But if you rely on your Mac for work of any kind, I’d wait. That’s always my advice; it’s simply too big a risk to go ‘a

I’ve tested it with pro apps such as Logic Pro and Final Cut Pro X, and it works perfectly, so far. The same goes for third-party stuff like Ulysses, Omnifocus, Microsoft Office and Toggl, but I’m under no illusion — that can change pretty quickly with a new operating system.

Word usage: I’m going to use the term “good kid” loosely here. It isn’t meant as a moral judgment. It’s just the easiest shorthand I could find for a kid that strives to follow the rules that adults and society set out for them.

Applied creativity is well within the realm of today’s AI, just as any narrow application. This is readily explained: The human creators may represent a search space of creative hypotheses for an AI to explore, incorporating the known evaluative constraints of the problem. (Here’s a recent example of a problem related to understanding human behavior during a pandemic.) An implication of this “searching for hypotheses” view is that the possible solutions exist prior to the search. Another implication is that there is a human mind hiding in the background providing a creative catalyst. Routinely, as the system designers are evaluating the results generated by their AI, they’ll notice a new evaluative basis that they didn’t think of before they started. It’ll surprise them and they may be quick to credit their system with the discovery. But while AI may alleviate some of their perspiration, humans still provide the inspiration, the creative spark.

Applied human creativity is so commonplace it goes largely unnoticed. It certainly doesn’t prompt soul-crushing conversations about the inevitable exhaustion of human creativity, or the perceived need for AI to liberate us from our creative limits. Again, I’m all-in on the vision of creative AI. But why are we getting so triggered about these narrow examples?

I’ve tested it with pro apps such as Logic Pro and Final Cut Pro X, and it works perfectly, so far. The same goes for third-party stuff like Ulysses, Omnifocus, Microsoft Office and Toggl, but I’m under no illusion — that can change pretty quickly with a new operating system.

The reason is pretty clear in my head. It was actually because I didn’t rebel. I wasn’t a rulebreaker. I tried to follow the rules publicly. I didn’t want people to know I drank more than them. And this led to secrecy.

There’s a narrative in our culture about the good kids. It goes like this. The straight-A, rule-following (or religiously devout) kids get to college or move out of the house and then all that repression comes out in a flash of rebellion.

The good kids are the ones that go wild once they no longer have to follow the rules. The idea is that we (I count myself among them) secretly desired to be breaking all the rules the whole time. We just needed an outlet to do it.

This secrecy was one of many roots of my problematic relationship with alcohol. Good kids want to keep appearing as if they are good, so they hide their rulebreaking. Once we start hiding how much we drink, that web of lies and secrecy starts to spread through many aspects of our lives, driving us back to more alcohol.

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omponent: Here, you want to make sure your visualization tells the true story. You need to be aware of your actions when cleaning, summarizing, manipulating, and producing a data visualization and ensure you aren’t using your visualization to mislead or manipulate your audience.

It helps to consider that fundamental creativity is much harder. These are your Einsteins, your Austens, your Picassos. These are the groundbreaking discoveries that are normally associated with the promise of AGI. These are the creations that not only introduce novelty, but novelty of a sort that forces us to reconsider the creative boundaries. Fundamental creations force a shift in the evaluative creative (even when some people don’t want them to move). Vexingly, the new creative criteria are not known in advance. And this difference explains why artificial creativity is presently out of reach. (Not always and necessarily as some would claim, but presently.)

This is the narrative, and maybe there’s some truth to it. But I think people get the cause wrong. I was a good kid who didn’t drink until I was an adult. In fact, I waited until it was legal just to keep following the rules.

Another way people think of this narrative is that strict parenting leads to rebellion once the kid moves away, and this pent up rebellion explodes all at once — causing problematic use of drugs (movies usually add in sex as well).

First, let’s reflect on the extent of this simple example: As the notes are combined and varied, the number of melodies rapidly increases to millions and trillions of possibilities. Often, the problem of creativity is falsely reduced to a problem of scale, which in turn suggests the idea that more data and computing power will inevitably rein in the problem. However, the scale of any given problem space isn’t the hard problem of creativity. If your goal is to create a fundamentally new type of music, how would you know, in advance, the new criteria by which a novel melody might be selected? And if your goal is to create something fundamentally new, how would you devise the new evaluative criteria that separates this AI masterpiece from my dog’s paw-banging?

Not only is this applied approach readily explained, it’s readily demonstrated in AI-generated art. Admittedly, as emotive works, these examples of applied AI may be disconcerting. And if you harbor the idea that creative works are intrinsically different from other technical solutions, you may believe we’ve breached some monumental divide. But no, it’s still just applied AI.