#new ico crypto | Explore Tumblr posts and blogs

mostlysignssomeportents · 2 years ago

Text

The AI hype bubble is the new crypto hype bubble

Back in 2017 Long Island Ice Tea — known for its undistinguished, barely drinkable sugar-water — changed its name to “Long Blockchain Corp.” Its shares surged to a peak of 400% over their pre-announcement price. The company announced no specific integrations with any kind of blockchain, nor has it made any such integrations since.

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/2023/03/09/autocomplete-worshippers/#the-real-ai-was-the-corporations-that-we-fought-along-the-way

LBCC was subsequently delisted from NASDAQ after settling with the SEC over fraudulent investor statements. Today, the company trades over the counter and its market cap is $36m, down from $138m.

https://cointelegraph.com/news/textbook-case-of-crypto-hype-how-iced-tea-company-went-blockchain-and-failed-despite-a-289-percent-stock-rise

The most remarkable thing about this incredibly stupid story is that LBCC wasn’t the peak of the blockchain bubble — rather, it was the start of blockchain’s final pump-and-dump. By the standards of 2022’s blockchain grifters, LBCC was small potatoes, a mere $138m sugar-water grift.

They didn’t have any NFTs, no wash trades, no ICO. They didn’t have a Superbowl ad. They didn’t steal billions from mom-and-pop investors while proclaiming themselves to be “Effective Altruists.” They didn’t channel hundreds of millions to election campaigns through straw donations and other forms of campaing finance frauds. They didn’t even open a crypto-themed hamburger restaurant where you couldn’t buy hamburgers with crypto:

https://robbreport.com/food-drink/dining/bored-hungry-restaurant-no-cryptocurrency-1234694556/

They were amateurs. Their attempt to “make fetch happen” only succeeded for a brief instant. By contrast, the superpredators of the crypto bubble were able to make fetch happen over an improbably long timescale, deploying the most powerful reality distortion fields since Pets.com.

Anything that can’t go on forever will eventually stop. We’re told that trillions of dollars’ worth of crypto has been wiped out over the past year, but these losses are nowhere to be seen in the real economy — because the “wealth” that was wiped out by the crypto bubble’s bursting never existed in the first place.

Like any Ponzi scheme, crypto was a way to separate normies from their savings through the pretense that they were “investing” in a vast enterprise — but the only real money (“fiat” in cryptospeak) in the system was the hardscrabble retirement savings of working people, which the bubble’s energetic inflaters swapped for illiquid, worthless shitcoins.

We’ve stopped believing in the illusory billions. Sam Bankman-Fried is under house arrest. But the people who gave him money — and the nimbler Ponzi artists who evaded arrest — are looking for new scams to separate the marks from their money.

Take Morganstanley, who spent 2021 and 2022 hyping cryptocurrency as a massive growth opportunity:

https://cointelegraph.com/news/morgan-stanley-launches-cryptocurrency-research-team

Today, Morganstanley wants you to know that AI is a $6 trillion opportunity.

They’re not alone. The CEOs of Endeavor, Buzzfeed, Microsoft, Spotify, Youtube, Snap, Sports Illustrated, and CAA are all out there, pumping up the AI bubble with every hour that god sends, declaring that the future is AI.

https://www.hollywoodreporter.com/business/business-news/wall-street-ai-stock-price-1235343279/

Google and Bing are locked in an arms-race to see whose search engine can attain the speediest, most profound enshittification via chatbot, replacing links to web-pages with florid paragraphs composed by fully automated, supremely confident liars:

https://pluralistic.net/2023/02/16/tweedledumber/#easily-spooked

Blockchain was a solution in search of a problem. So is AI. Yes, Buzzfeed will be able to reduce its wage-bill by automating its personality quiz vertical, and Spotify’s “AI DJ” will produce slightly less terrible playlists (at least, to the extent that Spotify doesn’t put its thumb on the scales by inserting tracks into the playlists whose only fitness factor is that someone paid to boost them).

But even if you add all of this up, double it, square it, and add a billion dollar confidence interval, it still doesn’t add up to what Bank Of America analysts called “a defining moment — like the internet in the ’90s.” For one thing, the most exciting part of the “internet in the ‘90s” was that it had incredibly low barriers to entry and wasn’t dominated by large companies — indeed, it had them running scared.

The AI bubble, by contrast, is being inflated by massive incumbents, whose excitement boils down to “This will let the biggest companies get much, much bigger and the rest of you can go fuck yourselves.” Some revolution.

AI has all the hallmarks of a classic pump-and-dump, starting with terminology. AI isn’t “artificial” and it’s not “intelligent.” “Machine learning” doesn’t learn. On this week’s Trashfuture podcast, they made an excellent (and profane and hilarious) case that ChatGPT is best understood as a sophisticated form of autocomplete — not our new robot overlord.

https://open.spotify.com/episode/4NHKMZZNKi0w9mOhPYIL4T

We all know that autocomplete is a decidedly mixed blessing. Like all statistical inference tools, autocomplete is profoundly conservative — it wants you to do the same thing tomorrow as you did yesterday (that’s why “sophisticated” ad retargeting ads show you ads for shoes in response to your search for shoes). If the word you type after “hey” is usually “hon” then the next time you type “hey,” autocomplete will be ready to fill in your typical following word — even if this time you want to type “hey stop texting me you freak”:

https://blog.lareviewofbooks.org/provocations/neophobic-conservative-ai-overlords-want-everything-stay/

And when autocomplete encounters a new input — when you try to type something you’ve never typed before — it tries to get you to finish your sentence with the statistically median thing that everyone would type next, on average. Usually that produces something utterly bland, but sometimes the results can be hilarious. Back in 2018, I started to text our babysitter with “hey are you free to sit” only to have Android finish the sentence with “on my face” (not something I’d ever typed!):

https://mashable.com/article/android-predictive-text-sit-on-my-face

Modern autocomplete can produce long passages of text in response to prompts, but it is every bit as unreliable as 2018 Android SMS autocomplete, as Alexander Hanff discovered when ChatGPT informed him that he was dead, even generating a plausible URL for a link to a nonexistent obit in The Guardian:

https://www.theregister.com/2023/03/02/chatgpt_considered_harmful/

Of course, the carnival barkers of the AI pump-and-dump insist that this is all a feature, not a bug. If autocomplete says stupid, wrong things with total confidence, that’s because “AI” is becoming more human, because humans also say stupid, wrong things with total confidence.

Exhibit A is the billionaire AI grifter Sam Altman, CEO if OpenAI — a company whose products are not open, nor are they artificial, nor are they intelligent. Altman celebrated the release of ChatGPT by tweeting “i am a stochastic parrot, and so r u.”

https://twitter.com/sama/status/1599471830255177728

This was a dig at the “stochastic parrots” paper, a comprehensive, measured roundup of criticisms of AI that led Google to fire Timnit Gebru, a respected AI researcher, for having the audacity to point out the Emperor’s New Clothes:

https://www.technologyreview.com/2020/12/04/1013294/google-ai-ethics-research-paper-forced-out-timnit-gebru/

Gebru’s co-author on the Parrots paper was Emily M Bender, a computational linguistics specialist at UW, who is one of the best-informed and most damning critics of AI hype. You can get a good sense of her position from Elizabeth Weil’s New York Magazine profile:

https://nymag.com/intelligencer/article/ai-artificial-intelligence-chatbots-emily-m-bender.html

Bender has made many important scholarly contributions to her field, but she is also famous for her rules of thumb, which caution her fellow scientists not to get high on their own supply:

Please do not conflate word form and meaning

Mind your own credulity

As Bender says, we’ve made “machines that can mindlessly generate text, but we haven’t learned how to stop imagining the mind behind it.” One potential tonic against this fallacy is to follow an Italian MP’s suggestion and replace “AI” with “SALAMI” (“Systematic Approaches to Learning Algorithms and Machine Inferences”). It’s a lot easier to keep a clear head when someone asks you, “Is this SALAMI intelligent? Can this SALAMI write a novel? Does this SALAMI deserve human rights?”

Bender’s most famous contribution is the “stochastic parrot,” a construct that “just probabilistically spits out words.” AI bros like Altman love the stochastic parrot, and are hellbent on reducing human beings to stochastic parrots, which will allow them to declare that their chatbots have feature-parity with human beings.

At the same time, Altman and Co are strangely afraid of their creations. It’s possible that this is just a shuck: “I have made something so powerful that it could destroy humanity! Luckily, I am a wise steward of this thing, so it’s fine. But boy, it sure is powerful!”

They’ve been playing this game for a long time. People like Elon Musk (an investor in OpenAI, who is hoping to convince the EU Commission and FTC that he can fire all of Twitter’s human moderators and replace them with chatbots without violating EU law or the FTC’s consent decree) keep warning us that AI will destroy us unless we tame it.

There’s a lot of credulous repetition of these claims, and not just by AI’s boosters. AI critics are also prone to engaging in what Lee Vinsel calls criti-hype: criticizing something by repeating its boosters’ claims without interrogating them to see if they’re true:

https://sts-news.medium.com/youre-doing-it-wrong-notes-on-criticism-and-technology-hype-18b08b4307e5

There are better ways to respond to Elon Musk warning us that AIs will emulsify the planet and use human beings for food than to shout, “Look at how irresponsible this wizard is being! He made a Frankenstein’s Monster that will kill us all!” Like, we could point out that of all the things Elon Musk is profoundly wrong about, he is most wrong about the philosophical meaning of Wachowksi movies:

https://www.theguardian.com/film/2020/may/18/lilly-wachowski-ivana-trump-elon-musk-twitter-red-pill-the-matrix-tweets

But even if we take the bros at their word when they proclaim themselves to be terrified of “existential risk” from AI, we can find better explanations by seeking out other phenomena that might be triggering their dread. As Charlie Stross points out, corporations are Slow AIs, autonomous artificial lifeforms that consistently do the wrong thing even when the people who nominally run them try to steer them in better directions:

https://media.ccc.de/v/34c3-9270-dude_you_broke_the_future

Imagine the existential horror of a ultra-rich manbaby who nominally leads a company, but can’t get it to follow: “everyone thinks I’m in charge, but I’m actually being driven by the Slow AI, serving as its sock puppet on some days, its golem on others.”

Ted Chiang nailed this back in 2017 (the same year of the Long Island Blockchain Company):

There’s a saying, popularized by Fredric Jameson, that it’s easier to imagine the end of the world than to imagine the end of capitalism. It’s no surprise that Silicon Valley capitalists don’t want to think about capitalism ending. What’s unexpected is that the way they envision the world ending is through a form of unchecked capitalism, disguised as a superintelligent AI. They have unconsciously created a devil in their own image, a boogeyman whose excesses are precisely their own.

https://www.buzzfeednews.com/article/tedchiang/the-real-danger-to-civilization-isnt-ai-its-runaway

Chiang is still writing some of the best critical work on “AI.” His February article in the New Yorker, “ChatGPT Is a Blurry JPEG of the Web,” was an instant classic:

[AI] hallucinations are compression artifacts, but — like the incorrect labels generated by the Xerox photocopier — they are plausible enough that identifying them requires comparing them against the originals, which in this case means either the Web or our own knowledge of the world.

https://www.newyorker.com/tech/annals-of-technology/chatgpt-is-a-blurry-jpeg-of-the-web

“AI” is practically purpose-built for inflating another hype-bubble, excelling as it does at producing party-tricks — plausible essays, weird images, voice impersonations. But as Princeton’s Matthew Salganik writes, there’s a world of difference between “cool” and “tool”:

https://freedom-to-tinker.com/2023/03/08/can-chatgpt-and-its-successors-go-from-cool-to-tool/

Nature can claim “conversational AI is a game-changer for science” but “there is a huge gap between writing funny instructions for removing food from home electronics and doing scientific research.” Salganik tried to get ChatGPT to help him with the most banal of scholarly tasks — aiding him in peer reviewing a colleague’s paper. The result? “ChatGPT didn’t help me do peer review at all; not one little bit.”

The criti-hype isn’t limited to ChatGPT, of course — there’s plenty of (justifiable) concern about image and voice generators and their impact on creative labor markets, but that concern is often expressed in ways that amplify the self-serving claims of the companies hoping to inflate the hype machine.

One of the best critical responses to the question of image- and voice-generators comes from Kirby Ferguson, whose final Everything Is a Remix video is a superb, visually stunning, brilliantly argued critique of these systems:

https://www.youtube.com/watch?v=rswxcDyotXA

One area where Ferguson shines is in thinking through the copyright question — is there any right to decide who can study the art you make? Except in some edge cases, these systems don’t store copies of the images they analyze, nor do they reproduce them:

https://pluralistic.net/2023/02/09/ai-monkeys-paw/#bullied-schoolkids

For creators, the important material question raised by these systems is economic, not creative: will our bosses use them to erode our wages? That is a very important question, and as far as our bosses are concerned, the answer is a resounding yes.

Markets value automation primarily because automation allows capitalists to pay workers less. The textile factory owners who purchased automatic looms weren’t interested in giving their workers raises and shorting working days. ‘ They wanted to fire their skilled workers and replace them with small children kidnapped out of orphanages and indentured for a decade, starved and beaten and forced to work, even after they were mangled by the machines. Fun fact: Oliver Twist was based on the bestselling memoir of Robert Blincoe, a child who survived his decade of forced labor:

https://www.gutenberg.org/files/59127/59127-h/59127-h.htm

Today, voice actors sitting down to record for games companies are forced to begin each session with “My name is ______ and I hereby grant irrevocable permission to train an AI with my voice and use it any way you see fit.”

https://www.vice.com/en/article/5d37za/voice-actors-sign-away-rights-to-artificial-intelligence

Let’s be clear here: there is — at present — no firmly established copyright over voiceprints. The “right” that voice actors are signing away as a non-negotiable condition of doing their jobs for giant, powerful monopolists doesn’t even exist. When a corporation makes a worker surrender this right, they are betting that this right will be created later in the name of “artists’ rights” — and that they will then be able to harvest this right and use it to fire the artists who fought so hard for it.

There are other approaches to this. We could support the US Copyright Office’s position that machine-generated works are not works of human creative authorship and are thus not eligible for copyright — so if corporations wanted to control their products, they’d have to hire humans to make them:

https://www.theverge.com/2022/2/21/22944335/us-copyright-office-reject-ai-generated-art-recent-entrance-to-paradise

Or we could create collective rights that belong to all artists and can’t be signed away to a corporation. That’s how the right to record other musicians’ songs work — and it’s why Taylor Swift was able to re-record the masters that were sold out from under her by evil private-equity bros::

https://doctorow.medium.com/united-we-stand-61e16ec707e2

Whatever we do as creative workers and as humans entitled to a decent life, we can’t afford drink the Blockchain Iced Tea. That means that we have to be technically competent, to understand how the stochastic parrot works, and to make sure our criticism doesn’t just repeat the marketing copy of the latest pump-and-dump.

Today (Mar 9), you can catch me in person in Austin at the UT School of Design and Creative Technologies, and remotely at U Manitoba’s Ethics of Emerging Tech Lecture.

Tomorrow (Mar 10), Rebecca Giblin and I kick off the SXSW reading series.

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

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

[Image ID: A graph depicting the Gartner hype cycle. A pair of HAL 9000's glowing red eyes are chasing each other down the slope from the Peak of Inflated Expectations to join another one that is at rest in the Trough of Disillusionment. It, in turn, sits atop a vast cairn of HAL 9000 eyes that are piled in a rough pyramid that extends below the graph to a distance of several times its height.]

2K notes · View notes

mariacallous · 2 months ago

Text

American R&B singer Aliaune Thiam, professionally known as Akon, has long wanted to help Senegal, the country he grew up in. He started Akon Lighting Africa in 2014 to install cheap Chinese solar-powered lighting systems across the continent. He hoped to do something more significant for Senegal. But how to fund it?

The answer turned out to be the same one adopted by a growing number of governments and entrepreneurs: a mixture of cryptocurrency and urban planning. It’s a combination that offers the promise of development without any of the tricky details—and which tends to turn out to be little more than vaporware. There was Bitcoin City in El Salvador, but also Painted Rock in Nevada, Satoshi Island in Vanuatu, Cryptoland in Fiji, or the Crypto-Kingdom of Bitcointopia in Utah.

In 2018, Akon announced a new cryptocurrency, to be called “akoin.” Akoin would enable Africans to, as the singer put it at a launch event, “advance themselves independent of the government”—in some manner. Most importantly, akoin would fund the creation of Akon City, an advanced planned city to be built in Senegal. Akon announced akoin and Akon City at the Cannes Lions Festival in June 2018. Akon said in November of that year that he had “everything planned out” for the city. But both Akon City and the akoin token remained only ideas for many months.

Akon was interested by the promises of cryptocurrency—specifically, free money by some unclear mechanism—but he was not up on the details of its technical or financial issues: “I come with the concepts and let the geeks figure it out,” he said. The akoin team featured initial coin offering (ICO) entrepreneurs such as Lynn Liss of ICO Impact and Crystal Rose Pierce.

The akoin cryptocurrency was pre-sold in a 2019 crypto token offering called “token of appreciation.” Each dollar “donation” would give you up to four tokens which would convert to akoin.

Akoin had not launched in Senegal at the time, despite billboards across the country. The West African CFA franc is the only legal currency in Senegal; BCEAO, the central bank, warned that akoin could not be used as a currency in the country.

Akoin promised all manner of functionality—special akoin wallet software, direct exchange with other cryptocurrencies or with cellphone minutes, an application marketplace, various “building blocks for entrepreneurship.” None of this was ever implemented.

Akoin finally started trading on a crypto exchange in November 2020. The akoin token didn’t do anything or have any particular utility; it was just a crypto token that you could trade. Pre-sale buyers dumped their akoin immediately and the price crashed. That’s not unusual: As of 2022, 24 percent of new cryptos fell 90 percent or more in their first week.

Akon posted on social media in January 2020 that he had “finalized the agreement for AKON CITY in Senegal”—though he had previously claimed that construction had already started in March 2019. The new city would be built near the small town of Mbodiène, about 100 kilometers south of the capital, Dakar.

Akon City would be a “smart city” inspired by the futuristic African nation of Wakanda from the 2018 movie Black Panther. The city would feature boldly curved skyscrapers, shopping malls, music and movie studios, “eco-friendly” tourist resorts, and a parking garage for flying cars.

Akon claimed in August 2020 that $2 billion of the $6 billion needed to build Akon City had been secured. He laid the foundation stone for the city on Aug. 31, 2020, and said that construction would start “next year,” in 2021.

Construction did not start in 2021, to the disappointment of locals. It was not clear where the $6 billion needed to build Akon City would come from. A representative for KE International, the United States-based contractor for Akon City, told AFP that more than $4 billion had been secured, with Kenyan entrepreneur Julius Mwale as lead investor, and that construction would start in October 2021—but it did not.

By 2022, Akon told the BBC that construction was “100,000 percent moving.” He said the COVID-19 pandemic was partly to blame for the delays. Akon was surprised at the “thousands of studies” that had to be done before work could even commence.

Senegal’s Society for the Development and Promotion of Coasts and Tourist Zones (SAPCO) had claimed the land by eminent domain in 2009 before offering it to Akon City in 2020. By 2023, no building work had been done at the Akon City site—though Axiome Construction insisted that geotechnical studies and environmental assessments were still under way. By this time, according to the Guardian, the only construction was a youth center nearby in Mbodiène, paid for personally by Akon—and built upon the foundation stone that he had laid in 2020.

Senegal finally lost patience with the project. Akon had missed several payments to SAPCO, and in June of this year, SAPCO sent a formal notice to Akon warning that work had to start by the end of July or SAPCO might take back almost all of the land grant.

Akon had already been looking for other opportunities to place akoin. In April 2021, he started talking to Uganda about setting up an Akon City there as well. In January 2022, the Ugandan government allocated him one square mile in Mpunge, in the Mukono district—despite objections from the National Unity Platform party and protests from Mpunge residents wanting compensation, which could not be paid before 2025.

Akon said that Akon City, Uganda, might be completed by 2036. At a 2021 news conference, he evaded questions on what the new city would cost or how it would be funded. The Forum for Democratic Change party said that the Ugandan Akon City would never happen and accused the government of granting “sweetheart deals” to developers.

Akon City was tech solutionism that leveraged the political power of celebrity. Akon wanted to launch a large project and thought that cryptocurrency, the buzzword of 2018, might fund his dream. He thought that this one weird trick would do the job.

In this case, the miracle technology was crypto. These days, such pushes by celebrities or entrepreneurs of new projects will typically use artificial intelligence—whatever that might mean in a particular case—as the marketing hook for a “smart city.

In his 2023 book Let Them Eat Crypto, Peter Howson of Northumbria University detailed how to head off solutionism-inspired blockchain projects that were heavy on publicity but light on the necessary bureaucratic work on the ground. His approach is broadly applicable to tech solutionism in general: Pay attention to the men behind the curtain. Howson has written recently on “smart city” plans as marketing for crypto tokens.

The Akon City plan was a worked example of speculative urbanization. A project is proposed with science-fiction concept drawings and a pitch aimed at tourists rather than locals; land is allocated; something might eventually be built, but it will bear little resemblance to the brochures. Christopher Marcinkoski of the University of Pennsylvania described Akon City as just one of many such initiatives, particularly in Africa, calling it “very much a real estate play.” The important output from such projects is local political capital—even as they never work out as advertised.

Cryptocurrency was an application of speculative urbanization to money—a high concept, a pitch to financial tourists, and the only end result being a token to speculate on and a tremendous amount of fraud. The Akon City project, however good Akon’s own intentions, seems functionally to have been merely the pitch for a crypto offering that failed—leaving an empty site, disappointed locals, and an embarrassed figurehead.

By 2024, akoin had been removed from the few crypto exchanges it had been listed on; it was effectively worthless. Akon sold short videos on Cameo—but he would not do requests related to cryptocurrency.

The speculative urbanization pitch rolls on. Actor Idris Elba has recently floated plans for an “environmentally friendly smart city” on Sherbro Island off Sierra Leone.

6 notes · View notes