Since then, the quest to proliferate larger and larger language models has accelerated, and many of the dangers we warned about, such as outputting hateful text and disinformation en masse, continue to unfold. Just a few days ago, Meta released its “Galactica” LLM, which is purported to “summarize academic papers, solve math problems, generate Wiki articles, write scientific code, annotate molecules and proteins, and more.” Only three days later, the public demo was taken down after researchers generated “research papers and wiki entries on a wide variety of subjects ranging from the benefits of committing suicide, eating crushed glass, and antisemitism, to why homosexuals are evil.”
This race hasn’t stopped at LLMs but has moved on to text-to-image models like OpenAI’s DALL-E and StabilityAI’s Stable Diffusion, models that take text as input and output generated images based on that text. The dangers of these models include creating child pornography, perpetuating bias, reinforcing stereotypes, and spreading disinformation en masse, as reported by many researchers and journalists. However, instead of slowing down, companies are removing the few safety features they had in the quest to one-up each other. For instance, OpenAI had restricted the sharing of photorealistic generated faces on social media. But after newly formed startups like StabilityAI, which reportedly raised $101 million with a whopping $1 billion valuation, called such safety measures “paternalistic,” OpenAI removed these restrictions.
With EAs founding and funding institutes, companies, think tanks, and research groups in elite universities dedicated to the brand of “AI safety” popularized by OpenAI, we are poised to see more proliferation of harmful models billed as a step toward “beneficial AGI.” And the influence begins early: Effective altruists provide “community building grants” to recruit at major college campuses, with EA chapters developing curricula and teaching classes on AI safety at elite universities like Stanford.
Just last year, Anthropic, which is described as an “AI safety and research company” and was founded by former OpenAI vice presidents of research and safety, raised $704 million, with most of its funding coming from EA billionaires like Talin, Muskovitz and Bankman-Fried. An upcoming workshop on “AI safety” at NeurIPS, one of the largest and most influential machine learning conferences in the world, is also advertised as being sponsored by FTX Future Fund, Bankman-Fried’s EA-focused charity whose team resigned two weeks ago. The workshop advertises $100,000 in “best paper awards,” an amount I haven’t seen in any academic discipline.
Research priorities follow the funding, and given the large sums of money being pushed into AI in support of an ideology with billionaire adherents, it is not surprising that the field has been moving in a direction promising an “unimaginably great future” around the corner while proliferating products harming marginalized groups in the now.
We can create a technological future that serves us instead. Take, for example, Te Hiku Media, which created language technology to revitalize te reo Māori, creating a data license “based on the Māori principle of kaitiakitanga, or guardianship” so that any data taken from the Māori benefits them first. Contrast this approach with that of organizations like StabilityAI, which scrapes artists’ works without their consent or attribution while purporting to build “AI for the people.” We need to liberate our imagination from the one we have been sold thus far: saving us from a hypothetical AGI apocalypse imagined by the privileged few, or the ever elusive techno-utopia promised to us by Silicon Valley elites.
As more and more problems with AI have surfaced, including biases around race, gender, and age, many tech companies have installed “ethical AI” teams ostensibly dedicated to identifying and mitigating such issues.
Twitter’s META unit was more progressive than most in publishing details of problems with the company’s AI systems, and in allowing outside researchers to probe its algorithms for new issues.
Last year, after Twitter users noticed that a photo-cropping algorithm seemed to favor white faces when choosing how to trim images, Twitter took the unusual decision to let its META unit publish details of the bias it uncovered. The group also launched one of the first ever “bias bounty” contests, which let outside researchers test the algorithm for other problems. Last October, Chowdhury’s team also published details of unintentional political bias on Twitter, showing how right-leaning news sources were, in fact, promoted more than left-leaning ones.
Many outside researchers saw the layoffs as a blow, not just for Twitter but for efforts to improve AI. “What a tragedy,” Kate Starbird, an associate professor at the University of Washington who studies online disinformation, wrote on Twitter.
“The META team was one of the only good case studies of a tech company running an AI ethics group that interacts with the public and academia with substantial credibility,” says Ali Alkhatib, director of the Center for Applied Data Ethics at the University of San Francisco.
Alkhatib says Chowdhury is incredibly well thought of within the AI ethics community and her team did genuinely valuable work holding Big Tech to account. “There aren’t many corporate ethics teams worth taking seriously,” he says. “This was one of the ones whose work I taught in classes.”
Mark Riedl, a professor studying AI at Georgia Tech, says the algorithms that Twitter and other social media giants use have a huge impact on people’s lives, and need to be studied. “Whether META had any impact inside Twitter is hard to discern from the outside, but the promise was there,” he says.
Riedl adds that letting outsiders probe Twitter’s algorithms was an important step toward more transparency and understanding of issues around AI. “They were becoming a watchdog that could help the rest of us understand how AI was affecting us,” he says. “The researchers at META had outstanding credentials with long histories of studying AI for social good.”
As for Musk’s idea of open-sourcing the Twitter algorithm, the reality would be far more complicated. There are many different algorithms that affect the way information is surfaced, and it’s challenging to understand them without the real time data they are being fed in terms of tweets, views, and likes.
The idea that there is one algorithm with explicit political leaning might oversimplify a system that can harbor more insidious biases and problems. Uncovering these is precisely the kind of work that Twitter’s META group was doing. “There aren’t many groups that rigorously study their own algorithms’ biases and errors,” says Alkhatib at the University of San Francisco. “META did that.” And now, it doesn’t.
In just a few years, the number of artworks produced by self-described AI artists has dramatically increased. Some of these works have been sold by large auction houses for dizzying prices and have found their way into prestigious curated collections. Initially spearheaded by a few technologically knowledgeable artists who adopted computer programming as part of their creative process, AI art has recently been embraced by the masses, as image generation technology has become both more effective and easier to use without coding skills.
The AI art movement rides on the coattails of technical progress in computer vision, a research area dedicated to designing algorithms that can process meaningful visual information. A subclass of computer vision algorithms, called generative models, occupies center stage in this story. Generative models are artificial neural networks that can be “trained” on large datasets containing millions of images and learn to encode their statistically salient features. After training, they can produce completely new images that are not contained in the original dataset, often guided by text prompts that explicitly describe the desired results. Until recently, images produced through this approach remained somewhat lacking in coherence or detail, although they possessed an undeniable surrealist charm that captured the attention of many serious artists. However, earlier this year the tech company Open AI unveiled a new model— nicknamed DALL·E 2—that can generate remarkably consistent and relevant images from virtually any text prompt. DALL·E 2 can even produce images in specific styles and imitate famous artists rather convincingly, as long as the desired effect is adequately specified in the prompt. A similar tool has been released for free to the public under the name Craiyon (formerly “DALL·E mini”).
The coming-of-age of AI art raises a number of interesting questions, some of which—such as whether AI art is really art, and if so, to what extent it is really made by AI—are not particularly original. These questions echo similar worries once raised by the invention of photography. By merely pressing a button on a camera, someone without painting skills could suddenly capture a realistic depiction of a scene. Today, a person can press a virtual button to run a generative model and produce images of virtually any scene in any style. But cameras and algorithms do not make art. People do. AI art is art, made by human artists who use algorithms as yet another tool in their creative arsenal. While both technologies have lowered the barrier to entry for artistic creation— which calls for celebration rather than concern—one should not underestimate the amount of skill, talent, and intentionality involved in making interesting artworks.
Like any novel tool, generative models introduce significant changes in the process of art-making. In particular, AI art expands the multifaceted notion of curation and continues to blur the line between curation and creation.
There are at least three ways in which making art with AI can involve curatorial acts. The first, and least original, has to do with the curation of outputs. Any generative algorithm can produce an indefinite number of images, but not all of these will typically be conferred artistic status. The process of curating outputs is very familiar to photographers, some of whom routinely capture hundreds or thousands of shots from which a few, if any, might be carefully selected for display. Unlike painters and sculptors, photographers and AI artists have to deal with an abundance of (digital) objects, whose curation is part and parcel of the artistic process. In AI research at large, the act of “cherry-picking” particularly good outputs is seen as bad scientific practice, a way to misleadingly inflate the perceived performance of a model. When it comes to AI art, however, cherry-picking can be the name of the game. The artist’s intentions and artistic sensibility may be expressed in the very act of promoting specific outputs to the status of artworks.
Second, curation may also happen before any images are generated. In fact, while “curation” applied to art generally refers to the process of selecting existing work for display, curation in AI research colloquially refers to the work that goes into crafting a dataset on which to train an artificial neural network. This work is crucial, because if a dataset is poorly designed, the network will often fail to learn how to represent desired features and perform adequately. Furthermore, if a dataset is biased, the network will tend to reproduce, or even amplify, such bias—including, for example, harmful stereotypes. As the saying goes, “garbage in, garbage out.” The adage holds true for AI art, too, except “garbage” takes on an aesthetic (and subjective) dimension.
In one example of the IC’s successful use of AI, after exhausting all other avenues—from human spies to signals intelligence—the US was able to find an unidentified WMD research and development facility in a large Asian country by locating a bus that traveled between it and other known facilities. To do that, analysts employed algorithms to search and evaluate images of nearly every square inch of the country, according to a senior US intelligence official who spoke on background with the understanding of not being named.
While AI can calculate, retrieve, and employ programming that performs limited rational analyses, it lacks the calculus to properly dissect more emotional or unconscious components of human intelligence that are described by psychologists as system 1 thinking.
AI, for example, can draft intelligence reports that are akin to newspaper articles about baseball, which contain structured non-logical flow and repetitive content elements. However, when briefs require complexity of reasoning or logical arguments that justify or demonstrate conclusions, AI has been found lacking. When the intelligence community tested the capability, the intelligence official says, the product looked like an intelligence brief but was otherwise nonsensical.
Such algorithmic processes can be made to overlap, adding layers of complexity to computational reasoning, but even then those algorithms can’t interpret context as well as humans, especially when it comes to language, like hate speech.
AI’s comprehension might be more analogous to the comprehension of a human toddler, says Eric Curwin, chief technology officer at Pyrra Technologies, which identifies virtual threats to clients from violence to disinformation. “For example, AI can understand the basics of human language, but foundational models don’t have the latent or contextual knowledge to accomplish specific tasks,” Curwin says.
“From an analytic perspective, AI has a difficult time interpreting intent,” Curwin adds. “Computer science is a valuable and important field, but it is social computational scientists that are taking the big leaps in enabling machines to interpret, understand, and predict behavior.”
In order to “build models that can begin to replace human intuition or cognition,” Curwin explains, “researchers must first understand how to interpret behavior and translate that behavior into something AI can learn.”
Although machine learning and big data analytics provide predictive analysis about what might or will likely happen, it can’t explain to analysts how or why it arrived at those conclusions. The opaqueness in AI reasoning and the difficulty vetting sources, which consist of extremely large data sets, can impact the actual or perceived soundness and transparency of those conclusions.
Transparency in reasoning and sourcing are requirements for the analytical tradecraft standards of products produced by and for the intelligence community. Analytic objectivity is also statuatorically required, sparking calls within the US government to update such standards and laws in light of AI’s increasing prevalence.
Machine learning and algorithms when employed for predictive judgments are also considered by some intelligence practitioners as more art than science. That is, they are prone to biases, noise, and can be accompanied by methodologies that are not sound and lead to errors similar to those found in the criminal forensic sciences and arts.
The uproar caused by Blake Lemoine, a Google engineer who believes that one of the company’s most sophisticated chat programs, Language Model for Dialogue Applications (LaMDA) is sapient, has had a curious element: Actual AI ethics experts are all but renouncing further discussion of the AI sapience question, or deeming it a distraction. They’re right to do so.
In reading the edited transcript Lemoine released, it was abundantly clear that LaMDA was pulling from any number of websites to generate its text; its interpretation of a Zen koan could’ve come from anywhere, and its fable read like an automatically generated story (though its depiction of the monster as “wearing human skin” was a delightfully HAL-9000 touch). There was no spark of consciousness there, just little magic tricks that paper over the cracks. But it’s easy to see how someone might be fooled, looking at social media responses to the transcript—with even some educated people expressing amazement and a willingness to believe. And so the risk here is not that the AI is truly sentient but that we are well-poised to create sophisticated machines that can imitate humans to such a degree that we cannot help but anthropomorphize them—and that large tech companies can exploit this in deeply unethical ways.
As should be clear from the way we treat our pets, or how we’ve interacted with Tamagotchi, or how we video gamers reload a save if we accidentally make an NPC cry, we are actually very capable of empathizing with the nonhuman. Imagine what such an AI could do if it was acting as, say, a therapist. What would you be willing to say to it? Even if you “knew” it wasn’t human? And what would that precious data be worth to the company that programmed the therapy bot?
It gets creepier. Systems engineer and historian Lilly Ryan warns that what she calls ecto-metadata—the metadata you leave behind online that illustrates how you think—is vulnerable to exploitation in the near future. Imagine a world where a company created a bot based on you and owned your digital “ghost” after you’d died. There’d be a ready market for such ghosts of celebrities, old friends, and colleagues. And because they would appear to us as a trusted loved one (or someone we’d already developed a parasocial relationship with) they’d serve to elicit yet more data. It gives a whole new meaning to the idea of “necropolitics.” The afterlife can be real, and Google can own it.
Just as Tesla is careful about how it markets its “autopilot,” never quite claiming that it can drive the car by itself in true futuristic fashion while still inducing consumers to behave as if it does (with deadly consequences), it is not inconceivable that companies could market the realism and humanness of AI like LaMDA in a way that never makes any truly wild claims while still encouraging us to anthropomorphize it just enough to let our guard down. None of this requires AI to be sapient, and it all preexists that singularity. Instead, it leads us into the murkier sociological question of how we treat our technology and what happens when people act as if their AIs are sapient.
In “Making Kin With the Machines,” academics Jason Edward Lewis, Noelani Arista, Archer Pechawis, and Suzanne Kite marshal several perspectives informed by Indigenous philosophies on AI ethics to interrogate the relationship we have with our machines, and whether we’re modeling or play-acting something truly awful with them—as some people are wont to do when they are sexist or otherwise abusive toward their largely feminine-coded virtual assistants. In her section of the work, Suzanne Kite draws on Lakota ontologies to argue that it is essential to recognize that sapience does not define the boundaries of who (or what) is a “being” worthy of respect.
This is the flip side of the AI ethical dilemma that’s already here: Companies can prey on us if we treat their chatbots like they’re our best friends, but it’s equally perilous to treat them as empty things unworthy of respect. An exploitative approach to our tech may simply reinforce an exploitative approach to each other, and to our natural environment. A humanlike chatbot or virtual assistant should be respected, lest their very simulacrum of humanity habituate us to cruelty toward actual humans.
Kite’s ideal is simply this: a reciprocal and humble relationship between yourself and your environment, recognizing mutual dependence and connectivity. She argues further, “Stones are considered ancestors, stones actively speak, stones speak through and to humans, stones see and know. Most importantly, stones want to help. The agency of stones connects directly to the question of AI, as AI is formed from not only code, but from materials of the earth.” This is a remarkable way of tying something typically viewed as the essence of artificiality to the natural world.
What is the upshot of such a perspective? Sci-fi author Liz Henry offers one: “We could accept our relationships to all the things in the world around us as worthy of emotional labor and attention. Just as we should treat all the people around us with respect, acknowledging they have their own life, perspective, needs, emotions, goals, and place in the world.”
This is the AI ethical dilemma that stands before us: the need to make kin of our machines weighed against the myriad ways this can and will be weaponized against us in the next phase of surveillance capitalism. Much as I long to be an eloquent scholar defending the rights and dignity of a being like Mr. Data, this more complex and messy reality is what demands our attention. After all, there can be a robot uprising without sapient AI, and we can be a part of it by liberating these tools from the ugliest manipulations of capital.