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Cake day: July 19th, 2023

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  • Today, in fascists not understanding art, a suckless fascist praised Mozilla’s 1998 branding:

    This is real art; in stark contrast to the brutalist, generic mess that the Mozilla logo has become. Open source projects should be more daring with their visual communications.

    Quoting from a 2016 explainer:

    [T]he branding strategy I chose for our project was based on propaganda-themed art in a Constructivist / Futurist style highly reminiscent of Soviet propaganda posters. And then when people complained about that, I explained in detail that Futurism was a popular style of propaganda art on all sides of the early 20th century conflicts… Yes, I absolutely branded Mozilla.org that way for the subtext of “these free software people are all a bunch of commies.” I was trolling. I trolled them so hard.

    The irony of a suckless developer complaining about brutalism is truly remarkable; these fuckwits don’t actually have a sense of art history, only what looks cool to them. Big lizard, hard-to-read font, edgy angular corners, and red-and-black palette are all cool symbols to the teenage boy’s mind, and the fascist never really grows out of that mindset.


  • Sadly, it’s a Chomskian paper, and those are just too weak for today. Also, I think it’s sloppy and too Eurocentric. Here are some of the biggest gaffes or stretches I found by skimming Moro’s $30 book, which I obtained by asking a shadow library for “impossible languages” (ISBN doesn’t work for some reason):

    book review of Impossible Languages (Moro, 2016)
    • Moro claims that it’s impossible for a natlang to have free word order. There’s many counterexamples which could be argued, like Arabic or Mandarin, but I think that the best counterexample is Latin, which has Latinate (free) word order. On one hand, of course word order matters for parsers, but on the other hand the Transformers architecture attends without ordering, so this isn’t really an issue for machines. Ironically, on p73-74, Moro rearranges the word order of a Latin phrase while translating it, suggesting either a use of machine translation or an implicit acceptance of Latin (lack of) word order. I could be harsher here; it seems like Moro draws mostly from modern Romance and Germanic languages to make their points about word order, and the sensitivity of English and Italian to word order doesn’t imply a universality.
    • Speaking of universality, both the generative-grammar and universal-grammar hypotheses are assumed. By “impossible” Moro means a non-recursive language with a non-context-free grammar, or perhaps a language failing to satisfy some nebulous geometric requirements.
    • Moro claims that sentences without truth values are lacking semantics. Gödel and Tarski are completely unmentioned; Moro ignores any sort of computability of truth values.
    • Russell’s paradox is indirectly mentioned and incorrectly analyzed; Moro claims that Russell fixed Frege’s system by redefining the copula, but Russell and others actually refined the notion of building sets.
    • It is claimed that Broca’s area uniquely lights up for recursive patterns but not patterns which depend on linear word order (e.g. a rule that a sentence is negated iff the fourth word is “no”), so that Broca’s area can’t do context-sensitive processing. But humans clearly do XOR when counting nested negations in many languages and can internalize that XOR so that they can handle utterances consisting of many repetitions of e.g. “not not”.
    • Moro mentions Esperanto and Volapük as auxlangs in their chapter on conlangs. They completely fail to recognize the past century of applied research: Interlingue and Interlingua, Loglan and Lojban, Láadan, etc.
    • Sanskrit is Indo-European. Also, that’s not how junk DNA works; it genuinely isn’t coding or active. Also also, that’s not how Turing patterns work; they are genuine cellular automata and it’s not merely an analogy.

    I think that Moro’s strongest point, on which they spend an entire chapter reviewing fairly solid neuroscience, is that natural language is spoken and heard, such that a proper language model must be simultaneously acoustic and textual. But because they don’t address computability theory at all, they completely fail to address the modern critique that machines can learn any learnable system, including grammars; they worst that they can say is that it’s literally not a human.



  • They (or the LLM that summarized their findings and may have hallucinated part of the post) say:

    It is a fascinating example of “Glue Code” engineering, but it debunks the idea that the LLM is natively “understanding” or manipulating files. It’s just pushing buttons on a very complex, very human-made machine.

    Literally nothing that they show here is bad software engineering. It sounds like they expected that the LLM’s internals would be 100% token-driven inference-oriented programming, or perhaps a mix of that and vibe code, and they are disappointed that it’s merely a standard Silicon Valley cloudy product.

    My analysis is that Bobby and Vicky should get raises; they aren’t paid enough for this bullshit.

    By the way, the post probably isn’t faked. Google-internal go/ URLs do leak out sometimes, usually in comments. Searching GitHub for that specific URL turns up one hit in a repository which claims to hold a partial dump of the OpenAI agents. Here is combined_apply_patch_cli.py. The agent includes a copy of ImageMagick; truly, ImageMagick is our ecosystem’s cockroach.


  • Now I’m curious about whether Disney funded Glaze & Nightshade. Quoting Nightshade’s FAQ, their lab has arranged to receive donations which are washed through the University of Chicago:

    If you or your organization may be interested in pitching in to support and advance our work, you can donate directly to Glaze via the Physical Sciences Division webpage, click on “Make a gift to PSD” and choose “GLAZE” as your area of support (managed by the University of Chicago Physical Sciences Division).

    Previously, on Awful, I noted the issues with Nightshade and the curious fact that Disney is the only example stakeholder named in the original Nightshade paper, as well as the fact that Nightshade’s authors wonder about the possibility of applying Glaze-style techniques to feature-length films.





  • Linear no-threshold isn’t under attack, but under review. The game-theoretic conclusions haven’t changed: limit overall exposure, radiation is harmful, more radiation means more harm. The practical consequences of tweaking the model concern e.g. evacuation zones in case of emergency; excess deaths from radiation exposure are balanced against deaths caused by evacuation, so the choice of model determines the exact shape of evacuation zones. (I suspect that you know this but it’s worth clarifying for folks who aren’t doing literature reviews.)








  • Thanks! You’re getting better with your insults; that’s a big step up from your trite classics like “sweet summer child”. As long as you’re here and not reading, let’s not read from my third link:

    As a former musician, I know that there is no way to train a modern musician, or any other modern artist, without heavy amounts of copyright infringement. Copying pages at the library, copying CDs for practice, taking photos of sculptures and paintings, examining architectural blueprints of real buildings. The system simultaneously expects us to be well-cultured, and to not own our culture. I suggest that, of those two, the former is important and the latter is yet another attempt to coerce and control people via subversion of the public domain.

    Maybe you’re a little busy with your Biblical work-or-starve mindset, but I encourage you to think about why we even have copyright if it must be flaunted in order to become a skilled artist. It’s worth knowing that musicians don’t expect to make a living from our craft; we expect to work a day job too.


  • Previously, on Awful:

    [Copyright i]s not for you who love to make art and prize it for its cultural impact and expressive power, but for folks who want to trade art for money.

    Quoting Anarchism Triumphant, an extended sneer against copyright:

    I wanted to point out something else: that our world consists increasingly of nothing but large numbers (also known as bitstreams), and that - for reasons having nothing to do with emergent properties of the numbers themselves - the legal system is presently committed to treating similar numbers radically differently. No one can tell, simply by looking at a number that is 100 million digits long, whether that number is subject to patent, copyright, or trade secret protection, or indeed whether it is “owned” by anyone at all. So the legal system we have - blessed as we are by its consequences if we are copyright teachers, Congressmen, Gucci-gulchers or Big Rupert himself - is compelled to treat indistinguishable things in unlike ways.

    Or more politely, previously, on Lobsters:

    Another big problem is that it’s not at all clear whether information, in the information-theoretic sense, is a medium through which expressive works can be created; that is, it’s not clear whether bits qualify for copyright. Certainly, all around the world, legal systems have assumed that bits are a medium. But perhaps bits have no color. Perhaps homomorphic encryption implies that color is unmeasurable. It is well-accepted even to legal scholars that abstract systems and mathematics aren’t patentable, although the application of this to computers clearly shows that the legal folks involved don’t understand information theory well enough.

    Were we anti-copyright leftists really so invisible before, or have you been assuming that No True Leftist would be anti-copyright?