AI tools have been and can be very useful tools but the main reason that not being able to identify LLM generated text is a problem,
is that as more text is LLM generated when they train new LLM systems, if they train them on LLM generated text, the systems will
get further and further from useful and maybe even understandable output. GIGO.
LLM generated stories and books may be interesting for a time but they often do have clear artefacts that will make them less
interesting.
Here's a good if long example why:
https://www.youtube.com/watch?v=aC99lNQdNmA
Quote: AI is improving all the time but at its very best you will only ever get serviceable imitations of mediocre products. But
plenty of successful mainstream movies are merely mediochre recycled products.
On 2023/07/29 8:19 pm, Stephen Loosley wrote:
On 29/07/2023 6:32 pm, Kim Holburn wrote:
What is this "admitted"? AI can't identify anything. It's a machine learning system that strings words together. It chooses
the next word based on the one before it. That's it. There is no "identify", "admit",
"truth", meaning, "understanding" here.
Seems little of true value in AI socially expensive false-flag eye-candy?
AU Edition | 29 July 2023
The Conversation
This week, the Australian Society of Authors sounded an alert over the risks generative AI technology poses to authors and
illustrators, in a submission to an Australian government inquiry. The inquiry, which closes next week, will consider what the
government can do to mitigate risks and support “safe and responsible AI practices”.
“We consider the large-scale scraping and exploitation of works without regard to authors and illustrators rights to be
outrageously unfair,” the society wrote. They’re concerned about the risk of copyright infringement and degradation of author
rights, the risk to incentives to create and the risk to integrity in publishing.
Publishing academic Millicent Weber surveys the worldwide scene in an article this week. In the United States, the Authors Guild
last week submitted an open letter to the chief executives of AI companies, asking their developers to obtain consent from, credit
and fairly compensate authors. Some of the world’s best-known authors were among the more than 10,000 signatories, including
Jonathan Franzen, Margaret Atwood, Geraldine Brooks and Linda Jaivin.
In the world’s first copyright-related ChatGPT lawsuit, authors Mona Awad and Paul Tremblay are suing OpenAI, claiming their books
were used to train the AI software without their consent. Science-fiction magazine Clarkesworld temporarily closed its submissions
earlier this year, after receiving hundreds of AI-created stories. As of this month, 984 books for sale on Amazon list ChatGPT as
a coauthor.
AI now shadows publishing contract negotiations, with some authors reporting stalled contracts as a result of AI uncertainty. The
Australian Society of Authors reports actively working on, among other things, a model clause for publishing agreements
specifically relating to AI.
Every new technology brings concerns about how old media might be superseded, and the social and cultural implications, says
Weber. Unpacking these concerns can reveal as much about existing practices as it does about new technology.
It prompts us to pause and ask – why do we read? Relationships with human authors are central, says Weber. This is proved by the
fact bestsellers are created as much by author-focused promotion as by a book’s contents.
Concerns about the impact of generative AI on creators – and their livelihoods – are also at the heart of the current Hollywood
writers’ and actors’ strikes, writes Jasmin Pfefferkorn. “It is crucial,” she says, “that an equilibrium is reached between
protections for creative professionals, and the application of generative AI as a useful tool.”
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Science Wrap, covering the latest in science and tech.
Jo Case
Deputy Books
+ Ideas Editor
The Conversations
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Kim Holburn
IT Network & Security Consultant
+61 404072753
mailto:[email protected] aim://kimholburn
skype://kholburn - PGP Public Key on request
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