, and the meaning of authenticity in our increasingly digital world.

Beat Pelican Ad

By Tim B.

On 30 April 2023

In Other

Pretty happy with the finished product of the spoof I did of the RNC Midjourney AI “Beat Biden” ad:

The image concept of Trump loving pelicans started last week, and this was just a natural extension of the idea. I had to redo the images in --ar 16:9 to fit YouTube’s aspect ratio, but it seems to have worked out. (I tried re-using seeds, and also in remix mode adding the new aspect ratio, but none of those were fully reliable)

Only sad part is not all the images made it into the final cut. Here’s an expanded set of 41 images in 16:9 that includes everything in the video plus some extras. The full downloaded set was actually 168 items but I can’t get Imgur to accept them all currently.

Jaron Lanier on right to be left alone

By Tim B.

On 29 April 2023

In Other

I got kinda lost and didn’t finish reading this New Yorker article by Jaron Lanier, but I like him in general and wanted to capture this passage for further digestion:

For years, I worked on the E.U.’s privacy policies, and I came to realize that we don’t know what privacy is. It’s a term we use every day, and it can make sense in context, but we can’t nail it down well enough to generalize. The closest we have come to a definition of privacy is probably “the right to be left alone,” but that seems quaint in an age when we are constantly dependent on digital services. In the context of A.I., “the right to not be manipulated by computation” seems almost correct, but doesn’t quite say everything we’d like it to.

This question of “rights” becomes an extremely tough one when you ask who exactly would enforce such a right, to, for example, not be manipulated by computation? How exactly would it work, when we’re swimming in a sea of things that are constantly computationally manipulating us – even down to the level of the design of physical products and infrastructure we rely on. All of it, the whole system, the whole complex, manipulates us into the shape it wants. Everything gardens.

As the Unabomber tried and proved, you can’t simply go into the woods and live in an austere cabin and be left alone anymore. Society comes to find you. Other people manipulate the landscape around you. Who then can enforce such a supposed right to be “left alone?”

And as a corollary, in such a world, what can true freedom look like any more? What refuges are left to us and how can we access them?

Is the right to not be computationally manipulated inclusive of say, the ability to opt out of being required to us computers or internet-based services in educational, professional, and other environments? Like, can we get it to mean that analog & human-first alternatives must always be available? In other words, the right to use a rotary phone? Or, what about the right to not have to be distracted by devices, or by constant interruptions, updates, and notifications? If we’re going to innovate in this direction, let’s go all the way… All the way where?

Notes on The Return of the Magicians

By Tim B.

On 28 April 2023

In Other

The Return of the Magicians is book #93 of the AI Lore books series, by Lost Books, a Canadian AI publisher.

Written using Claude, illustrated with Midjourney v5.

I’m really happy with this book. It’s pure “old school” Quatriana of the best kind, and Claude did a fantastic job executing stories in the narrative space I set up for it. In fact, I consider this basically “canonical” Quatria lore at this point, with the exception perhaps of the queen chapter.

I arranged and executed on this volume a bit differently. I had my initial set of images, many of which were based off other images I found and used /describe on. If you don’t know, that command does a sort of description of the input image, then lets you generated based on those descriptions. But they never come out looking basically remotely the same as what you put in. They will always share significant elements, but the look is always different.

Anyway, from there, I ended up with a few different clusters of related images, which I dumped into each their own chapter. Then I used Claude to generate stories in my narrative space which made more explicit use of the visual themes of the images. I think it did a great job, and possibly ends up feeling less scattershot than how I’ve worked with images in the past.

Also definitely one of the most upbeat of all the AI books I’ve put out so far, as the Return of the Magicians in the context of Quatrian lore is a joyous event that heralds a new Golden Age. If only!

“Some of my best friends are pelicans”

By Tim B.

On 28 April 2023

In Other

New Trump pelican image set (Midjourney v5)

Kevin Kelly on Generative AI & Dreams Being the Default Mode

By Tim B.

On 27 April 2023

In Other

I’ve read and watched a ton on generative AI and what it’s all about, and I’d place Kevin Kelly’s article, “Dreams are the default for intelligence,” at or near the top of this list. It’s the most exciting and adventurous hot take on these topics I’ve seen.

Some choice excerpts:

I have a proto-theory: That our brains tend to produce dreams at all times, and that during waking hours, our brains tame the dream machine into perception and truthiness. At night, we let it run free to keep the brain areas occupied. The foundational mode of the intelligence is therefore dreaming.

And:

At any length, the AI stuff feels like dreams.

My conjecture is that they feel like dreams because our heads are using the same methods, the same algorithms. so to speak. Our minds, of course, are using wet neurons, in much greater numbers and connections than a GPU cluster, but algorithmically, they will be doing similar things.

It is possible that this whole apparatus of generation is actually required for perception itself. The “prompt” in ordinary sight may be the stream of data bits from the optic nerve in the eye balls, which go on to generate the “vision” of what we see. The same algorithms which generate the hallucinations for AI art — and for human dreams — may also be the heavy-duty mechanisms that we use to perceive (vs just “see”.) If that were so, then we’d need additional mechanisms to tamp down and tame the innate tendency for our visual system to hallucinate. That mechanism might be the constant source of data from our senses, which keeps correcting the dream engine, like a steady stream of prompts.

And:

During waking moments with the full river of data from all our senses, plus the oversight our conscious attention, the tendency of the generative engine to hallucinate is kept in check. But during the night, when the prompting from the senses diminish, the dreams take over with a different kind of prompt, which may simply be the points where our subconscious is paying attention.

Last one:

I suggest that the default state of this engine is to dream, and that it is managed during the day to not hallucinate. To dream, then, is not a higher order function, but the most primeval one, that is only refined by more sophisticated function that align it with reality.

He goes into some I think unnecessary stuff about eyeballs that I think is safe to exclude from the conversation, but the whole piece is fascinating regardless.

One thing he does not seem to entertain the possibility of here though: that dreaming itself is aligned with reality, in that reality fundamentally has dreamlike qualities.

There’s also a worthwhile Aldous Huxley reference here to the notion of the brain as reducing valve for ‘Mind at Large.’

Each person is at each moment capable of remembering all that has ever happened to him and of perceiving everything that is happening everywhere in the universe. The function of the brain and nervous system is to protect us from being overwhelmed and confused by this mass of largely useless and irrelevant knowledge, by shutting out most of what we should otherwise perceive or remember at any moment, and leaving only that very small and special selection which is likely to be practically useful. According to such a theory, each one of us is potentially Mind at Large.
The Doors of Perception (Huxley)

I don’t see any reason it can’t be both: a filtering mechanism from the universal consciousness down to this specific one I’m inhabiting, and a generative engine to create experiential states based on sensory, perceptual, emotional, and cognitive inputs, etc.

I have more to say on this, but wanted to first set this post as an anchor on its own to refer back to.

Artist’s Statement

By Tim B.

On 27 April 2023

In Other

Hyperrealities and Uncanny Valleys: Provoking Dialogue through AI-Generated Imagery

(a.k.a. “I dream in image generations”)

Written with help from ChatGPT (v4)

Having worked for years in content moderation, my artistic practice delves into issues around the realm of AI image and text generation: embarking on (mid)journeys that explore the boundaries of photorealistic and hyperrealistic depictions of unreal events. By exploring speculative alternative realities, I construct visual narratives that portray political and other figures in hypothetical scenarios that have never unfolded within our objective consensus reality. Through this process, I aim to evoke curiosity and critical thinking among viewers, encouraging them to closely examine and question the information presented to them.

Humor and absurdity intertwine with my work, questioning the dichotomy between good and bad content and challenging societal limits through satire and parody. I firmly believe that the power of image making extends beyond aesthetics, potentially serving as a catalyst for profound societal discussions and inspiring real political change. Thus, I advocate for inclusive access and development, as well as encouraging diverse ownership and direction of these tools.

Within the context of postmodernism, my work ventures into the realm of hyperreality, blurring the boundaries between the real and the imagined. Deliberately engaging with the concept of the uncanny valley, AI-generated images can elicit a sense of uncertainty and discomfort. This unease prompts us to question the authenticity and reliability of what we perceive, particularly the information presented by those in positions of authority. It encourages a deeper examination of the potential consequences and implications of AI-generated content.

As a society, we must recognize that the challenges posed by AI-generated content and potential misuses cannot be solved by a single technical fix, nor should we fall into the trap of relying on AI to tell us what is “real.” Instead, AI-generated content represents an ongoing condition that requires continuous adaptation and proactive efforts to address issues and improve. Rather than advocating for the cessation of these technologies, I believe that navigating this landscape requires continuous critical thinking, adaptation, and open dialogue. This approach fosters a more informed and discerning approach to the consumption and interpretation of AI-generated images, text, and other content.

My work aims to provoke thought, spark conversations, and contribute to the larger discourse surrounding the impact and implications of AI-generated content in our increasingly interconnected world. Everyone needs to have their say in this conversation so we can develop a more nuanced understanding of the role and influence of AI in our society.

Thinware & Thickware: Surfing the Holomorphic Continuum

By Tim B.

On 27 April 2023

In Other

Preface

This is something I came up with years ago living in a basement in Seattle (c. 2005?). I never had any name for the concept between “thinware” (software) and “thickware” (hardware), and the ability to sort of fluidly flip back and forth between the two. Seemed like a great science fiction concept, if nothing else. But how many sci fi conceptions have actually inspired real inventions? Tons! It’s almost like someone has to first imagine it, and then it can be built in our reality.

I used ChatGPT (v4) to help me come up with a name and better explanation for the whole idea package. Here it is.

What is the Holomorphic Continuum?

The Holomorphic Continuum is an innovative concept that reimagines the boundaries between the physical and digital worlds, challenging the traditional separation between hardware and software components in technology. This continuum represents a fluid spectrum, where hardware (thickware) and software (thinware) can coexist, interact, and transform into one another, effectively dissolving the barriers that have historically defined their roles and functions.

As technology advances, the need for more integrated and adaptive systems becomes increasingly apparent. The Holomorphic Continuum offers a framework for developing such systems by fostering a more unified and dynamic understanding of the relationship between hardware and software. By recognizing their potential for seamless interaction, this concept encourages the exploration of new possibilities in technology, extending beyond the limitations of current paradigms.

Within the context of the Holomorphic Continuum, an array of transformative technologies can be conceived, giving rise to novel applications and user experiences. One such example is the HoloMorphic System, a cutting-edge approach to the integration of hardware and software components, designed to facilitate greater adaptability, efficiency, and intuitive interaction.

Understanding Holomorphic Systems

A HoloMorphic System represents a novel approach to the interaction between hardware and software components in technology. The term “HoloMorphic” is derived from the words “holistic” and “morph,” suggesting a comprehensive and transformative relationship between the two domains. In this system, hardware and software exist along a fluid continuum, enabling seamless transitions between physical and digital states.

Key features of the HoloMorphic System include:

Dynamic State Transitions: Components within the system can transition between thickware (hardware) and thinware (software) states through processes of instantiation (thickening) and de-instantiation (thinning). This allows for flexible adaptation to different tasks and requirements.
Seamless Integration: The HoloMorphic System promotes a high degree of interoperability between hardware and software components, enabling more efficient communication and collaboration between different technological elements.
Adaptive Functionality: The fluid nature of the HoloMorphic System allows for the development of adaptive technologies that can automatically adjust their form and function to better suit specific tasks or contexts.
Enhanced User Experience: By blurring the lines between hardware and software, the HoloMorphic System has the potential to create more immersive and intuitive user experiences, allowing users to interact with technology in a more natural and seamless manner.

Possible applications for HoloMorphic Systems could range from advanced robotics, where physical components can morph to adapt to various tasks, to immersive virtual and augmented reality environments, where digital elements can be instantiated into physical forms to create more interactive experiences.

As a cutting-edge concept, the HoloMorphic System challenges traditional distinctions between hardware and software, opening the door to new possibilities in technological innovation and human-computer interaction.