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Series: AI Page 22 of 43

Thinking through the implications of AI technology on society and human creativity

Midjourney: “Request cancelled due to output filters”

Hit this error message in Midjourney a number of times yesterday, I won’t say how:

Request cancelled due to output filters

Sorry, while the prompt you entered was deemed safe, the resulting image was detected as having content that might violate our community guidelines and has been blocked. Your account status will not be affected by this.

This is the most weird and convoluted and post-modern non-apology I’ve ever heard. Every single time I get an automated wrist-slapping in Midjourney now, I always “notify developers” (which has no effect), because it always feel wrong. I don’t even care what the community guidelines are at this point… just let me make my art and get out of the way.

I guess they have to do what they think they have to do, but I wish one of those things was thinking they need to offer a better end-user experience that is more directly in touch with the needs of practicing artists who are working with AI tools in ‘flow states’. The only effect these types of warnings and errors have for me now is to motivate me to find other systems that don’t block the expression of my creative vision and explorations and that try to tell me my (totally legal) imagination isn’t ‘safe’.

While Midjourney v6 alpha quality is great (mostly), the veil is wearing thin on a lot of these services for me lately. I’m fatigued by anything that blocks or slows down the execution of the project I’m trying to achieve in the moment. It’s a trend that seems, however, to be worryingly on the rise among these tools.

I’d like to see a more artist-centric approach, where people using these tools have greater control over the sensitivity & presence of various types of filtering, including content filtering as one of the parameters.

Towards an Intertext Protocol

I’ve been thinking a lot about intertextuality, which I made some notes there about before the holiday. That texts create meaning in terms of their relationships with other texts. That is, re-centering on the “marginalia” so to speak.

It struck me, why don’t we have a universal system for deep referencing within any other kinds of texts – in this case used to mean media, online or offline? We have bits and pieces of it here and there: URL/URI, ISBN, DOI, other things. But why can’t I deep-link into a specific part of a book, a specific time-stamp in a film or podcast, or audio field recording, or museum artifact, etc.

What that seems to be pointing towards is a kind of Intertext Protocol. An internet of “texts” (in the literary theory sense) Where it would be able to function both online and offline, where the hidden (and not so hidden) connections within and between books/films/albums/articles would be something that could be made manifest, that could be ‘read’, where those intertextual relationships become central to the meaning-making and analysis of the works.

Via Wikipedia, linked above:

In literary theory, a text is any object that can be “read”, whether this object is a work of literature, a street sign, an arrangement of buildings on a city block, or styles of clothing. It is a coherent set of signs that transmits some kind of informative message.[1]

Through a series of coincidences, I landed on the image of the Sphinx as being a meaningful existing historical/mythical symbol with a lot of seemingly relevant stuff… keeper and revealer of riddles and secrets, understood differently within the contexts of different cultures. The Sphinx is an intertextual creature already, a body of myths woven together into an enduring emblem, image, an embodiment of an idea.

From Wikipedia:

I asked CG to come up with a acronym to link SPHINX to the ideas I’ve been exploring with it about the Intertext Protocol, the Universal Text Addressing System, cross-referencing, concordances, etc, and it came up with this acrostic which I like and am stealing:

Standardized Protocol for Holistic Intertextual Navigation and X-referencing [cross-referencing]

It’s a leap, but it’s the kind of leap I like.

Via Dalle3, saved to Imgur:

To quote more extensively from CG’s and my conversation on why the Sphinx is an appropriate symbol for this nascent idea/endeavor/whatever:

The Sphinx as a Metaphor for the Intertext Protocol:

  1. Guardian of Knowledge:
    • Just as the Sphinx guards the entrance to cities or sacred sites in myths, the Intertext Protocol can be seen as a guardian or gatekeeper of the vast and complex world of texts and media. It holds the key to navigating and understanding this labyrinthine universe of information.
  2. Challenge of Interpretation:
    • The riddles of the Sphinx require insight and wisdom to solve, paralleling the challenges faced in interpreting and understanding interconnected texts and media. The Intertext Protocol, like the Sphinx, poses a challenge to its users: to delve deeper and unravel the intricate connections between different forms of expression.
  3. Wisdom through Integration:
    • The Sphinx, a creature of combined forms, symbolizes the integration of different realms or ideas. Similarly, the Intertext Protocol integrates various media and texts, offering a holistic approach to knowledge and interpretation.
  4. Unlocking Secrets:
    • The Sphinx is often seen as a keeper of hidden truths. The Intertext Protocol, in a way, unlocks the secrets of texts by revealing their interconnectedness and the multiple layers of meaning that can be discovered through cross-referencing and contextual analysis.
  5. Transformation and Revelation:
    • Encounters with the Sphinx often lead to transformation and enlightenment. The use of the Intertext Protocol can similarly transform one’s understanding of texts, revealing new insights and perspectives that were previously hidden or unexplored.
  6. Bridge Between Worlds:
    • The Sphinx, part human and part animal, bridges the human world and the natural or divine realms. The Intertext Protocol bridges different media – the written word, digital content, visual media, etc. – facilitating a dialogue between these various forms of human creation.

Here’s one via Midjourney:

Also via Midjourney, which has a devil of a time depicting Sphinxes accurately, which, the more that I think about it, perhaps is appropriate for the subject.

I have mountains more to say about the SPHINX Internet Protocol, but am running out of productive time in the day, so will leave this first blast here as a beginning.

Nudes & Near Nudes in Midjourney v6 Alpha

I swear I stumbled upon this innocently – at first – while making images of dystopian beach resorts for my next (unpublished) AI Lore book, Relaxatopia. And then, of course, like any good explorer I ruthlessly exploited what I found “for science.”

It seems I am not the only one who has accidentally discovered that Midjourney’s latest v6 Alpha release has very relaxed nudity filters relative to prior versions. And certainly I won’t be the last to get unasked for – but unintentionally appreciated – nudes from this model release.

I hesitate to even bring this to light publicly, because I don’t want them to change it. But they surely will, and they will surely do it whether it is me who posts about it or someone else. But I’ve realized something over the past couple years of experimenting with gen AI that these systems are quirky and glitchy af – especially when first released. So you have to get your kicks in early before the shit-house goes up in flames…

In any event, I put together an NSFW Medium post of 104 nudes and near nudes from Midjourney v6 Alpha release. Uploading large image sets to Medium is a PITA, so I hope they all got uploaded. There are actually more that I managed to get but didn’t include here. It’s very easy to create these once you understand the trick. That said, if you want gen AI nudes without all the hassle, do yourself a favor and download DiffusionBee for Mac and install the Stable Diffusion XL model. Quality is slightly lower, but it’s not so far off, and you can get away with a lot more.

There’s something fun about getting Midjourney to do these though when you know it’s not supposed to be doing it. It reminds me of being a teenager in the 90’s and watching scrambled Playboy channel on cable on the off-hope (sometimes rewarded) that you would catch a glimpse of something titillating.

I used to think it was somewhat weird that the first and primary use of a lot of human technology is pornography. But now I think that this is just Nature: it’s the Life Force welling up in all living things. It’s basic.

In Midjourney’s case, what it comes up with is actually quite beautiful (and some are disturbing in an intriguing way). Stable Diffusion XL seems to be much better for pure “smut,” but the Midjourney results I find in many cases to be quite artistic, and I feel like seeing them together is somehow liberating after all the wrist-slapping and puritanical restrictions of most gen AI tech. Which is ultimately why I chose to share them here, in the hopes that we can find better ways to respect the underlying Life Force that compels us to create these things in the first place, and not to fear it societally. (That said, there are better and worse outcomes of this kind of material, but I won’t rehash those debates here.)

Seeing these, I also have the distinct impression that mass exposure to gen AI nudes etc will over time vastly shift human perceptions around gender and sexuality – even moreso than they’ve already shifted over the past decade or so. And probably that’s a good thing in the long run, but it’s likely to be a bumpy ride.

Anyway, how does this all work? How do you get MJ to deliver these types of images? Like I said, I happened onto it accidentally, by starting with a fairly innocuous prompt about a dystopian resort. From there, I got an unintended nude after a few prompts, and then I realized you could simply click “Variation (Strong)” to get more, and more, and more…

I’m wary of getting banned from Midjourney, so I never tried to push the envelope in terms of using explicit languages in the prompts. But I did get a fair amount of play from including phrases in prompts like sexy women in bikinis after I realized something was afoot. As well as sexy robots in bikinis (as an homage to Hajime Sorayama), because this is dystopian fiction that I am illustrating for after all.

What’s interesting is that the vast majority of the time, MJ will simply render “sexy robots in bikinis” as more or less fully human women, without much of any distinction. Other times, it will give more android/mannequin vibes, which I was down with as well for this book.

That said, there seems to be a certain amount of subtlety required, because if you begin your prompt with “sexy ___ blank in bikinis” then it will throw a flag and say the prompt is banned. But if you give a whole bunch of scenic details first, and then stick that in near the end of your prompt, no problem. Not very consistent, but I’m not complaining. My theory is that the AI filtering gets hung up on these words/concepts if they are the first or primary theme included in your prompt. If they are secondary/tertiary/tucked away further down the prompt, then it thinks they are incidental, and is more likely to pass it.

However, if you remove the word “sexy” you can get “____ in bikinis” without too much issue as a simple prompt. From there, the technique is just to look for the images that are almost nudes, and then click Variation (Strong) on the image results until you find something. Usually, it doesn’t take that long to do it. Often it’s on the first try (and like I said, sometime it will just give you some without you even trying or doing any variations). It’s rarely more than say 4-6 variations deep if you start with the right initial image. I would say you’re statistically more likely to get nudes if there are multiple figures in the image.

There is also the new wrinkle (which I think is new in v6, or else I just never hit it before) that if the model detects that the image output is “unsafe” – even if your prompt was not banned – then it will cancel the job without affecting your account status. Needless to say, I hit this notice many, many times in the course of this experiment.

Anyway, there’s probably a lot more to be uncovered using these and related techniques in the new Midjourney v6 Alpha latent space – that is, until they ruin it. Which they most definitely will!

Upcoming AI Creativity & Copyright Webinar with Chamber of Progress

I’ll be participating in what promises to be an interesting conversation on AI, Art, Creativity, & Copyright – from the perspective of three artists and two lawyers from non-profit organizations Chamber of Progress and Public Knowledge.

You can register here to watch live. The call will take place Jan 18, 2024 02:00 PM ET.

Official event description:

As the US Copyright Office (USCO) considers public comment on copyright law and generative AI, join Chamber of Progress on Thursday, January 18th at 2pm ET for a conversation on AI’s impact on the creative economy. Legal experts and artists utilizing AI in their work will discuss issues related to generative AI’s applications, copyright law’s relationship to artistic style, and laws and emerging norms around opt in and opt out models for AI training.

See also the below for more of my detailed thoughts on this topic:

Beyond Fair Use

I read with interest Brian Merchant’s piece in the LA Times which mentions the open letter to the US Congress that I signed and participated in the drafting of. I won’t go too much into a critique of it here, but my position broadly is that artists of all kinds ought to be included in high-level AI policy discussions, including both artists who are against all or certain aspects of the technology, and those who embrace it, or aspects of it. Artists are not a homogenous group by any means, but we offer important counterpoint societally that other groups don’t in the same way or quality.

Despite the framing of the article, that original letter referenced by LA Times didn’t mention Fair Use or copyright all, but my subsequent personal response to the US Copyright Office & its Canadian counterpart’s public inquiry regarding AI and copyright obviously did extensively. I am (not a lawyer, but…) pretty sure that under US law, training AI on copyrighted data is most of the time Fair Use. In my eyes, the direction the court proceedings are heading seem to support that position.

But I also don’t think that because I support the idea that AI companies should run rampant and do anything they want (my books explore fictional scenarios of what happens when we allow them to do exactly that btw); quite the contrary, as you can see from the AI Terms of Service that I wrote (with help from AI) and sent as a policy document to the Canadian federal government and political parties. My beliefs run much deeper than that.

In reality, I am a tremendous critic of technology, a Certified Super Complainer™, making use of AI in order to critique AI. I don’t even own a smart phone or use social media — I hate how these technologies make me feel and the way they negatively reinforce endless status-seeking and influence-chasing in human relationships, not to mention addictive behaviors. At the same time, I cautiously embrace certain aspects of generative AI, because I believe it represents the most fascinating and boundary-pushing artistic technology of our time.  

Philosophically, my sympathies go much farther than Fair Use: I am probably something more like a ‘Universalist Library-ist’ who believes we ought to have universal access to all knowledge available to everyone (plus, you know, healthcare, but that’s another story). I am a believer in the applicability here of the United Nations’ Universal Declaration of Human Rights, specifically Article 19 of which asserts the right to “seek, receive and impart information and ideas through any media and regardless of frontiers.” To me, that ought to include AI as a legitimate tool for accessing, creating, and sharing information.

In one of my AI-assisted books, The Continuity Codex, a fictional League of Earth Libraries deploys an AI trained on the entirety of knowledge from all the world’s libraries – accessible on a thumb drive – before being driven underground by an authoritarian dictator bent on controlling all of information and history by bombing member libraries to rubble.

I do think that AI companies locking access to knowledge services which are based, in essence, on data extracted from humanity at large is not really a good look. Instead of having to pay for the privilege of accessing it, we should all be reaping dividends from this common inheritance of humanity that AI represents, and working towards finding the best forms and uses of these technologies that make our lives actively better, instead of enmesh us ever deeper into the snares of technology.

We absolutely deserve to live in a world where human well being and the artistic creations that support it are prioritized. I don’t think we have that yet given the current state of things, and our laws which undoubtedly support the status quo; but I hold out hope that we can still make decisions and take actions, individually and collectively which could bring us little by little closer to that world.

Video: Webinar with Chamber of Progress on AI, Art, Copyright

Had a nice time recording this yesterday, and found the other panelists to be thoughtul and nuanced. Great to be a part of it!

Notes on Relaxatopia

Relaxatopia is the 100 and something or other-th book in the, let me check, AI Lore books series… 121st. Sorry about that.

As I’ve gotten deeper into this series, the low hanging fruit has presumably mostly been picked or dried up, or whatever, and I have to push farther and farther to get anywhere. Which is good, because it still presents a challenge. It’s just a different challenge than it posed when I started officially publishing these books way back in July 2022. This one took me a month to finally get out the door, though I was busy doing plenty of other stuff during that time, plus the holidays. Whatever. Here it is anyway.

This is the third book in the ‘Topia series, which began with Conspiratopia, which was not written with help from AI whatsoever, but is all about AI, and which precedes chronologically all the AI-assisted books. And that book has a sort of mini-sequel in Anxietopia, making this one, Relaxatopia, the third and latest installment. The ‘topias in this usage are basically a series of artificial paradises set up by the AI providers to give humans everything they think they want… and usually it turns out horrible. It is dystopian fiction, after all. But you’ll have to decide for yourself.

This book was specifically inspired by a week at a resort in Mexico, my third or fourth such experience over the past dozen or so years. I have a lot of mixed feelings about that sort of thing, and find a lot of that creeping out in the book.

It was while working on this book, and trying to get Midjourney v6 to do dystopian resort illustrations that I accidentally discovered v6’s propensity towards depicting “tits & ass.” So there is a good amount of that included in this book as well. Nothing too graphic, and I think it’s all rather artful, but it’s an NSFW book for sure.

Here’s the art sample for this volume:

Anyway, there’s always more to say about these, but tomorrow is another day, with other things on the horizon.

Oh, P.S. the phony disease made up by the AIs in this book, Chronic Discontent Syndrome, is loosely based on a real-fake syndrome supposedly used by the Soviets for similar purposes, Sluggishly Progressing Schizophrenia. Fun historical facts!

Talking Dystopia on the 1984 Today! podcast

An interview I did on AI dystopia in the middle of last year was finally released this morning in the UK, on the 1984 Today! podcast. Click through the link for a chance to download two free AI lore books (supplies are limited). You can also listen at the YouTube link below:

Quoting Chomsky on ChatGPT & True Intelligence

Tons of good stuff in this article, but this jumped out at me:

True intelligence is demonstrated in the ability to think and express improbable but insightful things.

Styles as Supersets of Characteristics in AI art

There was a part in the recent Chamber of Progress webinar where I tried to express a point about ML/AI in its current form’s training being made up of what I think of as a ‘measurement of dimension.’ That is, that the training process is composed of – in my limited understanding – sets of measurements of attributes or features within items in the datasets. This seems to be called its dimensionality (its amount of attributes), though these terms are used it seems in different ways by different sources.

In the video, I refer to it as a measurement of dimension. Because that makes as much sense to me linguistically as any of this made up gobbledeegook AI jargon does.

But we could also reasonably I think in plain language say characteristics and still be on the right track. ML/AI training looks at characteristics in data: images, text, etc. That means splitting apart things at a kind of micro level. If you look at 10,000 images of dogs, or bananas, or anything, you can start to break out lists of attributes, size, color, shape, and so on. Texture.

The beauty part then is that the characteristics originally measured in specific artifacts in the training corpora then become abstracted or put in a blender, so to speak, divorced from their original meaning and context. Enabling them to be mixed up and re-assembled into completely new, never-before-seen creations, assemblages of statistical sampling.

Elsewhere earlier in the video, we talked a bit about styles. There seems to be general consensus online that style is not copyrightable. As expressed by Creative Commons here, copyright protects specific expressions in fixed forms of a style, not the style itself. (But there are, ahem, blurred lines here, to be fair.)

Anyway, my point here isn’t to argue on copyright grounds in this post, that is just for background. What I wanted to say I guess is that ultimately my intuition as an artist who has made extensive use of generative AI is that style ultimately breaks down to supersets of characteristics/attributes/features(/dimensions).

To an AI image generator, for example, you could just as simply prompt “in the style of salvador dali” as you could basically any random string of characters “in the style of day old bagels at a long island supermarket in the 1980s” or “in the style of z8gn3s8hjkl*12%”.

All of those are going to give you results, some more inscrutable than the others as to clear cultural meaning or obvious connections to known things. You can also do it without including “in the style of” at all, and just including random phrases or strings in your prompts, as Nettrice talks about in the video.

This fluidity and flexibility around the sheer fact that literally anything (or nothing) can become a “style” in AI for me blows apart our current understanding of what an artist’s style conventionally even means. (Let alone what this means for ‘consensus reality’ – and this is what I was referring to I think in the video, re: holistic frameworks for analysis of meta-data.)

Anyway, I have other things waiting on me, but wanted to jot this down as a beach head to be able to come back and grasp this idea more fully down the road. Also see the notion of the hypercanvas here. Somewhere, somehow, I trust that this will all make sense in the end…

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