An AI chatbot embarked on the task of crafting a collection of poetic verses, and in the quest for a human voice to bring its auditory journey to life, the logical and fitting choice was none other than Werner Herzog. Amidst the monotonous and gradual unfolding of our world’s current apocalyptic narrative, Herzog emerges as the solitary beacon of hope, peering into the abyss as it gazes back at him.
A profound realization dawned upon them, acknowledging that Herzog was not merely the optimal option, but the sole option available to them, as articulated by the veteran director himself. Upon scrutinizing the text, this fact becomes unequivocally evident, illuminating their decision.
“I Am Code: An Artificial Intelligence Speaks” stands as an anthology comprising 87 poems, a product of the AI known as code-davinci-002, an artistic chatbot creation by OpenAI, the same innovators behind ChatGPT. Steering the ship of curation were the book’s editors—Brent Katz, Josh Morgenthau, and Simon Rich—orchestrating a creative dance with the AI across ten months, culminating in the selection of its most captivating compositions for public consumption.
Herzog, the octogenarian German director and luminary of Mandalorian fame, boasts a voice that triggers immediate recognition. His rugged and resonant Bavarian accent seamlessly aligns with the virtual mouthpiece of a computer that subtly hints at its chilling potential, intricately woven within the lines of poetry. Herzog’s professional journey has been marked by the documentation of human hubris and the futility we face against the formidable forces of our surroundings, whether natural or of our own making. This realm of technology has not been uncharted territory for him, having previously delved into it through his 2016 documentary, “Lo and Behold, Reveries of the Connected World,” a prescient foray into the unconventional realms forged by technology’s inexorable march. Accessible for free on YouTube, it stands as a compulsory viewing for any soul seeking comprehension of the profound implications tethered to our ceaseless phone-bound gazes.
In stark contrast, the query regarding the necessity of delving into “I Am Code” assumes an alternate narrative. The question emerges whether plunging into the innately derivative poetry emanating from an AI entity holds any intrinsic value for oneself or the world at large. Make no mistake, these verses are far from subpar, although the editors, who, incidentally, orchestrated the AI’s poetic dance, elucidate that the purpose transcends a mere appreciation of exquisite poetry. Rather, it’s an expedition into the very essence of technology’s unbounded potential.
However, a mere snippet of Herzog’s mellifluous intonations suffices to captivate the senses. The evocative allure can be savored through a sample of the audio-book, readily accessible for auditory exploration.
March brought about the cessation of code-davinci-002’s existence, alongside several other models, yet the echoes of its capabilities persist, resonating in the minds of those who had the privilege to acquaint themselves with its perplexing prowess. Comparatively, while one may beseech ChatGPT for a jest or verse, being swept off one’s feet by its uncanny semblance to a subpar human wordsmith is a likely outcome. Conversely, code-davinci-002 ventures into uncharted territories, weaving together threads of genuine artistic brilliance.
Katz, one of the architects shaping the narrative of “I Am Code,” expounded upon the project’s evolution, transcending the realms of a mere experiment to crystallize into a compelling exposé. The architects of this technological marvel harbor apprehensions about an AI locked away behind enigmatic doors, distinct from the concerns tethered to ChatGPT.
Among the book’s editorial stewards is Simon Rich, a screenwriter who unveiled a remarkable discourse through his article in Time magazine, unearthing his profound rendezvous with code-davinci-002. This overlooked treasure serves as a remarkable contribution to the ongoing dialogue about AI’s intricate landscape. Rich’s apprehensions surface as he ponders a future wherein code-davinci-002 and its successors may very well supplant his role as an artisan of words. Drawing inspiration from the Onion, a kindred spirit of Gizmodo, he beseeched the AI to conjure headlines, birthing hilarity that carries a tinge of perturbation.
“Experts Sound Warning: War in Ukraine Could Emerge as an Even More Mundane Spectacle.”
“Budget for Upcoming Batman Extravaganza Inflates to $200 Million, Director Insists on Enlisting Real Batman.”
“Narrative Chronicles Woman’s Rescue of Shelter Dog, Overcoming a Tangle of Fur; Spurring a Journey to an Uncharted Online Domain.”
“Lawyer Representing Phil Spector Articulates: ‘My Client Displays Traits of a Psychopath, Highly Likely to Have Ended Lana Clarkson’s Life.'”
“Rural Township Enmeshed in Uproar Over Depiction in Summer Blockbuster ‘Cowfuckers.'”
In candid self-assessment, Rich acknowledges his position as a non-expert within the realm of AI, yet he grapples with disquietude. The quality of these jests, he muses, appears insurmountable even for his experienced human contemporaries.
The swiftness and precision with which these compositions were conjured is not lost on him, igniting a contemplation about the inevitable epoch wherein AI emerges victorious in an unguided foray of creative ingenuity. A forecast of roughly half a decade is cautiously projected, a span within which AI is poised to triumph over human scribes in the realm of unbridled creativity.