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Claude for Creative Work

anthropic.com

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Re: Claude for Creative Work

#71

Post by locknitpicker »

Joel_Mckay wrote: post #37
ehnto wrote: post #31

Earlier quoted context omitted.

It's really clear that businesses are hoping to replace people with AI. In an industry that is already very difficult to make a stable living in, and troubled with regular plagiarism, is it really that surprising that any encroachment of AI into that space would be met with backlash? Even if you can see how individual circumstances could be beneficial to your workflow, it's a general direction I think many take issue…

Businesses have already replaced several background artists gambling on the uncopyrightable status of "AI" output being ignored. In a comercial setting, one can't sell what they never owned in the first place. Without a constant stream of stolen training data, the "AI" piracy bleed-through and isomorphic plagiarism business model is unsustainable. We look forward to liquidating the GPU data-centers at a heavy discoun…

> Businesses have already replaced several background artists gambling on the uncopyrightable status of "AI" output being ignored. In a comercial setting, one can't sell what they never owned in the first place.

I'm skeptical of this line of reasoning. Major content providers have no problem with copyright, even when content is completely produced by anonymous contributors. Is this supposed to become an issue when you eliminate some anonymous contributors?

Re: Claude for Creative Work

#72

Post by intended »

locknitpicker wrote: post #69
ehnto wrote: post #31

Earlier quoted context omitted.

It's really clear that businesses are hoping to replace people with AI. In an industry that is already very difficult to make a stable living in, and troubled with regular plagiarism, is it really that surprising that any encroachment of AI into that space would be met with backlash? Even if you can see how individual circumstances could be beneficial to your workflow, it's a general direction I think many take issue…

> It's really clear that businesses are hoping to replace people with AI. In an industry that is already very difficult to make a stable living in, and troubled with regular plagiarism, is it really that surprising that any encroachment of AI into that space would be met with backlash? But what's the plan, then? Prevent any third party from downloading Blender and integrate it in any way with an agent?

At this stage there is just protest and reaction.

Re: Claude for Creative Work

#73

Post by JimDabell »

neya wrote: post #48
dmarcos wrote: post #27

Earlier quoted context omitted.

I spent most of my career in the open source world and doesn’t bother me models are trained on my output. Should I feel differently? It seems there’s a kind of ego or emotional attachment to the output that is more common among artists than devs? Perhaps abundance vs scarcity mindsets?

I'm an artist turned CTO. My perspective is really simple - theft is theft. You (not you specifically per se) can sugar coat it however you like, but copying open source codebases/work is different from stealing proprietary/licensed work without permission. It would have been ok if stealing/sharing copyrighted work was heavily normalized, but no, a lot of people have gone to prison for simply pirating DVDs and CDs an…

Theft is theft, but learning is not theft.

Neither is fair use, and neither is copyright infringement. But learning most definitely is not theft.

Re: Claude for Creative Work

#74

Post by bayarearefugee »

mbgerring wrote: post #60
hgoel wrote: post #5

Earlier quoted context omitted.

I don't really get the backlash about Blender here, this isn't generative art, it's basically a natural language means of scripting blender. This feels like the proper way to have AI act as a tool to make artist's jobs easier without taking away their creativity? Edit: I guess they might want absolutely no AI of any sort in their tools (which seems like a strange line to draw), or is it about the data it's been train…

People who built a career on their mastery of Blender are going to lose their livelihoods. Why is this difficult to understand?

> Why is this difficult to understand?

It'll be way easier to understand for developers when it starts happening in earnest to our profession, which is coming soon.

It already is here to some extent, but so far mostly on the junior end so it hasn't been impacting many people who are already established in an industry that has provided relatively easy stable livelihoods for the past 30+ years, but soon won't.

Re: Claude for Creative Work

#75

Post by NetOpWibby »

simonw wrote: post #3

Just noticed this notice added at the top of the Blender announcement of their funding from Anthropic: https://www.blender.org/press/anthropic-joins-the-blender-de... > Notice: This announcement is causing a lot of feedback. We are actively evaluating it. Presumably a lot of Blender users work in roles that feel threatened by AI being used for computer graphics work. Lots of negative replies on Blursky here: https://…

People on Mastodon are losing their shit too[1].

I understand being unhappy about something but people gotta relax.

---

[1]: https://social.coop/@netopwibby/116483037092383210

Re: Claude for Creative Work

#76

Post by figassis »

hgoel wrote: post #36
dmarcos wrote: post #27

Earlier quoted context omitted.

I spent most of my career in the open source world and doesn’t bother me models are trained on my output. Should I feel differently? It seems there’s a kind of ego or emotional attachment to the output that is more common among artists than devs? Perhaps abundance vs scarcity mindsets?

Regarding generative images, it's more of an issue because the effects are different. Software tends to be a "living" project, so just vibe coding with 0 software knowledge is not yet fully sustainable for maintaining a project. But with art, the AI just spits out a completed image. The generated images compete directly with the people the data was sourced from, and there have also been many cases of abuse, eg people…

It threatens because we aren’t just talking about selling your art. Artists get hired at companies to produce all kinds of work that will now be replaced by AI.

Re: Claude for Creative Work

#77

Post by Mashimo »

IAmGraydon wrote: post #32
marcusestes wrote: post #7

I've been experimenting with an unofficial Ableton MCP ( https://github.com/ahujasid/ableton-mcp ) for a few weeks now. If you mess around with music and have an Ableton license, you should try this. It's fun.

Longtime Ableton Suite user and musician/producer. I have nothing against AI music (though it tends to be rather boring/average IMO), but it just fundamentally makes zero sense to me to have AI write music in Ableton. I open the program to create so others can hear me. Why would I give that time to creating something that isn’t me? It’s like setting up a canvas and handing the paintbrush to a robot. It just seems a r…

You could also just use it as a voice interface, not touching the keyboard and just say "Compute, add reverb to my chords" "Computer, switch 808 drums out with 909 drums but keep the pattern and effects"

Re: Claude for Creative Work

#78

Post by NetOpWibby »

tomduncalf wrote: post #70

I hooked Claude up to Ableton’s Python API last year and it seemed pretty promising https://m.youtube.com/watch?v=2WxSB75U6vg and more recently I created a skill for Claude to manipulate Ableton arrangements (which aren’t exposed via the API so you need to manipulate the file, which is zipped xml, instead). Both seemed pretty promising and fitted with how I’d like AI to assist rather than replace me for creative task…

Using LLMs to create tools is an amazing use case that I wish more people focused on

Re: Claude for Creative Work

#79

Post by intended »

dmarcos wrote: post #27
swatcoder wrote: post #15

Earlier quoted context omitted.

Regardless of the purported upside, many people in the arts feel betrayed by the commercial interests that built this technology on their work without their consent and threatened by the explicit intent of these vendors to devalue their work by saturating the art and design market with cheap automated substitution. A lot of artists who would love to be able to direct their professional software in natural language ha…

I spent most of my career in the open source world and doesn’t bother me models are trained on my output. Should I feel differently? It seems there’s a kind of ego or emotional attachment to the output that is more common among artists than devs? Perhaps abundance vs scarcity mindsets?

Yes?

For example, you could least feel that the world is large enough to have people with other needs, drives and ownership levels of their work.

You could also consider that this is not an even trade; artists had all their works ingested and didn’t get a commensurate stake in openAI.

You can consider that you had a choice to share when you contributed to open source. Then imagine how a counter culture artist, who despises corporate culture, must feel to have their work consumed by another rapacious tech entity.

Or you can be the filmmaker whose clients are now showing up with entire ad clips, and then decide they would rather not spend the money on CGI to complete the video - essentially demolishing work overnight.

This isn’t to say that there are not artists who are excited by this, or artist who are happy to have their art ingested. Just that the way you phrased your question evoked this answer.

Re: Claude for Creative Work

#80

Post by Mashimo »

komali2 wrote: post #13
marcusestes wrote: post #7

I've been experimenting with an unofficial Ableton MCP ( https://github.com/ahujasid/ableton-mcp ) for a few weeks now. If you mess around with music and have an Ableton license, you should try this. It's fun.

Would be curious to hear what you've tried with it!

Not the one you asked, but the github has a single example: https://www.youtube.com/watch?v=VH9g66e42XA
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