We’re hurtling towards a future in which it will be increasingly difficult to tell AI creations apart from human ones. But it’s critical that we remain able to do so.
, Ridley Scott’s 1982 classic film, where Dekhart, Harrison Ford’s character, puts a series of probing questions to the sultry heroine, Rachael, to establish whether she is human or a “replicant”, an AI in a manufactured human body. After an extended interrogation, Rachael eventually slips up when she fails to bristle at the mention of “an entrée of boiled dog.”
Far less kerfuffle greeted the release, shortly after ChatGPT, of GPTzero, a technology which is arguably just as relevant to an AI-infused future. The brainchild of Princeton University student Edward Tian, GPTzero detects whether a text is generated by AI. I’ve found it to be quite accurate, despite purportedly being developed over just one weekend, and I suspect that Tian and others developing similar apps will attract ready funding for improvements.
There’s also the thorny question of whether compensation is due to the original creators of the intellectual property that AI is trained on. A few copyright claims are already in the wings, including lawsuits by Getty Images and several independent artists alleging that Stability AI and Midjourney, creators of AI art generators, used copyrighted photographs and artworks without consent to train products that are now monetising permutations of those self-same images.
The fact is, leaving aside all the practical reasons why detecting AI is important, there is something more primal at play here; something which compels us to confront the question of what is uniquely valuable about the product of human feeling and ingenuity. After all, as Yuval Harari reminds us in his book,, it’s hubris to believe that, by virtue of our consciousness, we can do anything that machines cannot, and that they won’t eventually do better and more efficiently.
“I’ve seen things you people wouldn’t believe,” he says. “Attack ships on fire, off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhäuser gate…” As he continues, Dekhart’s expression changes from fear to compassion.
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