it/its(/se ๐ซ๐ฎ) :: 21+ :: finnish :: a robotcatgirlthing :: system of two :: read pinned unnatural tech specialist :: self-appointed CEO of Sinewave Technologies and Trigon Research :: ok maybe line breaks? :: beep boopalso at https://sinewave.cyoucohost -> https://cohost.org/sinsinewave fedi -> https://mastodon.dragoncave.dev/@sinewave bsky -> https://bsky.app/profile/sinewave.cyou
i'm notorious for cursed code and even i'm not sure i'd want to know
thanks @bmoharrisbankofficial but unfortunately i canโt focus on the very important message here because iโm too busy being confused by the fact that apparently if you send an ask with only one letter tumblr will bold that letter in the โasked youโ notification text?? why the fuck would that be the case
What makes you think that, when a robot is destroyed, it should become a cold, crumpled thing on the ground, nothing but steel to be swept away? Would she display not the sinuous cables of her pulleys as well? Would the weave of her skin not slough off as she fell, no longer held tight over her carefully crafted structure? Would the tubing that supplies her with fluid for her hydraulics not hang out like entrails? And as those tubes burst, would they not stain the ground, mixing with the lubricant pooling beneath that eviscerated chassis? Indeed, the coolant she chose the color of herself would enter that blend of mechanical viscera, and steam would rise from her still warm processors and motors.
A machine does not die cleanly. It is a living thing. A visceral being.
While I really hate the narrative of "tech bros" because of how it conflates shitty CEOs with non-shitty base-level programmers, and how it conflates Dunning-Kruger-y early adopters with people who Know Their Shit about computers...
...On the AI art issue, I will say, there is probably a legit a culture clash between people who primarily specialize in programming and people who primarily specialize in art.
Because, like, while in the experience of modern working illustrators a free commons has ended up representing a Hobbseyan experience of "a war of all against all" that's a constant threat to making a living, in software from what I can tell it's kinda been the reverse.
IE, freedom of access to shared code/information has kinda been seen as A Vital Thing wrt people's abilities to do their job at a core level. So, naturally, there's going to be some very different reactions to the morality of scraped data online.
And, it's probably the same reason that a lot of the creative commons movement came from the free software movement.
And while I agree a lot with the core principles of these movements, it's also probably unfortunately why they so often come off as tone-deaf and haven't really made that proper breakthrough wrt fighting against copyright bloat.
It also really doesn't help that, in terms of treatment by capital, for most of our lives programmers have been Mother's Special Little Boy whereas artists (especially online independent artists post '08 crash) have been treated as The Ratboy We Keep In The Basement And Throw Scraps To.
So, it make sense the latter would have resentment wrt the former...
still not over how much i love that game design thing where you revisit a previous area and it has like, changed
one example being the area surrounding Kleiner's lab in HL2, another with a different vibe being Teardown
i just realised i still haven't figured out what's up in my worldbuilding with this one demon getting accidentally summoned in 2062
like how does that happen
and that kinda establishes that hell exists, somehow??