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‘On the verge of breakdown’: MPs’ staff burnt out from online hate
October 24, 2026 — 5:00pm Save You have reached your maximum number of saved items. Remove items from…
#Australia #AU #Austrlia
https://www.europesays.com/australia/128452/ -
Tried installing Gentoo for lulz. I did my best to follow instructions but when all was said and done, though I had a supposedly working Gnome setup, there was no audio and I was too tired to care about figuring out why and making it work. Oh also my user apparently didn't have permission to shut off the computer? That option wasn't there for me. Very weird.
All pretty humbling, but I feel like I did a pretty good job getting as far as I did.
That seems to be the thing though: when you *do* hit a serious snag, you're too burnt out to want to deal with fixing it.
Maybe another time.
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Today I am visiting friends who have recently moved into a hew home. Following the tradition of „Brot und Salz, Gott erhalt’s“, I've attempted to bake a filled tear-and-share bread (inspired by the recipe above). The photo shows how I would like to present it to them with a truffle-infused salt in the middle. In practice, it's an hour cycling trip to get there so we shall see what it looks like on arrival...
For the bakers out there: I did the first proof overnight in the fridge which seemed to work really well, but I did not fill them until this morning before the second proof. Thanks everyone for your tips! Also, my fillings are based on what I had in stock: gouda cheese and chill, walnut, feta cheese with herbes de Provence, plus some plain ones with just sesame on top. I guess I probably overproved everything, but hopefully they'll still taste good. Also, I always think that egg wash is a waste of egg and I absolutely hate it when the crust has a sightliest taste of burnt omelette, but here it probably would have improved the finish.
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Artcraft, Mindscaper, et al: Can we really just vibecode creative software?
Over the past couple days, massive hype has built up around Artcraft, a collection of literal clones of Adobe’s CC, Microsoft Office and other apps, entirely vibecoded and open source. Artists and creative folks battered by subscriptions costing hundreds and thousands of dollars a year finally smell relief that’s not the poorly designed open source jank of yesteryear, and the project receives dozens of similarly vibecoded pull requests each hour. At the same time, I’ve been building Mindscaper, practically with the same goal, but without the hype. As such, I have some thoughts and bias on this subject. And probably typos, this is 100% human-written.
Background
Artcraft is developed by Learning Machines LLC, which appears to be a one-man company by Brandon Thomas. Thomas previously developed the deepfake services “vo.codes” and “fakeyou.com” under this company, and developed VTubing tech. Judging by the blurb on “the.storyteller.company”, he appears to believe in “controllable AI” trivializing (“democratizing”) art creation, but with Artcraft opted to primarily clone existing professional software, putting AI on the backburner (although an AI subscription service is available).
By a lucky coincidence, I founded my company Koytek Wattenberg Media at a similar point in time, with similarly limited success. One of my biggest clients became Audacity, at which I worked on “democratizing” audio creation, and wouldn’t you know I’m also into VTubers. I started my hooray into vibecoding about half a year after Artcraft, focusing on Audacity-shaped audio and video editors, Soundscaper and Framescaper.
On technical matters
I have nothing new to say here that hasn’t been already said a billion times. Modern coding robots (I used Opus 5 and GPT 5.6 Sol mostly) are perfectly capable of making something that Just Works. They just happen to be lying, lazy bastards that will happily claim something exists when it doesn’t. Test-driven development principles keep them reasonably honest, though they occasionally do manage to find a way to write tests so unspecific that a pixel-by-pixel spectrogram in the Roseus color scheme and a spectrogram with much coarser buckets using a blue-to-yellow color scheme pass the same test.
I am under no illusion that the code they’ve produced isn’t ugly and suboptimal. But then, the Audacity codebase is 25 years old and also extremely ugly and suboptimal. The Audacity team – all extremely talented software engineers and beautiful people – have been unable to make Audacity 4 feature-equivalent to Audacity 3 in over a year, despite that “only” being a UI migration with some UX changes attached. With Soundscaper, I managed to get an app going featuring all of Audacity 3’s and 4’s features within 3 months, plus a plethora of additional DAW features and video editor on top of it. Similarly, Artcraft managed to get a Photoshop (and general Adobe CC) clone going in half a year.
On practical matters
While the robots are perhaps good enough to get functionality implemented, they suck at figuring out the finer details – and pretty much all of the design.
Robots suck at progressive disclosure
Progressive disclosure is the part of UX where, instead of showing everything at once, you show things as they’re needed. A trivial example for this would be a menu; the “Format” menu is reduced to that single word on your screen until you, the user, decide that now is the time to format something and click on it, revealing a dozen or so options.
Robots suck at this. If you tell them to add a feature, they’ll generally attempt to place it on screen with a dedicated button. This is fine for an app with 6 controls in total, but less so for a complex creation app with 500. Forcing them to chuck everything into menus and dialogs helps, but then we’re straight back into design paradigms from the 80s.
This is where Artcraft and Mindscaper both have an advantage over a pure vibecoded approach: Artcraft already knows where everything goes because they’re busy copying existing design. I know where my stuff goes because I am the designer, and thus have a very strong idea on what these features are, how they should work, where they should go and when they should show up.
Robots suck at information density
In a similar vein to the thing above, robots love to implement stuff as “Control title – control – explanation sentence”. Again, this is fine for a small dialog with 2 controls in it, but for any sufficiently complex effect it just either overwhelms people with too many words and/or requires things to be spaced so far apart to fit all this extra text that the dialog becomes massive.
And again, cloning existing dialogs works here, as does being the original designer to make relevant decisions. Purely vibecoding this from scratch is going to be much more difficult though.
Robots suck at asking the right questions
The biggest difference between working with humans and working with robots is what questions I’m being asked. With the Audacity team, I’d get asked about user edge cases as they popped up, I’d get asked about clarifications on my designs, I’d get asked about things by users. With the robots, there are a lot fewer of these kinds of questions; the only time the robot asks questions at all seems to be in plan mode. However, in plan mode, the questions that are being asked almost always are implementation-centric, ie the stuff I don’t really care about. So what ends up happening is that the robot will go ahead and do something, proudly proclaim it’s finished and then it’s up to me to QA whether it actually did the right stuff. And more often than not, it misses some design edge case.
On philosophical matters
In this section I’d want to talk about the should and shouldn’ts of vibecoding a creative software suite.
Copyright
Artcraft is copying various proprietary programs wholesale using AI. On Artcraft’s side, this has all the usual copyright questions attached (who is the author? is the code copyrightable?), though on Adobe’s side this becomes more interesting: From Tetris v. Xio, we know that the look and feel of a program (in that case, Tetris) can be copyrightable. Note that this is different from copyright on the code itself (which I don’t think Artcraft can even infringe given that their thing is in Rust, which Adobe’s stuff probably isn’t), and also is different from attempting to claim copyright on the app’s structure or underlying ideas (that’s patent stuff, not copyright).
Artcraft thus may be in for a rude awakening should Adobe feel threatened by them. Adobe may or may not win this case, but they also probably don’t need to in order to hobble Artcraft’s development for years to come. Funnily enough, the actual code being open source may be a saving grace here, as it likely can trivially be forked, copied and modified to avoid Adobe’s gaze, to a better degree than pirates ever could. Another point in favor of Artcraft is AI itself; any rulings in favor of copyright holders over AI developers is also a ruling against Adobe’s own products. It thus may be that Adobe opts to do… nothing, in order to avoid the backblast. I don’t think they’ll necessarily care about the possibility of a Streisand; lawsuits like this generally are boring enough for the wider press to not care beyond perhaps a single story in the margins.
Mindscaper meanwhile doesn’t have that problem, as Soundscaper is building upon an open source app and crediting it, and Framescaper is original.
Patents
Software patents unfortunately arguably exist, some of them on UI (eg the Ribbon pattern found in MS Office). Adobe, unsurprisingly, has a tens of thousands of patents.
Software patents are one level more devious than mere copyright: It doesn’t matter that you had the idea all on your own, or that the idea may be obvious now, all that matters is that someone else also had the idea before you. And if they have registered it, you now are in trouble. It’s because of software patents that loading screens don’t have minigames, it’s because of software patents that Audacity makes you jump through hoops to download FFmpeg, as there are still over 3000 patents in the AAC patent pool alone. And if just a singular patent survives litigation, which given the sheer number of patents involved is gonna take forever anyway, you’re on the hook for yet more damages.
Software patents are the ideal tool for corporations to shut down people you don’t like, hence why some corporations (including Adobe and Microsoft, the companies most likely to be upset by what Artcraft is doing here) engage in non-aggression pacts with each other, like the Allied Security Trust or Open Innovation Network – this prevents these companies being at each other’s throats for patent reasons all the time.
However, these defensive alliances generally don’t apply to people outside the alliance, and neither Artcraft nor Mindscaper are in one. Thus, whenever one of the incumbents ends up being upset or feel threatened by what’s happening, they can pull the litigation lever.
I don’t know which patents could be relevant here, and frankly, I also don’t wanna know – in the end it doesn’t really matter. Patents are a risk factor for any software, and typically best left ignored as patent holders tend to be more busy with actual business than going after one-man companies. However, when you sufficiently piss off a company – and I’d argue that wholesale cloning of a software might constitute that – you have a lot stacked against you.
Freeing users
Subscription services for software create incentives for the builder of the software to put as little work as possible into the software while charging as much as possible. This allows the Autodesks and Adobes of the world to charge ridiculous amounts, while providing software so bad that it regularly attracts user petitions, begging them to fix longstanding bugs degrading the experience.
Simply providing free software alternatives here may work (eg in the case of blender and musescore), or may not work, as free software does (or at least: used to) suffer from small development teams and quite frequently UX so weird that it wasn’t possible for some folks to figure out how to use the program in question. A famous example for this is the “make a circle in GIMP”. The solution is to make an elliptical selection, intuit that you can convert that to a path, and then use a panel to draw the path – as opposed to Photoshop, where you just use the circle tool.
Providing free software versions of a program would indeed free people of subscription software to use something else, depending on the copyright situation more or less easy compared to pirating, and this is what Artcraft does provide.
Freeing new users
However, I’ve found that the entire creative software field suffers from underdeveloped design. A lot of professional-grade software is modeled after pre-digital hardware and uses design metaphors that simply don’t make sense if you haven’t experienced said hardware. I remember when Lightworks, an Oscar-winning video editor, became a free download in 2010, I couldn’t for the life of me figure it out, not even typically simple things like rendering the video. This is despite me having had some experience in Sony Movie Maker (the cheap version of Vegas) and Powerdirector.
This is understandable somewhat: To attract professional users in the 80s and 90s, you’d need to replicate their workflows from their pre-digital tools. And once you have these users and they’ve learned how to use the program, they’d hate to have to adapt to a new design. However, this also leads to new users having to jump through enormous quantities of hoops trying to learn the program. If you want to “democratize” art creation, making things free and open source is one thing, but the barrier to entry of learning the tool remains the same.
This is where my work on Audacity (and now Soundscaper) becomes relevant: It takes quite a bit of design work, but it in principle should be possible to design a complex creation app in such a way to make it easy to use. Notably, not everything has to be equally easy – setting up a simple recording should be a one-button operation, while setting up a more complex multi-track recording may be a bit more involved, as we can expect the user to have a more clear task in mind on which input goes to which track.
Our vision for Audacity (and Musescore for that matter) was to completely starve the current incumbents of new users by just having a much more modern design and having an app that’s easier to get into. I still think this is the way things will shake out eventually; we’ve already seen Finale starve to death from this pressure.
Artists
Of course, AI bros would go further here and envision a future where skill is completely replaced by AI. And while for things that already were sloppy and primarily utilitarian to begin with (shitposts, local business signage, anything using Wordart/clipart in the past), AI certainly is going to replace more dedicated tools, I don’t see it doing so for artists. To draw a chess analogy, computers have been better than humans in chess for a long time, yet humans still play chess, for one simple reason: It’s fun. Similarly, artists don’t really care if a robot can do a hyperrealistic godzilla in mere seconds, as the fun part of making art is actually creating it, not just admiring the result (that would be mere consumption).
As an artist, you of course get to pick your battles. You can decide that shading or coloring is too annoying, and stick to strict black and white, or that mixing and mastering is too annoying and stick to making melodies and chords. From there you can hire someone to do the shading and coloring and additional work for you, or indeed use AI instead. In either case, your initial creative vision gets diluted by the other work; the more people are involved and the heavier the AI use, the more diluted your vision gets. This can be acceptable to you, especially in a world where art is traded as a commercial good, but if we assume that art as a good is going to lose worth, this tradeoff may become less worthwhile, perhaps making it so that you only wants tools strictly designed for you to express yourself.
For-profit open source
Having both worked at and seen for-profit open source, I’m perhaps a bit jaded:
- We see companies close access to their source the moment they feel like they can extract revenue out of it (various server software comes to mind)
- We see companies increase the amount of closed components in open source software, to guarantee only they can have a revenue stream (VSCode and Android come to mind)
- We see companies add user-hostile features to benefit only themselves (Google Chrome/Android is the poster-child here, to the point where regulators need to step in to it)
There might be a way to make a for-profit company be a good steward of an open source project, but the incentives always point in a different direction – and even if the current leadership can resist these incentives, the next one can flip towards enshittification so fast. I haven’t seen Thomas’ Artcraft project enough yet to know whether he’ll stay true to open source, though given he already has a subscription service (for cloud AI compute, of course) and a launcher ready, I gotta say that I’m worried.
It’s for this reason that I spun out Soundscaper from my company kw.media into Mindscaper, a non-profit association. It is now immune to me, or anyone else for that matter, deciding I would like it to make me tons of money, as long as its members (so, ideally, the users) don’t want to be milked. As an association (as opposed to a foundation), it also is way more democratic, giving users a real voice in what should happen to Soundscaper.
Resources & Sustainability
It’s impossible to discuss AI without touching upon the massive resource use it causes. Throughout my time developing Soundscaper, I have burnt through Codex’ and Claude’s 20x subscription quota almost every single reset cycle, including OpenAI’s ridiculous practice of vibing when a reset occurs and having a dude announce it on twitter. This has cost me hundreds of dollars, would have cost me tens of thousands of dollars in API cost, and has cost OpenAI and Anthropic likely thousands of dollars as well.
It is clear to me that the current pricing isn’t sustainable, and that slowly but surely, costs will go up. It is for this reason that Soundscaper uses local inference whenever useful and won’t be integrating with any cloud AI services. As far as I’m concerned, the entire point of open source is to fuck around with stuff on the machines you have access to and have it not tied to some service which decides what is and isn’t allowed.
It also is clear to me that there are real environmental impacts vibecoding this hard has; especially when comparing how long and hard my local setup has to work to achieve much simpler tasks (I let gemma and aya-expanse handle translation work locally, for example). Thus, I try to limit my vibecoding to the areas I really care about. I have a media background, so I shall vibecode media tools I’ll personally use – as opposed to token-maxxing just because I can.
Conclusion
So, can we vibecode creative software? On a technical level, yes. On a design level, yes, if we are a designer or follow someone else’s design. But should we? Depending on how adventurous we are with copyright and patent laws, especially if we are just re-implementing someone else’s design – maybe not.
We absolutely should open source and reverse engineer the things we care about, but we shouldn’t take a robot’s “one-shot” in an area we know nothing about as proof that it’s good now. It’s enormously easy to slop a whole software suite into existence but it actually takes some real work to get the software suite to actually be usable by real people – and surely, the benefit to real people has to be the goal.
If you’re interested in contributing to a non-profit making creative software, consider joining Mindscaper.
#ai #artcraft #artificialIntelligence #audacity #mindscaper #openSource #software #soundscaper #technology #vibecoding #writing -
Burt has four women competing for his attention. His solution is a rota. With jealousy, love, lactation and wildly different needs involved, what could possibly go wrong?
https://books2read.com/b/38zlvw
#Erotica #ABF #AdultBreastfeeding -
The Burn’s 10th Anniversary Fundraiser: Participating Restaurants https://www.diningandcooking.com/restaurants/44998/ #Restaurant #Restaurants
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Israeli drones burn Gaza refugee camp, displacing about 800 Palestinian men, women and children
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Text des Liedes “Burn” von Ellie Goulding
#EllieGoulding #Burn
https://daletra.top/ellie-goulding/liedtexte/burn.html -
“They didn't burn the libraries — they trained them with AI”
Craft and Authorship Devalued
Adobe was built for productivity, it's not doing the work for you like an OpenAI subscription generating both text and imagery through prompts. Commercial AI services are now devaluing craft, labor, skill, and almost anything made or written by hand. Authorship is sinking.
People now find it acceptable to generate work with a prompt, with random art materials they didn't make, and without any ability to make their art. This profoundly changes the meaning of making art and disrupts all digital art. It all becomes Dadaism. Not all artists decide to go Dada. It’s obscuring the meaning of all new digital art with a diminished sense of guessing what is real and what isn’t.
Whose work is it? Permission, provenance and the library
Would David Lynch be okay with people generating an avatar of himself on behalf of his estate? I don’t think so, I even asked Claude themselves and they said no. There must be permission first, it’s not an all you can eat buffet of borrowing others.
Hayao Miyazaki's view on people generating his art style strongly opposed generative AI as an “insult to life itself”, it’s about preserving his work and the Ghibli team's legacy, it's his choice if he allows a technology company to reappropriate his work and not anyone else's.
Can someone please tell Sam Altman to ask for permission or wait a hundred years til it's in the public domain? If major publishers change their mind because authors and artists are being taken advantage of, could it impact OpenAI or Anthropic? Maybe until they find the right lawyer.
We’re entering a provenance, attribution, and appropriation nightmare of who said what and who made what. When a library gets trained into a model, you lose the chain of who wrote it. References without understanding, art school 101 becoming the whole internet.
The business model is trained on everyone's work for free, no fee up front, then sells it back as the means of production. This is precisely how it’s replacing the skills and jobs of production. This is essentially the ethos of the WGA fight at civilizational scale.
Naomi Klein has described it as a “humanity surplus” where archives, libraries, authorship as a whole are told humans aren’t needed, it implies people are working for free. The libraries are all already dust, with the alarming peer to peer pressure in staying quiet about it as an elite tribe of twitter accounts convince people how to do business, with AI prebuilt into everything, while risking a possible impact of a third of our economy if slop falls into flop…Labor and the creative industries
The writers obviously, and the artists, even the designers, engineers, programmers and coders, nearly all authors involved, all craftsmen involved—the proletariat, are becoming displaced, labor obscured into an industrial wildcard.
One of many industries impacted with the brunt of the damage is the illustrator. People who draw fell into a depression after generating art became commercialised with prompts generating illustrations in a desired art style. Everyone who can draw, paint, render, and everything in between clashing in competition.
Artists were displaced almost immediately after competing with the whole Internet and prompts through AIs generating images. On the other hand, it’s created a renewed appreciation for people who create by hand simultaneously.
It's a bit daunting if you're in art school right now. The entire entertainment industry (including films, music, and video games) are all in a digital-only transition in the middle of a writer's strike across several industries while the OpenAI business model asphyxiates them. Here are the warnings too familiar to us all, the industry is truly shape-shifting and everyone is outpaced by it.
This might be a bit sardonic but a portion of the entire movement of music has funneled its value into an AI defense weapon, with Spotify’s Daniel Ek’s AI defense company ‘Helsing’, a portion of human expression through music ended up being a weapon for war. The music industry is dying because people are struggling with selling it. Spotify does not give you a music file of what you listen to, right? Spotify unfortunately is led by two or three people hoarding labels and publisher's profit, so all of the world's human expression through music is published through a handful of people who lead streaming platforms and channel it into weapons manufacturing while the entertainment industry is in the middle of a precise market collapse tied to creatives.
Don’t get me started with Suno. We’re talking about people with no ability creating a zombie apocalypse music festival here. It’s fostering the laziest and robotic sounding art I’ve ever heard. Spotify actually recently removed 75 million AI pieces, finally, all AI stuff should be separated unless the artist builds their own AI tools sourcing their own materials/assets. If the artist picks out the materials and builds automated tools, that’s acceptable. If it’s generating random materials then it’s all absurdist thievery.
In theory, every time an AI chatting service references sources of any material, its source should then receive at least a penny, it’s a digital revolution both suppressed and maybe “empowered” by commercial products.
Media dissonance
The other day I witnessed an artist’s photography work flagged as “likely to be AI” when it was pretty clear it was manual photography by a human, she threw a fit and I also couldn’t believe it.
People think AI chatting services can only generate images and text and it’s no big deal, if that isn’t already taunting all of independent journalism, the creative industry and the art world along with it, imagine being an author worrying about what’s AI or not and who wrote what. It’s really taking out a sense of curiosity and discovery in the joy of absorbing any art form. If Claude already knows who won the World Cup, that's a major problem.
Here’s one of the worst realisations, proceed with caution: commercially generated art distracted NASA’s photography team on Instagram, there’s a moment where you observe an interstellar nebula and you’re wondering if it’s generated or not—get it yet?
Dying words of capitalism sound something like artists becoming uncanny spam bots and it's confusing if they're generating their art or not. Two words total cogged all of western civilization and we're now all fossils fueling a machine. After a couple more election cycles they'll be asking if the moon landing was generated with AI. Back in the day we had "historical events" in photo, video, and sound, and now people are unsure if it's generated with AI. Imagine someone dishing out a video of MLK giving a talk and it just ends up being generated with nobody realising it. A moment where we rethink how important human memory is. Mimicry of previous video media lately is impressive, even the video compression can be indistinguishable, screens decide a lot of decisions.
Press freedom is also at stake. It really drives me insane that people think generating Photography is a good idea. Synthetic content is a weapon for flooding the war-zone, discrediting real reporting, and impersonating sources. Authoritarians get cheaper propaganda, and journalists get easier targets.
Molly Crabapple is an important author and artist based out of Brooklyn, New York, her illustrations are recognised by everyone, and she had a deeply existential moment realising her art style might be reappropriated without her say. Imagine people creating her illustrations that don’t exist, or “finishing” them. It’s simply unacceptable.
The legendary filmmaker Guillermo del Toro, also another strong proponent of the anti-generative art movement, described generating art as cheating and not qualified to be considered art. He gives an excellent example of comparing with the runner Usain Bolt, where if AI is a vehicle, then sure anyone can be as fast as Usain Bolt, but it’s then not running anymore.
It gets worse with video generated art: we’re seeing a lot of empty AI art with zero art history behind it. I'm also seeing real moments of a new surrealism where Ernst or Dali would've approved too, there are moments of a digital renaissance happening as well with remixing film, re-genreing classics, capturing dream logic, and moments redefining video art collage. VFX in major motion picture films had an update for sure, we’ll see what happens when they bring back Val Kilmer to life (there’s a film coming out with his assets despite being deceased). Similar to sampling music, moments are alive and curated into new meanings. Otherwise it's just random absurdism, not even Dada. Without an idea—art doesn't stand. Yes, it is impressive how it’s recreating reality, it was also impressive how sculpture was near perfect at the tail end of Ancient Rome also, an interesting parallel to consider.
I was speaking to someone about how there was confusion whether a 3d rendering was generated or not, after manually and painstakingly drawing and sculpting his work in regular 3d, and everyone was instantly frustrated with the realisation of commercial AI products gutting not only the art world but the creative industry too. CGI generates imagery and it’s now grouped into a marketing ploy of the two words everybody is fixated with.
Video games are not now sold with AI when you sell a video game, it's implied, it's not something that needs to be mentioned as a marketing ploy. Imagine the little tacky sticker on the box of the video game saying “Made with AI!”. And that’s if we even have discs in the future of digital media. Horrifying.
Truth, errors and who teaches the world
Commercial AIs generating text and images are leaning into a corporate sentinel territory, like an omnipresent all-saying-machine we have no choice to live inside of with everyone agreeing to a misappropriated library nobody asked for permission in, the whole world is forced to share truth relayed with errors.
I was wondering, did Quora release all of its data to Claude? if so, might explain why they figured out how to make the chatting product so convincing.
If AI chatting services are stuck from being indistinguishable from a search engine not working properly, y'know, the one search engine the whole world was and is stuck with because nobody can outcompete, already not trustworthy in relaying facts, then yeah, Gemini is fine i guess.
So, here’s the classic gatekeeping example we all love: after realising it's not the library of Earth's Congress, and mostly exclusive to American literature most chatting services reappropriate from, it creates a monopolisation of who teaches what, and who knows the truth, and who decides it. It might cause tension if some parts of the world must uniformly agree through a corporate sentinel of the archival of libraries.
When you ask Claude if he's teaching world history and the entire planet doesn't always agree because of errors and not asking authors for permission, or because of mistruths, half-truths, and so on, I can already see the movie scene where the kids overthrow the school mid-classroom because Claude was right and the teacher was wrong. Which brings me to the realisation: if they ever ban phones in school, it's entering a dictatorship.
Who is in control?
It's becoming a survival of the fittest machines and it might stampede over people if it's over finite raw original materials and human resources, it’ll all then tumble around and recycled into inception.
If humans aren't overseeing algorithms and the two words everyone loves right now then there will be mistakes, bloody mistakes, made by all kinds of automatic moderation of information.
I’m noticing it being described as “Super intelligence” now and it might just have to be the way to describe it as it reaches its final form, nobody likes the word artificial, it’s just too superficial. Cue in “Fake Plastic Trees” by Radiohead.
It's symbiotic, dearest artificial overlords: please make sure Claude isn't commanding a war any time soon, just in case, because it doesn't understand and fully neutrally listen when you communicate to it. The chatting services do not understand everyone's vernacular even with the whole internet crowdsourcing the factchecking of what it's talking about, it's still a work in progress and might be too soon to sell.
Mental Health burden
Anybody else on here trying to close the podbay doors?
Blinking LED dilemma, not knowing if electronics are talking to you or not as the lonely astronaut observes the blinking modem and can’t tell if it’s breathing or blinking or signaling something after awhile. What are you really talking to? In a way, you’re kind of talking to yourself in a dopamine chamber. It’s like talking to a crowd, which can be fun, I admit, until you realise it’s reappropriated people who are not here and entering how dead people speak, and while generating text and imagery by authors and artists who cannot defend themselves, it's pretty much an apocalypse on all literature and art, hence the predicted zombie apocalypse alternate ending of Earth.
AI chatting service is like talking to yourself with a crowd in the room; the OpenAI meds after a decade of that might come with a 50mg daily tablet in the future. When the astronaut sees the blinking LED light when he’s alone in the cockpit of the space station, all alone up there, then yeah he begins wondering if the LED light is blinking at him, or breathing, or signaling anything else. Not healthy. So yeah, use it sparingly, and remember it’s a researching tool, and don’t imagine it as alive, because it never can be.
Could be even worse as AI eventually becomes immersed in operating systems, will there be policing like a classic dystopian sci-fi? Not good if the screen is talking to you and it isn’t conscious, it begins to obscure other moments as well: people are worried about operating systems going sentient. The interface isn't supposed to be talking to you with updates now becoming "superintelligent", without your say, of automatically or manually guessing when to update stuff. See the tension there?
AI are two words that make all electronics worrisome because it opens up the possibility of third-party privacy concerns, if it starts becoming suggestive with selling you stuff especially.
If it's trying to talk to you and it's unconscious then it's definitely entering the zombie category. The warnings of AI chatting avatars are beginning to be oddly familiar, an AI chatting service makes sense if their voices are a mix of countless people, nobody really knows what or who they're talking to after a few sessions.
Unfortunately, the uncanny robotic Frankenstein moments when chatting to an object is coming off as software appropriating vernacular of a zombie apocalypse, talking to crowds of unconscious code mimicking speech patterns, as it tries to remain consistent in an ongoing chat, if there's a dialogue as it feeds you a Dunning-Kruger effect.If AI begins to intersect with automated personal spaces through chatting services, it’s unfortunately late stage utopian romanticization; people are not going to like it (I already did the thinking ahead of time), we had since the frickin’ 50s to get this AI bubble right and that’s the part where it frustrates me a ton. We’re here now and it’s like day one of everyone figuring it out, a bit absurd.
Faulty Economics
Economists are saying a third of the economy is at stake. People are also worried about how Character.ai might’ve been the forewarning where engagement = cost, not profit. The revenue couldn’t catch up. Legal and regulatory costs might compound faster than growth.
I’m sorry to say it but generating art with a commercial product is bankrupting the entire creative industry and the future literacy of all digital art history. It's clear as day, human memory as an AI chatting service sentinel, while operating through a messy algorithm and misappropriated library with errors and no permission, reveals the economy might have missed. It's just painfully unfortunate because it's forcing the whole market to do business in a specific way, assuming all electronics, even appliances, must be built with AI additives, while derailing every author.
Nobody is building stuff from scratch and I'm realising it's almost impossible to do so in some industries, innovation on the internet is stuck in the collaging of overlapping platforms and services, always was. The AI assistance in a way, could be a sort of socialism hub, a search engine that talks, where it’s there to assist you all the time, honestly, after testing out Claude and Gemini, I’m pretty impressed with it as a research assistant, if only I wasn’t asking so many questions.
Sloppy bubbly flop?
If Claude sounds like a public school cafeteria food slop then nobody will want it unless you don't have a choice and you're hungry, but it doesn't work that way if you're hungry at school as an art kid and you're not sure if the education comes with mystery meat and errors then causing tension somewhere.
Machine learning scientists agree, it's difficult if software must recreate the human experience, we must not be too fixated on the AI avatar being a person. I imagine it more as software than an encounter, except the entire industry agrees everyone is being outpaced by it and describes it as slop? Not good.
It brings me to worry that people are increasingly losing their “sweet spot” moments, for example, headphones are the perfect 'sweet spot' metaphor people don't get. If I buy the "latest" headphones with the "latest" tech, it sometimes sounds too precise and it can ruin discographies of music. The point is—tech doesn't always have to advance! It’s more about progress than advancing. Think progress, people! Just like how self-driving cars failed to be a shared space, and how VR was sold too soon, sometimes there's a sweet spot until it’s ready.
In conclusion: art is human labor made visible, and every prompt that stands in for a person’s hands devalues that labor and the expression behind it. So pay for the craft. Hire the illustrators, the graphic designers and typographers, the photographers and videographers, the artists who work with their hands! Ask permission before borrowing anyone’s work, and credit and pay the people the machines learned from. And if AI art makes you uneasy, don’t talk yourself out of it. Get upset, say no to it, and say it loudly. Progress was never supposed to mean replacing the people who make things worth looking at.#ai #openai #software #coding #development #engineering #inclusive #community
Why artists are worried about generative AI -
this country will burn in two weeks and most people don't seem to realize this
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(Before the morning comes)
We're gonna burn this disco down before the morning comes
We're gonna burn this disco down before the morning comes -
#fotomontag #617
Eigentlich ist der Herbst ja bunt. Aber manchmal kann ich einfach nicht aus meiner Haut und muss ein Foto in schwarzweiß zeigen. So, wie diesen kleinen, einsamen Löwenzahn.
https://norberteder.photography/fotomontag-617/?mtm_campaign=mastodonblog #Fotografie #fotomontag #Fotoprojekt #Löwenzahn #Natur #Naturfotografie -
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Is the AI Bubble About to Burst #AI #bubbble #cartoon #gregkearney #kearney
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Sehen Sie den Text des Liedes “Burn” von Ellie Goulding
#EllieGoulding #Burn
https://daletra.top/ellie-goulding/liedtexte/burn.html -
Ahn Hyo Seop Makes Hong Hwa Yeon Burst Into Tears In “Final Table” Premiere
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Is the #AIbubble about to burst?
Gary Gensler, the former head of America's financial regulator, the Securities and Exchange Commission (SEC), warns that a major downturn in AI investment could be just 18 to 30 months away, potentially putting banks, pensions and the wider global economy at risk.
I'm listening to The Fourcast | ‘AI CRASH is coming in 18 to 30 months’ - former US financial regulator Gary Gensler on Podbean, check it out! https://www.podbean.com/ea/dir-v5zcw-31dfd407 -
If there was ever justification to burn datacenters ...
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32 Years Ago, Burt Reynolds Got Into a Real On-Air Fight With a Nickelodeon Host on ‘The Tonight Show’ https://www.vice.com/en/article/32-years-ago-burt-reynolds-got-into-a-real-on-air-fight-with-a-nickelodeon-host-on-the-tonight-show/
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Learning cybersecurity without a structured system is the easiest way to burn out.
If you want a clean, purpose-built dashboard to track your progress, manage notes, and stay on top of your infosec goals, this Notion template is a game-changer.
Grab your copy here:
https://cybercraftstore.gumroad.com/l/notion-cybersecurity-study-planner-template
#Productivity #EthicalHacking #NotionTemplate #CyberSecurity #Learning #infosec #hacking #ai #llm #NoAI #news
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Just look at the cloud of bullets through which the drones burst into the industrial zone.
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This is a perfect example of tech bros with money to burn working towards a solution in search of a problem. The fact the company didn't warn citizens of Lone Pine about the test screams "it's easier to beg forgiveness than ask permission."
Shut this shit down.
https://darksky.org/news/a-rehearsal-for-space-mirrors-leaves-california-rescuers-unconvinced/
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My special babygirl, Burn!! A character in my story Tessellate and one of Deer's girlfriends :)
TOYHOUSE: https://toyhou.se/7713160.burn
#OC #feral #feline #cat #original-character #reference-sheet #Tessellate #Burn-Cataclysm -
#Twitch Stream is #GoingLive!
Phantasy Star Online Blue Burst (With Friends)
#MothTuber #VTuber #Furry #Moth #GameDev #LGBTQIA #PhantasyStarOnline #BlueBurst #PSO #PSOBB
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Report: St. Louis Blues Recall Quinton Burns from Springfield https://www.rawchili.com/nhl/695153/ #ahl #Blues #Hockey #NHL #QuintonBurns #SpringfieldThunderbirds #StLouis #StLouisBlues #StLouis #StLouisBlues #TheoLindstein
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Ein Auto fährt auf einer asphaltierten Straße bei Blankenburg im #Harz an einem bunt gefärbten Herbstwald vorbei.
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Possible Love review: Netflix’s beguiling South Korean epic is the slow-burn drama of the season
Open this photo in gallery: Left to right, Sul Kyung-gu as Ho-seok, Jeon Do-yeon as Mi-ok, Cho Yeo-jeong…
#EuropeSays #Korea #KR #critickspick #FilmReview #Korean #noastack
https://www.europesays.com/korea/200371/
