середа, 13 листопада 2019 р.

How OpenAI sells GPT-2 as NLP killer app?

So, the thing we've been waiting for a better half of the year just happened - OpenAI had released a full unabridged version of their infamous Natural Language Processing model GPT-2

You know, the one known for being capable of generating texts that look and read just like the ones written by actual human beings. The one OpenAI deemed to be "too dangerous" for the public release. The "Pandora's Box" that, if misused, would probably flood the world with fake news and otherwise manipulative synthetic content. The one that would make regular copywriters and journalists utterly obsolete. The one that birthed AI Weirdness blog, after all. You know, that one. 

Well, it is back again and it is a good reason to talk about one of its lesser-known aspects. 

One of OpenAI's competitive advantages is that it is "capped-profit" limited partnership, which means that OpenAI doesn't have to generate profit per se, but their sponsors (in limited partnership - folks like Microsoft) can use OpenAI's research for their own purposes (products or solutions within products). At the same time, OpenAI's primary performance indicators are more or less spread of their technological solution and maintaining its notoriety. 

Let's talk about the latter. 

The thing you need to know about OpenAI GPT-2 is that its marketing campaign was pitch-perfect. This is how you market the technological product to the unwitting masses. This is how you present a value proposition to those in the know. 

The secret is that you mostly don't really talk about the product itself but instead concentrate on its impending impact, the way it will shake things up, "make a difference," and so on. Hence "too dangerous" narrative. 

This approach creates a mild case of hysteria perpetuated by an eerie mystery, which is mostly based on a bunch of "um"'s and "uh"'s and whole lotta sweet technobabble. The goal is to exemplify what the thing is capable of subtly - leaving enough space for speculation. On the one hand, this approach created a stir in the media, thus guaranteed a higher degree of visibility than competing products. On the other hand, it signaled to the right people that there is a multi-faceted solution waiting for proper implementation.

Just look at the launch sequence and how it establishes the product. It kicked off with the press release that stated, "oh well, we guess we just made some kind of doomsday device. And we are really concerned about it. And we're definitely not going to do anything with it, because it would be ridiculous to put it out in the open just like that. So we are just going to keep under wraps for now". 

What happened next is the tortsunadomi of news pieces that retold the story over and over again and also added a few meandering thoughts full of piss and vinegar to the conversation. It is then quickly incorporated into the "fake news" and "deep fake" narratives and firmly contextualized as something definitely "threatening." As a result, the burning mystery is perpetuated and elaborated. 

The next step was to provide a proper showcase of the model capabilities while avoiding spoiling the big thing. It is a great sleight of hand. The whole thing is out in the open, but you claim it isn't. The showcase is made by an abridged version of the product presented as a technical paper and a tool for researchers. 

It played out perfectly - the presentation of expanded and diversified by multiple points of view on the model. As a result, - more opportunities became apparent.

There were a couple of NLP projects that provided GPT-2 a lot of publicity. For example, Talk to Transformer presented the original use case of GPT-2 - text prediction. The way it was presented neutralized any emerging criticism regarding its clumsiness (for example, it couldn't predict Austin 3:16). It was simply freestyling a bunch of stuff - sometimes it was more coherent, sometimes it wasn't. 

Then there was the Giant Language Testing Room that visualized the text analytics and showed the mechanics behind computer-generated and human-generated texts. And then there was Allen Institute's Grover than was designed to expose deepfake texts and also showcase how easily the model can recreate the text with a couple of settings tweaked (except when you ask it to write an essay on Tawny Kitaen for some reason). 

Also, there were numerous blogs that applied GPT-2 for creative purposes, like writing unicorn fiction or generating incongruous names. Blogs like AI Weirdness that basically celebrated model's bumbling nature.

In a way, this kind of presentation operates on a similar framework to Marvel Comics' built-up the arrival of Galactus back in 1966. First, The Watcher shows up and warns about the coming "doom." And everybody go "ah, we've gotta do something!" Then you get a harbinger in the form of Silver Surfer, who wreaks havoc but at the same time continually reminds us that "the worst is yet to come." The heat is right around the corner now. 

And then we get the main event - Galactus, who was just another supervillain in the long line of "ultimate threats" just ten times bigger and because of that characterized as ten times more imposing and menacing and dangerous because authors of the comic said so. 

And that's what happened. After months of build-up and speculations, in early November, the big 40GB 1,5 billion parameters version of GPT-2 was released to the public. And it was exactly what it said on the tin from the very start, just ten times bigger. However, the momentum generated by the build-up made it seem less apparent. But there is a catch which makes things even more interesting.

The thing is that "ten times bigger" doesn't translate into "ten times better" because the technology doesn't really work that way. What matters is how it manages to accomplish specific use cases and how does it correlate with the solutions for actual practical needs. 

GPT-2 is presented as a tool that generates texts that seem natural as if an actual human being wrote it. It is cool, but you need to understand that the model operates on the finite dataset, and all it really does is derives the text out of probabilities and context approximations. Text generation is not really generation. It is more of regurgitation in sophisticated combinations. GPT-2 output looks and reads just like a real thing in a way that the real thing can be bland and passable and not really saying anything, just like loads and loads of content on the internet, especially, its corporate parts. 

What GPT-2 really does is creating a serviceable text product that serves a specific well-defined function. But you can't really market that because it is not really unappealing beyond those in the know (say hi to BERT). However, that's the absolute peak of practical NLP. 

A perfect example is a conversational interface. You say "hi," and it says, "hello, how are you?" because that how conversations usually go. The other example is a verbal interpretation of data like stats in Mailchimp where you can get reports like "22% opened your newsletter, 5% of which clicked on the link, and 1% gave it a thumbs up", but it is beyond current GPT-2 use case. 

That's why the "fake news" narrative is so beneficial for GPT-2. 

On the surface, fake news seems to be a natural avenue for that kind of thing. That game is all about quantity, not quality, and the NLP generator can help with that. It was hammered over and over again in the press releases and subsequent news pieces. And the use case seems legit. Technically, the goal is to generate derivative content that will reinforce and possibly perpetuate prerequisite beliefs of the target audience. Just what GPT-2 is good at.

Except, that's not really the message of the narrative. The real message all along was, "this thing can be used like that if YOU won't use it." And that leaves an intriguing mystery of what is going to happen next, which in turn engages the target audience more than the product itself.  



понеділок, 11 листопада 2019 р.

Count off, sampling and Kirk Pearson's unpersoned "Going Up"

Last Sunday, I was talking with my friend about De La Soul intense sampling style and at some point the conversation veered further into conceptual art territory of supercuts and Youtube Poop. In particular, I was asked whether there were any pieces that combined counting and sampling that weren't DJ Shadow's "The Number Song". And I remembered one - i saw it a few years back. I just couldn't remember its title.

So i've spent over 5 hours trying to find this particular plunderphonic mashup. What a nice way of spending Sunday evening. For some reason it was way harder than i thought. 

Here's what i remembered: the piece featured a countdown from one to one hundred culled together from various songs. Plain, simple and to the point. The best supercuts are always like that - they just blast through and leave you contemplating.

I first saw this piece mentioned in one of the Rate Your Music lists back in the early 2010s. After that, i saw it featured on one of the topical wikipedia pages, either Sampling or Mashup. I also vaguely remember it being on Free Music Archive. The only things i couldn't pin down was who made it and what was the title.

At first, i checked rate your music and couldn't find anything resembling that particular piece. But i have found a list with many-many unusual types of count off in pop songs. It was insightful and ultmately pointless.

Then i have checked whether the piece was still referenced on the aforementioned "sampling" and "mashup" wikipedia pages. None. I also checked "plunderphonics" page. If there were any mentions of this composition - they were long gone. Or they were still there and i just couldn't identify it correctly due to my recollection of the piece being incorrect or misrepresentative.

Then i went further down the wiki wormhole and checked pages like "Count Off" and "Counting (Music)". Once again - nothing. 

Then i went all guns blazing on google and typed every imaginable description of the composition i could think of - "plunderphonic counting off/count off/countdown composition", "countdown out of samples from different songs", "count off sound collage" and so on. There were three types of search results: 1 - DJ Shadow "The Number Song" (obviously); 2 - every children counting song ever (predictable outcome); 3 - general references to respective concepts (because there was nothing else relevant).

It felt really awkward - i was certain that i heard that piece but i just could not find any trace of it. At some point i even thought that it was some kind of Mandela effect thing or that i just imagined that piece and then forgot about it and now thought about it again but as something else. It was really confusing.

Then it hit me - if i can't find anything on the current web - why not peek at the past? After a thorough raid on Wayback Machine on every available lead - i was able to identify the track.

The name of the composition was "Going Up". It was made by Kirk Pearson. The composition was released in 2011 on an album "Please Don't Sue Me". "Going up" is made out of unaltered soundbite samples from different songs that together create a count from one to ninety-nine. The selection of samples is eclectic - among other things you get obvious Doors reference and less obvious Zager and Evans reference.

Here's what is interesting - it is scrubbed from existence. I've looked through every available Kirk Pearson release and couldn't find it. Not even the slightest mention. There were lots of stuff but not "Going Up". Why? Guess what - there is only a few things that can make things un-exist on the internet. In case creative works - it is mostly commonly a copyright violation.

The thing is - the whole "Please Don't Sue Me" album was a giant lament configuration of plunderphonics - it was a detournement of other people's stuff - culture jamming in action. The thing that propels the culture forwards and opens up new possibilities and explores new aesthetics. 

And naturally at some point the representatives of these people took action. Because we can't have conceptual art that transforms other pieces and recontextualizes them to explore certain themes and ideas - it is disrespectful and detrimental to the sources. 

It is very sad, but i'm glad i took this journey. It made me think about how unsafe and fleeting is culture jamming. But at the same, it encouraged me to move on. It is an act of defiance, and that's what art is all about.

Now, let's perpetuate the legend of "Going Up".

середа, 6 листопада 2019 р.

Funny thing with the cover Hail to the Thief

Back in mid-00s i was trying to unsolve mystery - why people like Radiohead? I just couldn't get it - they were too boring to me. And still are. I find their music to be full of interesting ideas buried under nonplus performances and generic songs. That's my opinion. You don't have to agree.

The only thing i really liked about them was their visual presentation from 2000 to 2003-04, in particular the cover for their 2003 album Hail to the Thief. (I will write about Kid A blips someday). There was just something endearing about. It promised something else. 

Made by Stanley Donwood, the cover was a roadmap of sorts covered in advertising buzzwords mashed together in colorful blocks.

If you separate the cover from the album and look at it as a thing of its own - it is pretty good piece of conceptual writing.
This cover is all about plunder and recontextualization, hijacking of aesthetics and making it interesting again. While it definitely tried to replicate and multiply the vibe of Ed Ruscha spliced with opaque statements of Lawrence Wiener - it works as a statement on commodification of language.

The words are stacked in several columns, they represent commercial products and concepts in no particular order - just a whole bunch of stuff. It is kinda like listicles Roger Waters used to do in the latter days of Pink Floyd.

The sheer volume and density of content make it an open-ended piece. You can read it any way you like and construct your image sequence of the moment.

***
But i did something else. I like to OCR things that are usually not fit for OCR. My original intention was to shortcut typing down the words so that i could make some kind of a generative piece. However, the result was exceeded that.

Here's what i have got instead:

RE a att Peet ta
Ae 8 Pat CR ss ree eee, ai : Sekt rd Ceo a 4 lp ae Tak SO Pa > bh cane? ae wees ott, 7 eS et ha *
Bg Ue eee ok EEE SEE PEE ae a eal Te Aaa] ysoes 4 Peete eee Oa | oh, Pay he ea eae EE pe ge Ad Sa a EA BE
std eg shee a ee cosh SD deo Sie ie ie 4 ef i HA Ss
bee GS a a wfo* eee Ly eae 1 oe eas ee gh EAT 2g Bee we A ek aes Pe OD Fae ee BERS PEPE P, wpe Ps he BSS
Be get ai tie! aie La VEEL ES ostaen aaeee es aoe aoe Ba AU ki Up coe Oe
PS ee Oe Bee Ee up SE Regt eye | see Signe! gabe Aeg ASCos
bo La) gery: “pee CHR peers Scitee pee heey sil epREE eR Sas ce SMR AE
ett Tee Stay ee Be 1 PEE woe i MOE pee Wee as aN aoe ‘ SOG REGS in . SY
POR AS Ege gre ee ea ot OPA Cae Bo teeter re Gof res ES ae he Ss as BS
eR ere ¥ | ob eae ee Be Ry eee a KO ees
es Ea Ee ES gO ee 8 VOR SARC RRERN iel e te at AY net eS a Sy
oD RI By AER Be a AHL Blo” 33 Set alee SB Oo "Up REE SN
Ce AE a eee IPOS ge Ns I BN Ae ee Aer ae AL PSE Spe hee ee SRE
eR fa See ae Be: Pity eee INE Mt a i i PSR ee pee iT SEE EIGEN SS Gi
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OE Mi EE ee kN 2 is { Sef Ps BE = Piacoa pi Nad cd: Derg
i Lp! BG oe ae ee ee PRE ie =
ui fat it aa per, 2 Mee 3 ar Cova) A if fee ‘ . as £ : cre ae uid Fe at “¥ me F Wy it oe: ~af 2 4 2 . 88 as Se PENG Cote SS .-
ba Petia hee OAD a Me i Ein RET
di ge A ot ce isk MOE Lcd eae | ir ee 7 EAD Spee oY, we a eS
LEE Aa ean BPEEEE ac illaacaiatel Li ; ™ Bf ed | RAE SS SSG
(he Pe SANS %e Were ABS ES
GP | BP CB SEE ARS ee ‘ wy DP ka BEARS PR
oN Ady ae A ae . iW | Oe AW SS
idf oF page eee Zot > Pa Wa : a AN ie AER
Sg oe ty f a 7 a “Ws, >. WS he ass
ae) Ve Pps a | Fai WAP LS
af pte f | GIRLS H 0 = Vy he MA
shi aoe a , s M eae a top
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Pai OCUN Bs alg GRAND Br Tye
g Pate eaaae SUICNO| fm : BP iy SOL Pi
c ; ; S a : | Ni ~~] i PPANGER 3 . ze A | ) t f lt
Po an Dé ys
PATROL] ANYTIME Mfote rage ND Bee eA Ne opr
LUBE. GOD ! TRUST, v Tos OTT COEF 7 & Bis
OR LTGP Re Shs
= 7 ior awtls AAR
VCR iiine ses
Mri BAUD SRRS
A\e | WIS SFY
LOS$ LIPS SAM
a yi = Pw
sale Sf THEFT Dore, NT, TSS
CONTAIS DTN SANE poo Aas apes, MEDIA
4 ee i . , ‘FE y 4
c . ay; uh ma j Ey XTRA Ch PO° SPIRITUAL
OSED ea ati COlF :
Am, | mee §!QU0 UNAREMEMBERIN G
INTERNET Mec) 0 — PGR HAMBURGER
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USED Mee | ARITA
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Pee ee a hm Re ik
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***
One of the curious things that happens with OCR is that it requires keeping the input images straight in order to do the job right. Even the slightest presence of an artifact throws a wrench into the operation. The more artifacts or otherwise odd document features - less accurate the result.
That's what happened with the cover of Hail to the Thief.

There are bits and pieces of the original words sprinked here and there but the majority of words are mangled, sliced, chopped and screwed. At times, it looks like computer-generated madlib. Other parts looks like they were transcribed from a backwards speech.

But it made me think about the texts hidden underneath the texts on the images, the ones only an OCR algorithm can extract. I know why it happens that way, it is a side effect of the algorithm specification. But what does it means from the conceptual point of view?

вівторок, 5 листопада 2019 р.

Money is not our god...

More of the same song and dance. I've been talking with a friend of mine who is project manager about the role of poetry in life.

She said it is whole lotta bollocks rolling in the back end. I think she's right even though she doesn't get it.

The thing - it is all about breaking through, fighting the conditioning of the establishment.
Of course it is bullshit. how else would pure distillation of language be perceived by grounded and continuously pounded folks who operate on templates and act on cut and paste, who are numbed out to the point of incompatability with the thing? Seriously, would you expect anything else?
And then she said "well, i'm making more than all of your poets combined". Yeah, for sure. Let me tell you something.

Back in the day, i was paid for an article in low nominal banknotes - ones and twos and some fives. There were like two hundred of them - really big pack. and most of them were worn out real bad.
Some of them were rejected at stores. It was frustrating. And then i remembered about spocking technique, took a marker and wrote some texts on these wornout bills. Because what else you can do?
The early ones were right in the "obey" alley. But it got old on the third bill. Quoting Barbara Krueger in ukrainian is like brushing teeth - nothing special, except it still stinks pretence.Then i went for zen koans, it was fun while it lasted. after i ran out of wise-sounding words, i've dropped some random words and exclamations. It was some henry rollins reads ee cummings stuff - vagabond weasel kazoo abbattoir and so on.

After i was done - i had a hundred or so defaced bills. It looked like a brick going undercover and pretending to be a piece of sliced bread.

I stapled it together and dropped at the nearby coffeeshop. I've bought a largest cup of tea imaginable and went to the corner. The reaction was weird.

A group of hipsters decided to find who did it because it was disrespectful. They were freaking out because of some barely intact defaced cash. You couldn't even buy a good coffee for that sum in that coffeeshop. But they were furious.

They attracted a lot of people to the thing - they were showing what an atrocity it was, how tasteless and witless it was and people were like yeah whatever moving on. After a while they cooled off and started to feel awkward. They couldn't do anything with those bills. Eventually, they left it alone. But it took them like three hours and they looked shellshocked .

It felt like victory.

понеділок, 28 жовтня 2019 р.

BSPH: The Deviants - I'm Coming Home



"I'm Coming Home" is the song by seminal british psychedelic garage rock band The Deviants. It was written by Mick Farren and released on the band's 1968 album titled "Ptooff!".

The song is built around an increasingly menacing, baleful and ominous lyrics that fantasise on the topic of homecoming and rejoining with the loved one. It is an interesting take on a "lovelorn longing / coming back home" cliche that sprawls all over rock music (even "Louie Louie" is about that). In a way it exposes that cliche as being a good blanket to cover hapless glorification of an unhealthy obsessive behaviour in sweet flowery speech figures.

"I'm Coming Home" tells a story of a protagonist proclaiming that he is getting back "home", probably as a pep talk to himself. The description of his path is very meticulous and rich with details - he describes his journey step by step, gradually building tension and increasing the notion of impending threat.

He spells out how exactly he is going to get "home" and what he is going to do "there". The ultimate intent of the protagonist is to rejoin with his "lady", who, judging, from his words is not expecting this visit and probably even not suspecting it is going to happen at all. What he going to do is quite obvious - attempt a forceful but passionate swive, jump and knob to know.

From the musical standpoint, the song is basic four note stomping vamp waltz that ebbs and flows as the story goes, a kind of stretched out and meaner sibling of The Troggs' songs.

"I'm coming home" starts with the persistent tenacious march with a waltzy sweep at the end of the bar. It is plucky and cheerful. Gradually the march devolves into a sluggish chug, the beat intensifies and turns the whole thing into a manic rave-up Yardbirds-style.

The tension reaches to the point of combustion and the song explodes with fuzz-infested burst of two guitar soloing at the same time. They cancel each other out and make a lot of directionless noise.
The double solo transitions into the next section of the song where music calms down and takes a backseat so that Mick Farren could chillingly recite what he is going to do with the object of desire.

Then the song explodes with the sweeping solo that reiterate what was just said. It falls apart into a mindless shredding over a drum avalanche. And then things get back to an opening march, except now it is sloppier and it almost instantly devolves into a haphazard outbreak that falls off the cliff into outer space and dies out.

What makes the song particularly disturbing is that the whole song is a first-person fantasy scenario playing out in the protagonist's head - a disturbing narrative of the sickened mind trying to express itself. That's why a level of detail is so high.
And it goes a distance to prove its point. Mick Farren sings it with such a conviction you just can't help but get repulsed by his performance. He hams it up quite a bit but keeps things at reasonable level - his performance retains the plausibility of the scenario.

Overall, the song is a great example how to spin a familiar narrative into something more sinister and unfortunately relatable.

(As a sidenote, I'm Coming Home and We Will Fall sound really good back-to-back, i had a chance to listen to it that way once when i hit shuffle on my Winamp player.)


неділя, 20 жовтня 2019 р.

Sam Kinison - Homosexual Necrophilia

Spinning a stupid, obnoxious and annoying things is a lost art. It is one thing to write sonnets and paint landscapes - making a cohesive, comprehensible narrative out of one-note dead end braindead silly joke is an accomplishment worth including on your CV.

Sam Kinison was a master of doing such things. He could come up with a joke about dust particles in the air and turn it into an apocalyptic mayhem, a god's ultimate judgement Antonin Artaud style.

Just check out this routine.

In it Sam Kinison takes a stupid dead end premise and goes full-on "let me work it". He talks casual homophobia, institutional corruption, fear of death, life after death and other things while remaining in the pink part of outrage spectrum just to irritate everybody with the fact that he doesn't really go overboard.

There are so many ways you can botch this time of the joke and he manages to make it just right.




He starts by setting up the premise - a recount of how he read a story about homosexual perverts doing necrophiliac stuff. The story goes - homosexual necrophiliacs go to the morgues and mortuaries and pay money to managers in order to quality spend time with fresh corpses. Important to note - he recounts not the story itself, just how he read it and how initially reacted to it. This approach gives him a considerable distance from the subject matter. He can't take a hit for making this joke because he just shares his experiences. Neat.

After establishing the narrative - he bounces off the predictable audience reaction and takes off any responsibility for the outrageousness of the story by insisting that he only read about it in the paper and that in this case he is in the same position as the audience.

Then, instead of elaborating on the story, he starts to mock around the premise. At first he states his position on the subject matter in an extremely exaggerated matter. Then he starts to tear the thing apart as outrageous and obnoxious.

The joke culminates with Kinison reenacting the way this whole thing might have happened.

He lays down on the floor face down and pretends to be a corpse. He imitates its internal monologue and then switches the role to homosexual necrophiliac doing his dirty business while keeping the corpses internal monologue intact right when he starts to freak out because of the penetration. And it ends there.

As a result, you have a sentence spinned out into a routine.

понеділок, 14 жовтня 2019 р.

The Chimney Sweep and The Miller (1902)

Early cinema was functioning similarly to early YouTube or modern TikTok. It was mostly some short skits that were adapted from various vaudeville routines with a hacksaw and fish hook.
As time went by, it was regurgitated over and over again until the lineage was blurred enough to be forgotten so that the neverending loop of regurgitated tropes seemed fresh.

Nevertheless, the documentation of vaudeville routine from early XX century is pure bliss.

This particular bit is one of my faves. 



It is a story of a somewhat unfortunate but nevertheless hilarious encounter between two professionals - The Chimney Sweep and The Miller. Both of whom are dedicated workers who just want to do their own thing and not messed with.

The narrative of the routine is the most basic "versus" scenario based on slapstick misunderstanding that escalated into the uppermost absurdity.

Two sides have their own designated colours - The Chimney Sweep is covered in black sooth, The Miller wears white uniform.

The story goes - both guys are going somewhere, minding their own business. Up until this point the day was just like it was the day before and the day after.

Because of deep occupation by the fleeting thoughts - they don't notice each other moving on the collision course. Eventually, this causes them to stumble into each other and as a result brutally break their concentration.

None of them considers this encounter to be by any means pleasant. The chimney sweep's sooth dirties the millers uniform and its source of great frustration for him. At the same time, the sweep's clothes are covered

So the whole thing instantly goes off the rails and rapidly escalates into a fight. At first they mouth words and name names at each other. Then, for a moment or so, they consider to tackle each other, but soon enough (a matter of Planck time unit or so) they realise that hitting each other with their bags is a much better option in terms of functional efficiency and physical impact.

So they hit each other with their bags. The hits are coming in bursts. It takes a bit of an effort to pick up the bag high enough and direct the hit towards the opponent's upper body. Black soot spots white clothes, white flour covers the sweeps black clothing. They give their all with each hit and soon the action starts to slow down because of exhaustion.

The skirmish creates a black and white cloud in which both of them disappear leaving audience to gaze at the bi-colour cloud of soot and flour. Probably until it dissipates leaving empty stage.

Nothing spectacular, but it works on a visceral level. 

Also - take a look at the backdrop - that lake and forest look somewhat uncanny. I wonder what that might mean.

***
Now, with the vaudeville tradition gone far and away - there is a lot more of detachment that makes viewing of such shorts a very different kind of experience, especially for the uninitiated.

You kinda grasp the basic idea, but still lacking much of the cultural context. So instead of laughing at the juxtaposition of social classes, their manners and worldviews, modern viewer laughs at the action itself. 

DeepSeek doesn't about Ginger Baker making tea song either

So i did it again but this time i asked DeepSeek the same question. The following text is the edited version of the conversation. I really l...