"The events of 2023 showed that A.I. doesn't need to be that good in order to do damage," argues novelist Lincoln Michel in the New Republic: This March, news broke that the latest artificial intelligence models could pass the LSAT, SAT, and AP exams. It sparked another round of A.I. panic. The machines, it seemed, were already at peak human ability. Around that time, I conducted my own, more modest test. I asked a couple of A.I. programs to "write a six-word story about baby shoes," riffing on the famous (if apocryphal) Hemingway story. They failed but not in the way I expected. Bard gave me five words, and ChatGPT produced eight. I tried again, specifying "exactly six words," and received eight and then four words. What did it mean that A.I. could best top-tier lawyers yet fail preschool math?

A year since the launch of ChatGPT, I wonder if the answer isn't just what it seems: A.I. is simultaneously impressive and pretty dumb. Maybe not as dumb as the NFT apes or Zuckerberg's Metaverse cubicle simulator, which Silicon Valley also promised would revolutionize all aspects of life. But at least half-dumb. One day A.I. passes the bar exam, and the next, lawyers are being fined for citing A.I.-invented laws. One second it's "the end of writing," the next it's recommending recipes for "mosquito-repellant roast potatoes." At best, A.I. is a mixed bag. (Since "artificial intelligence" is an intentionally vague term, I should specify I'm discussing "generative A.I." programs like ChatGPT and MidJourney that create text, images, and audio. Credit where credit is due: Branding unthinking, error-prone algorithms as "artificial intelligence" was a brilliant marketing coup)....

The legal questions will be settled in court, and the discourse tends to get bogged down in semantic debates about "plagiarism" and "originality," but the essential truth of A.I. is clear: The largest corporations on earth ripped off generations of artists without permission or compensation to produce programs meant to rip us off even more. I believe A.I. defenders know this is unethical, which is why they distract us with fan fiction about the future. If A.I. is the key to a gleaming utopia or else robot-induced extinction, what does it matter if a few poets and painters got bilked along the way? It's possible a souped-up Microsoft Clippy will morph into SkyNet in a couple of years. It's also possible the technology plateaus, like how self-driving cars are perpetually a few years away from taking over our roads. Even if the technology advances, A.I. costs lots of money, and once investors stop subsidizing its use, A.I. — or at least quality A.I. — may prove cost-prohibitive for most tasks....

A year into ChatGPT, I'm less concerned A.I. will replace human artists anytime soon. Some enjoy using A.I. themselves, but I'm not sure many want to consume (much less pay for) A.I. "art" generated by others. The much-hyped A.I.-authored books have been flops, and few readers are flocking to websites that pivoted to A.I. Last month, Sports Illustrated was so embarrassed by a report they published A.I. articles that they apologized and promised to investigate. Say what you want about NFTs, but at least people were willing to pay for them.
"A.I. can write book reviews no one reads of A.I. novels no one buys, generate playlists no one listens to of A.I. songs no one hears, and create A.I. images no one looks at for websites no one visits.

"This seems to be the future A.I. promises. Endless content generated by robots, enjoyed by no one, clogging up everything, and wasting everyone's time."

Hundreds of students from leading UK universities have launched a "career boycott" of Barclays over its climate policies, warning that the bank will miss out on top talent unless it stops financing fossil fuel companies. From a report: More than 220 students from Barclays' top recruitment universities, including Oxford, Cambridge, and University College London, have sent a letter to the high street lender, saying they will not work for Barclays and raising the alarm over its funding for oil and gas firms including Shell, TotalEnergies, Exxon and BP. "Your ambitious decarbonisation targets are discredited by your absence of action and the roster of fossil fuel companies on your books," the letter said. "You may say you're working with them to help them transition, but Shell, Total and BP have all rowed back."

Large oil firms have started to water down climate commitments, including BP, which originally pledged to lower emissions by 35% by 2030 but is now aiming for a 20% to 30% cut instead. Meanwhile, ExxonMobil quietly withdrew funding for plans to use algae to create low-carbon fuel, while Shell announced it would not increase its investments in renewable energy this year, despite earlier promises to slash its emissions. The letter calls on Barclays to end all financing and underwriting of oil and gas companies -- not only their projects -- and to boost funding of firms behind wind and solar energy significantly.

More than two decades after J.K. Rowling introduced the world to a universe of magical creatures, forbidden forests and a teenage wizard, Harry Potter is finding renewed relevance in a very different body of literature: AI research. From a report: A growing number of researchers are using the best-selling Harry Potter books to experiment with generative artificial intelligence technology, citing the series' enduring influence in popular culture and the wide range of language data and complex wordplay within its pages. Reviewing a list of studies and academic papers referencing Harry Potter offers a snapshot into cutting-edge AI research -- and some of the thorniest questions facing the technology.

In perhaps the most notable recent example, Harry, Hermione and Ron star in a paper titled "Who's Harry Potter?" that sheds light on a new technique helping large language models to selectively forget information. It's a high-stakes task for the industry: Large language models, which power AI chatbots, are built on vast amounts of online data, including copyrighted material and other problematic content. That has led to lawsuits and public scrutiny for some AI companies. The paper's authors, Microsoft researchers Mark Russinovich and Ronen Eldan, said they've demonstrated that AI models can be altered or edited to remove any knowledge of the existence of the Harry Potter books, including characters and plots, without sacrificing the AI system's overall decision-making and analytical abilities.

The duo said they chose the books because of their universal familiarity. "We believed that it would be easier for people in the research community to evaluate the model resulting from our technique and confirm for themselves that the content has indeed been 'unlearned,'" said Russinovich, chief technology officer of Microsoft Azure. "Almost anyone can come up with prompts for the model that would probe whether or not it 'knows' the books. Even people who haven't read the books would be aware of plot elements and characters."

Remy Tumin reports via the New York Times: It was supposed to be what a fan described as a "loving homage" to his hero, the author J.R.R. Tolkien, and to "The Lord of the Rings," which he called "one of the most defining experiences of his life." A judge in California had another view. The fan, Demetrious Polychron of Santa Monica, Calif., violated copyright protections this year when he wrote and published a sequel to the epic "Rings" series, U.S. District Judge Stephen V. Wilson of the Central District of California ruled last week. In a summary judgment, Judge Wilson found "direct evidence of copying" and barred Polychron from further distributing the book or any others in a planned series. He also ordered Polychron to destroy all electronic and physical copies of the published work, "The Fellowship of the King," by Sunday. As of Wednesday, Amazon and Barnes & Noble were no longer listing the book for sale online. Steven Maier, a lawyer for the Tolkien estate, said the injunction was "an important success" for protecting Tolkien's work. "This case involved a serious infringement of The Lord of the Rings copyright, undertaken on a commercial basis," he said. "The estate hopes that the award of a permanent injunction and attorneys' fees will be sufficient to dissuade others who may have similar intentions."

Ernesto Van der Sar reports via TorrentFreak: Internet Archive has filed its opening brief in its appeal of a court ruling which found its digital lending program copyright-infringing. The Archive believes the decision should be reversed on the grounds that its lending activities amount to fair use. Founder Brewster Kahle believes the legal battle is vital for the future of all libraries in the United States and around the world. [ "This lawsuit is about more than the Internet Archive; it is about the role of all libraries in our digital age," says IA founder Brewster Kahle. "This lawsuit is an attack on a well-established practice used by hundreds of libraries to provide public access to their collections. The disastrous lower court decision in this case holds implications far beyond our organization, shaping the future of all libraries in the United States and unfortunately, around the world."]

Whether IA has a fair use defense depends on how the four relevant factors are weighed. According to the lower court, these favor the publishers but the library vehemently disagrees. On the contrary, it believes that its service promotes the creation and sharing of knowledge, which is a core purpose of copyright. "This Court should reverse and hold that IA's controlled digital lending is fair use. This practice, like traditional library lending, furthers copyright's goal of promoting public availability of knowledge without harming authors or publishers," the brief reads. A fair use analysis has to weigh the interests of both sides. The lower court did so, but IA argues that it reached the wrong conclusions, failing to properly account for the "tremendous public benefits" controlled digital lending offers.

One of the key fair use factors at stake is whether IA's lending program affects (i.e., threatens) the traditional ebook lending market. IA uses expert witnesses to argue that there's no financial harm and further argues that its service is substantially different from the ebook licensing market. IA offers access to digital copies of books, which is similar to licensed libraries. However, the non-profit organization argues that its lending program is not a substitute as it offers a fundamentally different service. "For example, libraries cannot use ebook licenses to build permanent collections. But they can use licensing to easily change the selection of ebooks they offer to adapt to changing interests," IA writes.

The licensing models make these libraries more flexible. However, they have to rely on the books offered by commercial aggregators and can't add these digital copies to their archives. "Controlled digital lending, by contrast, allows libraries to lend only books from their own permanent collections. They can preserve and lend older editions, maintaining an accurate historical record of books as they were printed. "They can also provide access that does not depend on what Publishers choose to make available. But libraries must own a copy of each book they lend, so they cannot easily swap one book for another when interest or trends change," IA adds. A copy of the Internet Archive's opening brief, filed at the Second Circuit Court of Appeals, is available here (pdf)

SonicSpike writes: With several asterisks, qualification and caveats, Mickey Mouse in his earliest form will be the leader of the band of characters, films and books that will become public domain as the year turns to 2024. In a moment many close observers thought might never come, at least one version of the quintessential piece of intellectual property and perhaps the most iconic character in American pop culture will be free from Disney's copyright as his first screen release, the 1928 short "Steamboat Willie," featuring both Mickey and Minnie Mouse, becomes available for public use. "This is it. This is Mickey Mouse. This is exciting because it's kind of symbolic," said Jennifer Jenkins, a professor of law and director of Duke's Center for the Study of Public Domain, who writes an annual Jan. 1 column for "Public Domain Day." "I kind of feel like the pipe on the steamboat, like expelling smoke. It's so exciting." U.S. law allows a copyright to be held for 95 years after Congress expanded it several times during Mickey's life.

An anonymous reader quotes a report from TorrentFreak: Members of the Science Fiction and Fantasy Writers Association have no trouble envisioning an AI-centered future, but developments over the past year are reason for concern. The association takes offense when AI models exploit the generosity of science fiction writers, who share their work without DRM and free of charge. [...] Over the past few months, we have seen a variety of copyright lawsuits, many of which were filed by writers. These cases target ChatGPT's OpenAI but other platforms are targeted as well. A key allegation in these complaints is that the AI was trained using pirated books. For example, several authors have just filed an amended complaint against Meta, alleging that the company continued to train its AI on pirated books despite concerns from its own legal team. This clash between AI and copyright piqued the interest of the U.S. Copyright Office which launched an inquiry asking the public for input. With more than 10,000 responses, it is clear that the topic is close to the hearts of many people. It's impossible to summarize all opinions without AI assistance, but one submission stood out to us in particular; it encourages the free sharing of books while recommending that AI tools shouldn't be allowed to exploit this generosity for free.

The submission was filed by the Science Fiction and Fantasy Writers Association (SFWA), which represents over 2,500 published writers. The association is particularly concerned with the suggestion that its members' works can be used for AI training under a fair use exception. SFWA sides with many other rightsholders, concluding that pirated books shouldn't be used for AI training, adding that the same applies to books that are freely shared by many Science Fiction and Fantasy writers. [...] Many of the authors strongly believe that freely sharing stories is a good thing that enriches mankind, but that doesn't automatically mean that AI has the same privilege if the output is destined for commercial activities. The SFWA stresses that it doesn't take offense when AI tools use the works of its members for non-commercial purposes, such as research and scholarship. However, turning the data into a commercial tool goes too far.

AI freeloading will lead to unfair competition and cause harm to licensing markets, the writers warn. The developers of the AI tools have attempted to tone down these concerns but the SFWA is not convinced. [...] The writers want to protect their rights but they don't believe in the extremely restrictive position of some other copyright holders. They don't subscribe to the idea that people will no longer buy books because they can get the same information from an AI tool, for example. However, authors deserve some form of compensation. SFWA argues that all stakeholders should ultimately get together to come up with a plan that works for everyone. This means fair compensation and protection for authors, without making it financially unviable for AI to flourish. "Questions of 'how' and 'when' and 'how much money' all come later; first and foremost the author must have the right to say how their work is used," their submission reads.

"So long as authors retain the right to say 'no' we believe that equitable solutions to the thorny problems of licensing, scale, and market harm can be found. But that right remains the cornerstone, and we insist upon it," SFWA concludes.

UPDATE: John Romero released a new 9-map episode of Doom.

But it was 30 years ago today that Doom "invented the modern PC games industry, as a place dominated by technologically advanced action shooters," remembers the Guardian: In late August 1993, a young programmer named Dave Taylor walked into an office block... The carpets, he discovered, were stained with spilled soda, the ceiling tiles yellowed by water leaks from above. But it was here that a team of five coders, artists and designers were working on arguably the most influential action video game ever made. This was id Software. This was Doom... [W]hen Taylor met id's charismatic designer and coder John Romero, he was shown their next project... "There were no critters in it yet," recalls Taylor of that first demo. "There was no gaming stuff at all. It was really just a 3D engine. But you could move around it really fluidly and you got such a sense of immersion it was shocking. The renderer was kick ass and the textures were so gritty and cool. I thought I was looking at an in-game cinematic. And Romero is just the consummate demo man: he really feeds off of your energy. So as my jaw hit the floor, he got more and more animated. Doom was amazing, but John was at least half of that demo's impact on me." [...]

In late 1992, it had become clear that the 3D engine John Carmack was planning for Doom would speed up real-time rendering while also allowing the use of texture maps to add detail to environments. As a result, Romero's ambition was to set Doom in architecturally complex worlds with multiple storeys, curved walls, moving platforms. A hellish Escher-esque mall of death... "Doom was the first to combine huge rooms, stairways, dark areas and bright areas," says Romero, "and lava and all that stuff, creating a really elaborate abstract world. That was never possible before...."

[T]he way Doom combined fast-paced 3D action with elaborate, highly staged level design would prove hugely influential in the years to come. It's there in every first-person action game we play today... But Doom wasn't just a single-player game. Carmack consumed an entire library of books on computer networking before working on the code that would allow players to connect their PCs via modem to a local area network (LAN) and play in the game together... Doom brought fast-paced, real-time action, both competitive and cooperative, into the gaming mainstream. Seeing your friends battling imps and zombie space marines beside you in a virtual world was an exhilarating experience...

When Doom was launched on 10 December 1993, it became immediately clear that the game was all-consuming — id Software had chosen to make the abbreviated shareware version available via the FTP site of the University of Wisconsin-Madison, but that crashed almost immediately, bringing the institution's network to its knees... "We changed the rules of design," says Romero. "Getting rid of lives, which was an arcade holdover that every game had; getting rid of score because it was not the goal of the game. We wanted to make it so that, if the player died, they'd just start that level over — we were constantly pushing them forward. The game's attitude was, I want you to keep playing. We wanted to get people to the point where they always needed more."
It was a unique moment in time. In the article designer Sandy Petersen remembers that "I would sometimes get old dungeons I'd done for D&D and use them as the basis for making a map in Doom." Cheat codes had been included for debugging purposes — but were left in the game rs to discover. The article even includes a link to a half-hour video of a 1993 visit to Id software filmed by BBS owner Dan Linton.

And today on X, John Romero shared a link to the Guardian's article, along with some appreciative words for anyone who's ever played the game. "DOOM is still remembered because of the community that plays and mods it 30 years on. I'm grateful to be a part of that community and fortunate to have been there at its beginning."

The Guardian's article notes that now Romero "is currently working on Sigil 2, a spiritual successor to the original Doom series."

A new book argues that the invention of states and corporations has something to teach us about A.I. But perhaps it's the other way around. From a report: One of the things that make the machine of the capitalist state work is that some of its powers have been devolved upon other artificial agents -- corporations. Where [David] Runciman (a professor of politics at Cambridge) compares the state to a general A.I., one that exists to serve a variety of functions, corporations have been granted a limited range of autonomy in the form of what might be compared to a narrow A.I., one that exists to fulfill particular purposes that remain beyond the remit or the interests of the sovereign body.

Corporations can thus be set up in free pursuit of a variety of idiosyncratic human enterprises, but they, too, are robotic insofar as they transcend the constraints and the priorities of their human members. The failure mode of governments is to become "exploitative and corrupt," Runciman notes. The failure mode of corporations, as extensions of an independent civil society, is that "their independence undoes social stability by allowing those making the money to make their own rules."

There is only a "narrow corridor" -- a term Runciman borrows from the economists Daron Acemoglu and James A. Robinson -- in which the artificial agents balance each other out, and citizens get to enjoy the sense of control that emerges from an atmosphere of freedom and security. The ideal scenario is, in other words, a kludgy equilibrium.

What's behind a supposed shortage of cybersecurity workers? Last month cybersecurity professional Ben Rothke questioned whether a "shortage" even existed. Instead Rothke argued that human resources "needs to understand how to effectively hire information security professionals. Expecting an HR generalist to find information security specialists is a fruitless endeavor at best."

Rothke — a founding member of the Cloud Security Alliance — contacted Slashdot this week with "a follow-up piece" arguing there's another problem. "How can you know how many security jobs there are if there's no real statistical data available?" (Most articles on the topic cite the exact same two studies, which Rothke sees as "not statistically defendable.") Which begs the question — how many information security jobs are there? The short answer is that no one has a clue. The problem is that there is no statistically verifiable and empirically researched data on the number of current information security jobs and what the future holds. All data to date is based on surveys and extrapolations, which is a poor way to do meaningful statistical research... Based on LinkedIn job postings, veteran industry analyst Richard Stiennon found 15,849 job openings at 1,433 cybersecurity vendors. As to the millions of security jobs, he notes that the same could be extrapolated for office administrators. There are millions of companies, but it's not like they all will need full-time security people.

Helen Patton is a veteran information security professional and CISO at Cisco Security Business Group, and the author of Navigating the Cybersecurity Career Path. As to the security jobs crisis, she notes that there are plenty of talented and capable people looking for jobs, and feels there's in fact, no crisis at all. Instead, she says part of the issue is hiring managers who don't truly stop to think about the skills required for a role, and how a candidate can demonstrate those skills. What they do is post jobs that ask for false proxies for experience — degrees, certifications, work experience — and as a consequence, they are looking for candidates that don't exist. She suggests that fixing the hiring process will go a lot further to close the skills gap, than training a legion of new people.
Challenging this supposed glut of unfilled positions, Rothke also shares some recent stories from people who've recently looked for information security jobs. ("He tried to explain to the CIO that Agile was not an appropriate methodology for security projects unless they were primarily software-based. The CIO replied, 'oh the CIO at Chase would tell you differently.' Not realizing that most projects at the bank are software-based.") If you want to know how few information security jobs there really are — speak to people who have graduated from security bootcamps and master's degree programs, and they will tell you the challenges they are facing... That's not to say there are not lots of information security jobs. It's just that there are not the exaggerated and hyperbolic amounts that are reported.

On Monday, Merriam-Webster announced its word of the year is "authentic -- the term for something we're thinking about, writing about, aspiring to, and judging more than ever." The Associated Press reports: Authentic cuisine. Authentic voice. Authentic self. Authenticity as artifice. Lookups for the word are routinely heavy on the dictionary company's site but were boosted to new heights throughout the year, editor at large Peter Sokolowski told The Associated Press in an exclusive interview. "We see in 2023 a kind of crisis of authenticity," he said ahead of Monday's announcement of this year's word. "What we realize is that when we question authenticity, we value it even more."

Sokolowski and his team don't delve into the reasons people head for dictionaries and websites in search of specific words. Rather, they chase the data on lookup spikes and world events that correlate. This time around, there was no particularly huge boost at any given time but a constancy to the increased interest in "authentic." [...] "Can we trust whether a student wrote this paper? Can we trust whether a politician made this statement? We don't always trust what we see anymore," Sokolowski said. "We sometimes don't believe our own eyes or our own ears. We are now recognizing that authenticity is a performance itself."

There's "not false or imitation: real, actual," as in an authentic cockney accent. There's "true to one's own personality, spirit or character." There's "worthy of acceptance or belief as conforming to or based on fact." There's "made or done the same way as an original." And, perhaps the most telling, there's "conforming to an original so as to reproduce essential features."

After 151 years, Popular Science will no longer be available to purchase as a magazine. "Cathy Hebert, the communications director for PopSci owner Recurrent Ventures, says the outlet needs to 'evolve' beyond its magazine product, which published its first all-digital issue in 2021," reports The Verge. From the report: PopSci, which covers a whole range of stories related to the fields of science, technology, and nature, published its first issue in 1872. Things have changed a lot over the years, with the magazine switching to a quarterly publication schedule in 2018 and doing away with the physical copies altogether after 2020. In a post on LinkedIn, former PopSci editor Purbita Saha commented on the magazine's discontinuation, stating she's "frustrated, incensed, and appalled that the owners shut down a pioneering publication that's adapted to 151 years worth of changes in the space of a five-minute Zoom call."

"PopSci is a phenomenal brand, and as consumer trends shift it's important we prioritize investment in new formats," Herbert tells The Verge. "We believe that the content strategy has to evolve beyond the digital magazine product. A combination of its news team, along with commerce, video, and other initiatives, will produce content that naturally aligns with PopSci's mission." PopSci will continue to offer articles on its website, along with its PopSci Plus subscription, which offers access to exclusive content and the magazine's archive.

The British Library has confirmed that personal data stolen in a cyber-attack has appeared online, apparently for sale to the highest bidder. From a report: The attack was carried out in October by a group known for such criminal activity, said the UK's national library, which holds about 14m books and millions of other items. This week, Rhysida, a known ransomware group, claimed it was responsible for the attack. It posted low-resolution images of personal information online, offering stolen data for sale with a starting bid of 20 bitcoins (about $750,000). Rhysida said the data was "exclusive, unique and impressive" and that it would be sold to a single buyer. It set a deadline for bids of 27 November.

The images appear to show employment contracts and passport information. The library said it was "aware that some data has been leaked, which appears to be from files relating to our internal HR information." It did not confirm that Rhysida was responsible for the attack, nor that the data offered for sale was information on personnel. Academics and researchers who use the library have been told that disruption to the institution's services after the serious ransomware attack was likely to continue for months. This week, the library advised its users to change any logins also used on other sites as a precaution.

Winston Cho writes via The Hollywood Reporter: A federal judge has dismissed most of Sarah Silverman's lawsuit against Meta over the unauthorized use of authors' copyrighted books to train its generative artificial intelligence model, marking the second ruling from a court siding with AI firms on novel intellectual property questions presented in the legal battle. U.S. District Judge Vince Chhabria on Monday offered a full-throated denial of one of the authors' core theories that Meta's AI system is itself an infringing derivative work made possible only by information extracted from copyrighted material. "This is nonsensical," he wrote in the order. "There is no way to understand the LLaMA models themselves as a recasting or adaptation of any of the plaintiffs' books."

Another of Silverman's arguments that every result produced by Meta's AI tools constitutes copyright infringement was dismissed because she didn't offer evidence that any of the outputs "could be understood as recasting, transforming, or adapting the plaintiffs' books." Chhabria gave her lawyers a chance to replead the claim, along with five others that weren't allowed to advance. Notably, Meta didn't move to dismiss the allegation that the copying of books for purposes of training its AI model rises to the level of copyright infringement. In July, Silverman and two authors filed a class action lawsuit against Meta and OpenAI for allegedly using their content without permission to train AI language models.

An anonymous reader writes: Christopher Nolan made headlines earlier this month when he took a playful jab at streaming platforms while discussing the upcoming home release of "Oppenheimer." The atomic bomb drama, which grossed a staggering $950 million in theaters worldwide, is hitting Blu-ray and other digital platforms this month. Nolan said at a recent "Oppenheimer" screening that it's important to own the film on Blu-ray so that "no evil streaming service can come steal it from you." He told The Washington Post in a follow-up interview: "It was a joke when I said it. But nothing's a joke when it's transcribed onto the internet. There is a danger, these days, that if things only exist in the streaming version they do get taken down, they come and go," the director added.

Streamers have become notoriously known in the last year for pulling original titles from their platforms in order to license them out elsewhere and open up potential revenue streams. When such titles are streaming-only offerings, their removal makes it impossible to view the films elsewhere. Such was the case this year with the Disney+ movie "Crater," for instance. The streaming-only family adventure was pulled from Disney+ in June and could not be viewed anywhere until it was reissued as a digital release months later in September. For Nolan, owning physical media is the only way to combat such streaming trends. Guillermo del Toro agrees, having shared Nolan's recent quotes on X (formerly Twitter) and adding his own commentary on the issue. "Physical media is almost a Fahrenheit 451 (where people memorized entire books and thus became the book they loved) level of responsibility," del Toro wrote to his followers. "If you own a great 4K HD, Blu-ray, DVD etc etc of a film or films you love...you are the custodian of those films for generations to come."

A professor of religion at Columbia University writes, "I do not think human beings are the last stage in the evolutionary process." Whatever comes next will be neither simply organic nor simply machinic but will be the result of the increasingly symbiotic relationship between human beings and technology. Bound together as parasite/host, neither people nor technologies can exist apart from the other because they are constitutive prostheses of each other... So-called "artificial" intelligence is the latest extension of the emergent process through which life takes ever more diverse and complex forms.
The article lists "four trajectories that will be increasingly important for the symbiotic relationship between humans and machines."

- Writing about neuroprosthetics, the professor argues that "Increasing possibilities for symbiotic relations between computers and brains will lead to alternative forms of intelligence that are neither human nor machinic, but something in between."

- Then there's biobots. The article argues that with nanotechnology, "it will be increasingly difficult to distinguish the natural from the artificial."

But there's also an interesting discussion about synthetic biology. "Michael Levin and his colleagues at the Allen Discovery Center of Tufts University — biologists, computer scientists and engineers — have created "xenobots," which are "biological robots" that were produced from embryonic skin and muscle cells from an African clawed frog." As Levin and his colleagues wrote in 2020...

Here we show a scalable pipeline for creating functional novel lifeforms: AI methods automatically design diverse candidate lifeforms in silico to perform some desired function, and transferable designs are then created using a cell-based construction toolkit to realize living systems with predicted behavior. Although some steps in this pipeline still require manual intervention, complete automation in the future would pave the way for designing and deploying living systems for a wide range of functions.
And the article concludes with a discussion of organic-relational AI: While Levin uses computational technology to create and modify biological organisms, the German neurobiologist Peter Robin Hiesinger uses biological organisms to model computational processes by creating algorithms that evolve. This work involves nothing less than developing a new form of "artificial" intelligence... Non-anthropocentric AI would not be merely an imitation of human intelligence, but would be as different from our thinking as fungi, dog and crow cognition is from human cognition.

Machines are becoming more like people and people are becoming more like machines. Organism and machine? Organism or machine? Neither organism nor machine? Evolution is not over; something new, something different, perhaps infinitely and qualitatively different, is emerging.

Who would want the future to be the endless repetition of the past?

Cambridge dictionary's word of the year for 2023 is "hallucinate," a verb that took on a new meaning with the rise in popularity of artificial intelligence chatbots. The Guardian reports: The original definition of the chosen word is to "seem to see, hear, feel, or smell" something that does not exist, usually because of "a health condition or because you have taken a drug." It now has an additional meaning, relating to when artificial intelligence systems such as ChatGPT, which generates text that mimics human writing, "hallucinates" and produces false information. The word was chosen because the new meaning "gets to the heart of why people are talking about AI," according to a post on the dictionary site.

Generative AI is a "powerful" but "far from perfect" tool, "one we're all still learning how to interact with safely and effectively -- this means being aware of both its potential strengths and its current weaknesses." The dictionary added a number of AI-related entries this year, including large language model (or LLM), generative AI (or GenAI), and GPT (an abbreviation of Generative Pre-trained Transformer). "AI hallucinations remind us that humans still need to bring their critical thinking skills to the use of these tools," continued the post. "Large language models are only as reliable as the information their algorithms learn from. Human expertise is arguably more important than ever, to create the authoritative and up-to-date information that LLMs can be trained on."

Greek economist/politician Yanis Varoufakis "was briefly Greek finance minister in 2015," remembers the Conversation. Now his new book asks the question, "What killed capitalism," with the title's first word providing an answer.

"Techno-feudalism." Varoufakis argues that we no longer live in a capitalist society... "Today, capitalist relations remain intact, but techno-feudalist relations have begun to overtake them," writes Varoufakis. Traditional capitalists, he proposes, have become "vassal capitalists". They are subordinate and dependent on a new breed of "lords" — the Big Tech companies — who generate enormous wealth via new digital platforms. A new form of algorithmic capital has evolved — what Varoufakis calls "cloud capital" — and it has displaced "capitalism's two pillars: markets and profits".

Markets have been "replaced by digital trading platforms which look like, but are not, markets". The moment you enter amazon.com "you exit capitalism" and enter something that resembles a "feudal fief": a digital world belonging to one man and his algorithm, which determines what products you will see and what products you won't see. If you are a seller, the platform will determine how you can sell and which customers you can approach. The terms in which you interact, share information and trade are dictated by an "algo" that "works for [Jeff Bezos'] bottom line"...

Access to the "digital fief" comes at the cost of exorbitant rents. Varoufakis notes that many third-party developers on the Apple store, for example, pay 30% "on all their revenues", while Amazon charges its sellers "35% of revenues". This, he argues, is like a medieval feudal lord sending round the sheriff to collect a large chunk of his serfs' produce because he owns the estate and everything within it.

There is "no disinterested invisible hand of the market" here. The Big Tech platforms are exempted from free-market competition.
And in the meantime, users are unknowingly training their algorithms for them — so "In this interaction, we are all high-tech 'cloud serfs'... [T]he 'cloud capital' we are generating for them all the time increases their capacity to generate yet more wealth, and thus increases their power — something we have only begun to realise." Approximately 80% of the income of traditional capitalist conglomerates go to salaries and wages, according to Varoufakis, while Big Tech's workers, in contrast, collect "less than 1% of their firms' revenues"... For Varoufakis, we are not just living through a tech revolution, but a tech-driven economic revolution. He challenges us to come to terms with just what has happened to our economies — and our societies — in the era of Big Tech and Big Finance.
Thanks to Slashdot reader ZipNada for sharing the article.

Ars Technica reports: In three-and-a-half years of service, one of SpaceX's reusable Falcon 9 boosters stands apart from the rest of the company's rocket inventory. This booster, designated with the serial number B1058, has now flown 18 times.

For its maiden launch on May 30, 2020, the rocket propelled NASA astronauts Doug Hurley and Bob Behnken into the history books on SpaceX's first mission to send people into orbit. This ended a nine-year gap in America's capability to launch astronauts into low-Earth orbit and was the first time a commercial spacecraft achieved this feat... Over the course of its flights to space and back, that white paint has darkened to a charcoal color. Soot from the rocket's exhaust has accumulated, bit by bit, on the 15-story-tall cylinder-shaped booster. The red NASA worm logo is now barely visible.

On Friday night, this rocket launched for the 18th time, breaking a tie at 17 flights with another Falcon 9 booster in SpaceX's fleet... It fired three engines for a braking burn to slow for reentry, then ignited a single engine and extended four carbon-fiber landing legs to settle onto a floating platform holding position near the Bahamas. The drone ship will return the rocket to Cape Canaveral, where SpaceX will refurbish the vehicle for a 19th flight.
Other interesting statistics from the article:

• This single booster rocket has launched 846 satellites into space. (Astrophysicist/spaceflight tracker Jonathan McDowell calculates there are now over 5,000 Starlink satellites in orbit.)

• A SpaceX official told Ars Technica the company might extend the limit on Falcon 9 booster flights beyond 20 for Starlink satellites.

• Friday's launch became the 79th launch so far in 2023 of a Falcon rocket, with SpaceX aiming for a total of 100 by the end of December, and 144 in 2023 (an average of one flight every two-and-a-half days).

• Since 2016, SpaceX has now had 249 consecutive successful launches of its Falcon 9 and Falcon Heavy rockets

The World Science Fiction Society "administers and presents the Hugo Awards, the oldest and most noteworthy award for science fiction," according to Wikipedia. Its members vote on each year's winners, and this year they received 1,847 nominating ballots.

This year the 81st edition of their World Science Fiction Convention was held from October 18 to 22 in Chengdu, China. More details from Gizmodo: While fan-favorite cozy fantasy novel Legends & Lattes lost Best Novel to T. Kingfisher's excellent horror-fantasy Nettle & Bone, Legends & Lattes author Travis Baldtree won the Astounding Award for Best New Writer. Everything Everywhere All at Once snagged film's top honor, and The Expanse's finale episode did the same for televsion, beating out both nominated Andor episodes among others. Some other great standouts include short fiction editor Neil Clarke, who has kept Clarkesworld magazine running despite getting swamped by AI-generated submissions earlier this year.
And "By winning Best Graphic Story or Comic, [Bartosz] Sztybor-who also served as a producer on the overwhelmingly popular Netflix anime Cyberpunk: Edgerunners-also becomes the first Polish author to win a Hugo," reports Forbes: [Cyberpunk 2077: Big City Dreams] is set in Night City-as seen in Cyberpunk 2077-and follows the story of two small-time thieves, Tasha and Mirek, who are trying to survive the harsh metropolis together. "Tasha and Mirek make a living for themselves stealing cyberware and indulging in parties and braindances," the official teaser explains...
Other highlights from this year's awards:

• Best novella: Where the Drowned Girls Go, by Seanan McGuire (Tordotcom)
• Best Novelette: "The Space-Time Painter", by Hai Ya (Galaxy's Edge, April 2022)
• Best Short Story: "Rabbit Test", by Samantha Mills (Uncanny Magazine, November-December 2022)
• Best Series: Children of Time series, by Adrian Tchaikovsky (Pan Macmillan/Orbit)
• Best Related Work: Terry Pratchett: A Life With Footnotes, by Rob Wilkins (Doubleday)