Sabine Hossenfelder On AI
Sabine Hossenfelder is a German ex-physicist who several years ago got frustrated with the academic environment, dropped out, and became a full-time YouTube commentator on general science issues. Her commentary on AI is provocative, but I'm not sure if it's entirely well-informed, and it has the problem of trying to talk about an abstraction as if it's something concrete, in other words, hypostatization. (This was my hobby horse when I taught freeshman comp half a cenrury ago.) At 1:13, she says,
The future is not everyone gets a genius assistant. The future is your genius assistant is currently unavailable, because billionaires are using it to optimize tax avoidance. The artificially intelligent systems we currently have are just about to become useful in some domains like coding and text-based tasks. They're still far away from humanlike general intelligence, but we'll get there. . . . Large language models have serious shortcomings. Most importantly, they dson't learn continuously. You train them, then you roll out the update, then you train a new generation. The trend is going towards equipping these models with tools, giving them memoryand adding all kinds of twiddles and thumbs.
Because I was an English major who's done various kinds of writing but made my career in tech, I think I have a clearer understanding of what large language models -- the most visible use of current AI -- actually do. Here's a recent query I made of Chrome AI mode:
John Bruce was a prolific writer for literary little magazines in the 2000s. Is any of his writing still available on line?
It answered,
During the indie "webzine" and literary little magazine boom of the 2000s, John Bruce was a highly active contributor to the flash fiction and short story scenes, even earning a Pushcart Prize nomination for his work. However, because many independent literary journals from that era have since folded or changed domains, a significant portion of his catalog has fallen victim to digital link rot.To track down his surviving stories and records of his work, look to the following resources:
Active Archives and Surviving Webzines
Boundoff: You can still find contributor references and details of his fiction featured in long-standing indie audio and text journals like Boundoff, which published his work (such as in Issue 59) alongside other prolific fiction writers of the era.
The Internet Archive (Wayback Machine): For magazines that defined the 2000s indie lit scene but have since gone offline (such as Word Riot, PANK in its earliest iterations, Zygote in My Coffee, or DecomP), entering the original journal URLs into the Wayback Machine is the most reliable way to pull up his text. If you can recall a specific story title of his, searching it in quotes alongside the name of a 2000s zine on the archive will often yield the original plain-text page.
If anyone is interested, here are two titles that are still around:- Drive Up Pay Toilet, in Underground Voices
- Backpack, in Lowestoft Chronicle
On the other hand, I don't think Ms Hossenfelder has her head fully around the subject matter here. Large language models are trained on data repositories. Chrome AI is part of Google/Alphabet, and its repository is all that Goodle can search, which is quite a bit. xAI, now part of SpaceX, uses all of X as its training resource and repository, which feeds ChatGPT. By incorporating X into xAI, Musk was able to monetize that resource and make a loser profitable.
But Ms Hossenfelder is looking for the spark of creativity -- but for this, you have to tell AI what to be creative about. I asked Chrome AI mode,
Can you write me the first paragraph of a short story that looks like it came out of creative writing class?
It answered,
The morning sun cut through the Los Feliz smog, casting fractured, ochre light across Miller’s desk. Dust motes danced in the stale air, settling heavy on the half-empty bourbon glass and the stack of rejection letters that had become his only steady companion.
As I begin to re-familiarize myself with the world of little literary zines of the 2020s, I now see that pretty much all of them have a policy something like, "We maintain a strict no-AI policy. We do not accept work that has been created, assisted, edited, or enhanced by artificial intelligence tools of any kind." The problem is that your average editor will look at the paragraph above, with all the earmarks of lay-it-on-thick creative writing class advice, and determine that this entry is not tainted by anything like AI. Go with it!I can take only so much of little literary zines. But AI can be great fun, if you know how to use it.




