a friend wrote that he'd found this good but depressing. I wrote a decent amount in the group chat about it – you will get the sense I was intending to be un-depressing about it – and I want to capture that.
i found it kind of frustrating?? what the author's trying to get across here seems too simple to me (though possibly that's to make a point, i ack that that's necessary just to get across to people that there's a Thing Here). not because of more complicated thoughts about AI, but regarding art and influence in general.
- growing as an artist means learning how to do things differently than your instinct was to do them at the start. it means immersing yourself in others' work (often in a tradition!), playing with imitation, learning to understand the reasons others had to do things differently than you would have. there's a tension there! it's not The Best Thing Is Always To Follow Your Heart. having a voice as an artist has always meant needing to have your own spine and your own reflectivity in order to navigate how much you want to follow your own first thought vs. how much you want to learn from others. this then raises – has always raised – the question urgently: who is worth learning from? in my view and in that of the author's: not grammarly for anything meaningful!! but eschewing the mechanical isn't enough – part of your responsibility as an artist if you're going to exist in any artistic tradition is to curate your own influences. to decide that you want to read baldwin and lorde or miller and kerouac or colette and sand or literally only the members of your own local and contemporary community – you have to decide that at the same time as you have to decide how much influence you want to take from them. that's always been really hard! and that's the point! ignoring the machine isn't enough.
- similarly: the criticism and feedback an artist gets from others in aggregate has always been homogenizing and will always be homogenizing. average taste is commercial. in the story it's presented as though the feedback only became homogenizing because the others in the group were exposed to synthetic text. i don't think that's right! it has always required individual backbone and collective glass bead games of social signaling to produce things more interesting than the market demands. this is why the modernists were so weirdly anti-populist, anti-democratic – they resented what common taste did to art. there's a tension in that! i don't actually enjoy reading joyce and a lot of them were up their own asses! but then the actually fully popular slurry of his day was also garbage! this is in many ways not a new problem and therefore i dislike presentation of it as novel because it risks hiding older evolved countermeasures
- I think I as an individual have a stronger contrarian sense than most people so I should distrust some of my own instincts about how it must feel for others to encounter this influence. it's valid to need more breathing room to develop confidence, to develop a sense of one's own rightness. at the same time: something about the non-author-insert non-tech-bro caricatures are given here seems so limp, so passive, so mushy. we must keep them free of contamination because they are so stupid they will melt into nothingness, possessing none of our author-insert's vim/opinionatedness. this is weird! I Have Made Up A Guy To Condescend To, Who Types "Please ChatGPT Make My Work More Universal" And Needs Me To Explain He Shouldn't. i would be interested to know if there are real experiences this is drawing from and i would be interested to explore the psychology of how people actually get caught up here, because that's not explored because our author-insert has perfect confidence in the wrongness of synthetic influence, and everyone else is mustache-twirling or mush.
i am more optimistic about people navigating this because writers have always been navigating phases of pastiche of our favorite authors, encountering criticism like "the heroine is unsympathetic" or "your vocabulary is too unusual for the market you're going after", of insecurity
we have what we need to face this because in different ways we have already been facing it
in some ways the part i'm much more pessimistic about is: will anyone be able to get a job doing anything interesting ever again if lowest-common-denominator taste is content with slop, can no longer subsidize sneaky creativity in pop works or at least provide day jobs for creative people to do cool things as personal projects
and that here is treated as fantasy: We Passed Out Zines And Then Everyone Clapped
that's hard to fix, though in a way continuous with whathisface, adorno writing about art something something the age of mechanical production?
https://en.wikipedia.org/wiki/The_Work_of_Art_in_the_Age_of_Mechanical_Reproduction benjamin, sorry lol
so that one's kind of new, but new in the way the 20th century is new i guess
and yet: they made it possible to photograph things instead of commission painting, they made it possible to create digital prints at zero marginal cost, and yet we still have cool art around! so ... there's cause for optimism there too
don't be depressed!! the artistic impulse is strong! real people are not mush and we respond to weird pressures in ways that will create much weirder and more interesting things than we can even anticipate!!