Sora Will be A Game Changer

I would love to be wrong, but filmed entertainment seems to be facing its own equivalent of the robotic assembly line.

A little-reported but hugely significant white flag of surrender surfaced a few weeks ago when the producer and actor Tyler Perry suddenly canceled a planned expansion of his Atlanta studios. A dozen new sound stages were originally projected, but that was before he saw what he considered a “mind blowing” demonstration.

Perry changed his mind after he viewed a collection of short videos produced by an A.I. program called Sora. On just verbal prompts to Sora, the name of an image generator from Open AI, a fabricated scene emerged as an instant “video” that was difficult to distinguish from a sequence that a Hollywood production company might take days to set up. The crane shots in some of these fake videos are stunning. The characters look like they have been groomed for their parts. Shadows are mostly authentic. And the live action from people and animals look mostly “real.” As the Washington Post noted in an excellent must-see article,  the images and actions are “shockingly realistic.”  The article and its examples are best seen on a computer screen. Here’s a sample of one of the videos with its text prompt that is cited by the Post.

[Verbal Prompt: A cat waking up its sleeping owner demanding breakfast. The owner tries to ignore the cat, but the cat tries new tactics and finally the owner pulls out a secret stash of treats from under the pillow to hold the cat off a little longer. (OpenAI)]

We expect that most institutions will evolve incrementally: slow enough to allow for adjustments to new realities. That may not be the case here. Every trade in the film and video industry must be asking how they will fit into a world of narrative storytelling when anyone without experience with computer generated images can “create” stunning video effects.

To be sure, things aren’t perfect in this early generation of Sora. Look at a sample of an invented scene from a 1930s movie, also cited by The Post.  It looks great, but Sora doesn’t know how to light a cigarette:

[Verbal Prompt: A person in a 1930s Hollywood movie sits at a desk. They pick up a cigarette case, remove a cigarette and light it with a lighter. The person takes a long drag from the cigarette and sits back in their chair. Golden age of Hollywood, black and white film style. (OpenAI)]

Hollywood is not alone in confronting technological advancement, but the ease of use of this technology makes it an existential threat to the film world as we know it. Producers and various content providers will love this tool. But it cannot be anything but a blow to artists and trades that usually make traditional film or video projects. No wonder actors were so concerned about achieving a new contract that would prohibit the use of their likenesses without their permission. I would love to be wrong, but the future of “filmed” entertainment seems to be facing its own equivalent of the robot revolution in the production of automobiles.

A colleague who knows about these things notes that crews have been dealing with Computer Generated sets and effects for years. As actor can now appear to be walking down a street in Prague while passing in front of a green screen in Burbank. And many are working these days. There’s also the example of recent films like Poor Things (2023), with actual Victorian sets on sound stages and the inventive use of crafts that go with a period piece. My colleague also wonders if many A.I. scenes aren’t essentially rip-offs of other location videos, slightly modified to seem more original than they are.  Newer generations of this software should help clarify the charge of “mere copying”.

To be sure, the future appears bright at least for copyright lawyers.  Then, too, actors in dense roles driven by dialogue construct screen personas carefully.  Performances come from assumed motivations and hard-to-fake nuances. Can a fully integrated performance like Emma Stone’s in Poor Things really be put together from just from verbal directions?  Even so, an upheaval is bound to happen as seemingly recognizable persons are placed in novel settings and given words that they never muttered.

A.I. appears to be a new and fearsome thing facing the film industry, but it is even more of a threat to the culture as a whole if journalists and public figures face an endless tangle of anger and confusion over real and fabricated words and images.

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The Eclipse of Character

Character measured by known virtues like honesty and doing good works was a huge concern for classical thinkers. Why do we now find the carnival barkers in our midst more worthy of our time? 

It seems like a paradox that, amidst sufficient information to draw conclusions about the quality of a public person’s character, vast segments of the American public are unable or unwilling to notice disqualifying flaws. To be sure, humans can be taken in by scoundrels in any era. From Professor Harold Hill to Bernard Madoff, the charlatan  “on the make” is a distinct American type. Among many others, historian Daniel Boorstin was especially vivid in chronicling American hustlers with a  gift for self-promotion but a tenuous grasp on the Truth. Even when serious flaws of character become known, many of us have an incapacity to see them. Indifference also seems to be the norm, even when we will pay a deep price for believing fraudulent claims. It was so for citizens of New York’s 3d congressional district, who trusted George Santos . Years ago folks in Wisconsin fell for the the same kind of destructive character in the person of Senator Joe McCarthy. And it many be worse now; Congress has an entire “chaos caucus” of loquacious but slow thinkers.

What thoughts are reflected in those enthusiastic faces we see planted behind felonious candidates at their political rallies? Why do persons with the cultural tools to sense the mendacity of others still fail to act react appropriately? Clearly many of the nation’s collective woes are due to widespread indifference to signs indicating that a person should not be trusted to lead.

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There is a useful thought-experiment here to puzzle out why traditional virtues of character have withered in the public sphere.

Our public reasoning has become inverted. Incredibly, every new formal accusation brought against former President Trump has produced a new levels of support, as if we were talking about parking tickets rather than civil convictions for a sexual assault and tax fraud. The ostensible ‘bad news’ that in more sober times would have disqualified a leader now seems to boomerang. It is not just the shabby spews of ad hominem attacks from Trump that have given our public life an Alice in Wonderland aspect. We can find similar lapses of judgment in other leaders in business and the arts.

The word itself now seems like an antique, but virtue actually has a long history in the classical world representing the general idea of a good person.

                             Aristotle

Giants in western philosophy such as Aristotle (b. 384 B.C.) and Cicero (b. 106 B.C.) have explored the subjects of the virtuous and the good. They are mentioned here because—among their many interests—both were rhetoricians interested in how audiences react in the presence of those who would influence them. For Aristotle, a good person had high ethos, meaning a person was known for virtues that included prudence, sense of justice, temperance, and courage. Their known strengths preceded them. Persons known to be burdened with the baggage of low credibility (meaning an indifference to the Truth, or ways to test it) were seen as lacking high ethos. Having the virtue of good character is reflected in Aristotle’s famous dictum that “character may almost be called the most effective means of persuasion.”

Cicero noted much the same regarding basic morality, arguing that virtue was “the habit of the mind which makes us consistent in doing good.” If this seems too wooly, think of the doctrines in most faith traditions that require engaging in acts of service to others. Or consider the exemplary lives of Americans such as Martin Luther King, Madeleine Albright or Fred Rogers.

Aristotle’s ethical standards for an able advocate included the capacity for reasoning accurately, awareness of what is appropriate to a situation, and the mastery of language. Add Cicero’s recommendations that people worthy of our support cultivate goodwill, kindness, and benevolence. These ideas aren’t alien to us, but we seem lost in the maw of popular media that can distract us from sorting the honorable from the self-promoters.

There’s another an important twist here. In our era we tend to plant false flags that affirm loyalty to certain individuals, mistaking an act of continuous devotion as its own kind of moral absolute.  Interestingly, both philosophers centered their discussions of communication ethics on the agent. Neither had much to say about loyalty as a core virtue: a revealing fact, given the high status we now give to a person who is—not infrequently—totally devoted to an ethically flawed person. Many seem to have developed a withered form of ethics based on a fixed allegiance. What remains is more transactional, and based more on the personal rewards of a settled mind set. Put another way, we make fewer demands that others be “virtuous,” settling instead on their believability. In this realm, public figures with social capital matter more rather than those with integrity. Indeed, a person’s notoriety may be their chief asset in dominating a cultural space.

Perhaps we no longer want to be put to the test of thoughtfully assessing a person’s character. Our awareness of others outside our immediate circle is often nominal and impressionistic. If Aristotle thought the high ethos of a person was set prior to their appearance, we  tend to construct our truncated version of it on the spot. Vetting by using the standards of logic and evidence requires more effort than we are willing to give.

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