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Culture War Roundup for the week of February 19, 2024

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Gemini's Cave

One of the most famous allegories in history is that of Plato's Cave:

Plato begins by having Socrates ask Glaucon to imagine a cave where people have been imprisoned from childhood, but not from birth. These prisoners are chained so that their legs and necks are fixed, forcing them to gaze at the wall in front of them and not to look around at the cave, each other, or themselves. Behind the prisoners is a fire, and between the fire and the prisoners is a raised walkway with a low wall, behind which people walk carrying objects or puppets "of men and other living things".

The people walk behind the wall so their bodies do not cast shadows for the prisoners to see, but the objects they carry do ("just as puppet showmen have screens in front of them at which they work their puppets"). The prisoners cannot see any of what is happening behind them; they are only able to see the shadows cast upon the cave wall in front of them. The sounds of the people talking echo off the walls; the prisoners believe these sounds come from the shadows.

Socrates suggests that the shadows are reality for the prisoners because they have never seen anything else; they do not realize that what they see are shadows of objects in front of a fire, much less that these objects are inspired by real things outside the cave which they do not see.

It is astonishing that Plato imagined the form of cultural transmission through projected imagery thousands of years before the creation of the movie theater: the dark room, the audience facing the screen, the projection of light and sound from a hidden source... Movie-going audiences tend to be oblivious to the esoteric artistic motivations and meaning behind the films they watch and reify, also tracking with Plato's allegory.

One thing that is not clearly defined in Plato's allegory is, who are the people behind the wall controlling the puppets and creating the sounds to manipulate the audience's perception of reality? What is motivating them? What happens when the audience catches on to the game being played? In Plato's allegory, such a person who leaves the cave, perceives reality, and then tries to convince his fellow prisoners of the state of affairs is taken as a madman and killed by the other prisoners.

With the growing likelihood of Generative AI fulfilling this role of the people behind the wall, there are Glitches in the Matrix so to speak. Twitter has caught on to Gemini's apparent refusal to depict White people. Whether it's Popes or "Medieval Knights", or "Vikings", "American Founding Fathers", "White families", "British, America, etc. women", "Glamour shots", etc.

The AI Engineer at Google behind Gemini has responded:

We are aware that Gemini is offering inaccuracies in some historical image generation depictions, and we are working to fix this immediately.

As part of our AI principles https://ai.google/responsibility/principles/, we design our image generation capabilities to reflect our global user base, and we take representation and bias seriously.

We will continue to do this for open ended prompts (images of a person walking a dog are universal!)

Historical contexts have more nuance to them and we will further tune to accommodate that.

This is part of the alignment process - iteration on feedback. Thank you and keep it coming!

There is no doubt that this is the worst Gemini, and all the other technologies, are going to be at this. The nonsense above will, for the most part, be fixed very quickly. The real danger will be when Gemini and other Generative AI become so good at generating cultural images and motion pictures, with their output influenced by this latent anti-White alignment which is called "AI Safety", that the agenda behind the underlying alignment will be nearly imperceptible. It will influence the creation of culture and art in subtle ways, and you will be considered a madman conspiracy theorist if you conclude that there are people tuning this culture to be anti-White in the most effective way possible. Imagine when anti-White alignment doesn't create the nonsense above, but it creates extremely entertaining and compelling movies and stories that actually have plausible deniability, such that you seem like a madman if you perceive an agenda aligning the content in such a way.

But for now, and not for long, we can recognize "no, we aren't madmen conspiracy theorists, they are trying to tune the culture to be anti-White and the newest methods for doing that are simply not completely refined yet" is clear as day, and as clear as it's ever going to be.

... but it creates extremely entertaining and compelling movies and stories that actually have plausible deniability, such that you seem like a madman if you perceive an agenda aligning the content in such a way.

I have different but kind of parallel thoughts on this.

The first is in how the Left is critical of I'll say older standards of beauty and the "male-gaze" side of female sexualization. I won't say this as as categorical, but within the Left some do have a clear interest in putting characters in TV and film and also major studio video games who would not traditionally be considered attractive enough for mass media. In the Tolkien Rings of Power, the mightiest and fairest of the Elves remaining in Middle-Earth, Galadriel, is played by Morfyyd Clark. There are poor style choices here, keeping her pristine amidst battle would emphasize her otherworldliness. There is also an unfairness in comparing Clark, and almost any woman in Hollywood, to Cate Blanchett. But I seriously doubt casting took a hard pivot because they didn't even want to try competing with Blanchett. I am certain they had better options they forewent because Clark is "mid" for Hollywood. Film is full of more examples by the day; Halle Bailey would rightly be a model, she has incredibly striking features that would make her fashion advertising gold but she is so far on the "alien" side of model-alien-androgyny (as an aside, "androgynous", when you really evaluate those it describes, really just means "girlish") that ignoring other perceived issues with the film, the sharp features of her face hurt interest In The Little Mermaid. What helps I'm sure with Anya Taylor-Joy's success is not just her skill at picking roles in good films, but specifically films that benefit from a kind-of alien looking actor like herself.

In video games, there's Aloy in the Horizon series, Abby in TLOUP2, MJ in Insomniac's Spider-Man 2, and The Hero in Fable 4 (or Fable not-4, I don't know and I'm not bothering with the articles elaborating on it.) I think they accurately recreated the face model for Aloy, but in Fable, and I won't be surprised if there are changes, they made the character uglier than her model.

Given there is some political interest, and again I'm not painting with a wide brush, but given there is some clear interest in subversion of traditional beauty and traditional relationships, the most powerful content-producing AI couldn't produce subversive content on these lines because it isn't logically possible. If a person wants to look at beautiful women then ugly women, no matter how otherwise compelling the setting, won't light up those biological hardwires. If they want a story of that great man hero, "actually male heroes suck" in the most otherwise beautiful setting won't do anything for them. If they want a story with the traditional nuclear family, the great story around the queer poly cell isn't going to do anything for them. Of course harems might, and the terminal diagnosis for this poly fad is the most terrible return of the harem, but harem stories are eminently male-gaze, so that's not happening.

My other thought, my original thought, is on the technology. If the technology of AI-generated shows and films reaches the hands of the people, their cultural output will blot out the sun. The entertainment industry, in its current state, will be utterly incapable of competing in a world where random creatives can generate compelling television as quickly as they can write it. The Nolans, the Villeuneuves, the Mendeses, they'll still have success, but when John McCrae can put out himself Worm and Pact as shows, or when the many successful Royal Road writers can make shows of their works, or when some guy in his basement can produce Peter Jackson's Rise and Fall of Gondolin, when Orson Scott Card (who I hope will leap at the tech) can make adaptations of the Speaker and Shadows Saga. When fans in places western copyright law can't reach can use this to make a 100% book-accurate show of Harry Potter, Hollywood is fucking over.

Will they let this happen? I think Sora was the canary, the final warning. I think if they aren't having all-legal-hands 24/7 (in spirit if not actual) from now to Inauguration Day 2025 they too will have a terminal diagnosis. But I think, and I dearly pray, the tech will go too far too fast and it will reach the people before Hollywood even realizes they should be planning to stop it.

but when John McCrae can put out himself Worm and Pact as shows, or when the many successful Royal Road writers can make shows of their works, or when some guy in his basement can produce Peter Jackson's Rise and Fall of Gondolin, when Orson Scott Card (who I hope will leap at the tech) can make adaptations of the Speaker and Shadows Saga.

This is what I want - world building visionaries being fully able to build and share worlds.