#ai based publishing

[universalsatan]

Hey bestie, no need to answer this, but I saw u reblogged something from roach - works, and I just wanna let u know that she's a major terf

oh!!! thank you for this fr. i'm answering this bc i just wanna say that i don't have shinigami eyes and i'm on mobile most of the time, so these pointers are much appreciated <33

[tshakabomaye215]

[ashennightingale]

💀

[mostlysignssomeportents]

Even if you think AI search could be good, it won’t be good

TONIGHT (May 15), I'm in NORTH HOLLYWOOD for a screening of STEPHANIE KELTON'S FINDING THE MONEY; FRIDAY (May 17), I'm at the INTERNET ARCHIVE in SAN FRANCISCO to keynote the 10th anniversary of the AUTHORS ALLIANCE.

The big news in search this week is that Google is continuing its transition to "AI search" – instead of typing in search terms and getting links to websites, you'll ask Google a question and an AI will compose an answer based on things it finds on the web:

https://blog.google/products/search/generative-ai-google-search-may-2024/

Google bills this as "let Google do the googling for you." Rather than searching the web yourself, you'll delegate this task to Google. Hidden in this pitch is a tacit admission that Google is no longer a convenient or reliable way to retrieve information, drowning as it is in AI-generated spam, poorly labeled ads, and SEO garbage:

https://pluralistic.net/2024/05/03/keyword-swarming/#site-reputation-abuse

Googling used to be easy: type in a query, get back a screen of highly relevant results. Today, clicking the top links will take you to sites that paid for placement at the top of the screen (rather than the sites that best match your query). Clicking further down will get you scams, AI slop, or bulk-produced SEO nonsense.

AI-powered search promises to fix this, not by making Google search results better, but by having a bot sort through the search results and discard the nonsense that Google will continue to serve up, and summarize the high quality results.

Now, there are plenty of obvious objections to this plan. For starters, why wouldn't Google just make its search results better? Rather than building a LLM for the sole purpose of sorting through the garbage Google is either paid or tricked into serving up, why not just stop serving up garbage? We know that's possible, because other search engines serve really good results by paying for access to Google's back-end and then filtering the results:

https://pluralistic.net/2024/04/04/teach-me-how-to-shruggie/#kagi

Another obvious objection: why would anyone write the web if the only purpose for doing so is to feed a bot that will summarize what you've written without sending anyone to your webpage? Whether you're a commercial publisher hoping to make money from advertising or subscriptions, or – like me – an open access publisher hoping to change people's minds, why would you invite Google to summarize your work without ever showing it to internet users? Nevermind how unfair that is, think about how implausible it is: if this is the way Google will work in the future, why wouldn't every publisher just block Google's crawler?

A third obvious objection: AI is bad. Not morally bad (though maybe morally bad, too!), but technically bad. It "hallucinates" nonsense answers, including dangerous nonsense. It's a supremely confident liar that can get you killed:

https://www.theguardian.com/technology/2023/sep/01/mushroom-pickers-urged-to-avoid-foraging-books-on-amazon-that-appear-to-be-written-by-ai

The promises of AI are grossly oversold, including the promises Google makes, like its claim that its AI had discovered millions of useful new materials. In reality, the number of useful new materials Deepmind had discovered was zero:

https://pluralistic.net/2024/04/23/maximal-plausibility/#reverse-centaurs

This is true of all of AI's most impressive demos. Often, "AI" turns out to be low-waged human workers in a distant call-center pretending to be robots:

https://pluralistic.net/2024/01/31/neural-interface-beta-tester/#tailfins

Sometimes, the AI robot dancing on stage turns out to literally be just a person in a robot suit pretending to be a robot:

https://pluralistic.net/2024/01/29/pay-no-attention/#to-the-little-man-behind-the-curtain

The AI video demos that represent "an existential threat to Hollywood filmmaking" turn out to be so cumbersome as to be practically useless (and vastly inferior to existing production techniques):

https://www.wheresyoured.at/expectations-versus-reality/

But let's take Google at its word. Let's stipulate that:

a) It can't fix search, only add a slop-filtering AI layer on top of it; and

b) The rest of the world will continue to let Google index its pages even if they derive no benefit from doing so; and

c) Google will shortly fix its AI, and all the lies about AI capabilities will be revealed to be premature truths that are finally realized.

AI search is still a bad idea. Because beyond all the obvious reasons that AI search is a terrible idea, there's a subtle – and incurable – defect in this plan: AI search – even excellent AI search – makes it far too easy for Google to cheat us, and Google can't stop cheating us.

Remember: enshittification isn't the result of worse people running tech companies today than in the years when tech services were good and useful. Rather, enshittification is rooted in the collapse of constraints that used to prevent those same people from making their services worse in service to increasing their profit margins:

https://pluralistic.net/2024/03/26/glitchbread/#electronic-shelf-tags

These companies always had the capacity to siphon value away from business customers (like publishers) and end-users (like searchers). That comes with the territory: digital businesses can alter their "business logic" from instant to instant, and for each user, allowing them to change payouts, prices and ranking. I call this "twiddling": turning the knobs on the system's back-end to make sure the house always wins:

https://pluralistic.net/2023/02/19/twiddler/

What changed wasn't the character of the leaders of these businesses, nor their capacity to cheat us. What changed was the consequences for cheating. When the tech companies merged to monopoly, they ceased to fear losing your business to a competitor.

Google's 90% search market share was attained by bribing everyone who operates a service or platform where you might encounter a search box to connect that box to Google. Spending tens of billions of dollars every year to make sure no one ever encounters a non-Google search is a cheaper way to retain your business than making sure Google is the very best search engine:

https://pluralistic.net/2024/02/21/im-feeling-unlucky/#not-up-to-the-task

Competition was once a threat to Google; for years, its mantra was "competition is a click away." Today, competition is all but nonexistent.

Then the surveillance business consolidated into a small number of firms. Two companies dominate the commercial surveillance industry: Google and Meta, and they collude to rig the market:

https://en.wikipedia.org/wiki/Jedi_Blue

That consolidation inevitably leads to regulatory capture: shorn of competitive pressure, the companies that dominate the sector can converge on a single message to policymakers and use their monopoly profits to turn that message into policy:

https://pluralistic.net/2022/06/05/regulatory-capture/

This is why Google doesn't have to worry about privacy laws. They've successfully prevented the passage of a US federal consumer privacy law. The last time the US passed a federal consumer privacy law was in 1988. It's a law that bans video store clerks from telling the newspapers which VHS cassettes you rented:

https://en.wikipedia.org/wiki/Video_Privacy_Protection_Act

In Europe, Google's vast profits lets it fly an Irish flag of convenience, thus taking advantage of Ireland's tolerance for tax evasion and violations of European privacy law:

https://pluralistic.net/2023/05/15/finnegans-snooze/#dirty-old-town

Google doesn't fear competition, it doesn't fear regulation, and it also doesn't fear rival technologies. Google and its fellow Big Tech cartel members have expanded IP law to allow it to prevent third parties from reverse-engineer, hacking, or scraping its services. Google doesn't have to worry about ad-blocking, tracker blocking, or scrapers that filter out Google's lucrative, low-quality results:

https://locusmag.com/2020/09/cory-doctorow-ip/

Google doesn't fear competition, it doesn't fear regulation, it doesn't fear rival technology and it doesn't fear its workers. Google's workforce once enjoyed enormous sway over the company's direction, thanks to their scarcity and market power. But Google has outgrown its dependence on its workers, and lays them off in vast numbers, even as it increases its profits and pisses away tens of billions on stock buybacks:

https://pluralistic.net/2023/11/25/moral-injury/#enshittification

Google is fearless. It doesn't fear losing your business, or being punished by regulators, or being mired in guerrilla warfare with rival engineers. It certainly doesn't fear its workers.

Making search worse is good for Google. Reducing search quality increases the number of queries, and thus ads, that each user must make to find their answers:

https://pluralistic.net/2024/04/24/naming-names/#prabhakar-raghavan

If Google can make things worse for searchers without losing their business, it can make more money for itself. Without the discipline of markets, regulators, tech or workers, it has no impediment to transferring value from searchers and publishers to itself.

Which brings me back to AI search. When Google substitutes its own summaries for links to pages, it creates innumerable opportunities to charge publishers for preferential placement in those summaries.

This is true of any algorithmic feed: while such feeds are important – even vital – for making sense of huge amounts of information, they can also be used to play a high-speed shell-game that makes suckers out of the rest of us:

https://pluralistic.net/2024/05/11/for-you/#the-algorithm-tm

When you trust someone to summarize the truth for you, you become terribly vulnerable to their self-serving lies. In an ideal world, these intermediaries would be "fiduciaries," with a solemn (and legally binding) duty to put your interests ahead of their own:

https://pluralistic.net/2024/05/07/treacherous-computing/#rewilding-the-internet

But Google is clear that its first duty is to its shareholders: not to publishers, not to searchers, not to "partners" or employees.

AI search makes cheating so easy, and Google cheats so much. Indeed, the defects in AI give Google a readymade excuse for any apparent self-dealing: "we didn't tell you a lie because someone paid us to (for example, to recommend a product, or a hotel room, or a political point of view). Sure, they did pay us, but that was just an AI 'hallucination.'"

The existence of well-known AI hallucinations creates a zone of plausible deniability for even more enshittification of Google search. As Madeleine Clare Elish writes, AI serves as a "moral crumple zone":

https://estsjournal.org/index.php/ests/article/view/260

That's why, even if you're willing to believe that Google could make a great AI-based search, we can nevertheless be certain that they won't.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/05/15/they-trust-me-dumb-fucks/#ai-search

Image: Cryteria (modified) https://commons.wikimedia.org/wiki/File:HAL9000.svg

CC BY 3.0 https://creativecommons.org/licenses/by/3.0/deed.en

--

djhughman https://commons.wikimedia.org/wiki/File:Modular_synthesizer_-_%22Control_Voltage%22_electronic_music_shop_in_Portland_OR_-_School_Photos_PCC_%282015-05-23_12.43.01_by_djhughman%29.jpg

CC BY 2.0 https://creativecommons.org/licenses/by/2.0/deed.en

[dduane]

Okay, now I'm cranky

Not that I even do more than glance at LinkedIn every few weeks or so, as I have friends there. But THIS is beyond the pale. (Or even the Pale, which is another story. Is this actually a real person based in Limerick?? [I have my doubts.) But if so, they should be ashamed.)

(transcription:)

Hi [(theoretical) person whose name I've obscured],

I'm not at all sure why material from your employer is winding up on my feed.

I am a NY Times bestselling novelist and screenwriter with pushing fifty years' experience in traditional publishing and other media created by actual living, breathing beings out of genuine human experience. AI-based prompt "writing" is utterly antithetical to everything I do in my work... especially as it is founded on machine-based excreta derived from routines trained using material illicitly sourced, without our permission, from myself and thousands of my colleagues.

Assuming that you actually exist except as a prompt-based construct yourself (which is by no means certain), please do us both a kindness and remove me immediately from whatever list caused the system to recommend me to you—as if there is a worse possible fit for our two schools of thought anywhere in this solar system, I can't imagine where that might be. (Somewhere in the Oort Cloud, possibly. No other possibilities immediately suggest themselves.)

Meanwhile, I wish you well in your further endeavours (doing you the possibly unwarranted courtesy of assuming that you're real). ANY possible further endeavours that have nothing to do with this horrific and deeply unethical area of employment, which cannot conceivably do anything in even the short term but damage your (theoretically) immortal soul... not to mention the ecology of our (theoretically) shared planet. 

With the best possible regards under the circumstances, and hopes for your eventual (if not swift) rehabilitation,

Diane Duane

PS: Please try to find an avatar that looks less like it was created by AI.

And also: please say to your heartless and conscienceless employers, on my behalf, "FUCK YOU AND THE HORSE YOU RODE IN ON."

[5ummit]

AO3 Ship Stats: Year In Bad Data

You may have seen this AO3 Year In Review.

It hasn’t crossed my tumblr dash but it sure is circulating on twitter with 3.5M views, 10K likes, 17K retweets and counting. Normally this would be great! I love data and charts and comparisons!

Except this data is GARBAGE and belongs in the TRASH.

I first noticed something fishy when I realized that Steve/Bucky – the 5th largest ship on AO3 by total fic count – wasn’t on this Top 100 list anywhere. I know Marvel’s popularity has fallen in recent years, but not that much. Especially considering some of the other ships that made it on the list. You mean to tell me a femslash HP ship (Mary MacDonald/Lily Potter) in which one half of the pairing was so minor I had to look up her name because she was only mentioned once in a single flashback scene beat fandom juggernaut Stucky? I call bullshit.

Now obviously jumping to conclusions based on gut instinct alone is horrible practice... but it is a good place to start. So let’s look at the actual numbers and discover why this entire dataset sits on a throne of lies.

Here are the results of filtering the Steve/Bucky tag for all works created between Jan 1, 2023 and Dec 31, 2023:

Not only would that place Steve/Bucky at #23 on this list, if the other counts are correct (hint: they're not), it’s also well above the 1520-new-work cutoff of the #100 spot. So how the fuck is it not on the list? Let’s check out the author’s FAQ to see if there’s some important factor we’re missing.

The first thing you’ll probably notice in the FAQ is that the data is being scraped from publicly available works. That means anything privated and only accessible to logged-in users isn’t counted. This is Sin #1. Already the data is inaccurate because we’re not actually counting all of the published fics, but the bots needed to do data collection on this scale can't easily scrape privated fics so I kinda get it. We’ll roll with this for now and see if it at least makes the numbers make more sense:

Nope. Logging out only reduced the total by a couple hundred. Even if one were to choose the most restrictive possible definition of "new works" and filter out all crossovers and incomplete fics, Steve/Bucky would still have a yearly total of 2,305. Yet the list claims their total is somewhere below 1,500? What the fuck is going on here?

Let’s look at another ship for comparison. This time one that’s very recent and popular enough to make it on the list so we have an actual reference value for comparison: Nick/Charlie (Heartstopper). According to the list, this ship sits at #34 this year with a total of 2630 new works. But what’s AO3 say?

Off by a hundred or so but the values are much closer at least!

If we dig further into the FAQ though we discover Sin #2 (and the most egregious): the counting method. The yearly fic counts are NOT determined by filtering for a certain time period, they’re determined by simply taking a snapshot of the total number of fics in a ship tag at the end of the year and subtracting the previous end-of-year total. For example, if you check a ship tag on Jan 1, 2023 and it has 10,000 fics and check it again on Jan 1, 2024 and it now has 12,000 fics, the difference (2,000) would be the number of "new works" on this chart.

At first glance this subtraction method might seem like a perfectly valid way to count fics, and it’s certainly the easiest way, but it can and did have major consequences to the point of making the entire dataset functionally meaningless. Why? If any older works are deleted or privated, every single one of those will be subtracted from the current year fic count. And to make the problem even worse, beginning at the end of last year there was a big scare about AI scraping fics from AO3, which caused hundreds, if not thousands, of users to lock down their fics or delete them.

The magnitude of this fuck up may not be immediately obvious so let’s look at an example to see how this works in practice.

Say we have two ships. Ship A is more than a decade old with a large fanbase. Ship B is only a couple years old but gaining traction. On Jan 1, 2023, Ship A had a catalog of 50,000 fics and ship B had 5,000. Both ships have 3,000 new works published in 2023. However, 4% of the older works in each fandom were either privated or deleted during that same time (this percentage is was just chosen to make the math easy but it’s close to reality).

Ship A: 50,000 x 4% = 2,000 removed works Ship B: 5,000 x 4% = 200 removed works

Ship A: 3,000 - 2,000 = 1,000 "new" works Ship B: 3,000 - 200 = 2,800 "new" works

This gives Ship A a net gain of 1,000 and Ship B a net gain of 2,800 despite both fandoms producing the exact same number of new works that year. And neither one of these reported counts are the actual new works count (3,000). THIS explains the drastic difference in ranking between a ship like Steve/Bucky and Nick/Charlie.

How is this a useful measure of anything? You can't draw any conclusions about the current size and popularity of a fandom based on this data.

With this system, not only is the reported "new works" count incorrect, the older, larger fandom will always be punished and it’s count disproportionately reduced simply for the sin of being an older, larger fandom. This example doesn’t even take into account that people are going to be way more likely to delete an old fic they're no longer proud of in a fandom they no longer care about than a fic that was just written, so the deletion percentage for the older fandom should theoretically be even larger in comparison.

And if that wasn't bad enough, the author of this "study" KNEW the data was tainted and chose to present it as meaningful anyway. You will only find this if you click through to the FAQ and read about the author’s methodology, something 99.99% of people will NOT do (and even those who do may not understand the true significance of this problem):

The author may try to argue their post states that the tags "which had the greatest gain in total public fanworks” are shown on the chart, which makes it not a lie, but a error on the viewer’s part in not interpreting their data correctly. This is bullshit. Their chart CLEARLY titles the fic count column “New Works” which it explicitly is NOT, by their own admission! It should be titled “Net Gain in Works” or something similar.

Even if it were correctly titled though, the general public would not understand the difference, would interpret the numbers as new works anyway (because net gain is functionally meaningless as we've just discovered), and would base conclusions on their incorrect assumptions. There’s no getting around that… other than doing the counts correctly in the first place. This would be a much larger task but I strongly believe you shouldn’t take on a project like this if you can’t do it right.

To sum up, just because someone put a lot of work into gathering data and making a nice color-coded chart, doesn’t mean the data is GOOD or VALUABLE.

[ave661]

Post about art-theft, AI and tracing of my render:

Unfortunately, one of my renders I made a year ago, was traced, copied, edited by AI by "brothers in arms" store and now sold as a merch aimed towards CoD fandom. They are currently sending this out to various cosplayers asking them to promote it.

As someone who is affected by this, I have to speak up about it.

(post about it on twt & insta)

I found out about it by accident when I saw promoted post on my insta feed. When I started talking about it in my stories, this store sent me a private message saying they had been working on this design for weeks and had never heard of me so they definitely didn't steal anything, and offered me free stuff. When I disagreed with them and sent them files comparing our works, they stopped replying to me, so I continued talking about it again on my insta. Only when my followers started leaving comments under their post saying this is wrong, they decided to continue discussion on the next day.

2. They mentioned that they could have been inspired by some pictures they found on the internet and showed me their "first sketch" of design… which was made by AI.

3. During the conversation, they mentioned that their artist could have based his work on a picture he found on the Internet, but he defended himself by saying that they might not have known it was mine. But even if they didn't know about me, even if they found some fanart on the Internet - it doesn't mean you can copy something detail by detail and sell it as your own. What is most important here, their offer to solve the problem was to give me credits in their design. IF they worked hard on it, why would they want to give me credits? My offer was to remove it.

4. Why do I mention that it could have been done by AI? because many lines are unfinished and a lot of details don't make sense.

5. Below is a comparison of my render that I published on March 18, 2023 with their first sketch they showed me, which apparently they drew themselves:

I am saying this so that the CoD community, which is very large, will be aware of this, because there are many people who have already bought it and after my insta story, they felt bad and said they want return it because they don't want to support art theft.

It's not just about me anymore - it could have happened to anyone who creates fanart and share it on the Internet just for fun. One day someone may use it for their own profit without us being aware of it. It doesn't matter if it's a 3D render or a drawing. All artists in this (or any other) fandom do not deserve to experience such thing, and we need to speak out about it to prevent it from happening in the future.

Reposting fanart is, as this example shows, dangerous and hurtful, so please respect artists and don’t do this. Especially on pinterest.

Their only proposal and offer to give me credits for the work they traced is something I will never agree to.

[novaandmali]

ARTISTS WANTED! 

We’re making a super gay super inclusive TAROT DECK!!! We want every card to be in a fantasy world and featuring at least one LGBT person. We’re looking for up to 78 artists, potentially one artist per card, but we may choose to have some artists do up to 2 cards. 

Applications open October 10th at 1pm Eastern time and will remain open until October 13th at noon eastern OR we reach an application cap of 1000 entries.

Apps will be open for 24 hours minimum.

The application will NOT be available until that date - we will post it here, instagram (nova_mali), bluesky, and tumblr (novaandmali). Please be sure to set an alarm and get your application in ASAP - we will not be able to take any applications through email, dms, or after they close.

A tentative schedule:

Results emailed to EVERYONE on October 15th.

Sketch due Nov 31

Finals due Jan 15

Kickstarter running Jan 1-31

We are looking for up to 78 artists (who MUST be 18+ years old by October 15th) to join us to create a piece of digital art and/or merch. Traditional art is also accepted if scanned or photographed at a professional level.

We're looking specifically to increase the diversity of our artists, both in regards to race and gender - we want to be including all kinds of voices. Same thing with our art - we're looking to increase the variety of cultures, body types, and disabilities represented.

This is a PAID job. We’ve paid in the range of 200-300 for similar projects in the past, based on a set contract amount plus anything left over after production and shipping, split between everyone. Example: $150 in the contract and $100 extra per artist share. The additional amount will depend on how successful the Kickstarter campaign is.

Your app will ask you what you’re thinking about creating. This is not a final answer but we want to know what vibe, what era, etc what you’re thinking about. You’ll get the option to pick 2 suits you’re interested in working in, and 1-2 cards you very much do not want to illustrate.

The application will include things like: a link to your portfolio (instagram and twitter are NOT accepted as a portfolio) and if you are interested in designing any merch as well.

We also ask for a short artist bio: think twitter style - short and sweet. Please don’t talk down about yourself or your skills - talk yourself up! Make me excited to see your art!!

Reminder about our applications: PLEASE do not submit porn or gore in your highlight art. Blood and nudity are ok, porn and gore please no.

Hopefully it goes without saying but we do not accept NFT art or AI generated art.

About us: we’re two non-binary lesbians who really love cats and gay art. We’ve enjoyed our work as a queer publishing house and can’t wait to do more! We’ve completed 9 projects including tarot cards and books! Some of our previous works include classics but make it gay, And They Were Monsters, and Cover Me Queer.

Check out our work at www.novaandmali.com . 

[transmutationisms]

it feels like a fairly trivial point that any observation of reality also becomes part of that reality once it is made. like that is not really that sophisticated a point to make and yet every silicon adjacent data optimising hedge fund beholden tech/media class member seems to relearn and then forget this lesson so constantly. hey guys do you think if you publish exit poll results while voting is still going on it might change the outcome of the election. do you think if the spotify algorithm is recommending things based on listener data it might be shaping those behaviours and not just observing them. do you think if 'ai' is scraping up the collective wisdom of the internet it might also be basing its own predictive text on the similarly predictive text of every other 'ai'. etc

[zeichannnnn]

⚠️ In regards to the natlan controversy (and Sumeru by proxy)

Do NOT accuse people of being racist just because your skin colour cannot be found in a game. Learn to know that people don't live in the same situation as you.

Please read this fully for the reality of things I'm sorry for getting political, skip if you don't want to interact

I’m kinda sad at the fact that a lot of people are quick to hate, judge, and scrutinise Hoyo without understanding the situation.

With recent teaser of Natlan characters, people are rightfully upset at the fact that the characters shown to hail from Natlan… don’t exactly look the part. With characters lighter than my own skin tone (I’m a Chinese Southeast Asian by the way, heya) people are calling hoyo bullshit and accusing them of being a racist for failing time and time again at giving us characters with POC shades of skin. Now I’m not here to defend Mihoyo for their actions, or to tell you to stop being mad at the situation being the way they are. No, I’m here to shed you some light of how life is as a game company under the rule of the Chinese Communist Party (CCP) and Xin Jin Ping (XJP cause I won’t be bothered to type his whole ass name)

I've highlighted points of each section

Any pages that requires translations, I recommend using DeepL instead of google translate because you can check the meanings of specific words and it's translation are better (imo)

Skip to the last part if you just want a summarised version

Before we get into the nitty gritty that is Genshin drama, I'll give you a run-down on what and how China works.

check the part "In relation to Genshin's design choices and how China's beauty standard influences it" if you want to go straight on to the point

People’s Republic of China

is a Unitary Marxist–Leninist one-party socialist republic. This means that China is under a one-party (Chinese Communist Party) rule with communism ideology on how they rule and govern the country and socialist standards for how they manage their economy and everything else. [.]

The CCP holds a very nationalistic view

[.] which is commonly used as propaganda [.] for them to garner either sympathy or control over the people of China. These nationalistic view, in its raw and most rudest form, simply states that Chinese people are pure by upholding traditional Chinese culture (that's not even traditionally Chinese, more or less more catered towards communism and the CCP's ideologies which are that they're great and everyone else is wrong) and not mixing themselves or tainting themselves with things that are not pure (i.e. anything that isn't Chinese, from China, belongs to China) This nationalistic views, which glorifies China and detests anything foreign (i.e. culture, language, people, etc.) have led to a lot of xenophobia being built and nurtured inside of China's society [1] [2] [3]

Aside from the CCP's nationalistic views,

China's society is very censored and monitored by the CCP

[.] Google, YouTube, or more specifically, the internet itself is heavily banned by the government, electing the people to use the CCP's private internet that allows them to be monitored 24/7 through IP location and private information. [1] [2] [3] [4] Aside from heavily monitored and controlled internet access, people in the real world are also actively being watched and monitored through CCTV with facial recognition features and an AI that can predict people's action (yes, exactly like the akasha, and yes, Sumeru arc is based on reality, I won't talk about it here but feel free to read between the lines and compare it with the sources and news articles I'm about to drop on you) [1] [2. Behind paywall] [3] [4] [5]

With its censorship in mind, let us talk about what brings us all here:

the gaming censorship in China.

In order for a game to be published in China, whether it's made by an indie or a multi-billion dollar company, the game has to go through a complicated preliminary test made and assigned by the CCP to play, test, and go through your game before publishing it anywhere in Chinese media [.] This test includes you company's paperwork, your game's paperwork, the things you're displaying in your game, and the story it's trying to tell. There are not that many rules on what should and should not appear inside of your game, such as: polyamory, the undead (in both graphic and non-graphic manner), etc. That should be considered tame and should cause no problem, however, we do have a problem with one of the rule given which is: Emphasizing Cultural Sensitivity.

Emphasizing Cultural Sensitivity

in the article I've mentioned before, describes it as "Games should impart “correct” information on politics, law, and history, as interpreted by the authorizing agency." Now what does "correct" information entail? Who fucking knows because truth is relative. Facts, when in the eyes of the CCP, are relative to what they believe is to be right and what they want us to believe is right.

Now with that out of the way, let us get into the main deal.

MiHoYo

(not to be confused with Hoyoverse/Cognosphere which is their international branch) is a is a Chinese video game development and publishing company, founded by three classmates from university Cai Haoyu, Liu Wei, and Luo Yuhao [.] That means that Genshin Impact's development, ever since it was at its infancy, first-established days, and updates until the near future, are all subjected onto that game censorship law that I mentioned earlier. Now you might all be wondering, what does all of those rules have to do with genshin characters having dark skins? To that I point you towards the fact that MiHoYo and the CCP are and have been actively working together ever since around September 2021. [1] [2]

Cooperation between MiHoYo and the CCP

Ever since Genshin Impact's massive hit both nationally and internationally, its massive fanbase has hit the internet no one has ever seen before. It is the first ever Chinese game that has gotten world wide acclaim and with that, new eyes begin to look upon China. It is no surprise to anyone that Genshin is very particular about showing and promoting Chinese culture to the outside world. Genshin has somehow become the face to Chinese culture in just a year, with limited events such as Lantern Rite and Moonchase festival to showcase China's cultural beauty. With world-wide acclaim comes a price, wherein the CCP no longer treats Genshin as "another game" but a tool that they can use to promote and advertise themselves into the global population.

Begin the censorship and micro-manipulation of things in Genshin

New gaming censorship dropped after the Genshin Impact became a hit in the industry, with even Venti and Gorou as examples of characters that should not appear in media published in China (effeminate man) [.] In additional to the list I've linked in the "the gaming censorship in China" section, a lot more additional rules have been added to that list, such as: queer representation, morally grey character, but I what I want you to look at more is the section where "historical elements, including characters, maps and clothing, should conform with mainstream accounts." in addition to that, a self-regulation pact was made between game companies and the CCP that bans any and all content that is deemed "politically harmful" and "historically nihilistic." Now focus more onto that "historically nihilistic" point, what does that mean?

Historical nihilism

is a term used by the CCP and many Chinese scholars to describe research or discussions deemed to contradict an official state version of history in a manner perceived to question or challenge the legitimacy of the CCP [.] TLDR; it's a term used for when what you're saying clashes or goes against what the CCP said. Why is this important you may ask? It's because that now, at this point, if anything Genshin does something—whether that'd be plotline, design etc.—that the CCP thinks shouldn't exist or be represented, they have the lawful right to block or stop it from reaching the final product. Now this, this is what happened to Genshin's Sumeru and Natlan cast.

In relation to Genshin's design choices and how China's beauty standard influences it

white has always been a predominant part of modern Chinese beauty culture, for some reason (I don't know and I'm not going to go that deep into it, research it on your own if you're curious) In fact, it's not only China but also Asian culture in general. White skin has always been hailed as pure and beautiful here in Asia, where the line "as pale as the moon" is a common compliment to give to someone. Skin colour that are tan or even darker are connected to being dirty or stinky. Despite the younger generation not really adhering to that view, the older generation (calling out the CCP here) upholds that standard till this day. Pin straight hair, round eyes, pale white skin, and a thin figure are the standards put upon those born as female. Their male counterpart are not that different, with lean and fit being the preferred body type rather than big muscles or bulky forms.

The reason behind why this is the case is because of Asia's strict social code in rules and appearances. We must appear prim and clean, that means no dyed hair, no tattoos, no piercings, and minimal make-up. Anyone that goes against those rules are regarded as delinquents or deviants that usually break the rules and do criminal activities (despite it not being the case) Having a bulky stature also applies to that list, regardless of what gender you are, and especially for men. You're regarded as dangerous, criminal, bad influence if you look like that in public (this is why we don't have that much bulky characters gang and why we were robbed of heavy muscles Itto orz) (he deffo was very bulky in the original design, probably similar to the Nobushi but it got nerfed in final product)

Given all of that in mind, it's no wonder that Sumeru's and and Natlan's casts are mostly white... but were they always that way?

The original skin colour design for Natlan cast might've been darker than what we have in the final product.

As a lot of people have mentioned (especially with the many beautiful edits I'm very fond of) the character designs for Natlan's new up-coming rosters looks better with darker skin tone. Take for examples this edit right here:

taken from @ rarepairz on twitter [source]

Their designs (with darker skin tones) seem to pop more, giving highlights onto their clothes and accessories in comparison to the original design. Here are more examples of this happening:

taken from @ Wabs_nabs on twitter [source]

It is especially clear to anyone with basic colour theory that the colour used for designing the clothes and accessories and highlights in the hair look better with darker skin colour. There is *intent* on making it this way in comparison to woeful ignorance of making them look white as hell. If they were to intentionally to make the characters look white, they would've chosen a better colour for the clothes, less bolder ones and eye-popping ones to contrast with the already luminescent light that's emitting from the skin.

And this is not the case for only Natlan, by the way! The same thing happened when the Sumeru cast was first leaked. Case in point this:

taken from @ animuswonder on twitter [source]

and my personal art of Cyno and Nari:

Look at how much contrast there is between their colour palette or how much resonance there is, with Cyno his more cold-colour attire and hair, in comparison to his deep dark warm skin or Tighnari that's the epitome of a "spring girl" like come on man. There's INTENT in those designs, to have more darker shades than they are in the game. Sadly, they just can't do it due to censorships. Why? Because, as I have mentioned before, darker shades of skin are represented as dirt here in Asia as we glorify pale skin more.

The representation of uniqueness and differences in Chinese game is not common due the fact that most Asian countries are homogenous, which means they prefer everyone and everything to be the same, to look the same, and follow and do the same things. They do not advocate for uniqueness, they do not advocate for individuality, they advocate for us to conform and to follow like a sheep in a herd. Because of that, most people spend their whole life trying to whiten up their skin, keeping them light, and those who are darker than most are shown prejudiced and scrutinised.

Mentioning again the fact that MiHoYo and the CCP are working closely together, Genshin Impact is currently being used as a cultural weapon by the government. With MiHoYo showing numerous time that they've donate and support Chinese cultural heritage, the CCP is using that fact and holding control over Genshin as a way to promote and advertise sympathy towards Chinese culture and the Communist regime by proxy. It's like how your parents are getting you to eat broccoli brownies in hopes that you'd eat normal broccolis and other vegetables by proxy. Everything and anything that Genshin shows in its game are now under close inspections of the CCP and colourism especially will not fly-by their radar.

In conclusion

Your anger and hatred towards the new characters’ designs are justified, however the person you aim those anger and hatred should not be towards Mihoyo, or Liu Wei, or any of the staff members but towards the situation and the laws and the local government MiHoYo has to adhere to.

We're already lucky to have MiHoYo even wanting to represent and shpw different cultures from different parts of the world, telling us engaging stories, and incentivising us to think more and to be be more of us instead of following the crowd and to judge those in power (if you are literate and have the ability of a 6th grader, you know the theme Genshin Impact is showing in its story). In a world where they aren't able to live as freely as people outside of mainland do, they shouldn't have to put their life at risk by creating a game that goes against the CCP's laws that will lead to a deduction to their social points (yes, those actually exist, WAKE UP). Yet they do, they update every month, telling stories, creating characters with many characteristics that goes against Chinese gaming laws, just for us to enjoy.

Do NOT accuse people of being racist just because your skin colour cannot be found in a game. Learn to know that people don't live in the same situation as you.

You are right to be mad, you are right to be upset, but do not condemn them for something they hold no power to. It's between their lives and your fantasies and if you choose to value your delusion over their livelihood then that just shows what kind of a person you are.

Where's this conviction towards other game companies aside from MiHoYo? Where's the rightful air when it comes to companies that breathe much fresher air? Do they not have the same responsibility? Or is it because you actually do not care and merely want to point your unbridled emotions towards something or someone? If so, you're pointing at the wrong person.

[sayruq]

Meta identifies networks pushing deceptive content likely generated by AI

Meta (META.O) said on Wednesday it had found "likely AI-generated" content used deceptively on its Facebook and Instagram platforms, including comments praising Israel's handling of the war in Gaza published below posts from global news organizations and U.S. lawmakers. The social media company, in a quarterly security report, said the accounts posed as Jewish students, African Americans and other concerned citizens, targeting audiences in the United States and Canada. It attributed the campaign to Tel Aviv-based political marketing firm STOIC. While Meta has found basic profile photos generated by artificial intelligence in influence operations since 2019, the report is the first to disclose the use of text-based generative AI technology since it emerged in late 2022. Researchers have fretted that generative AI, which can quickly and cheaply produce human-like text, imagery and audio, could lead to more effective disinformation campaigns and sway elections. In a press call, Meta security executives said they removed the Israeli campaign early and did not think novel AI technologies had impeded their ability to disrupt influence networks, which are coordinated attempts to push messages.

[mariacallous]

In a product demo last week, OpenAI showcased a synthetic but expressive voice for ChatGPT called “Sky” that reminded many viewers of the flirty AI girlfriend Samantha played by Scarlett Johansson in the 2013 film Her. One of those viewers was Johansson herself, who promptly hired legal counsel and sent letters to OpenAI demanding an explanation, according to a statement released later. In response, the company on Sunday halted use of Sky and published a blog post insisting that it “is not an imitation of Scarlett Johansson but belongs to a different professional actress using her own natural speaking voice.”

Johansson’s statement, released Monday, said she was “shocked, angered, and in disbelief” by OpenAI’s demo using a voice she called “so eerily similar to mine that my closest friends and news outlets could not tell the difference.” Johansson revealed that she had turned down a request last year from the company’s CEO, Sam Altman, to voice ChatGPT and that he had reached out again two days before last week’s demo in an attempt to change her mind.

It’s unclear if Johansson plans to take additional legal action against OpenAI. Her counsel on the dispute with OpenAI is John Berlinski, a partner at Los Angeles law firm Bird Marella, who represented her in a lawsuit against Disney claiming breach of contract, settled in 2021. (OpenAI’s outside counsel working on this matter is Wilson Sonsini Goodrich & Rosati partner David Kramer, who is based in Silicon Valley and has defended Google and YouTube on copyright infringement cases.) If Johansson does pursue a claim against OpenAI, some intellectual property experts suspect it could focus on “right of publicity” laws, which protect people from having their name or likeness used without authorization.

James Grimmelmann, a professor of digital and internet law at Cornell University, believes Johansson could have a good case. “You can't imitate someone else's distinctive voice to sell stuff,” he says. OpenAI declined to comment for this story, but yesterday released a statement from Altman claiming Sky “was never intended to resemble” the star, adding, “We are sorry to Ms. Johansson that we didn’t communicate better.”

Johansson’s dispute with OpenAI drew notice in part because the company is embroiled in a number of lawsuits brought by artists and writers. They allege that the company breached copyright by using creative work to train AI models without first obtaining permission. But copyright law would be unlikely to play a role for Johansson, as one cannot copyright a voice. “It would be right of publicity,” says Brian L. Frye, a professor at the University of Kentucky’s College of Law focusing on intellectual property. “She’d have no other claims.”

Several lawyers WIRED spoke with said a case Bette Midler brought against Ford Motor Company and its advertising agency Young & Rubicam in the late 1980s provides a legal precedent. After turning down the ad agency’s offers to perform one of her songs in a car commercial, Midler sued when the company hired one of her backup singers to impersonate her sound. “Ford was basically trying to profit from using her voice,” says Jennifer E. Rothman, a law professor at the University of Pennsylvania, who wrote a 2018 book called The Right of Publicity: Privacy Reimagined for a Public World. “Even though they didn't literally use her voice, they were instructing someone to sing in a confusingly similar manner to Midler.”

It doesn’t matter whether a person’s actual voice is used in an imitation or not, Rothman says, only whether that audio confuses listeners. In the legal system, there is a big difference between imitation and simply recording something “in the style” of someone else. “No one owns a style,” she says.

Other legal experts don’t see what OpenAI did as a clear-cut impersonation. “I think that any potential ‘right of publicity’ claim from Scarlett Johansson against OpenAI would be fairly weak given the only superficial similarity between the ‘Sky’ actress' voice and Johansson, under the relevant case law,” Colorado law professor Harry Surden wrote on X on Tuesday. Frye, too, has doubts. “OpenAI didn’t say or even imply it was offering the real Scarlett Johansson, only a simulation. If it used her name or image to advertise its product, that would be a right-of-publicity problem. But merely cloning the sound of her voice probably isn’t,” he says.

But that doesn’t mean OpenAI is necessarily in the clear. “Juries are unpredictable,” Surden added.

Frye is also uncertain how any case might play out, because he says right of publicity is a fairly “esoteric” area of law. There are no federal right-of-publicity laws in the United States, only a patchwork of state statutes. “It’s a mess,” he says, although Johansson could bring a suit in California, which has fairly robust right-of-publicity laws.

OpenAI’s chances of defending a right-of-publicity suit could be weakened by a one-word post on X—“her”—from Sam Altman on the day of last week’s demo. It was widely interpreted as a reference to Her and Johansson’s performance. “It feels like AI from the movies,” Altman wrote in a blog post that day.

To Grimmelmann at Cornell, those references weaken any potential defense OpenAI might mount claiming the situation is all a big coincidence. “They intentionally invited the public to make the identification between Sky and Samantha. That's not a good look,” Grimmelmann says. “I wonder whether a lawyer reviewed Altman's ‘her’ tweet.” Combined with Johansson’s revelations that the company had indeed attempted to get her to provide a voice for its chatbots—twice over—OpenAI’s insistence that Sky is not meant to resemble Samantha is difficult for some to believe.

“It was a boneheaded move,” says David Herlihy, a copyright lawyer and music industry professor at Northeastern University. “A miscalculation.”

Other lawyers see OpenAI’s behavior as so manifestly goofy they suspect the whole scandal might be a deliberate stunt—that OpenAI judged that it could trigger controversy by going forward with a sound-alike after Johansson declined to participate but that the attention it would receive from seemed to outweigh any consequences. “What’s the point? I say it’s publicity,” says Purvi Patel Albers, a partner at the law firm Haynes Boone who often takes intellectual property cases. “The only compelling reason—maybe I’m giving them too much credit—is that everyone’s talking about them now, aren’t they?”

[therobotmonster]

Please don’t use midjourney it steals art from pretty much every artist out there without any compensation. I didn’t know this at first and tried it but then during the creation process i saw water marks and Getty image logos (though I’m sure they’ve hidden that now) so it’s definitely stealing.

No, it isn't. And you've taken the wrong lesson from the Getty watermark issue.

AI training on public facing, published work is fair use. Any published piece could be located, examined, and learned from by a human artist. This does not require the permission of the owner of said work. A mechanical apparatus does not change this principle.

All we, as artists, own, are specific expressions. We do not own styles, ideas, concepts, plots, or tropes. We do not even own the work we create in a proper sense. All our work flows from the commons, and all of it flows back to it. IP is a limited patent on specific expressions, and what constitutes infringement is the end result of the creative process. What goes into it is irrelevant, and upending that process to put inspiration and reference as infringement is the end of art as we know it.

The Getty watermark issue is an example of overfitting, wherein a repetitive element in the dataset over-emphasizes specific features to the point of disrupting the system's attempts at the creation of novel images.

No one denies that the SD dataset is trained on images Getty claims to own, but Getty has so polluted the image search functions of the internet with their watermarked images that the idea of a getty watermark has been picked up the same way the AI might pick up the idea of an eye or a tree branch. It is a systemic failure that Shutterstock and Getty can be so monopolistic and ubiquitous that a dateset trained on literally everything public facing on the internet would be polluted with their watermarks.

Watermarks that, by the way, they add to public domain images, and that google prioritizes over clean versions.

The lawsuits being brought against Midjourney and Stable Diffusion are copyright overreach being presented as a theft tissue. The facts of the matter are not as the litigants state. The images aren't stored, the SD weights are a 4 gig file trained on 250 terabytes, roughly 4 bytes per image. It runs local, does not reach out to image sources over IP. All you've got are mathematical patterns and ratios. I would go so far as to say that the class action suit is based on outright lies.

But for a moment, let's entertain the idea that what goes into a work, as inspiration, can be copyrighted. That styles can be stolen. That what goes in defines infringement, rather than what comes out. What happens then?

Well, the bad news is that if Stable Diffusion and Midjourney were shut down tomorrow, Stable Diffusion is in the wild. It runs local, it's user-trainable. In short, the genie isn't going back in the bottle. Plus, the way diffusion AI works, there's no way to trace a gen to its sources. The weights don't work like that. The indexing would be larger than the entire set of stored patterns.

Well good news, there's an AI for that. The current version is called CLIP Interrogator And it works on everything. Not just AI generated, but any image. It can find what style it closely matches, reverse engineer a prompt. It's crude now, but it will improve.

Now, you've already established that using the same patterns as another work is infringement. You've already established that inspiration is theft. And now there's a robot that tells lawyers who you draw like.

Sure, you can fight it in court. If it goes go to court. But who's to say they won't just staplegun that AI to a monetization re-direction bot like youtube has going with their content ID? Awesome T-shirt design you uploaded to your print-on-demand shop... too bad your art style resembles that from a cartoon from 1973 that Universal got as part of an acquisition and they've claimed all your cash. Sure you can file a DMCA counter-notice, but we all know how that goes.

And then there's this fantasy that upending the system would help artists. But who would "own" that style? Is that piece stealing the style of Stephen Silver, or Disney's Kim Possible(TM)? When you work for Disney their contracts say everything you make is theirs. Every doodle. Every drawing. If the styles are copyrightable, a company could hire an artist straight out of school, publish their work under work-for-hire, fire them, and then go after them for "stealing" the style they developed while working for said corp.

Not to mention that a handful of companies own so much media that it is going to be impossible to find an artist that hasn't been influenced by something under their control.

Oh, and that stock of source images that companies like Disney and Universal have? These kinds of lawsuits won't stop them from building AIs with that material that they "own". The power goes into corp hands, they can down staff to their heart's content and everyone else is denied the ability to compete with them. Worst of all possible worlds.

Be careful what wishes you make when holding the copyright monkey's paw.

[orinthered]

came across something very strange, and that's ai-powered gaming journalism

i've been playing a lot of enshrouded in my off time, and consequently, have been looking up a lot of stuff about enshrouded. i looked up how to get rid of shroud (basically in-game poison clouds) from around my base. the very first result is this incredibly strange article:

the 'pro-tip' was incredibly weird. i click on it, it's an article about this post:

scroll down to the comments, and there's someone in the replies very sarcastically telling op they should learn how to screenshot, and because the people running zleague have quality checking levels that average around zero, this smartass comment makes it into the article.

the entire site is just scouring gaming subreddits and telling chatgpt to write an article about them. that's the entire website.

three thousand four hundred and fifteen pages of ai-powered shlock articles. the first one was 'written' on december 15th. in the 10-minute timeframe it took me to write this post, they published another fucking article.

[mostlysignssomeportents]

AI art has no anti-cooption immune system

TONIGHT (July 20), I'm appearing in CHICAGO at Exile in Bookville.

One thing Myspace had going for it: it was exuberantly ugly. The decision to let users with no design training loose on a highly customizable user-interface led to a proliferation of Myspace pages that vibrated with personality.

The ugliness of Myspace wasn't just exciting in a kind of outsider/folk-art way (though it was that). Myspace's ugliness was an anti-cooption force-field, because corporate designers and art-directors would, by and large, rather break their fingers and gouge out their eyes than produce pages that looked like that.

In this regard, Myspace was the heir to successive generations of "design democratization" that gave amateur communities, especially countercultural ones, a space to operate in where authentic community members could be easily distinguished between parasitic commercializers.

The immediate predecessors to Myspace's ugliness-as-a-feature were the web, and desktop publishing. Between the img tag, imagemaps, the blink tag, animated GIFs, and the million ways that you could weird a page with tables and padding, the early web was positively bursting with individual personality. The early web balanced in an equilibrium between the plunder-friendliness of "view source" and the topsy-turvy design imperatives of web-based layout, which confounded both print designers (no fixed fonts! RGB colorspaces! dithering!) and even multimedia designers who'd cut their teeth on Hypercard and CD ROMs (no fixed layout!).

Before the web came desktop publishing, the million tractor-feed ransom notes combining Broderbund Print Shop fonts, joystick-edited pixel-art, and a cohort of enthusiasts ranging from punk zinesters to community newsletter publishers. As this work proliferated on coffee-shop counters and telephone poles, it was visibly, obviously distinct from the work produced by "real" designers – that is, designers who'd been a) trained and b) paid by a corporation to employ that training.

All of this matters, and not just for aesthetic reasons. Communities – especially countercultural ones – are where our society's creative ferment starts. Getting your start in the trenches of the counterculture wars is no proof against being co-opted later (indeed, many of the designers who cut their teeth desktop publishing weird zines went on to pull their hair and roll their eyes at the incredible fuggliness of the web). But without that zone of noncommercial, antiestablishment, communitarian low weirdness, design and culture would stagnate.

I started thinking about this 25 years ago, the first time I met William Gibson. I'd been assigned by the Globe and Mail to interview him for the launch of All Tomorrow's Parties:

https://craphound.com/nonfic/transcript.html

One of the questions I asked was about his famous aphorism, "The street finds its own use for things." Given how quickly each post-punk tendency had been absorbed by commercial culture, couldn't we say that "Madison Avenue finds its own use for the street"? His answer started me down a quarter-century of thinking and writing about this subject:

I worry about what we'll do in the future, [about the instantaneous co-opting of pop culture]. Where is our new stuff going to come from? What we're doing pop culturally is like burning the rain forest. The biodiversity of pop culture is really, really in danger. I didn't see it coming until a few years ago, but looking back it's very apparent.

I watch a sort of primitive form of the recommodification machine around my friends and myself in sixties, and it took about two years for this clumsy mechanism to get and try to sell us The Monkees.

In 1977, it took about eight months for a slightly faster more refined mechanism to put punk in the window of Holt Renfrew. It's gotten faster ever since. The scene in Seattle that Nirvana came from: as soon as it had a label, it was on the runways of Paris.

Ugliness, transgressiveness and shock all represent an incoherent, grasping attempt to keep the world out of your demimonde – not just normies and squares, but also and especially enthusiastic marketers who want to figure out how to sell stuff to you, and use you to sell stuff to normies and squares.

I think this is what drove a lot of people to 4chan (remember, before 4chan was famous for incubating neofascism, it was the birthplace of Anonymous): its shock culture, combined with a strong cultural norm of anonymity, made for a difficult-to-digest, thoroughly spiky morsel that resisted recommodification (for a while).

All of this brings me to AI art (or AI "art"). In his essay on the "eerieness" of AI art, Henry Farrell quotes Mark Fisher's "The Weird and the Eerie":

https://www.programmablemutter.com/p/large-language-models-are-uncanny

"Eeriness" here is defined as "when there is something present where there should be nothing, or is there is nothing present when there should be something." AI is eerie because it produces the seeming of intent, without any intender:

https://pluralistic.net/2024/05/13/spooky-action-at-a-close-up/#invisible-hand

When we contemplate "authentic" countercultural work – ransom-note DTP, the weird old web, seizure-inducing Myspace GIFs – it is arresting because the personality of the human entity responsible for it shines through. We might be able to recognize where that person ganked their source-viewed HTML or pixel-optimized GIF, but we can also make inferences about the emotional meaning of those choices. To see that work is to connect to a mind. That mind might not necessarily belong to someone you want to be friends with or ever meet in person, but it is unmistakably another person, and you can't help but learn something about yourself from the way that their work makes you feel.

This is why corporate work is so often called "soulless." The point of corporate art is to dress the artificial person of the corporation in the stolen skins of the humans it uses as its substrate. Corporations are potentially immortal, artificial colony organisms. They maintain the pretense of personality, but they have no mind, only action that is the crescendo of an orchestra of improvised instruments played by hundreds or thousands of employees and a handful of executives who are often working directly against one another:

https://locusmag.com/2022/03/cory-doctorow-vertically-challenged/

The corporation is – as Charlie Stross has it – the "slow AI" that is slowly converting our planet to the long-prophesied grey goo (or, more prosaically, wildfire ashes and boiled oceans). The real thing that is signified by CEOs' professed fears of runaway AI is runaway corporations. As Ted Chiang says, the experience of being nominally in charge of a corporation that refuses to do what you tell it to is the kind of thing that will give you nightmares about autonomous AI turning on its masters:

https://pluralistic.net/2023/03/09/autocomplete-worshippers/#the-real-ai-was-the-corporations-that-we-fought-along-the-way

The job of corporate designers is to find the signifiers of authenticity and dress up the corporate entity's robotic imperatives in this stolen flesh. Everything about AI is done in service to this goal: the chatbots that replace customer service reps are meant to both perfectly mimic a real, competent corporate representative while also hewing perfectly to corporate policy, without ever betraying the real human frailties that none of us can escape.

In the same way, the shillbots that pretend to be corporate superfans online are supposed to perfectly amplify the corporate message, the slow AI's conception of its own virtues, without injecting their own off-script, potentially cringey enthusiasms.

The Hollywood writers' strike was, at root, about the studio execs' dream that they could convert the "insights" of focus groups and audience research into a perfect script, without having to go through a phalanx of lippy screenwriters who insisted on explaining why they think your idea is stupid. "Hey, nerd, make me another ET, except make the hero a dog, and set it on Mars" is exactly how you prompt an AI:

https://pluralistic.net/2023/08/20/everything-made-by-an-ai-is-in-the-public-domain/

Corporate design's job is to produce the seeming of intention without any intender. The "personality" we're meant to sense when we encounter corporate design isn't the designer's, nor the art director's, nor even the CEO's. The "personality" is meant to be the slow AI's, but a corporation doesn't have a personality.

In his 2018 short story "Noon in the antilibrary," Karl Schroeder describes an "antilibrary" as an endlessly deep anaerobic lagoon of generative botshit:

https://www.technologyreview.com/2018/08/18/104097/noon-in-the-antilibrary/

The antilibrary is a generative AI system that can produce entire librarys’-worth of fake books with fake authors, fake citations by other fake experts with their own fake books and biographies and fake social media accounts, on-demand and instantly. It was speculation in 2018; it’s possible now. Creating an antilibrary is just a matter of investing in a sufficient number of graphics cards and electricity.

https://kschroeder.substack.com/p/after-the-internet

Reading Karl's reflections on the antilibrary crystallized something for me that I've been thinking about for a quarter-century, since I interviewed Gibson at the Penguin offices in north Toronto. It snapped something into place that I've trying to fit since encountering Henry's thoughts on the "eeriness" of AI work and the intent without an intender.

It made me realize why I dislike AI art so much, on a deep, aesthetic level. The point of an image generator is to buffer the intention of the prompter (which might be genuinely creative and bursting with personality) in layers of automated decision-making that flense the final product of any hint of the mind that caused its creation.

The most febrile, deeply weird and authentic prompts of the most excluded outsiders produce images that feel the same as the corporate AI illustrations that project the illusion of personality from the immortal, transhuman colony organism that is the limited liability corporation.

AI art is born coopted. Even the 4chan equivalent of AI – the deeply transgressive and immoral nonconsensual pornography – feels no different from the "official" AI porn churned out by "real" pornographers. "Shrimp Jesus" and other SEO-optimized Facebook slop is so uncanny because it is simultaneously "weird" ("that which does not belong") and yet it belongs in the same aesthetic bucket of the most anodyne Corporate Memphis ephemera:

https://en.wikipedia.org/wiki/Corporate_Memphis

We call it "generative" but AI art can't generate the kind of turnover that aerates the aesthetic soil. An artform that can't be transgressive is sterile, stillborn, a dead end.

Support me this summer on the Clarion Write-A-Thon and help raise money for the Clarion Science Fiction and Fantasy Writers' Workshop!

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/07/20/ransom-note-force-field/#antilibraries

Image: Cryteria (modified) https://commons.wikimedia.org/wiki/File:HAL9000.svg

CC BY 3.0 https://creativecommons.org/licenses/by/3.0/deed.en

--

Jake (modified) https://commons.wikimedia.org/wiki/File:1970s_fanzines_(21224199545).jpg

CC BY 2.0 https://creativecommons.org/licenses/by/2.0/deed.en

[mi-i-zori]

With Love and Purrs

CoD - Shifter!AU - Cat Shifter!Nikto x GN!Reader

SYNOPSIS : A kind of headcanon-like thingy about Cat Shifter!Nikto meeting his reason to live.

WARNINGS : Mention of Nikto thinking about how deadly his job is for a moment. Otherwise, this is pure fluff.

Author’s Note : I’m back, and I’ve got a few things to share, starting with this ! The worms have been wiggling about hybrids and shifters lately. Maybe it’ll become a new AU.

I do not give anyone permission to re-publish, re-use and/or translate my work, be it here or on any other platform, including AI.

CoD AUs - Masterlist

Main Masterlist

Nikto catches sight of Reader multiple times during a long stay at the base they work at. He quickly learns that they have a job in the administration, and comes to appreciate the aura they exude. Their smile seems engraved in his mind both day and night, refusing to leave his thoughts. He finds himself wishing to be the source of their happiness, even if just for a fleeting moment.

Yet he can’t stop his mind from lashing out against this feeling, screaming about how doing so could lead him to another path full of pain ; like it always seems to be.

Which is why he decides to find a compromise with himself and approach them in an… Unconventional way.

He comes to them in his animal form - a black, rugged little stray cat with piercing blue eyes and patches of scarred skin lingering among his already unruly fur. As always, he stays silent ; making them jump when someone points out that a peculiar feline is following them at a distance, never letting them out of its sight.

They immediately start cooing at him, lowering their voice as if to not startle him. They stay where they are, calling him with a hand outstreched towards his form. Despite his usual wary self, he immediately grasps the opportunity between his paws, giving their fingers the tiniest sniff before timidly snuggling against them.

Still, it takes him quite some time before he manages to not instinctively shy or jump away from their touch. Yet they never seem to get tired of him - smiling and slow blinking at him as he lays on what quickly became his special chair and blanket in their office, sometimes talking to him quietly, allowing him a glimpse of their thoughts.

They respect his space, which he is constantly grateful for. They ask for his permission before petting him, slowly coming to hold a hand in front of his nose, and never getting upset when he doesn’t feel like cuddling. They apologize whenever they accidentally spook him, and try to calm him down with a few peaceful words and coos. They try to contain their excitement whenever he allows them to pet or kiss him, yet he can feel it radiating from them.

He become the source of their joy more and more, and he can’t help but feel a little smug about it.

However, he isn’t really fond of their colleagues. Some of them try to force their need for feline cuddles on him despite Reader’s warnings. They make a show of lightly scolding him when he scratches, bites or hisses at the idiots, but never fail to smile and reassure him when he grumbles about it after the unwanted attention-seeker leaves.

« They never learn the lesson, do they ? » They say. « I’m sorry, Baby. » Nikto wishes he could tell them they are not the one who needs to apologize, especially not when they are so good to him.

He also likes that name. Baby. But don’t tell anyone.

One man, though, is worse than the others. He never comes to try and pet him, and Nikto doesn’t care about the way he looks at him, as if he were the scourge of the Earth - he is used to the negativity dancing in the eyes of others on his path, even more in his human form. But the man flirts shamelessely with his human, and he loathes it. He can feel Reader’s discomfort the second that arrogant bastard’s footsteps echo down the hall, and sees the exasperated sigh that crosses their lips just before he automatically makes his way through the door as if he owns the whole place. Nikto makes his point by glaring at him until the idiot gets uncomfortable enough to leave, and hisses when he breezes past his chair on his way out. He relishes in the satisfied smile they give him, the kisses they blow his way as a relieved thank you.

Then comes the day he has to go on a mission again. He doesn’t know how long he will be gone, if he’ll even be able to see them again. His shoulders are heavy as he boards the plane, glancing one last time at the door beyond the tarmac wondering if, somewhere in the building, the one that holds his heart will be waiting for his return.

And said heart leaps with delight when he finally steps on the base’s grounds again ; battered and bruised, exhausted and sore, but alive. He doesn’t waste a second to let his little paws follow the lines of the corridors leading to his Reader’s office. The arrogant flirt is there when he arrives, and Nitko is more than happy to tear their attention away from him the second he walks through their door. He rubs his entire side against their legs, his face against their fingers. He preens as the idiot bites back a snarl and almost runs out of the room ; his love doesn’t even notice, to busy running their hands through his fur as they ask him where he’s been.

« I’ve been thinking, » they say, sounding like they are about to make him the most outrageous of confessions, « would you like to come home with me ? »

Nikto is too focused on trying to quell the erratic beating of his heart to register their nervous babbling about how they asked around and learned he was a stray hanging around the base, and how they have been thinking about it for months. He cuts them off with his first meow in what feels like an eternity. It’s rough, and almost sounds nothing more like a disgusting gurgle in his ears ; but their eyes lit up with happiness, their excitement wafting off of them in unrestrained waves as they pick him up. And he lets them, his claws digging into their shirt as if they were going to vanish right before his eyes.

His new reality settles in as they put him down on the floor of their apartment. The scents are the first thing that hits him. It smells like them, feels like them. The cushions on their sofa are the softest against his rugged pawpads, but so are their carpets and their bed. They let him explore every single corner of their home - his home, they insist on saying, and Nikto’s heart threatens to burst out of his ribcage.

He now spends his days lounging in their office, learning to indulge in his teasing side more as he rolls around on their desk, and his nights in whatever free space of their apartment he feels like invading. He learns to meow more, his voice sounding the tiniest bit clearer every time, and to purr too. The rumbles are awkward and raspy, but he happily lets them out as Reader combs through his erratic fur.

He sighs dreamily whenever they turn their back, wishing he could give them everything they offer him back tenfold. So he takes it upon himself to « groom » them whenever they try to detangle his fur, showering them with his own kind of kisses and silent love. He fights his aversion for touch to cuddle more, savoring the smiles it brings out on their face. He goes to sleep next to their pillow, and wakes up sprawled on top of their chest, listening to their quiet heartbeat.

There’s this one time when they tell him how much he reminds them of a certain masked soldier they crossed paths with a few times back at the base. They gush about the piercing blue of the man’s eyes, so similar to his ; his confident strides, the nods of greeting he took the time to offer them, his silent, brooding and soothing presence in the elevator. They recall the time the soldier shielded them from a pushy idiot, telling him off with the silent sharpness of a stone and the coldness of ice. Nikto doesn’t need to be told the details of this story ; he remembers well the blush coating their cheeks as he escorted them back to their office, wary of the glint that danced in the flirty soldier’s eyes. A blush so similar to the one they carry as they gush about that « imposing gentleman of a stranger » - and probably to the one warming up his own face under his fur.

A part of him is terrified at the idea that they might end up catching on the situation - that the cat they adopted, that they worry about for months when he disappears, is actually that man they would love to know more leaving on deadly missions. He considered multiple times faking his death once more to finally be able to stay with them for good, protect them too. But the thought of being rejected, thrown out for being a disgusting creep, tears his heart apart.

Yet another side of him starts purring the second he thinks about how he could finally be accepted for who he is. A feline shifter, yes, but also a broken man, yearning for love behind the many walls and barriers he hides behind in order to protect himself.

They don’t know the truth, obviously. He’s been very careful about everything, though he can’t do anything about the deployments.

But for the first time in forever, Nikto hopes.

And for the first time in forever, he might be surprised by how sharp his dear Reader can be…