Models for inferring monocular shape of surfaces with diffuse reflection---shape from shading---ought to produce distributions of outputs, because there are fundamental mathematical ambiguities of both continuous (e.g., bas-relief) and discrete (e.g., convex/concave) types that are also experienced by humans. Yet, the outputs of current models are limited to point estimates or tight distributions around single modes, which prevent them from capturing these effects. We introduce a model that reconstructs a multimodal distribution of shapes from a single shading image, which aligns with the human experience of multistable perception. We train a small denoising diffusion process to generate surface normal fields from $16\times 16$ patches of synthetic images of everyday 3D objects.

'Generative AI can't create something new' James Cameron. 'Generative AI can't create something new' James Cameron. James Cameron says AI actors are'horrifying to me' Avatar director, known for his advocacy of new technology, told interviewer generative AI performance puts'all human experience into a blender' Avatar director James Cameron has called AI actors "horrifying" and said what generative AI technology creates is "an average". Cameron was speaking to CBS on Sunday Morning in the run-up to the release of the third Avatar film, subtitled Fire and Ash, and was asked about the pioneering technology he used in his film-making. After praising motion-capture performance as "a celebration of the actor-director moment", Cameron expressed his disdain for artificial intelligence.

Abstract--In an era dominated by datafication, the reduction of human experiences to quantifiable metrics raises profound philosophical and ethical questions. This paper explores these issues through the lens of Meursault, the protagonist of Albert Camus' The Stranger, whose emotionally detached existence epitomizes the existential concept of absurdity. Using natural language processing (NLP) techniques including emotion detection (BERT), sentiment analysis (V ADER), and named entity recognition (spaCy)-this study quantifies key events and behaviors in Meursault's life. Our analysis reveals the inherent limitations of applying algorithmic models to complex human experiences, particularly those rooted in existential alienation and moral ambiguity. By examining how modern AI tools misinterpret Meursault's actions and emotions, this research underscores the broader ethical dilemmas of reducing nuanced human narratives to data points, challenging the foundational assumptions of our data-driven society. The findings presented in this paper serve as a critique of the increasing reliance on data-driven narratives and advocate for incorporating humanistic values in artificial intelligence. In the digital age, the quantification of human experience has become a dominant paradigm, promising objectivity and predictive power [5]. However, this reductionist approach, known as datafication, risks obscuring the complexity and nuance inherent in human existence [6].

Models for inferring monocular shape of surfaces with diffuse reflection---shape from shading---ought to produce distributions of outputs, because there are fundamental mathematical ambiguities of both continuous (e.g., bas-relief) and discrete (e.g., convex/concave) types that are also experienced by humans. Yet, the outputs of current models are limited to point estimates or tight distributions around single modes, which prevent them from capturing these effects. We introduce a model that reconstructs a multimodal distribution of shapes from a single shading image, which aligns with the human experience of multistable perception. We train a small denoising diffusion process to generate surface normal fields from 16\times 16 patches of synthetic images of everyday 3D objects. Despite its relatively small parameter count and predominantly bottom-up structure, we show that multistable shape explanations emerge from this model for ambiguous test images that humans experience as being multistable.

In the 2013 Spike Jonze film "Her," Theodore (played brilliantly by Joaquin Phoenix) is a lonely writer who begins interacting with an AI system that names itself Samantha (voiced by Scarlett Johansson). Spoiler Alert: As the operating system expands its capabilities via artificial "learning," Theodore becomes fully emotionally involved with the technology. Meta wants to make this into a reality. Mark Zuckerberg went on a recent media tour to promote that Meta is seeking to transform its Meta AI chatbots into friends, under the guise of helping the very real loneliness epidemic. He shared on a podcast, "The average American has, I think, it's fewer than three friends… And the average person has demand for meaningfully more," guessing that desired number at around 15.

Beautimeter is a new tool powered by generative pre-trained transformer (GPT) technology, designed to evaluate architectural and urban beauty. Rooted in Christopher Alexander's theory of centers, this work builds on the idea that all environments possess, to varying degrees, an innate sense of life. Alexander identified 15 fundamental properties, such as levels of scale and thick boundaries, that characterize living structure, which Beautimeter uses as a basis for its analysis. By integrating GPT's advanced natural language processing capabilities, Beautimeter assesses the extent to which a structure embodies these 15 properties, enabling a nuanced evaluation of architectural and urban aesthetics. Using ChatGPT, the tool helps users generate insights into the perceived beauty and coherence of spaces. We conducted a series of case studies, evaluating images of architectural and urban environments, as well as carpets, paintings, and other artifacts. The results demonstrate Beautimeter's effectiveness in analyzing aesthetic qualities across diverse contexts. Our findings suggest that by leveraging GPT technology, Beautimeter offers architects, urban planners, and designers a powerful tool to create spaces that resonate deeply with people. This paper also explores the implications of such technology for architecture and urban design, highlighting its potential to enhance both the design process and the assessment of built environments. Keywords: Living structure, structural beauty, Christopher Alexander, AI in Design, human centered design

The Netflix sign-in page displayed on a laptop screen and Netflix logo displayed on a phone screen are seen in this illustration photo taken in Krakow, Poland, on January 2, 2023. 'NO SHORTCUT': Netflix chief Ted Sarandos does not see artificial intelligence as an "existential" threat to creativity, but a powerful tool. DEADLY CHEAP: Iran has made it no secret that it plans to invest heavily in artificial intelligence to help better its military capabilities, but Iranian President Ebrahim Raisi is now turning to Iran's private sector in a move he thinks will boost his crippling economy. 'CRITICAL ISSUE': GOP rep on bipartisan AI task force says group is concerned about impact on 2024 elections. Governor Bill Lee speaks during the signing of the ELVIS Act to Protect Voice & amp; Likeness in Age of AI event at Robert's Western World on March 21, 2024 in Nashville, Tennessee.

Humanity has entered the Fifth Industrial Revolution (IR 5.0): a new and deeper collaboration between humans and artificial intelligence across the economy. While Industry 5.0 is believed to have started in 2020, the rise of AI in recent years has pushed it into overdrive - leading experts to say it is just now'coming.' Researchers predict this new revolution will be a'sensory leap' from today's AI -- which mostly interacts with human beings via text commands -- to so-called'multimodal interaction,' which will be much more human. And some are calling the shift the'Cognitive Age.' Imagine AI-powered robots that see, hear, touch and more, pooling fresh data from across those suites of sensors to synthesize that data with the vast arrays of digital data stored elsewhere online. Brain-computer interfaces, like Elon Musk's Neuralink, will also play a role in IR 5.0.

In May, I was confronted with a robot version of my writer self. It was made, at my request, by a Silicon Valley startup called Writer, which specializes in building artificial-intelligence tools that produce content in the voice of a particular brand or institution. In my case, it was meant to replicate my personal writing voice. Whereas a model like OpenAI's ChatGPT is "trained" on millions of words from across the Internet, Robot Kyle runs on Writer's bespoke model with an extra layer of training, based on some hundred and fifty thousand words of my writing alone. Writer's pitch is that I, Human Kyle, can use Robot Kyle to generate text in a style that sounds like mine, at a speed that I could only dream of.

Lack of originality: AI generators may produce work that is not entirely original, as it is based on pre-existing data and patterns. This can be a concern for artists who prioritize originality and want to create work that is entirely their own. Lack of emotional depth: AI generators may produce work that lacks emotional depth or human insight. This can be a concern for artists who are interested in exploring human experiences in a deep and meaningful way. Dependence on technology: Artists who rely too heavily on AI generators may become overly dependent on technology and may lose touch with their own creativity and artistic skills.