Leaders in artificial intelligence research say that it’s impossible even for them to understand everything about the technology. “It has fundamentally changed over the past few years,” said Meg Mitchell, the chief ethics scientist at the A.I. firm Hugging Face.
Mitchell said that many companies are now declining to explain how their programs are getting smarter, citing fierce competition within the industry. When OpenAI released its latest model, GPT-4, for example, developers refused to share the details of their data set.
“I tend to be a buzzkill about the data,” Mitchell added, suggesting that within the industry, data has “been collected without the consent of artists, without giving them credit and without compensation.”
Weiler doesn’t sweat the legal challenges to artificial intelligence. He prefers to nurture the iconoclasts and rulebreakers, who, he said, “are challenging the status quo of how art is made and who gets to make it.”
That struggle, against the perceived gatekeepers of art, was once his struggle.
Weiler was raised in the suburbs of Philadelphia and joined the local film industry in the 1990s after high school. Those early years of being a journeyman and camera assistant on large commercial shoots ended in 1998, when he helped direct an indie thriller, “The Last Broadcast,” on a shoestring budget of $900. Celebrated as the first feature-length movie with an entirely digital distribution, it took in over $5 million in revenue.