What Was Sora Trained On? Creatives Demand Answers

> That's not for you to decide.

Of course it is, my content my rules.

I never said generative AI was itself capable of creativity. Generative AI is a tool, not an entity. I said it enables more people to be creative, in the same way that other tools like Photoshop enable more people to be creative. Using a sampler to create a song rather than arranging and playing all the instruments doesn’t make it less creative, or devoid of creativity. It’s just a different, more accessible form of expression, enabled by technology.

I agree that generative AI, due to its nature, trends toward the average and thus is incapable of engaging with the extremes of human experience—but not every creative expression has to be at the extreme. Every Marvel film, every shovelware game, every summer pop jam, panders to the average. There’s enormous value in having a tool that allows professional artists to work more quickly at the average—and, perhaps more critically, for everyday people to approach the average in the first place. I don’t believe it is fair to suggest that such things are valueless “not ART”, but I’m not definitely not here to engage in philosophical discussion of the definition of “art”.

As far as history goes, I did provide a citation, which I encourage you to actually look at (and it cites several dozen more books and other articles if you need more primary sources). You are objectively incorrect in your assertion that the phonograph facilitated the growth of live music(ians), but I suspect you may not even understand what is meant by “live musicians”—not because of you, but because the phonograph was so revolutionary that it fundamentally changed what it meant to be a musician—and even redefined what a “song” is[0].

It is only with the benefit of hindsight that you can state so confidently that audio recording is a net benefit to music. Many felt that the phonograph was an abomination at its conception. They claimed that the essence of music was in its ephemeral nature, that the uniqueness of each performance contained the creative expression and the sheet music itself was just a skeleton for creativity. They said mechanical recordings deprived listeners of the true experience, and that individual artists lost their autonomy. They spoke in terms exactly like you are now, and those ideas were wrong then, and they are almost certainly wrong now.

[0] https://www.smithsonianmag.com/arts-culture/phonograph-chang...

Hindsight being the premise for confidence in this context is precisely why the hubris of factual speaking on the what-if's of the future can be pretty easily ignored as self infatuated authority. The rest of your arguments are still conflating the problem. One enhances the voice of an individual the other extinguishes it.

Regardless your semantics on your phonograph argument the reality remains. The artist remained as part of the contract of societys growth. Once again, this isn't a blank vinyl or a canvas or an empty parking lot where freedom of expression takes priority. The priority is the financial incentives and retaining control.

For you to argue there's any creativity that would come out of that is like arguing I'm being creative when I put coins into a vending machine and receive cigarettes. I'm as creative as the conditions the puppets of profit have allowed me to be. Money doesn't own this world despite its deep and confused hope. It steals from it.

> They spoke in terms exactly like you are now, and those ideas were wrong then, and they are almost certainly wrong now.

No, they were right then and they're right now. Otherwise based on your argument anything beyond a phonograph would be unnecessary. So why do people seek anything beyond their MP3? Why do they go to live shows? Why do people still visit the Mona Lisa even though they can see it at home for free with a google? Please, as much as you refuse to debate philosophy and art, those are the exact things being debated. So either listen to those who've spent their lives in their domain (it's why I don't falsify my Python accolades) or pretend you know better. But don't conflate. Do read Walter Benjamin's essay from 1935 on Works of Art in the Age of Mechanical Reproduction. I know, you won't.

Next you're going to tell me AI hip-hop has the same value, incentive and understanding as the people from Cabrini Greens trying to escape poverty and violence by creating something beautiful and relatable out of the human condition. Then you'll tell me it's not your fault they haven't 'out created' themselves to keep up with the theft of their very self. If the vultures could at the very least just fuck off until the person isn't alive enough to bare witness to it, you could at least feign some IP argument. It's otherwise just hot air hoping.

Neither Bach nor Shakespeare had copyright over their works, as the very concept of copyright didn't exist until the Statute of Anne in 1710. Germany (really, Saxony, as Germany wasn't even a unified country at the time) was much later.

Shakespeare got paid by people buying tickets to the Globe Theatre, of which he was part owner. Bach got paid by various princes and the church, and was expected to compose new music every week in return for his pay.

Neither argued that they should continue to get paid for the same work for 90 years.