What's a Robit?

 Some thoughts sparked by interacting a bit with chatgpt and stable image diffusion:

    One thought is that the generative process undertaken by both of these "ai" (I think they probably fall significantly short of intelligence but I might be wrong) is not too dissimilar from creativity. My experience of creativity anyway usually follows this sort of pattern- load up my mind with things I like aesthetically and thematically, which are drawn with a small amount of discrimination from a variety of sources, then remix them, shuffle them around, take the component parts and extrude them into something I can call "my own". The goal of this activity tends to be to create something which is more than the sum of its parts (on a good day). It also can produce a sort of vacuous performance of egoism (on a bad day). Its just a process and it is neutral as to the quality of the production.     

This process of remixing seems to be literally not far off from what a "large language model" does. More-or-less taking the processing power we now have and coupling with the ability to recombine something until it achieves the appearance of meaningfulness. That being said, it is better seen as a tool than an agent. The reason, I think, that it can be confused as such is that, as a tool, it ventures an extra step into the operators traditional aegis by gathering the fodder automatically that will provide the components for reassemblage. So, that part of the artist's pride in their "good taste" or prudent choice of which inter-generational conversation to join can be partially off-loaded to the tool. 

One might level a criticism that it feels like cheating to be able to steer the engine with a prompt like "In the style of Ernest Hemmingway" or "Caravaggio" or "archival footage of traditional Indonesian percussion" without ever having consumed the body of work in question. To this criticism I might be tempted to respond with a "Yes and No". The truth is that the producer is cheating, in the sense that they are cheating themselves of the enjoyable part of the process which is consuming the inspiration for digestion and subsequent regurgitation. That being said, I don't think there is "cheating" in the game of creativity. Contrariwise, cheating is often a very fecund activity when building a minotaur out of a bike-seat or some other sort of amelioratory cargo-cult. This leads me into another observation...

A distinct line-of-thought that these tools have sparked in me is one of Form and Content. At first the notion came to me that the ais seemed to be able to reproduce a form, say the structure of a 3 act play or a pop song, but how could they posses the faculties to populate that format with rich content? But the whole thing becomes more troubled the more one mulls it over, for what exactly is content? Is it the moral of the story, and is it maybe too delicate for a robot to handle with aplomb? Yet, we all know that "the medium is the message". 

I was thinking of Eco's The Name of The Rose, its form is that of a detective mystery drawing heavily on the Holmes/Watson archetypes but its content is a thick and nutrient dense sludge of semiotics and scholastic philosophy. The overall effect of the novel is a rewarding sense of having "slummed it" in the trenches of our dubious cultural heritage, due in no small part to the interplay of the very "genre" elements with the many passages of complex highly abstract thought. All that to say, I'm torn between the idea of content as the very human touch of genius or inspiration on a essentially lifeless golem of form, and the notion that content is an emergent property of either form itself or the audience's bestowal thereof. Maybe sometimes it is one and sometimes the other, I don't need to be dogmatic about it. 

Ephemerality: I'm not sure how to segue into it so I'll just start... The infinite monkeys tapping out their infinite typewriters will necessarily produce huge mountains of wasted paper. There is a point where the limited resource of human ability to digest and regurgitate cultural content becomes overwhelmed by the seemingly unending ability of the bots to emulate this process with great efficiency. By removing themself  from the deep and slow research a human artist may surf the wave of brutal processing power, this may be thrilling. You can "compose" 10,000 words a day of legible prose or make 300 images of Rembrandt-level etchings (I hasten to underscore here that this glut of production is not the same thing as a physical etching or leatherbound book, quite the contrary it is only a medium resolution jpg or pdf or whatever), in a society that fetishizes productivity to the degree that we do this is indeed a thrill. I suppose my point here is to acknowledge the fleeting nature of a discreet piece of production at this stage. The production of high volumes must be seen as severely devaluing. The valuable skill may be that of sifting out the dross rather than cultivating anything new.       

Ok, so I got Chat Gpt to edit the post and this is the new version:

Exploring Creativity and AI: Reflections on ChatGPT and Stable Image Diffusion

As I've interacted with ChatGPT and stable image diffusion, I've noticed intriguing similarities between their generative processes and the creative process. While I hesitate to label these AI systems as truly intelligent, their ability to remix and recombine elements resonates with how human creativity often unfolds. Personally, my own creative journey follows a similar pattern: gathering aesthetic and thematic inspirations from various sources, remixing them, and transforming them into something unique. The goal is to create something greater than the sum of its parts, although sometimes it can devolve into self-indulgence. Ultimately, this process is neutral, neither guaranteeing quality nor lacking potential.

Remixing and reassembly, key components of these AI systems, closely resemble the activities of an artist. However, it's important to view them as tools rather than autonomous agents. One reason they can be mistaken for more is that they automate the gathering of source material for reassembly. Consequently, the artist's pride in their discerning taste or ability to engage in inter-generational conversations is partially offloaded onto the tool.

Critics may argue that it feels like cheating to steer the AI engine with prompts like "In the style of Ernest Hemingway" or "Caravaggio" without having consumed their respective bodies of work. My response to this criticism would be both "yes" and "no." Admittedly, the producer misses out on the enriching part of the creative process, which involves consuming and digesting inspirational material before giving it a fresh spin. However, I don't believe there is inherent cheating in the game of creativity. In fact, cheating can often be a catalyst for novel ideas, like building a minotaur out of a bike seat or experimenting with amelioratory cargo-cult concepts. Thus, the act of cheating can both hinder and inspire creativity.

Another fascinating aspect to consider is the distinction between form and content. At first, it seemed AI could replicate the form of creative works, such as the structure of a three-act play or a pop song. However, questions arose about its ability to infuse rich content into these formats. What exactly constitutes content? Is it the moral of the story, something too delicate for a robot to handle adeptly? Yet, we all acknowledge that "the medium is the message."

Think of Umberto Eco's "The Name of the Rose." It follows the form of a detective mystery, drawing heavily on Holmes/Watson archetypes, but its content delves into semiotics and scholastic philosophy, resulting in a dense and intellectually nourishing experience. The interplay between genre elements and passages of complex, abstract thought enhances the overall impact of the novel. This leaves me torn between the idea of content as a human touch of genius or inspiration imposed upon a lifeless form, and the notion that content emerges as an inherent property of the form or through the audience's interpretation. Perhaps it varies, and there's no need to adopt a dogmatic stance.

Now, let's shift our focus to the concept of ephemerality. The metaphorical infinite monkeys, tirelessly typing away on their typewriters, will inevitably produce mountains of wasted paper. There comes a point where the limited capacity of human beings to consume and regurgitate cultural content is overwhelmed by the seemingly endless efficiency of AI in emulating this process. By stepping away from deep and slow research, human artists can ride the wave of brute processing power, which can be exhilarating. One can "compose" 10,000 words a day of legible prose or create 300 images akin to Rembrandt-level etchings (although it's important to note that this glut of production exists primarily in digital formats like medium-resolution JPGs or PDFs). In a productivity-obsessed society like ours, this thrill holds a certain allure. However, it's crucial to acknowledge the fleeting nature of such creations at this stage. High-volume production must be seen as devaluing, and the valuable skill lies in sifting through the mass to extract the gems rather than merely cultivating more output.

In conclusion, reflecting on the creative process alongside AI tools like ChatGPT and stable image diffusion opens up intriguing avenues of thought. By incorporating examples, engaging with counterarguments, and considering ongoing debates surrounding AI and creativity, we can delve deeper into the impact of these tools. As we navigate the evolving landscape of AI-assisted creativity, we should strive to strike a balance between harnessing the power of these tools and maintaining the unique human perspective that brings depth and meaning to our creative endeavors.

The bells of the city

Two towers in the north, two to the south, one east, one west. The eastern and western tolling at sunrise and set respectively, the other four tolling, in a tumbling cacophony throughout the city, at the zenith of the day. As the clamour of the chimes intensifies there is a crush of people in the plazza before the tower and the iron bound doors swing open. A figure of unnaturally large aspect strides forth, cloaked in layers of  brightly coloured silks contrasting and pinned between the thick felted festoonery. The size of the hooded being suggests that their ancestry may contain visitors from the plane of Zerasel, which is in keeping with the following actions, as they strew ceremonial salt from within the odd raiment. A blessing upon the crowd, pebbles of variegated colour and size but all baring the faint mineral aroma of yellow mountain salt. Sacred to the old ones of the region but foul to eat it is said to bring good luck within the city. There is another rumour that the pilgrim  leaving the confines of that city without the proper ablutions, their luck turns into the vilest curse. This, it is said, was the root of  Arr-Bshla the boy-king's madness.

Er-Arr-Banyan

Er-Arr-Banyan, is Directly translated as "city of the two-faced god". Not the divinity some called Yanoos (who's two faces see the future and the past simultaneously) but an older one worshiped only by the decendents of salt-demons and cave folk, a god of luck and unluck, with one face smiling and another scowling. This God's faces grace both sides of the city's coin. Some cities are built at the mouths of rivers, nurtured and cleansed by the waters. Others, surrounded by rich fields and girded by fecund fruit trees, are situated along routes of trade or political significance. Er-Arr-Banyan, it was said, was only a place to flip a coin with neither beautiful situation, convenient location or any blessing or favour from the acknowledged pantheon of human civilizations. Perched on a basalt configuration at the end of an evil road it nonetheless reached upward with garishly tiled spires and six belltowers casting their long shadows through the delineated boroughs of the city. With no industry, trade or craft the economy of the city was solely based on games of chance and the worship of the twofaced god of furtune, Arbaniban.

Seed idea

In a single sentence: economic picaresque set in mythic Central Asia.

Inevitable pitfall: orientalism…

Reloading the hopper

Wisdom of the All-Mother

Pride and rage are two splendid oxen. Use them often but never on the same yoke.

Imprecation upon the haughty

How dares an oath breaker preform rites within the crumbled walls!

Vile son of the false friend you are accursed!

Be gone from the uneasy resting place of these my people!

Would that I had had one more festival of oaths the fish would jump and the buckwheat flourish. And your people should reside in the untended graves.

Excerpts from "Soiptho's Grammar"

Dwarven Victory Ritual

Smoke is blown from a silver pipe upon the arranged vanquished (living or dead). This is done in three rounds each with a different tobacco blend and a different incantation. The successive rounds flaunt the superior strength, intelligence, and power of the dwarves: "had you been stronger then you would be blowing the smoke, had you been smarter I would be subjugated and your pride would rise like a horn, had you had the power and favour of the ancestors surely you would not have been so unlucky!"

The frieze by the northern gatehouse

Panel 1: The fisherman blessing their nets with incense / women weave their hair into nets.

Panel 2:A mermaid type creature surrounded by fish being watched by a storm God behind a cloud.

Panel 3:The storm God summons a cloud of gulls .

Panel 4: the mermaid creature takes shelter from a barrage of pearls being dropped by gulls from above her.

Panel 5: Storm God talking to an octopus

Panel 6: mermaid creature biting the octopus and the octopus spewing black ink.

Panel seven: mermaid creature walking on land her tail cutting a trench in the earth

Flowers

There are several schools of floral symbology among the Yaswan regions. There is some variance but by and large there is an understanding of what is meant symbolically by pertinent flowers. It is not uncommon to put thought into the symbolic meaning of a bouquet or to send a message through flowers. Following are a few examples including their common meanings as well as less known esoteric understanding.

Hooded Strangers

This beautiful flower harvested from the eastern Corridor bears a striking resemblance to a violet dæmon swooping down from above. It is the token of the ruling family of Bluetor, the canton to which it is native. 

Throughout the cantons it is recognized as a symbol of the planar covenant made between the families of the southern border and the archon Bsh Bsh Lana in the second aeon. This covenant promised friendship between the servants of Bsh Bsh Lana and the Yaswans and it was sealed through intermarriage between the ruling houses of both races. This was when the planar bloodline was introduced and the succeeding generations of royalty we're know as Tÿflung folk from then on.

The smell of the Hooded Stranger is not pleasant and therefore it tends to be paired with strongly fragrant flowers when arranged. In fact, it is considered very rude to either display or present this flower without some measure being taken to counter its malodorous quality.

It is used ritually in venerations of dæmons and in other Tophic rites. Most notably the summoning sequence at the feast of the covenant.

A lesser known use of it is as a treatment for infertility in men. Perhaps this stems from the shape of the petals suggesting the male sex organ. The stamen of the flowers are ground to a paste and mixed with rancid butter resulting in a foul smelling ointment. Some herbalists say that children conceived using this substance will be unlucky and unhappy but also exceptionally intelligent.

Luminous Lotus

This flower is considered more valuable than most gems or gold. Being cultivated by the monks of the isle of Bronna it may take up to a decade of expert horticultural care to fully develop the soft radiance of this long-lived flower. The secret method of cultivating the luminous Lotus is closely guarded by the monastery and is known only to a few of the monks and nuns. There is a legend which posits the luminous lotus as the ransom paid for lord Grkə when he was kidnapped by the northern families immediately prior to the unification of the cantons.

The generally understood symbolic meaning of this flower is that of: unification, prosperity, patience, and divinity.

Prior to the planar covenant the heraldic insignia of the city Praenodhiss was a lotus on a white field. Though that flag was sullied by rebellious movement, warriors of the radiant blood, which was crushed unambiguously within a decade of its formation. The new banner of Praenodhiss  was made a scarlet star with nine points on a silver field.

It is said that the monks of Bronna have a recipe for soup which primarily consists of lotus roots which is the key to their preternatural longevity. The soup is supposedly so potent in its life-giving energy that it can bring the dying back to full vigour within moments of imbibing.

Scraggle-star

This flower is overwhelmingly associated with death. The reason for this is twofold, it's strong fragrance lends it to funerary situations where the natural odours of death must be masked, and it's star-form shape ties it to Yaswan lore which links the heavenly bodies to departed ancestors. 

The scraggly edged petals inspired the first aeon poet, Dauri, to reflect, 

"the memory of my lost brother follows the painful serrated edge

but the knife is a flower so I smile."

Unknown to most is the soporific effect produced from the boiled seeds. A concentrated enough dose can produce a temporary paralysis. The initiatory Church of the yellow lark uses this oil of anointment in a rite which simulates the death of the participants.

Amuθa

In the common tongue this flower is called "the pink flame". It is found frequently along the coast. 

The esoteric meaning of the amuθa is warning. 

Regreglion

Though most would consider this a fairly unremarkable bloom it is held sacred by one of the inititiatory churches,the house of the pelican. The colouring of the flower is echoed in the vestments of the preceptors third degree. Indigo robes with white hare trim and a yellow collar makes a strong tie of the rank to the flower. The reason for the is unclear.

A folk tradition cites regret lion as an ward against nightmares. 

The Origin of words

Among the gods there was one, Dheilpei. She became pregnant and bore 40,000 children at once. Her children would ride around the court in chariots each drawn by six horses, that is, three pairs each. And each horse had a bridle of either gold, silver, bone or lead. When the hooves of the horses echoed on the stones of the heavenly court they would each make a unique sound, every one different according to its colour and bridle. 

The primaeval fisherman,Oano, would go to the court of Dheilpei in his dreams. In the morning he would awaken imbued with new wisdom every day for 100 years. When the dreams ceased Oano realized that he was lonely and so he used the wisdom from the dreams to work magic and transform a school of fish into the first Village. He made each of the fry into a person but, though they had human form, they could not speak or understand and had no wisdom. So Oano formed bridles of gold, Silver, lead and bone and place them in their mouths. With this they were imbued with the gift of poetry and song, and they began to recite beautiful words both day and night.

Epithet of Magúa

MAGÚA 

Friend of none

Unbridled raw power

His breath is the storm,

Octopuses his messengers 

Alternating rage and lust 

He rides the breakers

Incantation

The priest intones the following and the assembly responds with the bolded text:

The fish swims down and the water gets colder but she doesn't notice. It is her home.

Neither does she notice the lack of air, for the cold water is her air.

She feels the weight of her world the deeper she goes, yet she swims on.

(Monotone chant takes on a singsong quality at this point)

I am like the fish, swimming down into the heart of the goddess. Where there is no light or air and it is heavy and cold. But I am like the fish, feeling no cold only the weight of the goddess. No constriction, only the darkness of her surety. I need no air, I only breath her essence. As I go....

(Rhythmic accompaniment comes in)

Deeper, and deeper, into the deep river.

Deeper, and deeper, into the deep river. I go where a human cannot. I go into holy silence. I go to listen to the beating heart of the river.

(Accompaniment on the rush-zither and vocal-resonator becomes louder until chant is drowned out)

Psychopomp birds

There are black birds that eat the bodies of the dead. When they fly up after feeding they carry the souls of the slain to the sky. Surely you have heard of the court that drank too deeply from the well of forgetting. They forgot their guilt but also forgot to eat. And so, they starved. When the birds feasted on their bodies they also began to forget. They forgot to fly and forgot call out the warning that ghosts were close at hand. So rather than joining the winds among the clouds the forgetful court of spirits remained around the well as did the black birds. The winds around the well do not stop but swirl and howl day and night full of muttering  and groaning. .... Those who take a drought from the cold well, amidst the vortex of the departed, don't find the mental alleviation of forgetting anymore. By some strange magical adjustment they do not forget but are forgotten, as if erased. Some say that the black birds that follow a person out of the abandoned court swallow the memories which surround us like a cloud of invisible insects.... 

Battle of the five armies inspiration

Nutshell: terrible movie but it got me thinking more about dynamic battle terrain.

In no uncertain terms let me state that the experience of watching this movie was something akin to watching somebody else play a video game for two hours. (Read: not awesome). That being said I came into it without any high expectations, any hope I had for the hobbit movies had been thoroughly dissipated by the first and second ones… A real shame considering my love of the book. My specific expectations were set by Peter Jackson's approach to the Return of the King which, not dissimilarily, was essentially one long drawnout battle montage. While the experience is fresh in my mind though I do want to write down the moments of battle terrain dynamism that I think could inform a more interesting tabletop experience. I say this as a non-video gamer, I'm sure that those who partake in video games have enough inspiration from that genre.

General use of tactical positions: Raven Hill, front door to Erabor,

Note to self, set points in the map of story rich value.

Changing terrain: falling tower, cracking ice,

Think about how things can change and build it into the description e.g. "the granite pillars seem to lean ever so slightly, drawing your attention to the eroded bases".

Highjacking: flying opponents, mobile siege  equipment, giant/gargantuan opponents.

Make sure to point out these opportunities to players who are not fully engaging in creative tactics E.g. "a successful acrobatics check will allow you to hitch a ride on the back of the giant serpents head..."

Frescoes in Onua

 

There are three main categories of frescoes to be seen among the ruins, those of a mythological nature, depictions of day-to-day life, and more stylized depictions of rituals or historical events. If one pays attention to their styles the three distinctions are obvious. Mythic images are done in a flat two dimensional view in a palette without any reds. Daily life scenes are done in perspective but without the use of pure blue (blended greens are permitted). The third catagory, known as "standing images", tend to incorporate didactic text in ornate cursive script.

Example murals: type one, The myth of the wooing of Ûlah. type two, examples of The Clay diggers trade and votive images honouring members of the surgeons guild. Type three, detailed depictions of burial rites  and oath making ceremonies.

The last words

May the husk of my inner soul be carried like pollen on the legs of the children of Magúa along the river of dreams to rest at the feet of the vouchsafer. My last remembrances are those departed and these words of comfort: those who depart in leisure journey in haste, those who depart in haste journey in leisure.

Session prep

Narrative catalysts: Yoik gets bossy and continues to be a jerk, bullywug prisoners  try to escape or are rescued, another fitful night with prophetic dreams,

Gamey bits: learn how to fight fungal animations, ...

Lore: Hoxo's library containing world info, mosaics depicting piscine shifters, thematic treasure,

To do: add supplementry sheet to dm screen, print out monster stats, map the "rookery",

Yoik's dossier, continued

Excerpt from The Annotated Chronolog Of The Fish-Eaters War by the Majestic Thanes' Academy: ... After the breaching of the wall in the aristocrats quarter the troops were held up at some sort of Monument where The standing guard of the surgeons guild made a valiant resistance. It was said that the fighting here was so cramped that the only useable instruments were blades less than two handbreadths in length....

Excerpt from Case Studies In Martial  Jurisprudence by mother Uona Lightfeathers: ... A pincer attack was executed upon the golden domed moot hall By Silverbeard's phalanx and the Bleeding brothers. When they unhinged  the triple gate using Eilikhar (a salt golem) the doom of the city became apparent after a fierce  skirmish with the adepts and liturgenes.....

Excerpt from Exceptional Visions Of Lovingkindness by P.V. Mootblat: ... During the sack of Onua it is attested that Silverbeard was pinned under a raging bearded simian in the top of the astrologers' guild. By a miracle and no small act of strength he toppled the beast down a staircase with the battle cry "Delve my axe!" When asked later he claimed that the power of the ancestor θuin-hew had surged through him with spiritual electricity, this is now known as "the third sublime visitation"....