Discover Bonobos’ Creative Innovations Through New Experiments

The bonobo’s remarkable performance in pretend play experiments highlights its mental capability to envision non-existent objects, a trait that may stretch back 6 to 9 million years, challenging previous beliefs about the uniqueness of human imagination.



Kanji the bonobo. Image credit: Ape Initiative.

“The realization that their cognitive experiences extend beyond the immediate present is revolutionary,” remarked Dr. Christopher Krupenier, a researcher at Johns Hopkins University.

“Imagination, once thought to be an exclusive human trait, is now being reconsidered as something that may not solely belong to our species.”

“Jane Goodall’s discovery of tool-making in chimpanzees altered our understanding of what it means to be human, prompting a reevaluation of the unique qualities of mental life across different species.”

By the age of two, human children engage in pretend play, like tea parties.

Even infants as young as 15 months display surprise when witnessing someone “drinking” from a cup filled with imaginary content.

While there have been anecdotal observations of animals showcasing pretend behavior in both wild and captive settings, controlled studies on pretend play in non-human animals remain scarce.

For instance, young female chimpanzees have been seen playing with sticks, mirroring how a mother would cradle an infant.

Captive chimpanzees have even been noted dragging imaginary blocks along the ground after interacting with real wooden blocks.

Dr. Krupenier and Dr. Amalia Bastos from the University of St Andrews sought to test this ability to pretend in a structured experiment.

They devised a setup akin to a child’s tea party to evaluate Kanzi, a 43-year-old bonobo (Pan Paniscus) who has been reported to engage in pretend play and respond to verbal cues.

During the experiment, Kanzi and the researcher sat across from each other at a table adorned with an empty pitcher, cups, bowls, and jars, reminiscent of a tea party.

In the first task, two transparent cups, both empty, were accompanied by an empty pitcher.

The experimenter tilted the pitcher as if to “pour” juice into each cup, then pretended to dump juice from one cup, slightly shaking it to emphasize the action. They then inquired, “Where’s the juice?”

Kanzi consistently pointed to the cup that pretended to hold juice, even when its position was swapped, demonstrating his understanding of the task.

The researchers conducted a second experiment to rule out the possibility that Kanzi believed there was real juice in the cups, providing one cup with actual juice and another with pretend juice.

When asked what he preferred, Kanzi almost invariably pointed to the cup with real juice.

In a third experiment, the same concept was repeated without grapes.

Here, the experimenter pretended to take a grape from an empty container and placed it into one of two jars, then asked Kanzi, “Where are the grapes?” He accurately indicated the jar with the imaginary grapes.

While Kanzi wasn’t flawless, he consistently pointed to the correct locations.

“It’s fascinating and significant that the findings suggest great apes have the mental capacity to visualize things that are not present,” noted Dr. Bastos.

“Kanzi can conjure the notion of a pretend object while recognizing its lack of reality.”

“Imagination enriches the mental lives of humans,” added Dr. Krupenier.

“If we share some aspects of imagination with great apes, it compels us to reevaluate the presumption that other animals lead merely robotic lives, limited to the present moment.”

“These revelations will encourage us to cherish these intelligent, thoughtful creatures and ensure their preservation.”

For further details, refer to the study published in today’s issue of Science.

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Amalia Prime Minister Bastos et al. 2026. Evidence for object pretend expressions by Kanzi, a language-trained bonobo. Science 391 (6785): 583-586; doi: 10.1126/science.adz0743

Source: www.sci.news

“Creative Industries Face Threats”: The Lincoln Lawyer Author Discusses AI Risks

He is among the most prolific writers in the publishing world, averaging over one novel each year. Yet, even Michael Connelly, the acclaimed author behind the popular “Lincoln Lawyer” series, expressed concerns about keeping pace with the evolving narrative around AI.

Connelly’s eighth installment in the series, set to debut on Tuesday, revolves around a lawsuit targeting an AI firm after its chatbot advised a 16-year-old boy to kill his unfaithful ex-girlfriend.

As he penned the story, he observed the rapid technological advancements transforming society, raising fears that his storyline might soon be outdated.

“You don’t need to be a genius to see that AI signifies a monumental shift impacting science, culture, medicine, and more,” he stated. “Its influence will permeate every facet of our existence.

“However, in many respects, it resembles the Wild West, devoid of any regulatory framework. With AI progressing so swiftly, I even wondered if my book would feel antiquated upon release.”

The Lincoln Lawyer series is a LA-based thriller featuring defense attorney Mickey Haller, who operates from a Lincoln car. The series was adapted into a 2011 film starring Matthew McConaughey and also has a Netflix rendition.

Matthew McConaughey in “The Lincoln Lawyer.” Photo: Moviestore/Rex Shutterstock

Once again, The Proving Ground draws from actual events within the series.

“There was an incident in Orlando, where a teenager took his own life after allegedly being encouraged by a chatbot, and previously in the UK, a person suffering from mental health challenges also committed suicide,” Connelly remarked. I was encouraged [by a chatbot] to jump over the walls of Windsor Palace in search of the queen with a bow and arrow.”

On the novel’s theme, he added: “Is free speech a privilege for humans or machines? In the Orlando case, a judge ruled that machines lack human rights. Yet, it raises an intriguing question: Could AI ever be granted similar rights as humans?”

At 69, Connelly stands out as a leading crime novelist, with more than 89 million copies of his books sold, often topping bestseller lists. He is also recognized for the “Harry Bosch” series, which was transformed into an Amazon television series. (In his fictional universe, Haller and Bosch are half-siblings.)

The author himself has faced challenges posed by AI. He is part of a collective of writers, including Jonathan Franzen, Jodi Picoult, and John Grisham, suing OpenAI over copyright violations.

“The Authors Guild contacted me and informed me that my entire body of work had been utilized to train OpenAI’s chatbot,” Connelly disclosed. “I didn’t authorize this. If unchecked, every publisher risks extinction. Authors would lack protection over their creative assets. The lawsuit aims to establish necessary regulations across all applications.”

He referenced the 1997 defeat of chess champion Garry Kasparov by IBM’s Deep Blue as a pivotal moment that has led to our current predicament. When asked if writers might follow suit as grandmasters have, he replied, “It’s conceivable, yet I doubt it would enhance our world.”

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“Creative domains are under threat from all directions. Even actors are at risk. The prevalence of remarkable deepfakes in Los Angeles raises considerable concern in the entertainment sector.”

“I consistently revert to the term soulless,” Connelly expressed. “You can perceive it, yet something vital is missing.”

Controversy has arisen following AI Talent Studio’s announcement of its latest “AI actor,” Tilly Norwood, with actors and unions harshly criticizing the initiative.

AI-generated “actor” Tilly Norwood in an AI-generated image. Illustration: Reuters

Connelly has committed $1 million (£746,000) to combat the growing trend of book bans in his home state of Florida. He felt compelled to act after learning that Harper Lee’s “A Story of Alabama,” which had a significant impact on him, was temporarily removed from classrooms in Palm Beach County.

“That book was instrumental in my development as a writer. Without it, I wouldn’t have created ‘The Lincoln Lawyer,'” he noted. He was also taken aback when Stephen Chbosky’s impactful novel “The Perks of Being a Wallflower,” which holds deep significance for his daughter, faced a ban.

He and his wife, Linda McCaleb, are financial supporters of PEN America’s Miami office that combats book bans. “It’s run by legal professionals who typically intervene by filing injunctions against the school board,” he explained. “No one has the right to tell a child, ‘You can’t read’ or impose restrictions on parental guidance over their children.”

Source: www.theguardian.com

An Opportunity to Safeguard the UK’s Creative Industry from AI Threats is Slipping Away

For months, icons from various fields such as music, literature, product design, and visual arts have been sounding the alarm about the UK government’s plans to weaken copyright laws. The conflict escalated when the government started discussions about regulating artificial intelligence, leading to a “favorable” outcome for AI companies. These companies can automatically infringe on copyrights unless the original creators explicitly “opt out.” However, opting out is impossible without transparency in AI operations. This plan is essentially a charter for theft, as creators are left in the dark about who, what, when, and how their work might be exploited.

It’s understandable to be frustrated when the government prioritizes positive outcomes at the expense of your moral rights and earning potential. As Elton John stated last weekend: “The government has no right to interfere with my song. They shouldn’t do it with anyone else’s work either.” He is just one of thousands of British creators raising their voices in protest.

My colleagues and I in the Senate have taken action where the government has faltered, advocating for critical transparency measures in the Data (Usage and Access) Bill, which is currently progressing through Congress. Our amendments aim to uphold existing copyright laws, ensuring that copyright holders are informed about when, where, and by whom their work is used to train AI. The rationale is that if AI companies are required to prove their use of others’ work, they are less likely to infringe on rights in the first place. These amendments received substantial support from members across all parties, including notable backing from the government’s own backbenchers, as I voted in favor.

Ultimately, Secretary of State for Technology Peter Kyle had to face criticism in the House on Thursday. He acknowledged that “much content has already been utilized and is commonly employed by AI models under existing laws from other regions,” while ignoring the Lords’ provisions against such theft. He expressed admiration for artists like Kate Bush—one of over 400 supporters—along with Paul McCartney and Ian McKellen. I signed a letter to the Prime Minister urging policy changes; yet, no substantial changes were made. There remains a lack of transparency, no timeline, and no support for creatives.

This week, the government again missed the opportunity to rectify the situation for one of our largest industries, which employs 2.4 million people and contributes £126 billion to the economy, providing countless joys across the UK. No MPs rallied to defend the government. Instead, Kyle faced a barrage of criticism over his failure to manage the crisis. As one lawmaker put it, “One of our biggest industrial sectors is in flames, while the minister seems to be having a picnic with the arsonists.”

While the government could maneuver its way to passing specific legislation with its majority, such victories would spell disaster for the creative sector and the UK’s domestic AI economy. Ironically, he criticized the government’s approach in favor of major US corporations.

The UK creative industry is a vital part of our heritage, preserving our shared narratives and telling the story of our nation. A country that allows its storytellers to thrive is inherently stronger. Nevertheless, the battle is far from over—the Data (Usage and Access) Bill is scheduled to return to the Lords on June 2nd.

Source: www.theguardian.com

The Rapidly Approaching Future: Creative Workers and Experts Discuss Their Hopes and Fears Regarding the Rise of AI

Oliver Fiegel, a 47-year-old Munich-based photographer, was reading a newspaper on Germany’s National Sunday when he saw a strange look on the top page image. The images showed the boy chasing soccer on the pitch. However, some of the wild flowers on the grass floated without stems. Half of the goal net was missing. The boy’s hands were shaped.

Photographer Oliver Fiegel, 47, said he would no longer be able to make a living from his trading alone in the industry in 18 years. Photo: Oliver Fiegel/Guardian Community

Over the past few years, many of Fiegel’s photography clients have been newspapers and magazines. However, the job has recently dried up. The image he felt showed one reason for “generic illustrations,” the provided caption said.

Fiegel was irritated. The use of artificial intelligence rather than human creatively represented the crafts that he spent years training and was tainted and erased by the emergence of cheaper and faster generative AI tools.

“AI has had the most devastating impact on the industry.” observer How is the rise of generative AI tools changing their working lives, for better or worse, amidst the economic changes of earthquakes? “It’s happening very quickly.”

Fiegel, a photographer for almost 18 years, said he was no longer able to make a living and was forced to fundamentally diversify his income streams. Now he is considering opening a natural wine bar instead.

In advanced economies such as the UK, Germany and the US, about 60% of jobs are exposed to AI, according to AI, a survey conducted by the International Monetary Fund last year, with about half of them potentially negatively affected. In the UK alone, AI can drive down private sector jobs up to 3M, according to the Tony Blair Institute for Global Change, but some unemployment could be offset by a new role in economic change.

“I still only know a few photographers who can live out of this deal,” Fiegel said. “It’s not easy. I’ve identified it as being creative for the rest of my life.”

Longtime translator Karl Kerner said the AI tools had a negative impact on him. Photo: Karl Kerner/Guardian Community

Since 1994, Karl Kerner has focused on non-fiction scientific texts as a translator among English, German and Norwegians. This type of translation requires expert knowledge and careful terminology, he said.

“I’m basically out of business now,” Kerner said. “This AI has become like a tsunami.” In the past few years of AI-driven translation and editing tools, the number of “[work] Requests have just diminished,” he added.

His loss of identity had a major impact, said Kerner, who is born in New York and now lives in Tonsburg, Norway. “All night, everything about this linguistic culture is worthless. It does something for you, because you were professional. [It’s like] Someone takes the rug from under you.”

Kerner, 64, began working for an agricultural consultant. “It’s not a good age to join the job market. It wasn’t easy,” he said.

But technology is also helping him with some translation work he still gets. Instead of translating words by word, he can send the text to automated translation software, and use his knowledge to eliminate inaccuracies and mistranslations, significantly reducing working hours. “I’m not a Techno Forbe, I think it’s attractive,” he said.

Other workers have more positive experiences as they integrate AI into their daily work.

Alexander Calvey, a self-employed Locum GP in Surrey, said he used AI Scribe to write down his notes, saving him time and improving quality. The results mean he can “focus more on the patient than on the notes.”

Calvey, who also works for a private GP provider, added that he managed to increase The number of patients he sees is sometimes 4-5 per hour. In the future, as technology improves, Calvey feels that AI will have more use to guide questions and treatments.

ChatGpt Chatbot has become the sounding album of Paul, a 44-year-old university researcher on mathematics and philosophy based in Stockholm. He said the tool would help summarize the literature and brainstorm research questions.

“It knows a lot, I know other things that I don’t want to be challenging,” he said, allowing me to study those topics more deeply.

However, Paul’s use ChatGpt is not just his professional job. He also uses it for personal tasks, such as providing analysis if he experiences strange dreams.

A mother’s pencil portrait by freelance illustrator Jenny Turner. Illustrations: Jenny Turner/Jeturnarath/Guardian Community

Despite this feature, he is concerned about the amount of information that companies that control generative AI tools learn about their users. He said he is “very worried” about the “power of a small number of companies’ high-tech giants.”

Meanwhile, British Prime Minister Kiel Starmer said he hopes that AI will be “mainlined to the vein” of the nation to promote productivity and economic growth. But this month, the TUC is calling for urgent government action to protect workers in the creative industry amidst the risk of disruption and unemployment.

For Jenny Turner, a 33-year-old freelance illustrator in the northeastern England, the decline in fee demand was “very sudden” and coincided with the spread of AI imaging tools. Turner previously sold his work on Etsy. For example, she charges about £100 for a portrait drawn by a colored pencil. However, in the last few years she has begun to see AI-generated images beneath her work in the “You Like too” section.

“I can’t compete any more…it’s on sale at a price I could never drop,” she said. “It really hit me hard and made me feel empty like you were wasting everything. It just gets upset and makes you mad.”

Turner said after drawing from a young age and studying at university, she was now forced to abolish her illustrations on Etsy and consider other jobs. “If that’s what happens in everything,” she said, “How many people aren’t going to do their job?”

Source: www.theguardian.com

ChatGpt company unveils AI models preferred for creative writing

The company behind ChatGpt has announced that Tech Sector has created an artificial intelligence model that excels at creative writing and is competing with the creative industry beyond copyright.

Openai CEO Sam Altman expressed his astonishment at the quality of written output from one of the startup’s products.

In a social media post on platform X, Altman shared, “This is the first time I’ve truly been impressed by something written by AI.”

AI systems like CHATGPT have been at the center of a legal dispute between AI companies and the creative industry due to their training on copyrighted material. The New York Times, Tanehisi Coates, and Sarah Silverman are among the US authors suing meta for copyright infringement.

In the UK, the government suggests AI companies can use copyrighted materials to train their models without seeking permission, creating uncertainty and hindering technological development in the creative industry.

The UK Publishers Association cited Altman’s post as evidence that AI models rely on copyrighted material for training.

Altman shared an AI-generated literary short story on platform X, showcasing the model’s creativity. The story delves into themes of AI and sadness through a fictional protagonist named Mira.

The AI, referring to itself as a “collective of human phrases,” acknowledges the familiarity of its content while expressing a desire to craft an appropriate ending to the story.

Altman praised the AI’s response for capturing the essence of metafiction accurately.

Last year, Openai acknowledged the necessity of training products like ChatGPT using copyrighted materials due to the extensive coverage of copyright laws on various human representations.

Source: www.theguardian.com

Thom Yorke and Julianne Moore team up with AI to connect with creative minds

Abba’s Bjorn Ulvaeus, actor Julianne Moore, Radiohead singer Thom Yorke and others have expressed concerns to artificial intelligence companies regarding the unauthorized use of their work, stating that it poses a “serious and unwarranted threat” to artists’ livelihoods. They are part of a group of 10,500 individuals who have signed a statement from the creative industry as a warning.

This issue arises amidst a legal dispute between creative professionals and technology companies over the use of copyrighted material to train AI models like ChatGPT. The argument being made is that using intellectual property without permission is a violation of copyright and artists’ rights.

The statement emphasizes the detrimental impact of unauthorized use of creative works on the livelihood of creators and advocates against allowing it. Notable individuals across literature, music, film, theater, and television have lent their support to this cause.

The statement was organized by British composer and former AI executive Ed Newton Rex, who highlighted the significant concern for individuals dependent on their creative endeavors for a living.

Newton-Rex outlined the key resources required by generative AI companies to build AI models, emphasizing the need for obtaining training data legally and not exploiting copyrighted content without proper permissions.

He also criticized the notion of calling copyright material “training data,” stating that it devalues the creative effort put into writing, art, music, and other forms of artistic expression.

The statement resonates with creators who have faced legal battles with AI companies over copyright infringement, including prominent writers and music industry entities.

Newton-Rex further cautioned against proposals for an “opt-out” system for content scraping in the UK, citing potential harm to creators who may not be aware of such mechanisms.

He suggested that an opt-in system would be more equitable for creators, rather than placing the burden of opting out on individuals undergoing AI training.

The statement received support from various organizations and companies in the creative sector, highlighting the collective concern over copyright issues in the digital age.

Overall, the statement and its signatories underscore the need for careful consideration of copyright laws and fair treatment of creators in the evolving landscape of AI technology.

Source: www.theguardian.com

Unveiling the creative process behind Monument Valley 2’s heartwarming music: Creating the sound of a warm hug

'TThe part where the mother and child get separated on the Red Mountain is a level fairly early in the game where you have to go back and find the mother. I was completing the sound design and music in the hospital. She was right next to my mother as she slept while she was recovering from open heart surgery. ”

Todd Baker pauses for a moment. He recalls the development process for Monument Valley 2, a 2017 indie puzzle game. Biggest success stories It will remain in the history of mobile games. The second game is more experimental than the first. The number of stories has increased and the atmosphere has changed. While the first title was all optical illusions and impossible objects, the sequel moves away from his MC Escher-inspired towers and spiers to non-Euclidean geometry and brutalism.

At the center of it all are a mother and daughter, wordlessly walking back and forth in each other's paths, desperately trying to stay together as the world heaves and undulates and does its best to tear them apart. It's about women's heritage and relationships, and for Todd there were parallels between fiction and reality. “The fact that this game is about a mother and a child, and the fact that I lost my mother at the end of the year when I was making this game, is very heartbreaking.”

“I wanted the music to speak and tell the story”…Monument Valley 2. Photo: ustwo

Monument Valley 2's soundtrack is the kind of music you want to listen to when you're not playing. Even when separated from the parent game, it's still very enveloping, very rich and textured, and provides a comfortable background for whatever you're doing. Waves of warm, organic tones and ambient, soothing sounds wash over you. This was always Baker's intention. Even before the unfortunate coincidence of fictional and real losses, Monument Valley 2's soundtrack was designed to be soothing, familiar, and gorgeous.

“Basically, what I was trying to do was create the sound of a really warm hug,” Baker said with a laugh, referring to one of the early stages of the game, when the child first comes to his mother. He described the moment he was held in his mother's arms. “At that moment, the kid comes in and I hug him, and there’s a lot of bass going on…I needed a really warm, fuzzy feeling, like this is where I want to be right now. .”

This moment in the game is very important. It's all about setting what's at stake. Yes, this story is abstract and minimalistic, but this moment has such power. Baker creates an impromptu acoustic guitar melody that he layered on three tracks and played on an EBow for a slightly supernatural sound, all backed up by an intoxicating supporting bass note, but it's not unlike the visuals here. I am doing a very important job. Establish everything that's at risk, Apple/iOS friendly, “bright on white”. If you don't watch the game to the end, you'll never see these two reunite.

That resonated with the audience, Baker said. “What's amazing is that now I get messages from people saying, 'This was the soundtrack of my childhood,'” Baker laughs. “They talked to me as adults now who were playing this game when they were 11 or 12 years old and said this is nostalgic and it's a safe space for them. It touches people's hearts. , they have a lot of nostalgia for it now.”

'It touched people's hearts'…Todd Baker performs music from Monument Valley 2 at London's V&A. Photo: ustwo

Baker was responsible for not only the music for Monument Valley 2, but also the entire sound design. Things like how a chime sounds when you swipe or tap on certain interactive elements, or how a little music plays as you explore a curious geometric world. It gets sucked in. This was an opportunity for him to emulate the approach Martin Stig Andersen took with Limbo and Inside. Both games had a huge influence on Monument Valley 2's audio, even though they couldn't be more different in tone.

“From the beginning, I was confident that I could do this. We were able to do the whole project holistically, including discussions about whether to license the music or use other artists for the trailer.” But for this one…I had to bring it myself. I wanted the music to speak and tell the story, and I wanted the rest of the development team to be really excited about it.”

As Baker says this, he imitates a hug and brings it around himself, recreating the hug he tried to evoke in the hearts and ears of players in the game's early moments. A decade after the original game was released, Apple still promotes both Monument Valley and the sequel on the App Store, with the latter installed on at least 30 million of his devices. There's no doubt that millions of people heard echoes of that hug and Baker's relationship with his mother. If you've never played this game with the sound on, find your headphones, head over to the App Store, and give it a try. I promise you, it's worth the effort.

The Monument Valley series turns 10 this month, and to celebrate, developer ustwo Commemorative website.

Source: www.theguardian.com

Getty Images CEO discusses potential withdrawal from UK’s creative sector or investing in AI with Sunak

Rishi Sunak needs to decide whether to support Britain’s creative industries or bet everything on the artificial intelligence boom, Getty Images’ chief executive has said.

Craig Peters, who has led Image Library since 2019, made the comments amid growing anger in the creative and media sectors over the material being collected as “training data” for AI companies. His company is suing a number of AI image generators for copyright infringement in the UK and US.

“If you look at the UK, probably about 10% of GDP is made up of creative industries like film, music and television. I think it’s dangerous to make that trade-off. It’s a bit of a complicated trade-off to bet on AI, which is less than a quarter of the country’s GDP, much less than the creative industries.”

In 2023, the government, in response to consultation from the Intellectual Property Office, set a goal to “overcome the barriers currently faced by AI companies and users” when using copyrighted material, and promised to “support access to copyrighted works.” input to the model.”

This was already a step back from previous proposals for broad copyright exceptions for text and data mining. In a response to a House of Commons committee on Thursday, Viscount Camrose, a hereditary peer and under-secretary of state for artificial intelligence and intellectual property, said: This will help secure the UK’s place as a world leader in AI, while supporting the UK’s thriving creative sector.”

The role of copyrighted material in AI training is under increasing pressure. In the US, the New York Times sued OpenAI and Microsoft, the creators of ChatGPT, for using news articles as part of training data for their AI system. OpenAI said in a court filing that it is impossible to build an AI system without using copyrighted material.

Peters disagrees. Getty Images collaborated with Nvidia to create its own image generation AI that is trained using only licensed images.

The tide is changing within the industry as well. A dataset of pirated e-books, called Books3, is hosted by an AI group whose copyright takedown policy at one point even includes a costumed person pretending to masturbate with an imaginary penis while singing. Similar to the lawsuit by Getty and the New York Times, a number of other legal actions are underway against AI companies over potential training data breaches.

Ultimately, whether courts or even governments decide how to regulate the use of copyrighted material to train AI systems may not be the final word on this issue. Peters is optimistic that this result is not a foregone conclusion.

Source: www.theguardian.com