Five Ways
Subscribe to my newsletter and get a free story!
Share this:

Creative AI vs. Creative Humanity: Guest Post by Laurence Raphael Brothers

AI is coming for your jobs, creatives! Or… it will be, eventually. Not this year. But coming soon.

Introduction
The last two years have seen surprising and indeed almost shocking advances in AI creative work. Image-generators like Dall-E, Midjourney, and Stable Diffusion that work from text prompts using diffusion models are capable of some amazingly high quality work at times, though admittedly their understanding(1) of fingers still leaves something to be desired. The even more astonishing ChatGPT can sometimes not just hold conversations that pass the Turing Test, but can also create working computer programs, compose poetry, and also write coherent short stories, apparently from scratch.

Some may reasonably argue the work of such AI systems isn’t creative at all, but is a mere regurgitation or combination of human efforts compiled from its training sets. But on the other hand, much of human art is based on pastiche and emulation, not to mention plagiarism, and both writers and artists have to spend years of training learning the techniques passed on by their instructors.

The State of the Art

Caption: Protagonist Bunny Häschen from my novel in progress. Generated by Stable Diffusion 2.1 using the text prompt “intersex bunny detective”. A generally rather appealing caricature, but note the odd left hand, the characteristic nonsense characters in the sign, the content oddity of them holding a sign at all, and the mysterious flap rising out of their cravat.
Source: Stable Diffusion

Recent developments are truly astonishing given previous struggles to get AI systems to create art, prose, and other works. It’s now possible to type a few words and get some art back in a minute that might have taken a human hours or even days to produce from scratch. The quality of the AI-generated art is quite variable; from one request to another you might get back commercially usable material or you might get worthless trash. But even considering that you may have to make quite a number of requests of the system to obtain a usable image, the results are still much faster and cheaper than using a human artist for the equivalent level of work.

It’s arguable that if created by a human, these AI-generated images would sometimes be direct plagiarism. Even when not clearly a direct copy of an existing work, it’s often the case that the AI system builders failed to obtain artist permission to incorporate their work into the system’s training data. The legal consequences of this failure will work themselves out in the courts, but for now there’s nothing stopping people from making use of these tools.

At present, complete high-quality AI art is generally unobtainable no matter how much time is taken playing with prompts, but on the one hand, commercial-grade art is often quite acceptable, and on the other hand, by using the AI’s art as a basis, a skilled digital artist can create a high-quality composite of human and AI art much more quickly than working from scratch. This, for example, is what Tor did with Christopher Paolini’s recent book cover.

In the world of prose, with suitable guidance ChatGPT can generate a coherent and consistent story, but not one that’s very high quality. Without substantial revision, the current quality of such text is typically mediocre, but at present it’s not inconceivable for some exceptional AI-generated story to make it past a slush reader’s quality threshold and at least be held for review. Quite the achievement considering the high level of competition many magazines impose on contributors. This is already motivating many AI-generated submissions, though it’s unclear if they are meant for prestige and profit for their pseudonymous submitters or to count coup. Clarkesworld, for example, has reported a recent spike in AI submissions despite their guidelines to the contrary.

The Future of the Art

Because these recent developments in AI art generation have seemed to come almost from nowhere, it’s hard to say how rapidly they will improve to match or even exceed human capabilities. We should keep in mind that autonomous cars were expected to be widely available by now on the basis of work done in the 2010s, and yet after a promising beginning, only slow progress has been made and such vehicles are still unsafe on real-world roads.

On the other hand, given the eagerness of many extremely well-funded tech groups to work in this area, including not just OpenAI but Microsoft and Google among others, it’s reasonable to expect further progress up to a point. What’s the limit? For current system architectures, I expect that limit is based on these systems’ lack of explicit real-world knowledge. Just as ChatGPT is capable of absolutely authoritative but totally incorrect and easily refutable statements, these systems will be hamstrung by the inability to reason until such capabilities are combined with their generative models.

Let’s establish three bars:

  1. Acceptable low-grade commercial art. The kind of graphic art that creative freelancers currently make to order for ad campaigns and other commercial applications without much funding, but which will still pay their rent. Equivalent prose would be acceptable for publication in some token and semipro magazines and for routine copywriting assignments.
  2. Acceptable high-grade commercial art. Commercial art produced for highly funded campaigns by major agencies and design firms, or prose and content that can be published in the better magazines and journals.
  3. Superior-to-human fine art. Masterpieces that would displace human efforts from galleries and museums and bookstore racks and win awards if AI and humans competed on a level playing field.

We’re currently just entering stage 1 for certain applications. This means that soon some semipro freelancers may experience serious competition from AI systems, and after a while some agencies and design firms may reduce their staff because their routine low-end work can be done by machine. There will still be plenty of human work involved in revising, incorporating, or compositing AI work into larger and higher quality artistic achievements, but the amount of human touch in the overall process will diminish.

At stage 2, entire industries will be turned upside down and the effects will shake up whole economies. For example, design firms may no longer require creatives, or else the few creatives they retain will largely be employed managing requests to AI systems. There will be no more need for human touch in photoshopping or otherwise compositing AI art with human-created elements as in stage 1; the AI will do all the work on demand. (Note that while some very high quality AI art has been created already, it typically requires considerable manual effort from a human to achieve such a level).

The good news is that my average-case guess for stage 2 is at least ten years, and it may well be generations before this level is achieved. The bad news is that I could be wrong and it could be next year. I was shocked by ChatGPT’s capabilities in 2022 after years of crappy chat bots that wouldn’t fool Turing for a minute, and so I may easily be wrong again. Still, I do think that without explicit real-world knowledge and reasoning abilities these tools will be unable to really excel for quite some time. At present no one has any idea how to give a generative AI system that kind of understanding.
At stage 3, humans start wondering why they should even bother creating art, especially if such superior work can be routinely requested of AI systems by anyone without incurring much cost.

Similar considerations apply for stage 3, which to my mind requires Artificial General Intelligence to achieve. Such a system is not absolutely out of the question. We just don’t know how to build one today, nor do we even have a good idea on a direction to follow to achieve such a goal.

Still, even stage 1 is problematic enough for human creatives. I’d guess full stage 1 will be achieved within five years, and whatever the courts decide about existing systems and their theft of artist work without permission, one way or another AI-generated art will become ubiquitous for inexpensive applications.

(1) Indeed, the reason that such systems don’t know how to draw fingers properly is they don’t even understand the concept of fingers. These systems don’t have old-fashioned knowledge bases that contain explicit facts or relations. The appearance of a hand is emergent from mysterious mathematical features derived automatically from the digitized training set. Discrete counts of things that characteristically appear in fixed numbers in nature but are often hidden from view in individual images can be problematic for such systems. Human images very frequently show two clearly identifiable arms and legs and so AI images get these right more often than not (not always however!) but hands in photographs less frequently show all five fingers clearly, and so generated images often don’t do so either.


BIO: Laurence Raphael Brothers is a writer and a technologist with five patents and a background in AI and Internet R&D. He has published over 50 short stories in such magazines as Nature, PodCastle, and Galaxy’s Edge. His noir urban fantasy novellas The Demons of Wall Street, The Demons of the Square Mile, and The Demons of Chiyoda are available from Mirror World Publishing, while his new standalone novel The World’s Shattered Shell has just been published by Water Dragon.
Pronouns: he/him.
Twitter: @lbrothers.
Mastodon: @laurence@petrous.vislae.town.
Website: https://laurencebrothers.com.

This was a guest blog post.
Interested in blogging here?

Assembling an itinerary for a blog tour? Promoting a book, game, or other creative effort that’s related to fantasy, horror, or science fiction and want to write a guest post for me?

Alas, I cannot pay, but if that does not dissuade you, here’s the guidelines.

Guest posts are publicized on Twitter, several Facebook pages and groups, my newsletter, and in my weekly link round-ups; you are welcome to link to your site, social media, and other related material.

Send a 2-3 sentence description of the proposed piece along with relevant dates (if, for example, you want to time things with a book release) to cat AT kittywumpus.net. If it sounds good, I’ll let you know.

I prefer essays fall into one of the following areas but I’m open to interesting pitches:

  • Interesting and not much explored areas of writing
  • Writers or other individuals you have been inspired by
  • Your favorite kitchen and a recipe to cook in it
  • A recipe or description of a meal from your upcoming book
  • Women, PoC, LGBT, or otherwise disadvantaged creators in the history of speculative fiction, ranging from very early figures such as Margaret Cavendish and Mary Wollstonecraft up to the present day.
  • Women, PoC, LGBT, or other wise disadvantaged creators in the history of gaming, ranging from very early times up to the present day.
  • F&SF volunteer efforts you work with

Length is 500 words on up, but if you’ve got something stretching beyond 1500 words, you might consider splitting it up into a series.

When submitting the approved piece, please paste the text of the piece into the email. Please include 1-3 images, including a headshot or other representation of you, that can be used with the piece and a 100-150 word bio that includes a pointer to your website and social media presences. (You’re welcome to include other related links.)

Or, if video is more your thing, let me know if you’d like to do a 10-15 minute videochat for my YouTube channel. I’m happy to handle filming and adding subtitles, so if you want a video without that hassle, this is a reasonable way to get one created. ???? Send 2-3 possible topics along with information about what you’re promoting and its timeline.

Show more

Leave a Reply

Your email address will not be published. Required fields are marked *

Get Fiction in Your Mailbox Each Month

Want access to a lively community of writers and readers, free writing classes, co-working sessions, special speakers, weekly writing games, random pictures and MORE for as little as $2? Check out Cat’s Patreon campaign.

Want to get some new fiction? Support my Patreon campaign.
Want to get some new fiction? Support my Patreon campaign.

 

"(On the writing F&SF workshop) Wanted to crow and say thanks: the first story I wrote after taking your class was my very first sale. Coincidence? nah….thanks so much."

~K. Richardson

You may also like...

Cat Rambo Interviews Joe R. Lansdale

CAT RAMBO: One aspect of the great appeal of the Hap and Leonard books is their enduring friendship, including its ups, downs, and petty annoyances like one of them eating all the animal crackers every once in a while. Presumably you didn’t set out to write one of the great friendships of literature, but how do you think it developed? What do you think you learned about friendship from writing theirs?

JOE R. LANSDALE: I never set out to write a series, let alone one that has endured as well as this one. They have become beloved by their fans. I added in all the better aspects of friends I have and have had, but unlike the friendship between these guys, not all of mine have endured, and some that did, well, those friends have passed. There’s also wishful thinking involved. The  kind of friendship you would like to have. I learned a lot from their friendship, as it made me explore myself to find their similarities and their differences. My brother Andrew Vachss and I were very close, and he had a lot of Leonard’s aspects, but the overall personality of Leonard is, like Hap, a combined one. Hap, however, is very much like me, if not exactly like me. I learned to try and be a better person through their exploration, which is not to say I started out a bad one. In fact, in many ways I’m better than both of them. I haven’t killed anyone and have no plans to do so. You could call that, for them, a flaw.

In the introduction to the book, you talk about Hap and Leonard existing in a special kind of time since you’ve been writing them so long, aging at a different rate than you or I. Has that ever created problems for you with writing, moments when you regret establishing a particular fact because it conflicts with something you want to do?

Yes, sometimes it does, and sometimes I contradict something because I don’t reread the books. I might check a thing here and there, but once finished, I move on.

You have written so widely across genres and forms – comics, fiction, screenplays – that Nightmare Magazine described you as having become your own genre. What do you makes something enough of a Joe R. Lansdale story that you want to write it?

I’m excited about it. Sometimes that means it will turn out great, and sometimes I feel it will, and it doesn’t come out as great as I hoped. I always do my best, however, so I never feel like I threw one over the fence. One thing nice about Hap and Leonard is I’ve explored different kinds of crime and adventure stories with them. I like writing a variety of things, but Hap and Leonard come as close to it gets to me considering writing nothing else. I love those guys.

You’ve also talked about the novella being your favorite form to write in. Is it because of the wideness of possible word count there, or are there other considerations? People have told me we’re in the middle of a renaissance for novellas – do you think that’s true?

I think it just might be. I’ve written them for a long time, and in fact, some of my novels might be called novellas if anyone wanted to quibble.  I think novel or novella is more about how something is published. If it’s between hard covers it tends to be considered a novel, or soft covers. If it’s part of a collection, it’s considered a novella. That’s not a dyed in the wool fact, just a common consideration.

You began your writing career with nonfiction, farm articles to be precise. Has anything from that time ever snuck into a story?

Frequently, as in Mucho Mojo, though I got some of my rose farming facts confused. My old boss was quick to point that out. But it’s in several books and stories.

When you want to read short stories, what authors do you go to? Is there anyone you’d suggest people search out?

I reread a lot of older fiction. I read new stuff all the time, but it takes time for me to feel the need to reread, and then I get on a kick. I like writers that have impacted me, like Ray Bradbury, Raymond Chandler, James Cain, Ernest Hemingway, Fitzgerald, John Steinbeck. Flannery O’Connor, Carson McCullers, Mark Twain, Henry Kuttner, Cyril Kornbluth, Robert Bloch, Richard Matheson, Charles Beaumont, Jack Finney, and this list could go on.

Among your comic work is one of my favorites, Jonah Hex. Any plans to do more writing with him? Are there any comic book figures that you’d love to write but have never gotten the chance to?

Well, I haven’t been asked since Tim Truman and I did our three series run. I love comics, but I’ve satisfied a lot of my itch there, but now and again I get a bit of comic hives and I want to scratch. I would and probably will do more comic work. I no longer have any characters I’m dying to do, as I’ve done many, but who knows. A Batman comic would be fun. I’ve only written about him in animation and in  a couple of stories, a novel, and a children’s book, but no actual comics with him.


BIO: Joe R. Lansdale is the internationally-bestselling author of over fifty novels, including the popular, long-running Hap and Leonard series. Many of his cult classics have been adapted for television and film, most famously the films Bubba Ho-Tep and Cold in July, and the Hap and Leonard series on Sundance TV and Netflix. Lansdale has written numerous screenplays and teleplays, including the iconic Batman the Animated Series. He has won an Edgar Award for The Bottoms, ten Stoker Awards, and has been designated a World Horror Grandmaster. Lansdale, like many of his characters, lives in East Texas.


If you’re an author or other fantasy and science fiction creative, and want to do a guest blog post, please check out the guest blog post guidelines. Or if you’re looking for community from other F&SF writers, sign up for the Rambo Academy for Wayward Writers Critclub!

...

Guest Post: Jasmine Arch on A Safe, Inclusive Haven for Writers

I do my writing in between the cracks of a fulltime job, four dogs, two horses, and the renovation of our house, in which a lot of the work is done by my husband and myself. So yes, my writing time is precious. Very much so. However, most evenings, at least one hour of my time, and sometimes more, is not spent drafting, revising, or editing. Not exclusively. That time is spent in an online writing community, where I am one of the founding members.

Typewriter logo, with the letters for "Inkubator" in red in a single line of keys.

For some people who, like me, live in a part of the world where English is not a prevalent language, where cons are few and far between and writing groups even more of an oddity, these online groups are pretty much the only opportunity we have to interact with other writers on a regular basis.

When we first started out, our community had a whopping ten members, give or take, and already we spanned the globe. We had several members living in the US and a strong contingent of at least four people in Europe and Asia, jokingly called the night shift.

But as we built a website, ventured onto Twitter and Reddit, and started promoting our community, our ranks grew and our modest little Discord server sprouted channels left and right. And one thing we always agreed on is that we want to be welcoming to new members.

We want no one to feel unseen, unheard, or unimportant.

I think we’re doing something right, as our membership continues to expand. As of now, eighteen months into our collective journey, we have just over two hundred members. And what I love the most about them is that they are so so wonderfully diverse, and they feel absolutely comfortable talking about their similarities and differences.

We are a home away from home for members of the PoC community, for those who identify as LGBTQIA+, people for whom English is a second language, neurodivergent folks…

If you write, or if you want to write but are struggling to find the courage, then you have a place with us.

As a group, we have a large number of activities going on all the time. We trade critiques, but we also brainstorm when one of us needs help, and we have word sprints to help you get that draft out on the page. Sometimes, it’s as simple as listening to music together in one of our voice channels while you’re writing. Experienced rejectomancers are always at hand to engage in this fine and honorable art. We commiserate when a rejection comes in and cheer for every acceptance.

We laugh together, cry together, and most of all, we are there for each other, constantly pushing each other onwards and upwards.

Nothing makes me prouder than to have stood at the cradle of the INKubator, and to be at hand when a moderator is needed, though that is rarely the case. Nothing brings me more joy than to see a 15-year-old writer’s happiness over an accepted drabble, or to see one of our members adopting the pronoun roles we implemented on the server to avoid misgendering and show that we actively work at being allies.

And so, the writing time I sacrifice doesn’t feel like a sacrifice at all. It’s a joy and a treasure that I hope to have for a long time to come. If you’re considering starting up a similar initiative, I can only advise you to give it a try. It enriches you and your writing in more ways than you thought possible.

If that thought overwhelms you, why not join an existing community? Not every group is the same, and neither is every writer. Gods know we can play and banter as hard as we work and some may find that a bit overwhelming.

There’s only one way to find out whether the water is too hot, too cold, or just right, and that’s by dipping your toes in.

If you’d like to learn more about the INKubator, you could have a look at our website, but the best way to get to know us is by stopping by for a visit.


Headshot of Jasmine Arch with happy dog.BIO: Writer, poet, and narrator Jasmine Arch lives in the Belgian countryside with two horses, four dogs, and a husband who knows better than to distract her when she’s writing.

She grew up devouring her brother’s collection of sci-fi and fantasy novels, and her love of the written word in all its incarnations goes back further than her memories and knows no rivals, except the long-suffering husband, though coffee and shoes come pretty close.

Her work has appeared in Illumen Magazine, The Other Stories, and Quatrain Fish, among other places. Find out more about her at jasminearch.com, or connect with her on Twitter @Jaye_Arch.


If you’re an author or other fantasy and science fiction creative, and want to do a guest blog post, please check out the guest blog post guidelines. Or if you’re looking for community from other F&SF writers, sign up for the Rambo Academy for Wayward Writers Critclub!

...

Skip to content