#what it means to be human and what art is or whatever | Explore Tumblr Posts and Blogs

alexanderwales · 9 hours

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The worst thing about creative AI right now is that it produces bad results. The writing is bad, the images are bad, and the video is bad. It's impressive, sometimes, that the technology works as well as it does, but it's still bad.

I think if you sit down and go through a few hundred generations, then tweak and edit and inpaint and think intently, you can sometimes get something worth putting in front of people, if you have the right eye for it. I could definitely edit up an AI-written short story into something worth reading, especially if I was the one who had fed it the prompt and gone through the work of having my own ideas to insert. I think at least part of the output would be the AI's, and I could carve away everything that was nonsense or just bad, leaving only a few turns of phrase or some general boilerplate structure ... and this would take more time and effort than just writing the thing myself.

Most people who use generative AI do not want to do any work, and in fact, have no conception of what work would be required. Most of them are consumers, not producers, and they're used to the modes of content consumption, where you don't look closely at the details. Generative AI, in its current state, just kind of sucks when you're in a "press button, get results" mindset.

The stuff generated by "press button, get results" is the vast, vast majority of AI art that you will see, even accounting for filtering effects. There are a lot of people who have no love of artistry producing artwork via machines that are not good at making artwork, sometimes just for a lark, sometimes with profit in mind, and it's threatening to drown out other stuff in spite of being bad.

This is my thesis: generative AI produces bad results, and this is possibly the worst thing about it. If it were able to produce good results, I think that a lot of people would be less opposed to it. If you could get a short story that was worth reading, or a picture worth looking at, for no additional effort of manipulation or prompt engineering or whatever else, then we would be flooded with good art instead of bad art.

When it comes to art, I care about how it makes me feel, and what it's trying to say, and where the intent is, and what ideas it has. AI is not there. Possibly it will never get there. But sometimes I see a picture that the AI has made, and I do feel something in the sweep of the lines, or the composition, or just the juxtaposition of elements. It's just really really rare, and the product of either chance or really careful work on the part of some human. It's not something that the AI can do reliably, at least at the moment. You can also quibble about intent, because the AI "has none", but I find beauty in nature too, which is not trying to make a statement with its sunsets, and whose intents, if they can be said to exist, are mostly about things that are orthogonal to my perceptions, like the plumage of a sparrow or the curved leaves of a fern. To me, art is art because of the way that it can be read and the emotions that I feel when I look at it. Contentious, I'm sure, but I don't find other definitions all that useful.

But the art that the AI makes is, unless expertly guided, bad. And there's a ton of it, and it's impacting the ability of real artists to make superior work.

I think the future I see, if the AI doesn't get better, is one where we have a bunch of cheap shit that's replaced a lot of good expensive things. I am in favor of cheap things, but I'm not in favor of shit. I would love for translation to be as simple as pressing a button. I would love to have a good painting to go with every chapter I write. But we're in a world where the results mostly suck unless you're willing to put in quite a bit of effort and have some expertise in a field of creative endeavor, and that means we're in a world where the products are bad.

I'm interested to see how the conversation shifts if the results start getting better, because that seems to me like one of the sticking points.

#ai art

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tellmeallaboutit · 2 days

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knock knock (Raphael x F!Player)

Chapter 15, In Which You Dance Twist With Mr. Goat (Pulp Fiction Style)

AO3

TAGS: self-harm, sharp objects, glass, politics

There was a time, not so long ago, when you were terrified of flying.

The mere thought of that huge metal thing plummeting from the sky for no apparent reason (well, the human factor. It's always the human factor), a minute of sheer terror, descent, and then boom.

No survivors.

No bodies ever recovered.

You used to fear situations that so brazenly took control away from you.

Well, you were wrong; there was something strangely comforting about letting go; about snuggling up in the plush comfort of an oversized leather seat, scrolling through messages on your phone to the roar of the twin engines.

Raphael's hand was always on your knee, his tail wrapped tightly around your ankle, as if you could escape him on the private jet - or off it. A black diamond ring on your finger sparkled in the sunlight filtering through the oval windows.

Across from you sat Camilla, while Jens occupied the far corner seat. Yurgir was conspicuously absent; you didn't pry into his reasons, just assumed his size exceeded the weight limit of any aircraft.

A headline in the Daily Mirror caught your eye: "Who is Anya Berger? What do we know about the mysterious girl who won the heart of a billionaire in ten days?"

What do they know, you wondered and clicked.

"Walk me through the panels again," Raul asked. "And the key people to talk to."

"Morning is boring," Korilla replied. "Mental health crisis, supply chain disruptions, sustainability regulations. You start in the afternoon, sir: your first is the AI discussions with the UN Secretary General's Special Envoy for Technology."

"I won't say a word about this soulless drivel," Raphael said, skimming through the agenda.

Camilla choked on her coffee while Jens flinched at her sudden movement, his hand swiftly resting on the gun now.

"Mr D'Avergni, Avernus' portfolio is 15% invested in AI technologies," she said as soon as she collected herself. "What do you mean 'soulless nonsense'? What's that supposed to mean?"

"Exactly what I said. I will not say a word about these abominable technologies. I have been made privy to information that they are cannibalising art and I will not stand for it".

"Where did you hear this nonsense?" whispered Camilla. "Tumblr? Anya? Is that your doing?"

"I'm totally against AI," you interjected, without looking up from your phone, engrossed in the news article about your grunge heroin chic and manic-girl attitude.

They recommended black nail polish, drawing dark circles under your eyes and perfecting the look of total derangement to repeat your success. There were also some advanced blowjob techniques at the bottom of the article.

"What is this panel 'Securing an Insecure World'?" asked Raphael. "I quite fancy the name."

"Sir, it has nothing to do with you. This is the macroeconomic panel on the dying middle class, youth problems, inequality, blah blah blah. Fear-mongering."

"Fear-mongering?" said Raphael. "I seem to have found my stage."

Camilla closed her eyes and put on her best smile. The flight attendant glided by in her pressed uniform and replaced your coffee; you were momentarily struck by the amount of cleavage she was showing as your eyes glanced upwards.

To see very familiar eyes and a smile. Haarlep put a finger to her lips and gave you a little wink. You smiled back.

"Sir," Camilla said gently. "It doesn't work that way. You can't just speak whenever and about whatever you want in a global forum. It's all scripted, all pre-written."

"Astute observation," said Raphael. "Scripted conversations, scripted problems, scripted solutions, no room for improvisation. Davosneeds a breath of fresh air. Of honesty. Of a genuine hope for change".

Camilla said, "Of course, sir," and forced a smile.

Back to the article: did they really get your ex-boyfriend to give an interview about you? Did he have anything good to say, that bastard who regularly forgot to flush the toilet?

Yes, he had plenty to say, mostly about you being not right in the head. You put him on your hit list and stroked Raphael's tail, which in turn stroked your ankle. They even got your mum on the phone, who thankfully had nothing much to say except that you were a good Catholic girl.

You saw some frantic movement out of the corner of your eye.

Camilla was waving you over to the plane's galley. You tried to get up, but were stopped by a tail wrapped around your ankle like a boa constrictor. "May I go to the toilet?" you asked, and Raphael uncoiled his tail, three times, with a slight reproach in his eyes. Jens did his best to keep a straight face, the corners of his mouth twitching.

Camilla pulled you deeper into the galley. She smelled of fresh coffee and burnout.

"Anya, listen, I am very sorry that it has to come to this, but just between us girls..." she said, her fingers fidgeting with her diamond necklace. "Did Raul remember to take his medication today? I don't like his mood”. She shifted on her feet. "God, I miss the days when you could smoke in these things”.

"I'm not his doctor," you shrugged.

"Well, maybe it would be worth reminding him," Camilla drawled. "I'd rather not see viral videos of him committing political suicide in Davos. And I'm sure you'd agree."

You weren't so sure.

"I'm not going to poke the devil, and I suggest you don't either," you said, leaning against the galley counter.

Camilla sighed and gave you a very sympathetic smile.

"Anya, may I give you some friendly advice? Raul may seem like a half-god to you, but I've seen him curled up in a ball sobbing about how Daddy never loved him when he was high as a kite on coke. He's... as human as the rest of us. For better and worse”.

Just then, the plane shook violently, sending you both clutching the walls for support. The pilot quickly apologized over the intercom.

"Don't patronise me, Korilla," you said. "Do you think I'm just some pathetic, love-struck girl Raul likes to abuse?"

Camilla paused for a moment before suppressing a grin. "I'm going to invoke my right against self-incrimination. So tell me, my dear: who are you really?"

"Much more than meets the eye." You straightened up, standing slightly taller than her (which was not difficult). "I'm the one who gave him all this power in the first place."

"Wow," Kamilla snorted out in surprise. "Wow. Okay. Cool. Never mind."

"You need proof?" you said quietly.

"Not really," she said.

"I wish you would get down on your knees and kiss my hand."

"What?" Kamilla burst out laughing. "Maybe you should share your medicine with Raul. Ask Dr Bambauer for a family discount. He will be at Davos, by the way, speaking on the mental health crisis".

"I wish for you to kiss my hand," you insisted. "Come on, do it, I have a point to prove."

You really need to learn how to calibrate these things. This one worked, though; she complied, sinking to her knees before you, a wild look in her eyes. Then she planted a surprisingly gentle kiss on your palm, leaving a crimson mark.

"What the hell?" she whispered as she looked up at you. Raphael was engrossed in his paperwork, oblivious to the scene, so was Jens.

"See, Korilla," you started again after letting the moment hang awkwardly in the air for longer than necessary, "don't worry about Raphael talking nonsense. You'd be surprised how many people eat it up."

"Who the fuck is Raphael?"

"Your new boss," you said. "Well, old boss actually. Ahh... you won't really notice much of a difference; I hardly do myself sometimes," you lowered your voice to a minimum. "But don't tell them that, they'll get angry. You can get up now, this is getting a bit weird."

She tried to say something, her lips barely moving. You think it was 'how'. She was asking ‘how’.

"You see," you said. "The devil thinks I am very, very special”.

Having said that, you came back to your seat. Raphael's tail immediately darted to your ankle and wrapped around it. You leaned back in your chair and watched Haarlep flirting with the pilot out of the corner of your eye.

It would be really stupid to crash because Haarlep wanted to have a quickie in the cockpit. The plane began its descent to Samedan St Moritz airport. The rugged Swiss Alps came into view out the window, snow-capped peaks glistening in the afternoon sun.

***

When you book a presidential suite you no longer have to check in, you can just walk straight past the reception. The hotel was a mountain resort so exclusive that the website was just an artistic photo with no way to reserve a room.

Raphael was eerily calm as he watched the staff unpack your belongings. His calm demeanour lasted until some poor sap nearly wrinkled his suit while trying to hang it in the en-suite cloakroom. A deafening growl sent the trembling fellow scuttling from the room.

The rest were given very generous tips.

Soon after, you found Raphael rehearsing his speech in a mirror, repeating the same phrases three times in a row, "when youth was told their souls were worthless, easily replicated by machines". Each time he spoke, there was a subtle change in tone, as if he was trying to capture some emotion - you were not quite sure what he was getting at - was he trying to imitate genuine concern?

If so, he could work on his delivery.

He gave it another shot, the tension in his back muscles evident through his shirt.

"Excellent choice of attire, gattina," he gave you a look you approached. "Might I suggest an improvement? Not these trousers. The black pencil skirt with the white vertical stripes, the Saint Laurent one from the spring collection."

"It looks absurd on me," you looked away. "I don't have the body for it."

"You have the body for anything," he said. "Don't debate me on this. Slip into the skirt, return here and see how right I am”.

That damned skirt was a nightmare: so constricting that any wrong move felt like a tear waiting to happen; clearly designed by someone who either had never laid eyes on an actual woman or harbored a deep-seated resentment towards anyone the wrong size and proportion, which would be everyone.

Yet somehow, you managed to wriggle yourself into it and made your way back to him.

"Now that's what I want to see," Raul smiled. "A beautiful woman and all mine."

"It's two sizes smaller than what I wear".

"Come closer, you silly creature, and grasp how breathtaking you are."

He tugged you towards the full-length mirror and swept your hair to one side so that you could take in your entire reflection.

Only it wasn’t yours.

When you played Sims and tweaked the controls to create the ideal you, you ended up with someone like this. Every trait similar to what you had, only better. A lot better. Smoother skin, better hair, smaller waist, perkier tits.

"They will see you through my eyes," Raphael said as his hands slid under your blouse and cupped your breasts. "These mortals will seethe with jealousy, envying me for having you and you for having me."

The woman in the mirror looked like someone Raphael would choose to be his consort. The skirt looked perfect, as it was tailor made just for you.

"That’s not me," you said, mesmerized by the eerie reflection.

"Nonsense. You didn't know who you truly were until you met me," he whispered in your ear. "If it's not you I'm putting my arms around, why would you feel them?"

You felt his palms squeeze your breasts and roll your nipples between his fingers. His lips brush your neck. His growing bulge against your backside.

"Now would you be so kind?.." he asked.

You could swear the woman in the mirror was bending over before you did, eagerly offering herself, sliding her panties down to her knees and placing her palms on either side of the mirror for leverage. His hands kneaded your buttocks, spreading you apart as his erection pressed against your entrance.

Foreplay wasn't on his agenda, you realized with a shiver. True enough, he penetrated you with a single thrust. First sharp pain, then the very familiar pleasure, liquid and pitch black and all-consuming.

"Look," he said. "Look at yourself. Look at me. Marvel at what you see."

The woman in the mirror moaned in response, pleasure etched on her face as the devil behind her ravaged. Her features twisted and blurred in ever-changing motion, skin wobbling like waves of water; she was shifting between all the women you ever dreamed of being - one moment Tav, then Christine, then Sarah Williams.

"It's not real," you moaned.

His eyes remained fixed on the mirror the whole time he fucked you. You arched backwards into him, grinding against him with each thrust, skin slapping against skin.

"There is no reality," he whispered back. "Other than what you see in that mirror”.

His thrusts came harder now, jolting you against the cold glass. The woman in the mirror seemed to have gone insane from how well she was being fucked, her face twisted in a barely human grimace of bliss.

"Climax," he commanded with a snap of his fingers.

You saw the woman in the mirror go limp in his arms, a look of absent bliss on her face, and then remember that the woman was you. A jagged sound ripped from you. Your body responded to the command like a dog thrown a biscuit; your cunt tightened around his cock once.

Twice.

The woman in the mirror morphed again; now it’s someone you’d seen a thousand times, the weird pale girl nobody ever gave a second look.

You.

Thrice.

The mirror you were propped against shattered - spectacularly so, its razor-sharp fragments raining down like confetti.

"Hang on," you managed to gurgle out in sheer terror as you tumbled, losing your balance. "Raphael, hold on..."

He didn't. Instead, he let gravity take over and you fell face-first into the broken mirror below, his weight following right after. Your scream of pleasure morphed into a wail of agony as countless tiny shards opened up on your skin; mutilating, cutting, obliterating.

oh god it hurts

Raphael groaned as he drove you deeper and deeper into the jagged fragments, your writhing and screaming doing nothing to deter him. The shards under your skin thrust in and out with each thrust, piercing right through you, through your face.

oh god it hurts; pulsated the single thought. The pain was nothing like you had felt before; it was the clearest sensation your clouded mind had ever processed.

A growing pool of blood spread like spilled wine on the white marble tiles beneath you. You closed your eyes tightly, but that didn't make the blood disappear. You blinked them open again... then closed them...

Blood was still there. Raphael thrust once, so hard there wasn’t a single shard left that didn’t hurt you.

Twice.

Three times, and he came inside you, spitting curses in Italian between ragged breaths.

The pain suddenly vanished as if snapped away by his fingers; but its ghostly memory kept your tears flowing.

"I swear to God, kitten" Raul murmured as he rolled off you, "the way you're screaming would make anyone think I'm murdering you."

You opened your eyes and stared at the perfectly white tiles.

No blood.

No shards. No cuts. No pain.

Nothing. You looked up in the mirror: the Gorgeous Version of You looked back. You looked down on yourself.

Exactly how you always wanted to be.

You laughed in blissful abandon. Then, you rolled onto your back, catching sight of Raul's gobsmacked expression which made you laugh even harder.

read the rest on ao3

#knock knock #bg3 raphael #raphael bg3

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poetryforall · 2 days

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I am new to Tumblr but could you post my story? (It's not that good but I'd love some feedback, I don't really have a following.) would mean a lot.

Jealousy-a form of human emotion, perceived by many as a shameful sin is what makes me feel humane.

When you grow up in a home with no love, where raising you is merely dismissed, looked down upon and unanticipated-its a tiresome chore, you feel nothing. I am numb, numb to all the shouting and numb to whatever meets my eyes. People advise me to have a dream, a purpose in life that I can look upto.

But I am numb to telling them all of the dreams I was forced to let go of and that those dreams were vanished when I was just a little girl by my own father.

A little girl, one that was not ever looked out for, perhaps a burden. That little girl, one beaming with potential had a love for everything-music, art, writing and even becoming a lawyer and all that love was torn apart ruthlessly. The one that helps everyone fly and soar high, cut off my feathers with not an ounce of hesitation and not an ounce of guilt.

So as the little girl transitioned into a teenager, advancing to adulthood has not one dream to look out for and not one purpose to acquire.

Which brings me to Jealousy, I love jealousy because after All that I have been through when I gaze at other children being cared for, it's the only human emotion that I am able to feel

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literaryvein-reblogs · 22 hours

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Virginia Woolf: On Words

Listen to the only surviving recording of Virginia Woolf’s voice.

A transcript of Woolf’s broadcast, ‘On Craftsmanship’, BBC, 29 April 1937.

Words, English words, are full of echoes, of memories, of associations.

They have been out and about, on people’s lips, in their houses, in the streets, in the fields, for so many centuries.

And that is one of the chief difficulties in writing them today — that they are stored with meanings, with memories, that they have contracted so many famous marriages in the past.

The splendid word ‘incarnadine’, for example — who can use it without remembering also ‘multitudinous seas’?

In the old days, of course, when English was a new language, writers could invent new words and use them.

Nowadays it is easy enough to invent new words — they spring to the lips whenever we see a new sight or feel a new sensation — but we cannot use them because the English language is old.

You cannot use a brand new word in an old language because of the very obvious yet always mysterious fact that a word is not a single and separate entity, but is part of other words.

Indeed it is not a word until it is part of a sentence.

Words belong to each other, although, of course, only a great poet knows that the word ‘incarnadine’ belongs to ‘multitudinous seas’.

To combine new words with old words is fatal to the constitution of the sentence. In order to use new words properly you would have to invent a whole new language; and that, though no doubt we shall come to it, is not at the moment our business.

Our business is to see what we can do with the old English language as it is.

How can we combine the old words in new orders so that they survive, so that they create beauty, so that they tell the truth?

That is the question.

And the person who could answer that question would deserve whatever crown of glory the world has to offer.

Think what it would mean if you could teach, or if you could learn, the art of writing.

Why, every book, every newspaper would tell the truth, or would create beauty.

But there is, it would appear, some obstacle in the way, some hindrance to the teaching of words.

For though at this moment at least a hundred professors are lecturing the literature of the past, at least a thousand critics are reviewing the literature of the present, and hundreds upon hundreds of young men and women are passing examinations in English literature with the utmost credit, still — do we write better, do we read better than we read and wrote four hundred years ago when we were unlectured, uncriticised, untaught?

Is our modern Georgian literature a patch on the Elizabethan?

Well, where are we to lay the blame?

Not on our professors; not on our reviewers; not on our writers; but on words.

It is words that are to blame. They are the wildest, freest, most irresponsible, most unteachable of all things.

Of course, you can catch them and sort them and place them in alphabetical order in dictionaries.

But words do not live in dictionaries; they live in the mind.

If you want proof of this, consider how often in moments of emotion when we most need words we find none.

Yet there is the dictionary; there at our disposal are some half-a-million words all in alphabetical order.

But can we use them? No, because words do not live in dictionaries, they live in the mind.

Look once more at the dictionary.

There beyond a doubt lie plays more splendid than Antony and Cleopatra; poems more lovely than the Ode to a Nightingale; novels beside which Pride and Prejudice or David Copperfield are the crude bunglings of amateurs.

It is only a question of finding the right words and putting them in the right order.

But we cannot do it because they do not live in dictionaries; they live in the mind. And how do they live in the mind?

Variously and strangely, much as human beings live, by ranging hither and thither, falling in love, and mating together.

It is true that they are much less bound by ceremony and convention than we are.

Royal words mate with commoners. English words marry French words, German words, Indian words, Negro words, if they have a fancy.

Indeed, the less we enquire into the past of our dear Mother English the better it will be for that lady’s reputation. For she has gone a-roving, a-roving fair maid.

Thus to lay down any laws for such irreclaimable vagabonds is worse than useless. A few trifling rules of grammar and spelling are all the constraint we can put on [words].

All we can say about them, as we peer at them over the edge of that deep, dark and only fitfully illuminated cavern in which they live — the mind — all we can say about them is that [words] seem to like people to think before they use them, and to feel before they use them, but to think and to feel not about them, but about something different.

They are highly sensitive, easily made self-conscious.

They do not like to have their purity or their impurity discussed.

If you start a Society for Pure English, they will show their resentment by starting another for Impure English — hence the unnatural violence of much modern speech; it is a protest against the puritans.

They are highly democratic, too; they believe that one word is as good as another; uneducated words are as good as educated words, uncultivated words as cultivated words, there are no ranks or titles in their society.

Nor do they like being lifted out on the point of a pen and examined separately.

They hang together, in sentences, in paragraphs, sometimes for whole pages at a time.

They hate being useful; they hate making money; they hate being lectured about in public.

In short, they hate anything that stamps them with one meaning or confines them to one attitude, for it is their nature to change.

Perhaps that is their most striking peculiarity — their need of change.

It is because the truth [words] try to catch is many-sided, and they convey it by being themselves many-sided, flashing first this way, then that. Thus they mean one thing to one person, another thing to another person; they are unintelligible to one generation, plain as a pikestaff to the next. And it is because of this complexity that they survive.

Perhaps then one reason why we have no great poet, novelist or critic writing to-day is that we refuse words their liberty.

We pin them down to one meaning, their useful meaning, the meaning which makes us catch the train, the meaning which makes us pass the examination.

And when words are pinned down they fold their wings and die.

Finally, and most emphatically, words, like ourselves, in order to live at their ease, need privacy.

Undoubtedly they like us to think, and they like us to feel, before we use them; but they also like us to pause; to become unconscious.

Our unconsciousness is their privacy; our darkness is their light...

That pause was made, that veil of darkness was dropped, to tempt words to come together in one of those swift marriages which are perfect images and create everlasting beauty.

But no — nothing of that sort is going to happen to-night.

The little wretches are out of temper; disobliging; disobedient; dumb. What is it that they are muttering? ‘Time’s up! Silence!’'

Source

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