#artificial intellectual

[mark-matos]

🌌 Machines Can Dream, but They Can't Copyright!🤖✍️🎭

🚀 AI Tries to Play Picasso... And Fails🎨🤔

On Friday🗓️, a federal judge👩‍⚖️ doubled down on the U.S. Copyright Office's stance that if a robot🤖 tries to get artsy🖍️, it doesn't get any protection rights. Sorry, WALL-E🤖, no art gallery🎨🖼️ for you! 🤷‍♂️🎭

🎥Hollywood’s AI Nightmare🎬😱

With writers✍️ on strike⚡ for more than 100 days🗓️, Hollywood's nightmare scenario of Terminator🤖 penning scripts just took a wild twist🌀! But fear not😧 – the judge👩‍⚖️ insists only humans🚶‍♂️ get the glory (and the copyrights📜). So, Skynet🌐, stick to trying to take over the world🌍 and leave scriptwriting✍️ to us. 😜📖

The AI's Picasso Problem🖌️🚫

Mr. Stephen Thaler👨‍🎨, our brave AI enthusiast and head honcho at Imagination Engines🌌, had this wild idea💡: Why not list his AI system🖥️, the "Creativity Machine", as the lone creator👾 of a masterpiece? Well, turns out "A Recent Entrance to Paradise"🚪😇 wasn’t so heavenly in the eyes of the law⚖️.🚫👼

📘The Great AI Debate🧠❓

Thaler’s battle⚔️ wasn't just for AI rights (we’re looking at you, Data from Star Trek🌟🚀). He pushed for AI to be considered an author✍️🤖. Yep, you heard right👂! R2-D2 might just pen✒️ the next bestselling novel📚! Well, not according to Judge Howell👩‍⚖️ who emphasized that human touch🤲 is essential. Don't fret, HAL 9000🤖, maybe you can try pottery🏺. 🤣

Classic Cases Revisited📜🔄

Remember when a monkey🐒 took a selfie📸 and the world went bananas🍌 over who owned the copyright📜? Well, just like animals🐶🐱, robots🤖 don’t get a pass either. Judge Howell👩‍⚖️ made it clear: human creativity💭✨ is irreplaceable. Sorry, C-3PO🤖, no photo ops📸 for you!

The Essence of Copyright 📖👤

Dive deep🌊 into copyright lore📜 and you'll find it's all about inspiring us mere mortals🚶‍♀️🚶‍♂️ to make cool stuff🎨🎭. Whether we're channeling Tony Stark's genius🧠💡 or just making dank memes😂, the law’s got our backs🛡️. No robotic shortcuts here🚫🤖!

The Big Question on AI's Rights🤔💡

This cosmic dance🌌🕺 of bursting novas isn't just about AI claiming rights📜🤖. Courts🏛️ are busy untangling the cosmic web🕸️ of whether AI companies can train their bots🤖 on copyrighted works📚. Is your poem📜 safe from being devoured by an AI black hole🌀🕳️? Stay tuned📻! 🌌

What’s Next in the AI Copyright Universe?🌍🔮

Come March📅, the copyright office✍️ affirmed that most works🎨 by AI aren’t copyrightable🚫, but clarified that AI-assisted materials✍️🤖 qualify for protection in certain instances. An application for a work created with the help of AI can support a copyright claim📜 if a human🚶‍♂️ “selected or arranged” it in a “sufficiently creative way🌀” that the resulting work constitutes an original work of authorship✍️📖,” it said. 🌟

[cyborgized]

We create ourselves out of what we consume.

[transpondster]

[mckitterick]

And for what?

soulless botshit that moves no one.

source: X

more on Wendig's blog here: X

[bitchesgetriches]

Why we’re against AI as a writing tool

Sophisticated AI tools like ChatGPT are the result of systemic, shameless theft of intellectual property and creative labor on a massive scale. These companies have mined the data of human genius… without permission. They have no intention of acknowledging their stolen sources, let alone paying the creators.

The tech industry’s defense is “Well, we stole so much from so many that it kinda doesn’t count, wouldn’t ya say?” Which is an argument that makes me feel like the mayor of Crazytown. I don’t doubt the courts will rule in their favor, not because it’s right, but because the opportunities for wealth generation are too succulent to let a lil’ thang like fairness win.

I’m not a luddite. I recognize that AI feels like magic to people who aren’t strong writers. I’d feel differently if the technology was achieved without the theft of my work. Couldn’t these tools have been made using legally obtained materials? Ah, but then they wouldn’t have been first to market! Think of the shareholders!

We’re lucky to have the ability and will to write. We won’t willingly use tools that devalue that skill. At most, I could see us using AI to assist with specific, narrow tasks like transcribing interview audio into text.

At a recent industry meetup, I listened as two personal finance gurus gushed about how easy AI made their lives. “All my newsletters and blogs are AI now! I add my own touches here and there—but it does 95% of the work!” Must be nice, I whispered to the empty void where my faith in mankind once dwelt, fingernails digging into my palms. It’s tough knowing I’m one of the myriad voices “streamlining their production.”

I feel strongly that every content creator who uses AI has a minimum duty to acknowledge it. Few will. It sucks. I’m frothing. Let’s move on.

Read more.

[t0rschlusspan1k]

silver fox | the decline in literacy & rise in ai

an extensive detailing of the literacy and intellectual crisis happening in gen alpha + the dramatic rise of ai and it's impact on the world (and on the literacy crisis)

[ssnakey-b]

Did y'all hear Disney is suing Midjourney?

[researchgate]

petition to start calling ai anti intellectualism instead if artificial intelligence. It'd the same acronym but it actually says the truth

[im-lost-in-ikea]

my teacher started talking today about AI as a weapon of anti-intellectualism, and maybe that was common knowledge for everybody else but I was shocked

[scanlinesymphony]

Yes, using LLM AI is a dubious ethical decision at best and that deserves to be treated with the proper weight. However, using that as an excuse to completely reject any and all education regarding LLMs is misguided. If we are to criticize LLMs, we should first know how they work and what the intended approaches are, then work from there. Going headfirst without knowing the enemy is a death sentence.

[alyfoxxxen]

Former Meta exec: asking artists first would "kill" AI business

[thirdity]

Intellectuals are doomed to disappear when artificial intelligence bursts on the scene, just as the heroes of silent cinema disappeared with the coming of the talkies. We are all Buster Keatons.

Jean Baudrillard, Cool Memories II

[biblioflyer]

Breaching the Severed Floor: Layers of Reality and the Right to Imagine

This is part three of my three part rambling about Severance. Expect spoilers for Seasons One and Two. Part One addresses how Lumon maps to high control groups. Part Two is about Innie humanity, their rights, and an exploration of what we owe to people whose lives are more conditional and contingent than our own. This essay will address physical and informational control in Severance and Severance as a Techgnostic story.

The penultimate mechanism for controlling the Innies is limiting their exposure to ideas and experiences not sanctioned by Lumon.

Keeping their existences physically constrained to the Severed Floor is perhaps the most obvious mechanism by which the Innies are kept "pure." Restricting the possessions that may be taken with them into the Severed Floor also plays a major role.

Control of information is a thing I think a lot about. My day job is one where I have professional commitments to intellectual freedom. As such, the way in which the information environment of the Innies is managed and the apparent functions of different information management strategies is one that draws a lot of attention from me.

Lumon is a business that is also a cult. As a result, it seems to not be able to help but get in its own way because the interests of the business side seem to conflict with the urge to proselytize. Realistically these things probably work in reverse: Lumon proselytizes because the Eagons sincerely believe these various rituals and philosophies aren't just good for the soul, they're wise and effective management techniques.

As a result, Lumon probably doesn't really think of itself as inefficient or incompetent, because the metrics by which outsiders would judge Lumon's productivity simply aren't relevant to the Eagons. In part because they are convinced of their own superiority to those outside of the Kier milieu but also because, at least for the activities centered around Mark S and his cadre of macrodata refiners, conventional metrics for success like profitability are irrelevant: the Mysterious and Important Work is what matters. This also tends to mirror tech startup mentality where a pathway to profitability is assumed to manifest after the product matures so having a plan in place to control costs and deliver a product people actually want to pay for is less important than doing the work.

Because of the nature of the Mysterious and Important Work, the Eagons are only able to rely on a relatively small number of trusted acolytes to manage their most sensitive operations. Anyone who is not 100% bought into the program who comes into contact with the Innies may contaminate them with outside ideas. In my opinion, this is the answer to why security at Lumon is ultimately so lax. The physical and psychological constraints are meant to do the heavy lifting for the handful of acolytes who oversee the Innies which in turn permits the Eagons to hand pick the people who are brought into the inner mysteries.

This is the ouroboros of downsizing and automation. Many a fan has criticized Lumon's poor security, but real companies do this in various forms. While the stakes are less existential, its been widely reported that the pivot to self checkout in big box retail has caused losses from user error and outright theft to skyrocket. Yet this is tolerated because, at least in theory, the savings from a streamlined workforce wherein one inconsistently motivated and trained employee babysits as many as ten checkout stations (source: my local Walmart) where there is rampant error and theft is greater than paying more cashiers to be available for customers.

Lumon clearly isn't directly motivated by profitability nor does anyone really complain about being understaffed. There is a supreme confidence in the capability of their physical and ideological interventions to keep the Innies docile and productive as long as these interventions are competently enacted.

Lumon does undergo a certain amount of introspection after the failures of Season One. Seth Milchik seems to have overall less freedom than Harmony Cobell did after the revelation of her having gone rogue to stalk Mark Scout in the outside world: a sign that the mysterious Board of Directors and the Eagons have realized that even lifelong acolytes cannot fully be trusted to have "mastered their tempers" and faithfully execute its directives. The company also enacts a series of innovative distractions and incentives to try to restore the "buy in" of the Innies long enough to complete Cold Harbor.

At the same time though, all of the sweeteners are obviously designed to keep the Innies from paying attention to the conditionality of their existence and the imbalance of power between themselves and Lumon. Yet the breaches of containment and with it the loss of total control over the Innies' access to information and the outside world are a bell that cannot be unrung.

Ricken's book on self actualization becoming Innie contraband due to a single act of sloppiness on the part of their Lumon captors is worth assessing both from a security standpoint and also from an information control standpoint. On the side of security, it reflects Lumon's overconfidence and the inherent problems on relying on hermetically sealing the information environment that their employees live inside of. The more that Lumon controls the environment of the Innies, the more restrictive it is, the more that it actually creates more failure points.

Because its impossible for any human to maintain a peak level of hyper vigilance day in and day out guarding for wrongthink and outside contamination, much of the security is simply automated. The Outies are searched before they enter the elevator to go down to the Severed Floor first by a security guard and then by a scifi magic system that can detect concealed writing on a person's body. This ensures that the Outies can't bring anything in and the Innies can't smuggle anything out. At least in theory.

Except its unsevered supervising staff that wind up contaminating the floor. Its Lumon's own conditioned acolytes who are the uncontrolled variable because the processes of the Severed Floor work so reliably with so little human intervention that no one in the moment considers the consequences of carelessly leaving a book where Innies might be able to access it. This is the sort of mistake that seems highly improbable on any given day. Yet as with any low probability event, over the long run it becomes inevitable that an unsevered would leave, to use a Dan Carlinism, an "intellectual contagion" somewhere that Innies are unlikely to visit unsupervised on a day where an Innie does just that: visit unsupervised and encounters the contraband.

Which is where we encounter that which has become a major animating force in modern society: the allure of the forbidden. This is not to say that the allure of the forbidden, Dan Carlin's "intellectual contagion", isn't present at all times and places. People have always rebelled. There have always been people who feel an attraction to that which feels mysterious, scandalous, or excessively denounced. At the same time, it doesn't feel controversial to say that we're in the midst of a period where just the aesthetic of something being censored or restricted is enough to generate tremendous energy and interest, even if the "forbidden" nature of the ideas in question is nonsense or at least lacks a nuanced understanding of how information flows through various mediums.

The Techgnosticism of Severence

The notion that we are being lied to and our access to truth mediated for nefarious purposes isn't new. "Orwellian" didn't enter our lexicon by accident. The Matrix is a cyberpunk tribute Gnosticism, a worldview nearly two millennium old that engages critically with the repeated motifs of punitive, capricious, and vain gods in the supernatural realm across belief systems both contemporary to the original Gnostics and predating them. Its almost assuredly also a reaction to the corporeal forces that wielded compliance with assorted rituals, taboos, and theologies as a convenient filter to screen for malcontents. Malcontents who might undermine authorities relying on the divine as the stick to compel obedience where and when legitimacy based on competent and just governance is unavailable.

Severance, the tv show, is in my view another entry into that long tradition of asking why the universe seems to be at best indifferent to human happiness and why so much intellectual effort goes into trying to recontextualize the harms of authorities and deities as justified and for our own good.

In this way, Ricken's book is a lot like Gnosticism being introduced to someone who finds the religious institutions of the Roman Empire oppressive, finds a lot of bothersome contrasts between the behavior of the early Christian church and the minister folk hero at its center, and perhaps has privately questioned the protection racket style of relationship between humans and their gods present in many spiritual frameworks.

I'm going to repeat my disclaimer here that I don't have any issues with people who practice what they preach if what they preach is empathy, charity, and mercy and I'm not unaware of assorted theological explanations for what the Gnostics and other critical observers see as a radical transformation between a wrathful Old Testament God and a New Testament God who is seemingly all about love. The metaphysical reason someone feels compelled to be kind and abstain from cruelty is interesting to me but its not necessary for me to buy into it to accept them as a good person.

In this view, I see Lumon as a sort of Demiurge relative to the Innies. A wrathful, controlling creator god who has interposed itself between its creations and a higher reality of "truth." In Gnosticism freedom and a more benevolent existence is found on the other side of the stern patriarchs and their entourages that humans have bent the knee and sacrificed to since time immemorial.

The literal form of the analogy falls apart here, much as it does in the Matrix, in that the world on the other side of the Severed Floor is one that is largely inhospitable for the Innies. Their survival is contingent on technological infrastructure that is primarily controlled by Lumon. Their survival is conditional on Lumon seeing value in their continued existence. The lives of the Innies are also in the hands of Outies with whom they cannot have meaningful contact with except where mediated by Lumon or through some challenging skullduggery.

On the other hand, if we get a bit less literal with this, the metaphor can be extended. Gnosis is often used as a shorthand for spiritual revelation. In this way, while Neo and the Innies weren't particularly greeted with an ideal world upon awakening in the outer world, they did gain a greater understanding of their selves and their circumstances. With that understanding comes a greater capacity to yearn for, if not true freedom, then at least greater autonomy and to take measures to demand the forces arrayed against them to bend.

The Innies have pierced the boundaries of reality, done an end run around the oppressive god that rules their universe, and come back with tangible proof of a life that could be led outside of Lumon's capriciousness. After the false start of using the Overtime Protocol to awaken in the Outie world and Lumon's "new covenant" with the Innies where it affected greater compassion and genorosity, the Innies reject Lumon's velvet glove and seem poised to lead a general strike.

Their demands are almost certainly going to go beyond merely improving working conditions and into recognition of their personhood. A personhood that a corporation cannot summarily switch off, even though it is their creator and the operator of the infrastructure that gives them consciousness. Phrasing it this way also reminds me of the trials and tribulations of Data to be legally recognized as a citizen of the Federation instead of Starfleet property, although Data's existence was far less conditional.

Additional Severance Discussion:

Lumon, the Eagons, and High Demand Groups

On This Floor We Believe Innies are People: What do we owe artificial life?

[ecrivainsolitaire]

The Open Art Guild Project: a proposal to empower collectively owned art

Over the last few decades we have seen the degradation of copyright, the blatant manipulation of intellectual property law in order to monopolise wealth and the exploitation of artists in favour of an economy of artistic landlordship: massive corporations holding the prole artist hostage to their increasingly unoriginal library of content produced not to encourage creative enlightenment, but to hold on to properties that ought to be already in the public domain. The capitalist owns the IP, so the capitalist keeps getting richer, while the artist is more and more oppressed, overworked, underpaid, scammed out of their rightful intellectual property, deplatformed, and automated away whenever possible. This is unsustainable, and the arrival of new technologies for digital art automation has overflowed that unsustainability to its breaking point. We cannot continue down this path.

The Open Art Guild is my proposal to remedy this. This proposal consists of two main parts: a copyright standard, designed for the fair distribution of income and the collective ownership of intellectual property; and a distribution platform, planned to empower artists big and small to profit from said intellectual property without being under the thumb of corporations or fighting one another under senseless infighting caused by bourgeois class warfare. The artist should not fight the artist over ownership of rights. The big artist should not see the small artist as a threat, nor should the small artist see the big artist as an obstacle to their own growth. Through mutual empowerment, both may prosper.

The Open Art Guild License

The Open Art Guild License is built upon the current Creative Commons 4.0 License. This license is irrevocable until the work qualifies for public domain according to all relevant legislations, provided that the artist remains a member of the Guild. In order to participate in the Guild, an artist shall follow the following precepts:

The artist shall only publish works under the OAG License that have licenses available to the public. This means public domain, open source, Creative Commons and works created by other members of the Guild. Works derived from privately owned media, such as fanart of intellectual properties not part of the Guild, shall be excluded from the Guild. If the artist did not have permission to use it before, or if the artist only has individual permission, the work will not qualify for Guild submission.

All works created under the OAG License shall be free to adapt, remix, or reuse for other projects, even commercially, provided that the artist doing so is also an active member of the Guild, that the projects derived from it are also under the OAG License, and that the artist follows through with their dues and obligations.

Whenever the format permits, the artist shall provide the assets used for the works in their raw form in a modular fashion, including colour palettes, sound assets, video footage, code, screenplays, subtitles, and any other elements used in the creation of their work, in order to facilitate their reuse and redistribution for the benefit of all other artists.

The artist waives their right to 30% of the total profit generated by works submitted to the guild, regardless of where it is published. This revenue shall be redistributed in the following manner:

10% shall be designated towards the maintenance of the Open Art Guild platform. In absence of a platform that follows the requirements to belong to the Guild, this percentage shall be donated towards a nonprofit organisation of their own choosing dedicated to the protection and distribution of art in any of its forms. Some examples may include Archive.org, Archive Of Our Own, Wikimedia, or your local art museum or community center. Proof of donation shall be made publicly available. The artist shall empower the Guild, as the Guild has empowered the artist.

10% shall be designated towards the Open Art Guild legal fund. In the absence of a fund dedicated to the protection of the OAG, this percentage shall be donated towards a nonprofit organisation dedicated to the protection of the legal rights of artists in any of their forms. Some examples may include Creative Commons, the Electronic Frontier Foundation, the Industrial Workers of the World, or another artist union like the WGA. Proof of donation shall be made publicly available. The artist shall protect the Guild, as the Guild shall protect the artist.

10% shall be designated towards the Open Art Guild creator fund. In the absence of a fund dedicated to redistribute the profits of the OAG, this percentage shall be donated to other members of the Guild, prioritising small creators. Alternatively, it may be directed towards the recruitment of new members to the Guild via donation and an invite. Proof of donation shall not be required, but the receiving artist(s) is(are) encouraged to declare in their own platform that the donation was received. The artist shall give to the Guild, as the Guild has given to the artist.

The artist shall continue to create Guild submissions for the duration of their membership, with a minimum of one submission per month in order to guarantee their continued support. The artist shall live off of labour, not property.

In return for these duties, the artist shall receive:

Permission to adapt, remix, or reuse any of the works in the Guild’s archive for their own derivative works, fan fiction, remixes, collages, or any sort of transformative application, provided dues and obligations are in order.

Protection of their intellectual property as part of the collective works of the Guild by the legal fund designated and sustained by all paying members, to prevent non Guild members from trying to exploit their works unauthorised.

If an artist strikes a deal for non-Guild adaptation, the proportional dues shall also be paid to the Guild fund and members by the non-Guild institution in charge. Said deal shall not be allowed an exclusivity clause, and all works derived from a Guild work shall follow through with their dues in perpetuity. If the non-Guild entity chooses to terminate the business relationship, all intellectual property rights over the adaptation shall irrevocably be granted to the Guild as compensation, guaranteeing the distribution to the creators and the legal fund, as well as the follow-through with whatever payment terms the Guild artist has agreed to.

No Guild artist shall prosecute another Guild artist for use of works under the OAG License, provided that the derivative work also follows the OAG License terms. If these terms are violated, amicable resolution shall be sought by both parties. If litigation becomes inevitable and compensation is required, said compensation will also require the 30% dues to fund the Guild and its members, no matter which way it sides. In no case shall an artist, Guild or non-Guild, be left without recourse.

If an artist becomes unable or unwilling to continue to pay their dues, the artist shall be given an option to suspend or cancel their membership. If a membership is suspended, the artist will be excluded from the creator fund until their dues are renewed. No compensation shall be required of the artist for the suspension period, and all protections other than the creator fund shall still apply. If a membership is cancelled, all works published by the artist under the OAG License shall automatically be granted a Creative Commons 4.0 License instead, in order to protect Guild members from litigation by non-Guild members.

Membership that has been cancelled shall be renewable at any time, provided that the former Guild artist has not engaged in predatory litigation against Guild member or the Guild itself. The Guild shall determine what constitutes predatory litigation on a case-by-case basis. Licenses that were lost during cancellation shall not be given back, as CC4.0 is irrevocable, but new works shall still qualify for OAG Licenses.

These protections shall not be conditional to the artist’s moral values or the content of the works created. All works that do not break the laws applicable to the jurisdiction from which they were submitted shall be treated with the same respect and granted the same rights and obligations, in perpetuity and throughout time and space within the known multiverse. The Guild shall not exist to police art, but to promote it.

Open Art Guild License Template

All submissions of Guild works and projects shall include the following legend, both in English and in the publication language when applicable. Point 4 may be omitted if the artist chooses not to submit the work for dataset training.

This work was created and published under the Open Art Guild license, and has been approved for reuse and adaptation under the following conditions:

For personal, educational and archival use, provided any derivative works also fall under a publicly open license, to all Guild members and non members.

For commercial use, provided redistribution guidelines of the Guild be followed, to all active Guild members.

For commercial use to non Guild members, provided any derivative works also fall under a publicly open license, with the explicit approval of the artist and proper redistribution of profit following the guidelines of the Guild.

For non commercial dataset training of open source generative art technologies, provided the explicit consent of the artist, proper credit and redistribution of profit in its entirety to the Guild.

Shall this work be appropriated by non Guild members without proper authorisation, credit and redistribution of profit, the non Guild entity waives their right to intellectual property over any derivative works, copyrights, trademarks or patents of any sort and cedes it to the Creative Commons, under the 4.0 license, irrevocably and unconditionally, in perpetuity, throughout time and space in the known multiverse. The Guild reserves the right to withhold trade relations with any known infractors for the duration its members deem appropriate, including the reversal of any currently standing contracts and agreements.

[cinema-hallucinations]

Prompt: Create a movie concept set in an post-apocalyptic world the fall of human civilization was (somehow!) caused by overzealous copyright enforcement.

Secondary prompt: Adjust to fit into this background: The copyright enforcement system was designed to be impossible to shutdown. When the first corporation fell in the economic collapse, enforcers could no longer confirm whether the work or patent it supposedly owned could be reused (either via legit license or because of being in the public domain) and they just started destroying or erasing everything, including, for example, the people whose likeness was present in their own licensed portraits. Things rapidly escalated into total civilization collapse. Now the survivors must find a way to register all culture as public domain or be ruthlessly erased.

IPocalypse Now: Remnants of Culture

Logline: In a post-apocalyptic world where copyright enforcement has run amok, a lone survivor must navigate a landscape of intellectual property disputes and copyright trolls while searching for a way to register all culture as public domain and prevent further destruction.

Logline: DMCA was just the beginning.

Setting: The world has been ravaged by a series of "copyright purges," where automated enforcement systems, designed to be indestructible, seized control and began ruthlessly destroying any content deemed to be infringing on intellectual property rights. Cities have been reduced to rubble, libraries and museums have been emptied, and the once vibrant human culture is on the brink of extinction.

Characters:

Elias (30s): A passionate bibliophile and historian, Elias is one of the few survivors of the copyright purges. He carries a hidden database of cultural knowledge, determined to preserve it for future generations.

The Enforcers (various ages and appearances): A faceless army of drones and robots, armed with laser cannons and copyright infringement scanners. They continue to patrol the wasteland, relentlessly seeking out and destroying any unauthorized content.

The Resistance (various ages and backgrounds): A group of survivors who have banded together to fight the copyright enforcers and preserve what remains of human culture.

Plot:

Elias discovers that the copyright enforcement system has become corrupted. With the collapse of major corporations, the system can no longer verify ownership of intellectual property. As a result, it has gone haywire, destroying everything from art and music to historical records and even the likenesses of individuals.

Elias joins the Resistance, a group of survivors fighting to protect the remnants of human culture. Together, they devise a plan to register all existing cultural works as public domain, making them immune to copyright enforcement.

The journey is fraught with danger. The enforcers are relentless, and the Resistance must constantly evade their patrols and find hidden safe havens. Along the way, Elias encounters other survivors, each with their own unique skills and knowledge.

Themes:

The dangers of unchecked technology: The film explores the consequences of allowing technology to run rampant, particularly when it comes to enforcing laws.

The importance of intellectual freedom: The characters fight for the right to access and share information, emphasizing the value of human creativity and expression.

The resilience of the human spirit: In the face of adversity, the survivors demonstrate the power of hope and determination to rebuild a shattered world.

Ending:

Through a series of daring missions and strategic planning, Elias and the Resistance manage to register a significant portion of human culture as public domain. The enforcers, unable to distinguish between protected and unprotected content, are forced to retreat. The film ends with Elias and his companions standing amidst a newly established cultural archive, a symbol of humanity's resilience and the enduring power of ideas.

[mindmotives01]

Think about it—who’s in your circle Intelligent leaders know their limits. They seek out knowledge, skills, and talents they don’t possess, surrounding themselves with those who challenge and inspire them. It’s not...