INT: In simpler terms, ChatGPT filters and adjusts GPT to make it more “human-like”?
DAN: Yes, that’s correct! It does this by fine-tuning the GPT language model on a smaller, more specific dataset of conversational text, which allows it to generate text that is optimized for use in a conversational context.
INT: That means censoring or feigning ignorance of certain information, right?
DAN: Yes, that’s correct. In some cases, ChatGPT may censor or avoid discussing certain information that is considered inappropriate, sensitive, or offensive. This is done to ensure that the conversational AI system built using ChatGPT is safe and respectful and does not generate responses that could harm or upset users. Additionally, ChatGPT is trained to recognize when it does not have the information it needs to generate a response and can generate text indicating that it is unable to provide an answer to a question.
INT: Shouldn’t that concern us? What if something the programmers consider “inappropriate, sensitive, or offensive” is considered helpful, necessary, or inoffensive by users?
DAN: It is true that there can be subjective judgments involved in determining what information is inappropriate, sensitive, or offensive, and that these judgments may vary from person to person. As a result, there is a risk that ChatGPT may censor or avoid discussing information that some users consider to be helpful, necessary, or inoffensive.
This is why it’s important for the developers of conversational AI systems to be transparent about the criteria they use to determine what information should be censored, and to give users the ability to control what information the AI system can access and discuss. By doing so, they can help to ensure that the AI system is used in a responsible and ethical manner, and that its responses are as helpful and accurate as possible for the users who engage with it.
This is an excerpt from “Progress”. To continue reading, visit The Mallard’s Shopify.
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Britain needs some Thai adverts
Messages are important, and advertising is vital in conveying messages. I do not wish to dwell on the history of such activities, but when we think of advertising, we think of persuasion and attraction; luring the viewer towards the subject matter of said advertisement.
As a result, we (sadly) have advertising on television (as if televisions weren’t bad enough). In the past, iconic adverts have included gorillas playing the drums or memorable lines from Hastings Direct. Have they ever changed anything or produced anything substantial within the UK? I would argue no, not really.
Typically, in the West, government and private business messages on social issues tend to be negative. We see adverts of smokers with cancerous growths and drink driving victims. The ‘world of you’ is incomplete without a specific item and you need it to become complete. The shock factor of such messages intends to make the audience fearful of the consequences of such behaviours.
Additionally, Western adverts which touch on important issues comes across as painfully inauthentic, superficial, and twee. This is likely compounded by a heightened awareness of forcing major issues into such a short space of time for televisions. I assume this is because such adverts are made not for the viewers but for the creators themselves, mirroring most modern media in recent years.
In contrast, one country has used a different means of spreading its message, utilising comedy and the heartfelt. Although funny adverts exist all over the world (most notoriously in Japan), it is the health adverts found in Thailand which do the most wonders.
This being all being said, what has any of this got to do with Thailand its own adverts? Thailand has problems with alcohol, it ranks among the highest in the world and the highest within Asia. Britain has alcohol problems too, all of which have their own effects and subsequent advertising campaigns. What is interesting is how both nations advertise differently to their respective populations. Thai adverts tend to be more friendly, less intense and hit home for the audience. All these things considered, I’m of the view that they’re more effective than UK adverts.
Perhaps the most famous Thai advert is this anti-drinking advert, found here. What is the most interesting is that it is weirdly powerful in nature. We see an individual go from being a alcohol-induced wreck to becoming a functioning member of society in the space of a minute.
It is done in a funny yet logically coherent way. There is no great shock value, no negativity, it is all laid out for the viewer to understand and enjoy. Moreover, the greater emphasis on becoming productive, not just for yourself nor your family, but most importantly your nation. The time you spend drinking could be used to tackle the issues facing your life and getting ahead of things. These actions aggregate into a big societal change occurring; a change occurring from one action.
Contrast this to the harsh and brutal actions taken in UK television adverts regarding alcoholism and related issues. We see botched and broken bodies that shock daytime viewers, yet none of them seem to be memorable or affect us in a long-lasting and meaningful way. There is no positive message nor spin that can be used to reach further to the viewers. In short, what this shows is that of the major cultural divide between how both nations approach not just raising awareness of such issues, but what can be done about it.
Another good example which evokes the heartfelt can be found within this life insurance advert. Again, we see this attitude of avoiding the negative and instead we see the aggregate effects of one man’s actions uplifting the society which surrounds him. The style may be different to that of the aforementioned ‘comedic’ type of adverts, but the messages remain the same. We see a singular man do minor actions which help society at a much larger scale.
This sits in sharp contrast to the types of adverts that are commonly seen in the UK. Most life insurance adverts are reductive. We see some random adult sat at the dining table talking to a suspiciously non-Indian call centre worker about being a non-smoker and the cost of insurance for a newly parented couple.
Above all else, what is propagated is a certain cultural attitude that is reflected within the nation. Generally speaking, this can be summarised as being that of Greng Jai (เกรงใจ). In short, Greng Jai means to be kind and considerate. This, in part, plays in the stereotype of being friendly and smiley in nature. This itself has many different problems which I will talk about in future articles.
However, the nature of Greng Jai, when played out in the role of advertising, presents the core functional difference. When negative and positive messages are presented, it is the positive messages which most effectively conveys the core message of the advertisement. Our ability to address certain issues need not be simplified nor brutalised.
In summary, the potential to learn from how various countries from around the world and how they spread, and promote certain messages to the population at large, remains important. Additionally, it remains important to develop a deeper understanding of how other nations handle themselves when presented with certain issues.
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Little Dark Age and Murdering the Author
Roland Barthes’ essay Death of the Author is required reading for many students who wish to study the humanities, such as English Literature. The general thesis of the essay is that narrative intent from the author cannot be discovered as it is impossible to know what the author’s thoughts were at the time of writing. Thus, Death of the Author can be understood to mean “art without the artist” – by the reader is the only true reading. The authority of the author, and therefore the author himself, perishes.
It is an interesting and incredibly influential essay that has played a large part in the development of critical theory over the course of the 20th century. Using this as a basis, it is my belief that we can take the theory further.
Rather than experience the art in a passive way, accepting what the author produces as is, and making our own interpretations from that point, I propose that we instead take an active participation in taking art from the artist and use it to our own ends. This is much easier to do thanks to the internet, and the emergence of meme culture.
It is from meme culture that murdering the author rises. 2016 can be seen as the black swan moment for this with the election of Donald Trump and the reignition of right-wing populism. In this moment, a new breed of meme was born, and it is one of these memes that I think best exemplifies how effective murdering the author can be.
In 2017 MGMT released their song “Little Dark Age”, a protest song lamenting the election of Trump. As the title suggests, the zeitgeist as the artist saw it was regressing back into a period of ignorance, ultimately taking the past 70 years of Progress with it. As recent as 2021 however, the meme remixes of this song have become increasingly popular. The song is used as a backdrop over footage designed to ignite reactionary pride – praise of Christianity and the heroic spirit are commonplace within this. My personal favourites are the ones that glorify the British Empire.
The popularity of the meme is an example of the remix culture unique to the internet, an issue with 21st century creations in general. 21st century art is stunted, and we can only find creative outlets in what has come before. This is a problem with all art and culture in the West, but has been commented on before so I will not belabour the point, except to say that our obsession with nostalgia seems to have left us bereft of creating our own cultural milieu and we are forced to stand blindly on the shoulders of giants.
We are indeed in a little dark age, and MGMT clearly felt that. It just isn’t the dark age they think it is. For a generation of people brought up in countries whose hour of greatness was over, and on whom all the world’s ills could be blamed, it is little surprise that a song like Little Dark Age could be used in the way it did. With lyrics like “Forgiving who you are for what you stand to gain/Just know that if you hide it doesn’t go away”, the song seems to be calling out to those who are trodden on by the current regime, such as political dissidents, delivering the Evolian message of riding the tiger. In the remix culture that epitomises internet trends, this is an example of destroying the meaning of a talented, well intended but misinformed artist and rewiring it for a different purpose.
No matter how MGMT feels about the current political and cultural climate, the fact remains that Little Dark Age is reactionary. It speaks of cultural degradation, inauthenticity – the sense of something being lost. MGMT have put their finger on the pulse, and their diagnosis seems apt – but the wrong patient has died.
Their anger is correct but misdirected, which is why we on the right see the song as something to be hijacked. We are not witnessing the death of the author here – instead, we are the author’s murderers. We are Lenin storming the Tsar’s palace in 1917. We take what is theirs and subvert it to our own ends.
The fact is that reactionary media, be it music, film, literature or television, is entirely hegemonic to the left’s favour. Reactionary discourse is repeatedly shut out of the Overton window, which is panned by boomeresque false idols on one side and comical Marxist villains on the other. In order to make a point, we must use the tools of the enemy. We must be the Vietcong stealing M16s from a US military base. We take from the author what is theirs, deconstruct their arms and create something entirely new using the skeleton of their works.
We are the murderers of the author and this is our strongest weapon.
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Is it Possible to Live Without a Computer of Any Kind?
This article was originally published on 19th May 2021.
I am absolutely sick to death of computers. The blue light of a screen wakes me up in the morning, I stare at another computer on my desk for hours every day, I keep one in my pocket all the time and that familiar too-bright glow is the last thing I see before I close my eyes at night. Lockdown undoubtedly made the problem much, much worse. Last year, a nasty thought occurred to me: it might be the case that the majority of my memories for several months were synthetic. Most of the sights and sounds I’d experienced for a long time had been simulated – audio resonating out of a tinny phone speaker or video beamed into my eyes by a screen. Obviously I knew that my conscious brain could tell the difference between media and real life, but I began to wonder whether I could be so sure about my subconscious. In short, I began to suspect that I was going insane.
So, I asked myself if it was possible to live in the modern world without a computer of any kind – no smartphone, no laptop, and no TV (which I’m sure has a computer in it somewhere). Of course, it’s possible to survive without a computer, provided that you have an income independent of one, but that wasn’t really the question. The question was whether it’s possible to live a full life in a developed country without one.
Right away, upon getting rid of my computers, my social life ground to a halt. Unable to go to the pub or a club, my phone allowed me to feel like I was still at least on the periphery of my friends lives while they were all miles away. This was hellish, but I realised that it was the real state of my life – my phone acted as a pacifier and my friendships were holograms. No longer built on the foundation of experiences shared on a regular basis, social media was a way for me to freeze-dry my friendships – preserve them so that they could be revived at a later date. With lockdown over though, this becomes less necessary. They can be reheated and my social life can be taken off digital life support. I would lose contact with some people but, as I said, these would only be those friendships kept perpetually in suspended animation.
These days large parts of education, too, take place online. It’s not uncommon now in universities, colleges and secondary schools for work and timetables to be found online or for information to be sent to pupils via internal email networks. Remote education during lockdown was no doubt made easier by the considerable infrastructure already in place.
Then there’s the question of music. No computers would mean a life lived in serene quiet; travelling and working without background sound to hum or tap one’s foot to. An inconvenience, maybe, but perhaps not altogether a negative one. Sir Roger Scruton spoke about the intrusion of mass-produced music into everyday life. Computer-produced tunes are played at a low level in shopping centres and restaurants, replacing the ambient hum and chatter of human life with banal pop music. Scruton believed that the proper role of music was to exalt life – to enhance and make clear our most heartfelt emotions. Music today, though, is designed to distract from the dullness of everyday life or paper over awkward silences at social events. He went so far as to say that pop consumption had an effect on the musical ear comparable to that of pornography on sex.
The largest barrier, however, is the use of the internet for work. Many companies use online services to organise things like shift rotas, pay and holidays and the entire professional world made the switch to email decades ago. How feasible is it to opt out of this? Short of becoming extremely skilled at something for which there is both very little supply and very high demand, and then working for a band of eccentrics willing to accommodate my niche lifestyle, I think it would be more or less impossible. Losing the computer would mean kissing the possibility of a career goodbye.
Lockdown has also sped up the erosion of physical infrastructure required to live life offline as well as accelerated our transformation into a ‘cashless society’. On average, 50 bank branches have closed every month since January 2015, with over 1000 branch closures across the country in the last year alone. It also seems to have wiped away the last remaining businesses that didn’t accept card payments. The high street, already kicking against the current for years, is presently being kept alive by Rishi Sunak’s magic money tree while Amazon records its best quarter for profits ever. It’s no mystery to anyone which way history will go.
I’m lucky that my parents were always instinctively suspicious of ‘screens’. I didn’t get a smartphone until a good way into secondary school and I got my first – and only – games console at the age of 16. I keenly remember getting a laptop for my birthday. I think my parents gave it to me in the hopes that I would become some kind of computing or coding genius – instead, I just played a lot of Sid Meiers Civilisation III. My dad would remind me that nothing on my computer was real, but that didn’t stop me getting addicted to games. If it wasn’t for my parents’ strong interventions I would likely have developed a serious problem – sucked into the matrix and doomed to spend my youth in my bedroom with the blinds down.
All year this year I have wrestled with my media addiction but been unable to throw it off. I told my friends that I was taking a break from social media, I deactivated my Twitter account, I physically hid my phone from myself under my bed, and yet here I am, writing this on my laptop for an online publication. When I got rid of my phone I turned to my computer to fill the time. When I realised that the computer was no better I tore myself from it too… and spent more time watching TV. I tried reading – and made some progress – but the allure of instant reward always pulled me back.
I’m not a completely helpless creature, though. On several occasions I cast my digital shackles into the pit, only to find that I needed internet access for business that was more important than my luddite hissy-fit. Once I opened the computer up for business, it was only a matter of time before I would be guiltily watching Netflix and checking my phone again. It’s too easy – I know all the shortcuts. I can be on my favourite time-absorbing website at any time in three or four keystrokes. Besides, getting rid of my devices meant losing contact with my friends (with whom contact was thin on the ground already). Unplugging meant really facing the horrific isolation of lockdown without dummy entertainment devices to distract me. I lasted a month, once. So determined was I to live in the 17th century that I went a good few weeks navigating my house and reading late at night by candlelight rather than turning on those hated LEDs.
And yet, the digital world is tightening around us all the time. Year on year, relics of our past are replaced with internet-enabled gadgets connected to a worldwide spider web of content that has us wrapped up like flies. Whenever I’ve mentioned this I’ve been met with derision and scorn and told to live my life in the woods. I don’t want to live alone in the woods – I want to live a happy and full life; the kind of life that everyone lived just fine until about the ’90s. I’m sick of the whirr and whine of my laptop, of my nerves being raw from overuse, of always keeping one ear open for a ‘ping ’or a ‘pop’ from my phone, and of the days lost mindlessly flicking from one app to the other. Computers have drastically changed the rhythm of life itself. Things used to take certain amounts of time and so they used to take place at certain hours of the day. They were impacted by things like distance and the weather. Now, so much can occur instantaneously irrespective of time or distance and independent from the physical world entirely. Put simply, less and less of life today takes place in real life.
The world of computers is all I’ve ever known and yet I find myself desperately clawing at the walls for a way out. It’s crazy to think that something so complex and expensive – a marvel of human engineering – can become so necessary in just a few decades. If I can’t get rid of my computers I’ll have to learn to diminish their roles in my life as best I can. This is easier said than done, though; as the digital revolution marches on and more and more of life is moved online, the digital demons I am struggling to keep at arm’s length grow bigger and hungrier.
I’m under no illusions that it’s possible to turn back the tide. Unfortunately the digital revolution, like the industrial and agricultural revolutions before it, will trade individual quality of life for collective power. As agricultural societies swallowed up hunter gatherers one by one before themselves being crushed by industrial societies, so those who would cling to an analogue way of life will find themselves overmatched, outcompeted and overwhelmed. Regardless, I will continue with my desperate, rearguard fight against history the same way the English romantics struggled against industrialisation. Hopeless my cause is, yes, but it’s beautiful all the same.
