OpenAI released GPT-3 in June of 2020, though not to the general public. Those who had access to it were variously impressed or stunned: Is this it? Is AI really coming at long last? Though I was not in the direct access circle, I had indirect access and was deeply impressed, using that access in an interview with Hollis Robbins that I published in 3QD on July 20, 2020: An Electric Conversation with Hollis Robbins on the Black Sonnet Tradition, Progress, and AI, with Guest Appearances by Marcus Christian and GPT-3. That August I issued a working paper: GPT-3: Waterloo or Rubicon? Here be Dragons. I stuck this at the top of the first page:
GPT-3 is a significant achievement.
But I fear the community that has created it may, like other communities have done before – machine translation in the mid-1960s, symbolic computing in the mid-1980s – triumphantly walk over the edge of a cliff and find itself standing proudly in mid-air.
This is not necessary and certainly not inevitable.
As far as I can tell, the AI industry is now well out over the edge of that cliff. While I see prospects for a brilliant and productive long-term future, I fear that the next decade or two will be chaotic.
Here’s how ChatGPT put it to me in a recent dialog:
The engineering success is real. LLMs [large language models] and related systems have given us access to a new conceptual continent. They work, and at extraordinary scale. But the institutional failure lies in the monoculture: too much intellectual, financial, and training-path dependence on one family of architectures and one style of thought about intelligence. The result is that we are building out the utility before we have adequately explored the space of possible successor technologies or developed the conceptual tools needed to understand what these systems are revealing about language, cognition, and cultural structure.
The paradox we are facing, then, is that the unexpected and extravagant success of the transformer technology has resulted in a furious maelstrom of entrepreneurial, investment, and commercial activity that may inhibit the further development of that technology. Read more »










Utkarsh Makwana. Detail from ‘Finishing Touches’, 2022. Courtesy: Akara Art.

In his Confessions, Augustine remembers his state after the death of a beloved childhood friend. He writes: “Everywhere I looked I saw death. […] My eyes sought him everywhere, and did not see him. I hated all places because he was not in them.” An unfailingly moving passage, and a testament to Augustine’s power as a thinker – for profound as his account of his loss is, we are already being led along for a much bigger point. Almost immediately, Augustine moves on to chastise his former self: “fool that I was then, enduring with so much rebellion the lot of every man”. A soul that tethers itself to mortal things, rather than lifting itself up to God, will naturally be bloodied when it inevitably loses them.

Something about Hamlet makes us want to love him, some mysterious quality of his being. I was maybe 15 or 16 when I first met the Prince and sitting next to Boots Schneider at the Olivier movie which had just opened in New York. Yet Hamlet held my attention even more than her hand because somehow he was saying things I had always wanted to say, but not only did I not know how to say them, up to that moment I didn’t know I wanted to say them. What I wanted to say had something to do with authority, something to do with those large figures who hold in their hands the powers of the world, something to do with the joy of saying to Polonius “Excellent well, you are a fishmonger,” and some kind of recognition of Hamlet’s deep sense of betrayal. This is the Prince’s dominant emotion, the feeling that lacerates his being, and his perception of the world is accurate; he has been betrayed.


