@Five - eviltoast
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Cake day: August 18th, 2023

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  • ‘AI’ in the sense of machine learning algorithms is very old technology, and has seen revolutionary applications at every step of its development. Eliza was created in the 1960s and demonstrated that if the test of a computer’s artificial intelligence was whether it could fool a human that it was sentient, the value of that test depended very heavily on how willing the human correspondent was to ‘fill in the blanks.’ The results of those experiments show that the average person is extremely willing to fill in the blanks even when the technology is full of gaping holes.

    In the podcast, they’re talking specifically about ChatGPT-style technology, its flaws, and the willingness of people to ‘fill in the blanks’ in a new dimension – to assume LLM technology is a truckload more graphics cards or a nuclear reactor away from what sci-fi writers mean when they say ‘Artificial Intelligence’ – and that is evidently false.






  • The petro-billionaire people who brought you “The Line” are joining up with the badly conceived Octopus Crane Tower idea people to bring you something that definitely will never be built and probably has deep conceptual flaws.

    The important take away from this performance art is that the people causing global warming and who stand to benefit from pumping even more carbon into the air to are working on clever solutions to reverse it, and you can continue living your life as if things will eventually return to the pre-climate crisis status quo.




  • ABC News is a brand of Disney Advertising.

    Manufacturing Consent has this to say about Disney news media:

    Ben Bagdikian notes that when the first edition of his Media Monopoly was published in 1983, fifty giant firms dominated almost every mass medium; but just seven years later, in 1990, only twenty-three firms occupied the same commanding position.

    Since 1990, a wave of massive deals and rapid globalization have left the media industries further centralized in nine transnational conglomerates-Disney, AOL Time Warner, Viacom (owner of CBS), News Corporation, Bertelsmann, General Electric (owner of NBC), Sony, AT&T-Liberty Media, and Vivendi Universal. These giants own all the world’s major film studios, TV networks, and music companies, and a sizable fraction of the most important cable channels, cable systems, magazines, major-market TV stations, and book publishers. The largest, the recently merged AOL Time Warner, has integrated the leading Internet portal into the traditional media system. Another fifteen firms round out the system, meaning that two dozen firms control nearly the entirety of media experienced by most U.S. citizens. Bagdikian concludes that “it is the overwhelming collective power of these firms, with their corporate interlocks and unified cultural and political values, that raises troubling questions about the individual’s role in the American democracy.”



  • Manufacturing Consent has this to say about PBS:

    Globalization, along with deregulation and national budgetary pressures, has also helped reduce the importance of noncommercial media in country after country. This has been especially important in Europe and Asia, where public broadcasting systems were dominant (in contrast with the United States and Latin America). The financial pressures on public broadcasters has forced them to shrink or emulate the commercial systems in fund~raising and programming, and some have been fully commercialized by policy change or privatization. The global balance of power has shifted decisively toward commercial systems.

    James Ledbetter points out that in the United States, under incessant right-wing political pressure and financial stringency, “the 90s have seen a tidal wave of commercialism overtake public broadcasting,” with public broadcasters" rushing as fast as they can to merge their services with those offered by commercial networks." And in the process of what Ledbetter calls the “mailing” of public broadcasting, its already modest differences from the commercial networks have almost disappeared. Most important, in their programming “they share either the avoidance or the defanging of contemporary political controversy, the kind that would bring trouble from powerful patrons.”