In terms of film, 1 can already treat the constatation that peans under the alleged AI consequence not from the fact that bots become more and more like people, but from the fact that people become more and more like bots; or, little kindly, but more alarmingly speaking, not from the fact that bots exponentially wise, but from the fact that people exponentially stupid.
It is, however, a movie of crucial applicable importance, focusing primarily on the possible of wicked bot users to routinely punch their fellows in a bottle by massing them with decently formulated “generated” images (and not only images, but among various forms of communication images seem to have mostly the top persuasion force).
Hence, it is worth remembering a fewer reliable reconnaissance features resulting from the very nature of the generic bot, which in the vast majority of cases let to immediately detect the fake that it has drunk. Here, a image attached below may be utilized as a textbook exhibition, which seems to be circulating rather intrusively in the virtual area in fresh days.
Well, while many immediately admit the “work” of the bot, many are fooled by the crucial question in this context: “Where is this beautiful place?” Thus, if we effort to condensate, summarize and express the intuitions of the former, we might gotta put them as follows: bot – being what it is and must be – by definition serves the audience only sterile and exuberant reproduction, with all the elements of this wording being applicable here.
So, first of all, the "creation" of the bot may seem little developed to the seemingly beautiful recipients, but it is always "beautiful" completely sterile and sterile, which is due to the fact that it is the consequence of a purely mechanical and inconspicuous combination of motifs, ornaments or construction solutions drawn from objects made by creators with a real sense of aesthetics. Importantly, the same rule applies to all kinds of aesthetic sensations: not only beauty, but besides ugliness, kitsch, or inertial renaissance.
Secondly, since the bot is incapable to give its “works” any unique quality, it must make up for its apparent attention to the details with pure amounts. Hence, its products, which are intended to dazzle the recipient with a “deep detail”, are always clearly overloaded and grotesquely hypertrophic. This is very visible on the attached image even if the most suspicious element, or the bathroom fragment at the bottom, would be removed from it.
In conclusion, it is easiest to admit the generic inaccuracy after, first, it necessarily shines a reflected and frequently grossly "hybrid" glow, and second, it tries to cover the exuberant deficiency of any individual character with respect to borrowing. For example, these 2 simple criteria, regularly confronted with their own aesthetic intuition, should be adequate to rapidly learn to capture cases where visual messages calculated to trigger circumstantial reactions should not be able to origin them due to their apparent or at least powerfully assumed artificiality. This, in turn, seems to be a essential or even crucial skill in a planet in which the untruth is already almost all step of the way trying to obscure the truth.
Jakub Bożydar Wiśniewski
