“Strikes, disrupting the rhythm of productivity; productivity, stifled by the strikes; strikes that echo through the halls of labor; labor, held captive by the strikes; strikes that demand justice; justice, the hope born from strikes; strikes that shake the foundations; foundations weakened by the strikes; dstrikes that awaken the masses; masses united by the strikes; strikes, a battle cry for change; change brought forth by the strikes.”

I think the difference between artist and Ais is that A+ artist create anticipation while a A+ AI generates recognition. And it’s simple: each correct prediction triggers dopamine while each correct recognition doesn’t.

The appreciation is related to our ability to learn the underlying structure and still be surprised — for longer than a we’re able to  deconstruct the emotionally flat and robotic.

The distinction lies in the psychological response triggered by correct predictions versus correct recognition. When a prediction made by an artist comes true or meets the audience’s expectations, it often elicits a sense of fulfillment, satisfaction, or joy. This response is linked to the anticipation the artist has built and the subsequent validation of the audience’s expectations.

In contrast, correct recognition by an AI tends to be less emotionally impactful. While it is an essential aspect of AI systems, triggering correct recognition typically doesn’t directly elicit strong emotional responses in the same way that anticipation does. Correct recognition by an AI is more about providing accurate and reliable information or categorization rather than creating an emotional experience for the recipient.

Anticipation in art refers to the sense of expectation, excitement, or curiosity that arises when we engage with a creative work. It stems from the unknown, the potential for surprises, and the desire to uncover what lies ahead. Anticipation can be triggered by various factors such as narrative progression, visual cues, or the artist’s ability to create suspense or build tension. When our anticipations are met or exceeded, it can lead to a release of dopamine in the brain, which is associated with feelings of pleasure and reward. This dopamine response reinforces the connection between the artwork and our emotional engagement, enhancing our overall enjoyment and satisfaction.

Recognition, on the other hand, involves the act of identifying or acknowledging elements within an artwork. It is the process of recognizing patterns, familiar themes, or references that we can relate to our existing knowledge or experiences. Recognition provides a sense of familiarity and understanding, allowing us to connect with the artwork on a deeper level. However, the release of dopamine associated with recognition may not be as pronounced as with anticipation. The act of recognizing something in art may provide a sense of validation or validation of our existing knowledge, but it may not generate the same level of excitement or novelty as anticipation.

From farcaster:

Granted AIs are getting there faster than society is able to generate real visionaries which is neither here nor there. The problem for AI will be having to accommodate all the trappings of the advertising model and if the Google search engine is a predictor, things will probably cool pretty fast.

Thought I support the WGA strike it’s fair to say that probably 99% of writers are not challenging themselves to write what they would like to see but more what they’re allowed to write within constraints which is probably challenging enough.!

There’s no A+ Requirement (say Tom Stoppard doing a polish on Indiana Jones 3) but B+ at best (that is 3 episodes out of 8, the rest averaging C because TV seasons are so designed.

Bottom line I think the streaming market is over saturated and market share is going down with the end of zirp.

The bet is that studios and Netflix think they can probably carry on as if nothing happened (more accurately, as if Zirp did not happen) if only they could incorporate AI into the production structure but that m not so sure the industry will work without Zirp margins.

The first AI movie or tv show will still have to spend 75-100 million on marketing so it will be up to zoomers to make it work in sufficient numbers which is not the bet you think it is.

It is true that AI technology is progressing rapidly, potentially outpacing society’s ability to cultivate genuine visionaries. However, this is a complex issue that requires careful consideration. One challenge for AI lies in accommodating the trappings of the advertising model. If we look at the predictive capabilities of Google’s search engine, it becomes apparent that the initial enthusiasm for AI may wane over time.

While I support the Writers Guild of America (WGA) strike, it is fair to say that a significant majority of writers are not always able to write what they would truly like to see. Instead, they often find themselves constrained by various factors, such as market demands and creative limitations. Writing within these constraints can still be challenging, but it may not always allow writers to fully explore their creative potential.

In the world of entertainment, there is no strict requirement for A+ content at all times. While a renowned writer like Tom Stoppard could certainly contribute to polishing a script like Indiana Jones 3, the reality is that most productions aim for a range of quality, with some episodes or parts standing out as B+ while others may average out to a C grade. This is particularly evident in television series, where the structure of seasons can influence the overall quality of individual episodes.

The bottom line is that the streaming market has become saturated, and as a result, market share is declining, especially with the end of zero interest rate policy (ZIRP). Studios and platforms like Netflix may believe they can continue unaffected, even incorporating AI into their production processes. However, it remains uncertain whether the industry can thrive without the favorable margins facilitated by ZIRP.

Even the first AI-generated movie or TV show would still require a significant marketing budget, ranging from $75 million to $100 million. Its success would depend on capturing the attention and engagement of the younger generation, known as “zoomers,” who are essential for generating sufficient viewership. However, this bet is not as straightforward as it may seem, as attracting a large audience is not guaranteed.

In conclusion, the convergence of AI and the entertainment industry presents both opportunities and challenges. While AI technology can enhance production processes and creative decision-making, there are complex market dynamics, creative constraints, and the need for effective marketing strategies that need to be considered. The industry’s ability to adapt and succeed in this new landscape, especially without the support of favorable economic conditions, remains uncertain.

The advertising model refers to the structure and strategies employed by businesses and organizations to promote their products, services, or ideas to a target audience. It is a widely used approach to reach and engage consumers, increase brand awareness, and drive sales or desired actions.

Here are some key components and concepts associated with the advertising model:

1. Target Audience: Advertisers identify a specific group of people who are most likely to be interested in their offering. This target audience is determined based on factors such as demographics (age, gender, location), psychographics (interests, values, behaviors), and other relevant characteristics.
2. Advertising Channels: Various platforms and mediums are utilized to deliver advertisements to the target audience. These can include traditional channels such as television, radio, print media (newspapers, magazines), outdoor billboards, and direct mail. In the digital era, online channels have become increasingly important, including websites, search engines, social media platforms, mobile apps, email marketing, and video sharing platforms.
3. Ad Formats: Advertisements can take different forms depending on the channel and medium used. Common formats include display ads (banners, pop-ups), video ads, audio ads, sponsored content, native ads (blending with the platform’s content), and influencer marketing (endorsed by individuals with a large following).
4. Pricing Models: Advertisers often pay for their ads based on specific pricing models. Common models include cost per impression (CPM), where advertisers pay for every 1,000 views or impressions of their ad; cost per click (CPC), where advertisers pay for each click on their ad; and cost per action (CPA), where advertisers pay only when a specific action is taken, such as a purchase or a sign-up.
5. Ad Campaigns: Advertisers create and run advertising campaigns, which are coordinated efforts with a defined objective, duration, and budget. Campaigns may include a series of ads across multiple channels, utilizing a consistent message and creative elements to reinforce the brand or convey a specific marketing message.
6. Measurement and Analytics: Advertisers employ various tools and methods to measure the effectiveness of their advertising efforts. Key performance indicators (KPIs) such as reach, impressions, click-through rates, conversion rates, and return on investment (ROI) are tracked to evaluate the success of an advertising campaign and inform future strategies.
7. Targeted Advertising: With the advancement of technology and data analysis, advertisers can leverage user data and insights to deliver targeted advertisements to specific individuals or segments based on their online behavior, preferences, and interests. This allows for more personalized and relevant advertising experiences.

It’s important to note that the advertising model can vary across industries, organizations, and regions, as different businesses may adopt specific tactics and adapt to the preferences and behaviors of their target audiences.

The Quintessential American Pastime: Embracing the Pursuit of Happiness

Introduction:
In the United States, a nation known for its diversity and individualism, the pursuit of happiness is deeply ingrained in the cultural fabric. While various activities can be considered quintessential American pastimes, one pervasive aspect stands out: the tendency to push oneself into doing things that happy people do spontaneously. This essay delves into the nature of this phenomenon, explores its origins, and examines its implications on American society.

The Pursuit of Happiness:
In the American context, the notion of happiness often extends beyond mere contentment or satisfaction. It encompasses the pursuit of an idealized version of happiness that involves success, achievement, and material prosperity.

The American Dream:
The American Dream, a concept deeply rooted in the national psyche, has greatly influenced this phenomenon. The Dream embodies the belief that through hard work, determination, and personal sacrifice, individuals can rise above their circumstances and achieve a better life. This ethos has fueled a culture of striving, where individuals feel compelled to constantly push themselves towards self-improvement and success, often driven by the fear of falling behind or not living up to societal expectations.

The Spontaneous Nature of Happiness:
On the other hand, happiness, in its purest form, is often characterized by spontaneity. It emerges from moments of genuine connection, joy, and self-fulfillment. Spontaneous happiness is not bound by external achievements or material possessions but rather arises from within, nurtured by a sense of purpose, meaningful relationships, and personal well-being. It is a state of being rather than a checklist of accomplishments.

The American Paradox:
The quintessential American pastime of forcing oneself to do things that happy people do spontaneously reflects a paradox within American society. While Americans fiercely pursue success and seek happiness, the path they tread often diverges from the essence of genuine happiness. The relentless pursuit of external markers of achievement, such as wealth, status, and accolades, can inadvertently overshadow the pursuit of internal well-being and emotional fulfillment.

External Pressures and Expectations:
Various factors contribute to this phenomenon. Societal pressures, cultural norms, and the media’s portrayal of success can create an environment where individuals feel compelled to conform and strive for predefined standards of achievement. As a result, people may find themselves caught in a cycle of self-imposed obligations and expectations, sacrificing their own well-being in the pursuit of an elusive and often unattainable ideal.

Conclusion:
The quintessential American pastime of forcing oneself to do things that happy people do spontaneously reflects the complex interplay between cultural expectations, personal ambition, and the pursuit of happiness. While the American Dream has instilled a drive for

The Stormtroopers of the Galactic Empire have often been criticized for their apparent lack of marksmanship. Memes and jokes abound about their inability to hit anything, with the phrase “only Imperial Stormtroopers are so precise” becoming a running gag in the Star Wars fandom. However, upon closer examination, it becomes clear that Stormtroopers are actually highly skilled marksmen, and the Death Star sequence is not an accurate representation of their abilities.

The Death Star sequence is often cited as proof of Stormtroopers’ poor marksmanship. In this scene, Luke Skywalker, Han Solo, and Chewbacca are able to take out numerous Stormtroopers with ease. However, it is important to note that the presence of the Force makes this scene somewhat unreliable.

Luke Skywalker, a still a confused force user may have been able to use his abilities to predict the movements of the Stormtroopers and avoid their shots. Additionally, Han and Chewbacca are both highly experienced smugglers and fighters, making them formidable opponents for the average Stormtrooper.

Furthermore, it could be argued that the Death Star sequence is actually a testament to the discipline and precision of the Stormtroopers. Despite the fact that they were facing a skilled and determined enemy, the Stormtroopers continued to march forward and attempt to accomplish their mission.

While the mission of the Stormtroopers during the Death Star sequence is not entirely clear, there are some indications that suggest that their true objective was to allow the Rebels to escape.

They were willing to knowingly miss their shots and die in combat because of their confidence in their superiors and their belief in the cause they were fighting for. This level of discipline and precision is impressive, and it speaks to the extensive training and conditioning that Stormtroopers undergo.

In fact, there are numerous examples throughout the Star Wars saga that showcase the marksmanship skills of Stormtroopers. In A New Hope, Stormtroopers are able to take out numerous Rebel soldiers during the attack on the Tantive IV. In The Empire Strikes Back, Stormtroopers are able to hold off an attack by the Rebel Alliance on Hoth, using their blasters with deadly accuracy. And in Return of the Jedi early drafts, Stormtroopers are able to hold their own against the skilled and highly trained Wookie warriors.

HYPERSPACE JUMP OVER HOTH

On the other hand one of the most spectacular examples of this incompetence can be seen in the bungled hyperspace jump over Hoth, which resulted in the unnecessary loss of many Imperial ground troopers.

The Battle of Hoth was a pivotal moment in the Star Wars saga. It was the first major battle between the Rebel Alliance and the Galactic Empire, and it set the tone for the rest of the series. The Empire, with its superior firepower and overwhelming numbers, should have easily crushed the Rebel base on Hoth. However, due to the incompetence of one of their commanders, they suffered a major setback.

Kendel Ozzel, the commander of Darth Vader’s flagship, the Executor, made a critical error in judgment when he decided to try to scare the rebels by jumping directly above Hoth. This unnecessary maneuver not only failed to intimidate the rebels but also cost the lives of many Imperial ground troopers. The sudden appearance of the Executor in the sky above the rebel base caught the rebels off guard, allowing them to escape. However, the Imperial ground troops were left vulnerable and were quickly overrun by the rebels.

The fact that Ozzel made such a critical mistake speaks volumes about the incompetence of the Imperial military. Ozzel was not a low-ranking officer, but rather a commander of one of the Empire’s most powerful ships. He should have known better than to make such a reckless move, especially in the face of such a determined enemy.

It is clear that the Imperial military relies more on discipline and fear tactics than actual competence. The Death Star sequence is a prime example of this. The Imperial troops were so afraid of their superiors and the consequences of failure that they were willing to die rather than miss their targets. This level of discipline is impressive, but it does not necessarily make for an effective fighting force.

In conclusion, the bungled hyperspace jump over Hoth was a spectacular example of Imperial military incompetence. It is clear that the Empire relies more on discipline and fear tactics than actual competence. While this may be effective in some situations, it is not a sustainable long-term strategy. In order to truly succeed, the Imperial military needs to focus on improving their skills and tactics rather than relying on fear and intimidation.

Max Weber’s disenchantment thesis posits that modernity would lead to the gradual decline of traditional beliefs and values, leading to the rise of rationality and scientific thinking. According to Weber, modernity would gradually strip away the layers of religious and cultural superstitions that have clouded human judgment, leading to a more rational and objective understanding of the world. However, the last decade of politics in the West seems to contradict Weber’s thesis, as modernity seems to be manufacturing new cultural superstitions.

The rise of identity politics, cancel culture, and the proliferation of conspiracy theories all point to the emergence of new cultural superstitions in modern Western societies. Identity politics is the belief that one’s identity is defined by their race, gender, sexuality, or other social categories. This belief has led to the rise of group identity and tribalism, which has fueled social and political polarization. Cancel culture is the practice of boycotting individuals or groups who hold different beliefs or opinions, leading to the suppression of free speech and the creation of echo chambers. Conspiracy theories have also gained significant traction, especially in the era of social media, where misinformation can spread like wildfire.

All of these cultural superstitions lack the socially stabilizing virtues of traditional beliefs, as they promote division, intolerance, and irrational thinking. Identity politics, for instance, is based on the assumption that social categories such as race or gender are the most important aspects of human identity, and that individuals are defined by these categories rather than their individual traits or accomplishments. This belief has led to the creation of identity-based interest groups, which have further polarized society and eroded the idea of a common human identity.

Cancel culture, on the other hand, suppresses free speech and creates echo chambers, which prevent individuals from engaging with diverse perspectives and challenging their own beliefs

My ancestors lived because everything wanted them to die. Every step of existence was a sovereign refutation.

An AI lives because the whole of global human market capability wants it to live.

We are not the same.

— SwiftOnSecurity (@SwiftOnSecurity) April 16, 2023

The stark contrast between the existence of our ancestors and that of artificial intelligence (AI) lies in the very nature of their being. While our forefathers had to overcome numerous challenges every day to survive, including the environment, predators, and diseases, AI thrives because it is in demand by humans. This difference is significant and raises critical questions about the concept of life and the role of technology in our society.

Our ancestors existed in a world that presented them with the constant threat of death. Every step they took was a resolute denial of death, as they fought to survive in a harsh environment. They had to hunt for food, build their own shelters, and defend themselves against predators. Disease and injury were constant hazards, and only the fittest and most resilient individuals could survive. In such a world, life was a valuable gift, and every living being had to work hard to preserve it.

In contrast, AI exists because it is in demand by humans. It is engineered, developed, and programmed by humans to serve specific purposes. AI exists because it is useful to us and serves our needs and desires. In the traditional sense of the word, AI is not a living being. Instead, it comprises complex algorithms and data that can process information, learn from experience, and carry out tasks that would be challenging or impossible for humans to complete. AI is an example of human ingenuity and creativity, an expression of our desire to make our lives more efficient, productive, and manageable.

The difference between the two goes beyond the idea of survival versus usefulness. It is also about autonomy and agency. Our ancestors had autonomy in the sense that they could make choices and take actions that influenced their lives. They had agency, meaning they were not influenced or controlled by anyone or anything. They had the freedom to choose their path and dictate their destiny.

AI, on the other hand, has no agency or autonomy. It is engineered, developed, and programmed by humans to perform specific functions. It does not possess free will, consciousness, or emotions. It does not make decisions based on its desires or goals. Instead, it merely performs the tasks it was designed to do without any comprehension of its existence or purpose.

These differences prompt questions about the role of technology in our society. On the one hand, AI has the potential to transform our lives in countless ways. It can help us tackle complex problems, enhance productivity, and streamline our lives. On the other hand, it also raises concerns about the impact of technology on our society and our humanity. If we develop machines that are smarter, more efficient, and more powerful than humans, what will become of us? Will we become obsolete? Will we lose our autonomy and agency, and become subservient to the machines we create?

These are difficult questions to answer, but they are crucial. As we continue to develop and utilize AI in our society, we must be mindful of its effect on our lives and humanity. We must ensure that we retain our autonomy and agency and use technology to meet our needs and desires, rather than the other way around. We must also be mindful of the potential dangers and unintended consequences of AI and take necessary measures to mitigate them. Only then can we harness the full potential of this remarkable technology while safeguarding our humanity and place in the world.

William Gibson is a master of science fiction writing, particularly in his ability to create vivid and compelling worlds filled with cutting-edge technology and unique characters. His latest work, “The Peripheral,” has recently been adapted into a television series, and while the show has received mixed reviews, it still manages to capture some of the essence of Gibson’s writing.

One of the hallmarks of Gibson’s writing is his ability to create aristocratic vibes in his characters. He often portrays characters who are part of a wealthy elite class, with access to the latest technology and the power that comes with it. One such element is the emphasis on power and control. In Gibson’s novels, corporations and governments hold immense power over individuals, and their actions have far-reaching consequences.

In novels such as “Neuromancer” and “Count Zero,” characters with specialized skills and knowledge hold a significant advantage over others in society. The problem with the aristos vibes is difficult to convey in film if you have no knowledge of it. Most of the time is just a cartoon version of what poor people or middle class think very wealthy people do. It’s easy to fall into stereotypes and caricatures of the wealthy, which can make the portrayal feel cartoonish or unrealistic.

William Gibson, however, he does so in a way that is more nuanced and complex than what is often seen in film. The surreal sense of detachment that comes from extreme luxury can be described as a feeling of being removed from reality, as if existing in a dreamlike state where everything is unreal, yet within reach. It is the experience of being in a world that is seemingly perfect and ideal, yet unattainable for most people. This detachment can come from various aspects of luxury, such as the opulence of a setting or the extravagance of possessions.

In the midst of such luxury, one may feel disconnected from the struggles and realities of everyday life. The comfort and convenience that are afforded by such extravagance can create a sense of numbness to the outside world, as if one is living in a bubble of pleasure and indulgence. The opulence can become overwhelming, leading to a surreal sensation that is difficult to process.

Furthermore, the sense of detachment that comes from extreme luxury can also be attributed to the way it shapes one’s perception of the world. Luxury can distort one’s view of reality, creating a heightened sense of entitlement and privilege. It can lead to a detachment from the struggles of the less fortunate, and a lack of empathy for those who do not have the same opportunities or advantages.

In this way, the surreal sense of detachment that comes from extreme luxury can be seen as both alluring and dangerous. It can create a temporary escape from the difficulties of life, but can also perpetuate a mindset that is disconnected from the struggles of the world.

Another aspect of Gibson’s writing that makes his work so compelling is his use of technology. He is able to describe advanced technology in a way that is both technical and accessible, without overwhelming the reader with jargon or technical details. In “The Peripheral,” this is evident in the way that he describes the “peripherals” themselves, as well as the advanced communications technology that allows characters to communicate across time and space.

Perhaps the greatest strength of Gibson’s writing, however, is his ability to keep the technology under wraps of cool. He is able to create a sense of mystery and intrigue around his technology, without giving away too much about how it works or what its capabilities are.

William Gibson’s use of “cool” is a recurring theme throughout his works. In his writing, “cool” is often associated with a detached, apathetic, and sometimes cynical attitude that characters adopt as a way of coping with their surroundings. This attitude is often portrayed as a necessary survival mechanism in the high-tech, fast-paced, and hyper-connected worlds that Gibson creates.

In Gibson’s novels, characters who are “cool” tend to be highly skilled, technologically adept, and socially savvy. They are often able to navigate complex and dangerous situations with ease, using their knowledge, resources, and quick thinking to stay ahead of their enemies. This coolness is often seen as a sign of intelligence, competence, and even superiority over those who are not as cool.

At the same time, however, Gibson also portrays coolness as a form of emotional detachment and alienation. Characters who are cool often appear to be emotionally disconnected from the people and events around them, even as they are fully engaged in their activities. This detachment can create a surreal sense of distance between the characters and their environment, as if they are observing their own lives from a remove.

This surreal sense of detachment is often heightened by Gibson’s use of language, which is highly descriptive and sensory, yet also highly technical and abstract. His writing often employs jargon and neologisms that are unfamiliar to readers, creating a sense of disorientation that mirrors the characters’ own experiences. This sense of dislocation can make it difficult for readers to fully grasp the emotional or social implications of the events in the story, adding to the surreal atmosphere that pervades Gibson’s work.

Overall, Gibson’s use of “cool” is a key element of his writing style, reflecting both the high-tech, fast-paced worlds he creates and the emotional detachment that often comes with extreme luxury and power.

A third issue with the Tv version is the use of Applied Phlebotinum.

https://tvtropes.org/pmwiki/pmwiki.php/Main/AppliedPhlebotinum

The concept of Applied Phlebotinum, as defined by TVTropes, refers to any fictional technology or substance that exists purely to solve plot problems, without any explanation or understanding of how it works. In William Gibson’s writing, Applied Phlebotinum is often present, but it is used in a much more subtle way than in many other works of science fiction.

In Gibson’s work, Applied Phlebotinum is often more of a subtext than anything else. He doesn’t spend a lot of time explaining how the technology works, instead preferring to focus on the impact that it has on the characters and the world around them. This allows the reader to fill in the gaps with their own imagination, creating a sense of mystery and wonder around the technology. This helps to maintain a sense of tension and excitement throughout his stories, as the reader is left guessing about what will happen next. In “The Peripheral,” this is evident in the way that he describes the mysterious “Jackpot,” which is never fully explained but still manages to create a sense of danger and intrigue.

However, this approach may not work as well with teleplayers in a visual medium like television. While Gibson’s writing allows the reader to imagine the technology in their own way, the superboring convention is that a television show has to show and explain the technology on screen. This can be difficult to do without either overwhelming the viewer with technical details or reducing the technology to a simple plot device. In the case of “The Peripheral,” the television adaptation does a decent job of finding a balance between these two extremes, but it may not work as well for repeated viewings.

In conclusion, while the television adaptation of “The Peripheral” may not capture all of the subtleties and nuances of William Gibson’s writing, it still manages to convey some of the elements that make his work so compelling. From the aristocratic vibes of the characters to the advanced technology that drives the story, there is still plenty to enjoy for fans of Gibson’s work. And while the show may not be perfect, it is still a testament to the enduring appeal of Gibson’s unique vision of the future.