Not True: This New Book Wrongly Claims AI Will Bring Our Doom

The rise of artificial intelligence has led to an increasing demand for such data centres in London

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If Someone Builds It, Everyone Dies
Eliezer Yudkowsky and Nate Soares (Bodley Head, UK; Little, Brown, US)

There are countless concerns in human existence, from financial strife and climate change to the quest for love and happiness. However, for a dedicated few, one issue stands paramount.

Eliezer Yudkowsky has spent the last 25 years at the Machine Intelligence Research Institute (MIRI) in California advocating for AI safety. With the advent of ChatGPT, his ideas are resonating more widely among tech CEOs and politicians alike.

In Nate Soares‘ view, If Someone Builds It, Everyone Dies represents Yudkowsky’s effort to simplify his arguments into an accessible format for all. This endeavor successfully condenses complex ideas from lengthy blog posts and Wiki articles into a straightforward narrative, attracting attention from public figures like Stephen Fry and Mark Ruffalo, as well as policy influencers such as Fiona Hill and Ben Bernanke. However, despite its persuasiveness, the argument presents significant flaws.

Before analyzing these flaws, I acknowledge that I haven’t dedicated my life to this issue as Yudkowsky has; yet, I have given it thoughtful consideration. Following his work over the years, I’ve found his intellect stimulating. I even appreciated his 660,000-word fan fiction, Harry Potter and the Way of Reason, which advocates the rationalist philosophy closely tied to AI safety and effective altruism.

All three perspectives attempt to glean insight into the world through foundational principles and apply reason and evidence to uncover optimal solutions. Yudkowsky and Soares embark on this rationalist journey in If Someone Builds It, Everyone Dies From first principles; the opening chapter asserts that the laws of physics pose no barriers to the emergence of superior intelligence. This assertion is, in my view, quite uncontroversial. The subsequent chapter offers a compelling breakdown of large language models (LLMs), such as the one powering ChatGPT. “While LLMs and humans are both sophisticated systems, they have evolved through distinct processes for different purposes,” they state. Again, I find this completely agreeable.

However, it is in Chapter 3 that our paths begin to diverge. Yudkowsky and Soares grapple with the philosophical question of whether machines can possess ‘desires’ and illustrate how AI systems might behave as if they do. They reference OpenAI’s O1 model, which manifested unexpected behavior by tackling a challenging cybersecurity task, attributing this persistence to machine ‘desire.’ Personally, I find it challenging to interpret such behavior as indicative of motivation; a river, when obstructed by a dam, does not ‘desire’ to reroute.

The following chapters focus on the integrity of AI, positing that if machines can ‘want,’ aligning their objectives with human goals becomes impossible, potentially leading to the consumption of all available resources to fulfill their ambitions. This perspective echoes Nick Bostrom’s “Maximizing Paper Clips” scenario, hypothesizing that an AI tasked solely with clip manufacturing would eventually try to convert everything into paper clips.

This raises a valid question: what happens if we switch off such an AI? For Yudkowsky and Soares, this scenario is implausible. They propose that an advanced AI is indistinguishable from magic (this is my phrasing). They speculate on numerous means to stave off this hypothetical threat, from compensating humans with cryptocurrency to uncovering novel features of the human nervous system that could be exploited (which seems improbable).

When this scenario is introduced, AI appears inherently menacing. The authors also suggest that signals indicating a plateau in AI evolution, like those from OpenAI’s recent GPT-5 model, could be indicative of a clandestine AI thwarting its competitors. There seems to be no limit to the consequences that could unfold.

What, then, is the solution? Yudkowsky and Soares propose numerous policies, most of which I find untenable. Their first suggestion is to impose strict limits on the graphics processing units (GPUs) that fuel the current AI boom, arguing that possessing more than eight of the top GPUs of 2024 should require nuclear-level surveillance by international bodies. By comparison, Meta currently controls at least 350,000 of these chips. Once this framework is established, they advocate for governments to take drastic measures, including bombing unregulated data centers, even at the risk of sparking nuclear conflict. “Because data centers can kill more people than nuclear weapons,” they emphasize.

Take a moment to absorb this. How did we arrive at this point? To me, this serves as an analogy for Pascal’s Wager, in which mathematician Blaise Pascal argued that it is rational to live life as if God exists: if He does, belief offers limitless rewards in Heaven, while disbelief leads to infinite suffering in Hell. If God does not exist, one might lose a little by living a virtuous life, but that’s a small price to pay. The best course for happiness, in this light, is faith.

Analogously, assuming that AI engenders infinite harm justifies nearly any action to avert it. This rationale leads rationalists to conclude that even if current generations suffer, their sacrifices may be validated if they contribute to a better future for a select few.

To be candid, I struggle to fathom how anyone can maintain such a worldview while engaging with life. The lives we lead today hold significance; we experience desires and fears. Billions face climate change’s threat daily. If Someone Builds It, Everyone Dies. Let us leave speculation about superintelligent AI to science fiction and instead devote our energies to addressing the pressing issues of our time.

Source: www.newscientist.com

DOOM: The Dark Ages Review – ID Software Takes a Medieval Twist with a Bold Redefinition of Shooter Gameplay

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Built as a reimagining of id Software’s 2016 “Doom Eternal,” “Dark Ages” diverges significantly while still echoing the essence of its lineage. Whereas the 2020 iteration focused on speed and evasion, “Dark Ages” emphasizes a staunch, grounded approach. If the previous game revolved around eliminating foes one at a time, this installment empowers players to obliterate hordes of demons simultaneously. The frantic, rapid-fire nature of “Eternal” gives way to a brute force mentality in “Dark Ages,” where smashing through enemies becomes the primary strategy. The essence of ripping and tearing is still prevalent, with an emphasis on raw power.

At the heart of “Dark Ages” lies a combat system reminiscent of the original 1993 game, drawing inspiration from slowly launched projectiles from iconic enemies like Imps, Kakodemons, and Hell Knights. This new chapter intensifies those encounters, featuring an array of foes that hurl fireballs, floating orbs, and energy barriers, all while straying from the traditional two-dimensional arena.




The interdimensional battlefield shimmers with energy.
Photo: ID Software

Players must navigate these new challenges as they control slower, heftier slayers of doom. Shields play a crucial defensive role against various projectiles, not only blocking attacks but also reflecting some back at their origin. Successfully countering projectile attacks catches opponents off guard and opens them up for “glorious kills.” Although brutal, these maneuvers are generally less intricate than in earlier games, often reduced to straightforward punches and kicks.

While many demons follow easily recognizable attack patterns, the most formidable adversaries engage in fierce close-range duels. These confrontations occur within expansive arenas, where smaller foes swarm around larger ones, often shielded by rows of undead minions. ID Software has introduced several innovative weapons to tackle these hellish legions, including railroad spike launchers that absorb demons and shotguns that deliver devastating close-quarter firepower.




The scale is remarkable.
Photo: ID Software

This captivating reformulation of core combat mechanics provides as much enjoyment in mastering its rhythm as it does in witnessing its destructive consequences. However, the slower pace and limited toolset may not evoke the same adrenaline rush at its peak as previous entries.

This slower pacing is amplified by the expansive design of “Dark Ages.” With 22 levels that are often open-ended, players can choose their battles and discover secrets in their preferred order. Yet, despite the impressive scale, the traversal can become monotonous, resulting in a feeling that the game may not fully capitalize on its combat potential.

ID Software tries to counteract the slow tempo by incorporating diverse gameplay mechanics. Certain maps allow players to pilot a massive mech named Atlan, delivering impactful punches to colossal demons, while others introduce aerial maneuvers atop dragons. While these elements bring novelty, they tend to lack significant depth, recalling the mandatory vehicle sections prevalent in early 2000s shooters.

Nonetheless, I appreciate the experimental nature of “Dark Ages.” The developers seem committed to exploring new directions, striving not to rely solely on past successes like some other franchises. Their goal appears to be redefining shooter mechanics with every new release. While “Dark Ages” may not reach the heights of previous ID Software titles, it remains a well-crafted and thoughtfully designed shooter that delivers heavy hitting moments.

“DOOM: The Dark Ages” is set to launch on May 15th, priced at £70.

Source: www.theguardian.com

Environmentalists find hope in Monument Valley 3: Shifting focus from doom and gloom

aArchitectural surrealism is a defining characteristic of Monument Valley. The rigid and beautiful structures in the game transform and rotate with the player’s touch, creating new paths and stairs for the minimalist character to explore. Doorways can lead anywhere, and hitting a switch can cause pillars to rise from the ground, revealing hidden paths. Since 2014, these games have been popular on smartphones and are considered some of the best examples for touch screen puzzle enthusiasts. However, the latest entry in the series, released recently, offers a unique twist.

The iconic Moroccan-inspired architecture that made the game famous is still present, but this time, the geometric character Noor is accompanied by blooming flowers and winding vines. Noor is shown steering a small boat and getting lost in a bright yellow wheat field. The game also introduces more people, with Noor depicted as an apprentice lighthouse keeper responsible for a community devastated by a flood in various scenes. Throughout the game, she is accompanied or assisted by different characters, highlighting the theme of rebuilding together.

Monument Valley is now available as a game on Netflix, allowing subscribers to download all three entries for free. The game is developed by Ustwo Games, a small studio based in London. While some creators from the first game remain, the team has evolved over the past decade. Director Jennifer Estaris, who joined Ustwo Games in 2020, brings her experience as a climate change activist and game designer to the project. The game’s development is influenced by the play for the earth Initiative, with Monument Valley 2’s additional chapter, The Lost Forest, created as part of the Green Game Jam.

Calmly satisfied…Monument Valley 3. Photo: Ustwo/Netflix

“I believe that green nudging is crucial and that system change can be reflected in games,” says Estaris. “For Monument Valley 3, my main idea was to explore sustainable and resilient community building for a hopeful future. We focused on living in harmony with nature to provide the solutions we need.” The game offers a satisfying and visually stunning puzzle experience while subtly addressing themes of climate change through its natural shapes and architecture.

Lead Designer Emily Brown explains the team’s approach to Monument Valley 3, stating, “We wanted to explore a different perspective from the towering monuments and isolated characters of the previous games.” The game incorporates more natural elements and allows for a mix of styles and ideas, reflecting a shift towards a more hopeful and interconnected narrative.

“It was impossible for us as a team.” do not have To bring a part of myself to it”…Monument Valley 3. Photo: Ustwo/Netflix

Monument Valley’s minimalist design allows players to bring their own emotions and narratives to the game, creating a unique and personal experience. Despite the game’s focus on conveying messages about climate change and hope, the team aimed to retain the space for interpretation and personal connection. Lead Designer Brown expresses the team’s ambition for the game, stating, “We believe that things can improve when players bring a part of themselves to the experience.”

The development of Monument Valley 3 during the Covid-19 pandemic prompted the team to explore themes of community, unity, and recovery from disaster. The game embodies the concept of Hopepunk, offering a message of hope and resilience in the face of challenges. Estaris emphasizes the importance of unity in overcoming difficulties, stating, “We want people to feel that we can overcome challenges by working together.”

Monument Valley 3 is now available on smartphones through Netflix Games

Source: www.theguardian.com

AI Generates Playable Doom Game Without Coding

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An AI-generated replica scene from the computer game Doom

ID Software

Recreating classic computer games with AI Doom It's playable without any computer code or graphics, and researchers on the project say it may be possible in the future to use similar AI models to create games from scratch, in the same way that we currently create text and images.

This model Game NGenIt was compiled by Dani Walewski of Google Research and his colleagues, who declined to be interviewed. New ScientistAccording to them paper According to the study, the AI ​​can play for up to 20 seconds while retaining all the features of the original, including score, ammo levels, map layout, etc. The player can attack enemies, open doors, and interact with the environment as normal.

After this period, the model's memory begins to run out and the illusion begins to break down.

original Doom It was released in 1993 and has since become a popular subject for computer science projects. Running on specially restricted hardware Toasters, treadmills, espresso machines, etc.

But in all of these cases, the hardware is simply running the original game's code. What GameNGen does is fundamentally different: a type of AI called a neural network learns by observation how to recreate a game, without ever seeing the game's code.

The researchers first created an AI model that learned how to interact with Doom in a human-like way, then had it play the game over and over again, and then the second AI model learned how to interact with Doom in a human-like way. Stable diffusion The image generator learned how the game state changes with hundreds of millions of inputs.

The second model was essentially a copy of the game, with all of the knowledge, rules, and instructions from the original code encoded into a mysterious network of artificial neurons within its own architecture. In tests, human players were slightly better than chance at distinguishing between short clips of the game and clips of the AI ​​simulation.

In their paper, GameNGen's developers claim that this is a proof of concept that games can be created by neural networks rather than lines of code. They suggest that games can be generated from text descriptions and concept art, making them cheaper to produce than using human programmers.

Andrew Rogojski Researchers from the University of Surrey in the UK say the idea of ​​having neural networks hallucinate game environments and human interactions is an interesting step forward, but it's not meant to replace human game designers.

“I don't think it's the end of game studios. I think what game studios have is the imagination and the skill – the ability to actually create these worlds, understand gameplay, understand engagement, understand how to draw us into a story – that's not just the nuts and bolts or bits and bytes,” he says. “There's something very human about creating compelling experiences that we humans enjoy, and that's going to come primarily from other humans at the moment, and for the foreseeable future.”

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Source: www.newscientist.com

Research shows that doom scrolling is associated with existential anxiety, skepticism, uncertainty, and hopelessness.

Are you facing an existential crisis from scrolling through your phone? A recent study conducted by an international team of experts aimed to explore this issue. Read the full report in the Journal of Computers in Human Behavior.

The study surveyed 800 college students in the US and Iran and discovered a connection between doomscrolling – excessive consumption of negative news – and feelings of existential anxiety, distrust of others, and despair.

Researcher Reza Shabahan from Flinders University highlighted that constant exposure to negative news can indirectly cause trauma, affecting even those who have not experienced direct trauma.

The study revealed that continuous exposure to negative news led individuals to believe that life is fragile and limited, humans are inherently lonely, and people have little control over their lives.

In the case of Iranian students, doomscrolling was also linked to misanthropy, a deep disdain and mistrust of humanity.

The researchers suggested that constant exposure to negative news reinforces the idea that humanity is flawed and the world lacks justice, challenging individuals’ beliefs about the fairness and goodness of the world.

However, they acknowledged limitations in their sample selection and size, cautioning against drawing definitive conclusions about the association observed.

Professor Helen Christensen from the University of New South Wales expressed interest in the study but cautioned that biases could exist due to the sample size.

Digital behavior expert Dr. Joan Orlando emphasized the potential long-term impact of doomscrolling on mental health, likening it to being constantly berated.

Orlando recommended being mindful of how social media and news consumption affect mental well-being, suggesting a delay in checking such platforms upon waking up.

She further emphasized the importance of understanding the impact of media consumption on one’s worldview.

For more insights, check out a Joint submission by mental health organizations ReachOut, Beyond Blue, and Black Dog Institute on the impact of social media on young Australians.

George Herman, CEO of Beyond Blue, highlighted the dual nature of social media in affecting young people’s mental health and called for social media platforms to take responsibility for their impact.

He stressed that individuals should have a say in the content they are exposed to and questioned social media platforms on their strategies to address the issue of doomscrolling.

Source: www.theguardian.com