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Sam Altman reveals why he no longer believes universal basic income is the answer to AI "I used to be really excited about universal basic income, where you just give everybody money. I still am kind of excited about that. But I think people really need agency" "If you...

919,579 görüntüleme • 2 ay önce •via X (Twitter)

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Theo Von asked Sam Altman how regular people are supposed to survive. Altman named who the money goes to. He said us. Von: "How will people survive? How will societal members still be able to financially survive? Will there still be money?" The plainest question anyone has asked him. He answers it in two branches. Altman: "Everybody gets it for free. And everybody has access to just this crazy thing such that everybody can be more productive, make way more money. Doesn't actually matter that you don't own the cluster itself, but everybody gets to use it." In that one you get to use the thing. Ownership stays where it is. Altman: "Most of that value is accruing to the cluster owners, us, just so that I'm not dodging the question here. And then I think society will very quickly say, okay, we gotta have some new economic model where we share that and distribute that to people." He told you he wasn't dodging. Nobody narrates their own candor unless they've already pictured how the dodge would look. He picked the right word. Us. There is no us without a them, and he just told you which side holds the cluster. Take the information. Skip the applause. Then comes the repair. Society will very quickly say. A sentence with no actor, no mechanism, no date. Nothing has ever been shared because sharing became obvious. Two futures, same hole in both. In one you are allowed to use it. In the other you are sent a portion of what it made. Access or allowance. Neither is a claim on anything. Altman: "I don't just want like a check every month. What I would want is like an ownership share in whatever the AI creates so that I feel like I'm participating in this thing that's going to compound and get more valuable over time." He knows which one is worth having. He described it in the first person. He's right that the check fails, and he stops one step short of saying why. A check is what you give someone whose participation you no longer require. The problem isn't the amount. It's what the arrangement says about you. Altman: "I sort of like Universal Basic Wealth better than Universal Basic Income. I want like universal extreme wealth for everybody." The word doing the work there isn't extreme. It's wealth. Income is what you're paid. Wealth is what you hold. Only one depends on somebody's continued goodwill. A check stops when you do. A share is what you leave behind. Von asked how people survive. The harder question is what a person is for once survival is handled. Altman: "At least we've gotta still have humans invent the new culture and have that be a very distributed thing." That's the one item on his list nobody has to grant you. Culture doesn't come out of a cluster. It comes out of people making things nobody asked for. Everything we call civilization was made without permission. Whatever can be given to you can be stopped. Whatever you own has to be taken.

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"You know, I don't, I have not changed. I really make the movies for myself. I really, really do." Q: "For no one else, or just sort of like what you ultimately want to see in them?" "Yeah, I think so." Q: "As a fan yourself, too? "What I want to see, yeah, like as a, like, you only have the benchmark of yourself. Like, if you ever try and make a movie for someone other than yourself... I feel like you're going to blow it. "Because you can't, you don't know how anyone else is going to feel. So like, you know, you go, 'okay, do I find that emotionally real? Do I find that interesting? Is that the Krypton I want to go to? Is that the Superman I want to see fight?' "You know, those are the questions you ask yourself constantly. And I think once you, if you're constantly answering yes to that, then you'll end up the more, the film will end up being more interesting to you. "And ultimately, the film being interesting to you allows you to make the movie better because you're interested. "If you make it for someone else over a two-year period, you're just going to not give a sh*t at some point because you're just like, 'I don't care. This is not my movie. I don't care about this movie because I made it for someone else.'" Q: "I imagine that's a very hard thing to do in Hollywood, though, is to keep your vision clear with so much collaboration, with so much going on, with so many other people in the mix." "It really depends on the project. For instance, it was hard on Guardians, you know, where I feel like what ended up happening on that movie was people, we did end up, they did end up asking me like, 'this is for kids, right?' "And I got to honestly say that I knew it was for kids, but I didn't want to make it for kids. You know what I mean? And I think that's what happened to that movie. It did get like second guessed at the end and turned more into a movie for kids. "My point of view is I can think like a child if I want. I have that enthusiasm for movies and what I think is cool. You, the collective you, don't need to try and second guess me and go, 'this is what we think a kid would like.' "And then it's like, 'oh, a song' or whatever. Then you're just like, 'okay, whatever.'"

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Jelly Hoshiumi has made a short statement at the beginning of her stream. "So I just want to take this moment to, um, say that... Okay, it's really no big deal but I am sorry to-to my friends and my company for making it- I wrote this all on my own by the way- for, you know, making it kind of, you know, suck on twitter. com. (...) I-I'm sorry for inconveniencing you and stressing you out most importantly. (...) I feel kind of bad for, you know, stressing you out with everything and also not streaming and I feel bad for that. That is what I feel bad for. Also just to clarify, I'm not a racist, I'm not a bigot. And most importantly I would like to thank you for the support" "I feel like I have to elaborate a bit because I was a bit nervous when I was making the statement (...) Right, so I feel like now that everything's calmed down a little bit, I feel like I can kind of say that, everything is actually cool between me and the company. (...) Sakana did personally send me an apology, so we're actually pretty good. We've been talking, I sent- I took a picture of a book and I sent it to him, I asked if he wanted it. He said yeah. So everything is actually fine, So don't worry about it, okay? It's good. I don't want you guys to be angry, I don't want you guys to be upset on behalf of me if anything, I just want you guys to be chill. Just like me and just let it go."

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