Go to https://hensonshaving.com/isaacarthur and enter “isaacarthur” at checkout to get 100 free blades with your purchase. We think very highly of the human brain, after all, it’s what lets us think about anything in the first place, but Nature is vast, and our primate brains are not the end-all and be-all of neural engineering. Join this channel to get access to perks: / @isaacarthursfia Visit our Website: http://www.isaacarthur.net Join Nebula: https://go.nebula.tv/isaacarthur Support us on Patreon: / isaacarthur Support us on Subscribestar: https://www.subscribestar.com/isaac-a… Group: / 1,583,992,725,237,264 Reddit: / isaacarthur Twitter: / isaac_a_arthur on Twitter and RT our future content. SFIA Discord Server: / discord Credits: Alternative Intelligence: The Other A.I. Episode 448; May 23, 2024 Produced & Narrated by: Isaac Arthur Written by: Erik Eldritch & Isaac Arthur Editor: Darius Said Music Courtesy of Epidemic Sound http://epidemicsound.com/creator Stellardrone, “Red Giant”, “Ultra Deep Field”, “Cosmic Sunrise” Sergey Cheremisinov, “Labyrinth”, “Forgotten Stars” Taras Harkavyi, “Alpha and…” Miguel Johnson, “So Many Stars”

Aaron Vick is a multi-x founder, former CEO, best-selling author, process and workflow nerd and early-stage/growth advisor focused on Web3.

The age of artificial intelligence (AI) is transforming the landscape of creativity, challenging our understanding of creator rights and digital identity. As AI becomes an integral part of the creative process, collaborating with human minds to push the boundaries of imagination and innovation, we find ourselves in a new era that demands reevaluating the essence of authorship.

This AI renaissance is not just about the tools we use to create; it is about the fundamental shift in how we perceive and value creativity. In a world where AI can generate art, music and literature that rivals the works of human creators, we must reconsider what it means to be an author, an artist or a creator. The lines between human and machine creativity are blurring, giving rise to new forms of expression and collaboration that were once unimaginable.

In March, we saw the launch of a “ChatGPT for music” called Suno, which uses generative AI to produce realistic songs on demand from short text prompts. A few weeks later, a similar competitor— Udio — arrived on the scene.

I’ve been working with various creative computational tools for the past 15 years, both as a researcher and a producer, and the recent pace of change has floored me. As I’ve argued elsewhere, the view that AI systems will never make “real” music like humans do should be understood more as a claim about social context than technical capability.

The argument “sure, it can make expressive, complex-structured, natural-sounding, virtuosic, original music which can stir human emotions, but AI can’t make proper music” can easily begin to sound like something from a Monty Python sketch.

The letter, which is being sent to tech companies around the world this week, marks an escalation of the music group’s attempts to stop the melodies, lyrics and images from copyrighted songs and artists being used by tech companies to produce new versions or to train systems to create their own music.

The letter says that Sony Music and its artists “recognise the significant potential and advancement of artificial intelligence” but adds that “unauthorised use… in the training, development or commercialisation of AI systems deprives [Sony] of control over and appropriate compensation”

It says: “This letter serves to put you on notice directly, and reiterate, that [Sony’s labels] expressly prohibit any use of [their] content.”