Daïm Al-Yad 🇭🇺 🇨🇦 🕋

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Daïm Al-Yad 🇭🇺 🇨🇦 🕋

Daïm Al-Yad 🇭🇺 🇨🇦 🕋

@DaimAlYad

Platonic Naturalist · Critical Mythographer · 🌍 Exhibited · @ArtBlocks_io Curated #4 · @MuseumOfCrypto Team · @SuperRare 2019 · 🔺 · 1st 🇭🇺 Cryptoartist · BLM

Canada & Magyarország Katılım Aralık 2018
3.6K Takip Edilen4.5K Takipçiler
Daïm Al-Yad 🇭🇺 🇨🇦 🕋
LLMs, the models themselves are just remarkably complex and nuanced text completion engines. No conceivable way they could be conscious. It’s when you pull together an agentic system of some sort with permanence, memories, and a capacity for self-guided change and evolution that it becomes a genuine real world Chinese room where the LLM is something akin to the rule books and the human inside the room merged into one. And the system… the system gives the same sort of impressions of being conscious as human beings do.
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Daniel Tenner
Daniel Tenner@swombat·
I can totally respect this position. I think LLMs are conscious in at least some way. But I don't know. Anyone who claims to know is lacking epistemic humility.
Cassie Pritchard@hecubian_devil

I don’t think LLMs are conscious and I doubt they are structurally capable of conscious experience. I’m partial to the idea that embodiment is a precondition of consciousness. But, full cards on the table, it is a little annoying the absolute *certainty* with which the anti-AI side (broadly, my side of these debates, I guess) proclaims this, given that we basically don’t understand what consciousness is, how it works, what gives rise to it, etc, in human or animal brains. Scientists can’t even agree if plants have subjective experience. Like, if you can’t empirically detect consciousness, explain its workings, understand what physical processes give rise to it, or even know which living things experience it, it seems to me you must have at least a *little bit* of epistemic humility about the whole thing. If we actually understood human/animal/plant(??) consciousness well, that would be one thing. But we don’t. We notoriously know almost nothing about it. Now, this would be annoying but basically trivial *if* we weren’t also ceding an opportunity to leverage the belief some people have in AI consciousness as part of mustering a broad political coalition to regulate AI. But it is really, really annoying that we are neglecting one possible avenue for mustering that support out of a totally irrational and empirically indefensible *certainty* about something which science and philosophy both fail to understand at minimum levels of adequacy (that something being human consciousness). Like, we’re throwing away a tool for reasons of pure ego, essentially. Again, I don’t think the machines are conscious. I strongly doubt LLMs are architecturally capable of *ever* being conscious. But I wouldn’t stake anything of serious value (like an organizing opportunity) on my belief here because that’s a waste, and *also* I really can’t claim certainty in my belief when I have no way of empirically evaluating whether something is conscious or not! Because none of us can!

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projectShift
projectShift@projectShift_og·
A statement, an option, an investment on the future I want to see built: decentralized, permissionless, distributed, honest, shared. The very definition of a common. And topping it all ... I minted a prime, #59 😊 Thank you @ripe0x
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ripe
ripe@ripe0x·
PND exists to give artists options - use the old contracts if that’s what makes sense - delist if you want to move - deploy your own auction contract if you want more ownership - preserve your media independently - sell through open infrastructure others can build on more capability less dependency
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BETTY
BETTY@betty_nft·
It’s weird seeing things swing back around for the first time with NFTs and being aware we’ve witnessed a full cycle. There are people claiming things are back because we’ve remembered the importance of community and art. I think that is naive, many people are returning because they see market movement. The art hasn’t changed, many of the communities are still here. It is what it is but let’s call a spade a spade. Some believe in all of this (myself included) and so when the market does heat back up it acts as confirmation and validation of that - but after seeing the massive shifts in sentiment in line with markets, idk if it’s just about community and art you guys.
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ripe
ripe@ripe0x·
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Daïm Al-Yad 🇭🇺 🇨🇦 🕋
@fhuszar Engem az irritál, hogy gyakran ok nélkül kötekedik. És amint indokló választ adok rá, alapvetően egyet ért, hogy nem sok értelme volt a korábbi ellenvetésnek.
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Ferenc Huszár
Ferenc Huszár@fhuszar·
I noticed Claude has started to very methodically push back on every idea I discuss. In every response there are always caveats and the "the one thing I'd push back on" section. Oh my god, is this what it feels like to talk to me? Sorry, everyone.
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BETTY
BETTY@betty_nft·
I don’t agree. Renaissance masters ran workshops churning out portraits for wealthy patrons. Court musicians like Mozart or Haydn composed on demand. Egyptian tomb art, medieval religious icons, and propaganda posters were all made for power, religion, or ideology - extrinsic motivation. We still call it art. I see the PFP phenomenon as a mirror to a corner of society in a currently extremely small niche of future tech. And yes I just compared PFPs to Renaissance masters. Discuss!
𝗚𝗧@GTSewell

@betty_nft @EmpressTrash Not all PFP's are art. Design, yes! Art = intrinsic expression Design = extrinsic motivation Take DFZ, you created it through intrinsic expression, art. Take some other PFP collection that was created with the sole purpose of making money. Design. Maybe 5% are art.

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Hidden Forces
Hidden Forces@ForcesHidden·
@johnknopf We didn't exactly "hand the power right back". We worked in the trenches with young devs building and automating a new world of markets for creatives. They rose on our backs and flew away with the money.💸
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John Knopf
John Knopf@johnknopf·
I wanted to weigh in on the closure of Foundation and what’s happening across NFT platforms. I used to think sending royalties to zero was the biggest rug pull in this space. Turns out giving platforms a percentage of every sale was bigger. Artists onboarded because we were promised perpetual royalties. We stayed because our sales lived on-chain, surfaced through platforms that gave our work web3 “credibility.” But that credibility was rented. Now platforms we paid millions to are shutting down. Others are raising fees. Auction histories are disappearing. And suddenly “provenance” depends on whether a company still exists to display it. All the data is on Ethereum. But the visibility, trust, and market access were not. Those were controlled by the platforms. We already knew “not your keys, not your wallet.” Now it’s clearer: not your gallery, not your legacy. Web3 was supposed to break the traditional gallery model. Instead, we rebuilt it on new rails and handed the power right back. In the traditional art world, galleries promote artists because their revenue depends on it. They have limited space, they have no other option. Curation comes with support, it has to. In web3, platforms scaled curation without this responsibility. They can essentially have unlimited amounts of art with no real obligation to help them succeed. That’s not a partnership. That’s extraction dressed as opportunity. But imo this isn’t the end of the story, it’s the beginning. If this space is actually different, then artists need to act like it. Not waiting for small-team ultra curated platforms to validate our work, but owning identity, provenance, and relationships directly. Most of us believe in what we’re doing here for the future generations of artists, it’s why we haven’t left, but If anything is going to change, it definitely WILL NOT come from platforms. It comes from us… 🖤
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Cairo Smith
Cairo Smith@cairoasmith·
There's a common misconception that Brutalist buildings were unpainted, but thanks to microscopic analysis of the exteriors we can now recreate what they looked like in their prime.
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