Maybe, but "intelligence" doesn't have a clear, agreed definition. And calling them "just token generators" skips over how complex that generation actually is.
3,876 karma · joined December 20, 2011
Maybe, but "intelligence" doesn't have a clear, agreed definition. And calling them "just token generators" skips over how complex that generation actually is.
Even though many formal processes still require printable PDFs, we are slowly migrating to something paperless, or at least not paper-centric.
It seems more likely that there were only a handful of people who could. There still are a handful of people who can, and they are probably even better than in the olden times [1] (for example because there are simply more people now than back then.)
[1] https://oberlinreview.org/35413/news/35413/ (random first link from Google)
In other words, it's typically a good thing that larger companies are slow to adapt. That's something that startups can make use of.
The GPL also does not state that the source code should be easy to find. In the early days, one had to write a letter, send it by mail, in hopes of getting a tape or CD-ROM with the source code. For which you then had to pay as well.
Edit: as others have pointed out, and if I were to actually read the article carefully before commenting, the composition is not attributed to Michelangelo. So it is just a copy. Quite the achievement, but possible for a twelve-year old.
I once confronted a gallery owner who was proudly presenting a newly discovered work by Mondriaan [1]. An original black and white photo in an old newspaper [2] was shown as proof of authenticity. But many details such as the creases in fabric differ in the original and the new painting. No OpenCV required to see that. Mind you, the picture is already framed with Mondriaan standing next to it. Unlikely that he's still working on it.
Instead of responding, the gallery owner simply turned away.
[1] https://upload.wikimedia.org/wikipedia/commons/b/bb/Cavalini...
[2] https://www.vrt.be/vrtnws/nl/2022/03/02/nieuwe-werken-mondri...
Source: know how to draw really well.
[1] http://viznut.fi/demos/msdos/ (pick mssim.zip) or on Pouet https://www.pouet.net/prod.php?which=21174
If you keep your finger on the touchscreen for just long enough, it helpfully repeats the keystroke while you're entering a license plate.
Given the inevitable hardware issues, this means that what should be a single tap frequently becomes a burst of identical characters.
The programmers who worked on this probably would've liked to be game developers instead.
I was mostly considering contemporary artists that you see in museums, and not illustrators. Most of these have moved on to different media, and typically don't draw or paint. They would therefore also not be able to draw commission pieces. And most of the time their work does not sell well.
(Source: am professionally trained artist, tried to sell work, met quite a few artists, thought about this a lot. That's not to say that I may still be completely wrong though, so I liked reading your comment!)
Edit: and of course things get way more complicated and nuanced when you consider gallerists pushing existing artists to become trendy, and artists who are only "discovered" after their deaths, etc. etc.)
Of course there are some artists who sit comfortably in the grey area between the two oppositions, and for these a little nudging towards either might influence things. But for most artists, their ideas or techniques are simply not relevant to a larger audience.
Interestingly, in a way, rotation is less mystical than the perspective projection. The rotation is linear: x' = Rx, but the perspective projection is non-linear.
This is where things become fun. Next up are homogeneous coordinates or quaternions. Takes a few years of your life to actually enjoy this though :)
It is quite likely that artists in earlier periods struggled with this as well, and were less concerned with adhering strictly to a photographic or geometrically exact perspective, as we are. The adoption of the camera obscura probably influenced things a lot.
I can't really say that this formula demystifies things, but the video is nice if you're eager to learn about this.
Could anyone who is extremely fortunate and never had to work for money share their experience on this?
I find that the years that I spent on art (playing around, learning new things, not taking other peoples' orders) lasted longer than the ones I spent doing software development for money. Both were fun, but the remaining memories differ by intensity.
I personally don't find the logarithmic experience theory convincing. Why are the first three or so years excluded from this? It seems more likely that new experiences make more impact, or that repeated memories make them more intense. Or dozens of other theories.
Some types of programming benefit more from AI tooling than others. For example, prototyping seems to be the most fruitful area. Also, writing small utilities is much easier, to the extent that a two hour job would now take only a few minutes. That's where you get the multiplier posts from.
But working in a large codebase using proprietary libraries is not a solved problem for AI (yet).
It's just that the average engineer does not spend all of their time on things that can be sped up.
Speeding up 1% of your time by a factor 20 simply does not help very much. But for some roles, I'm sure that a 10% net increase in productivity is realistic.
Once you get into it, there is an amazing assortment of papers that can cost up to a pizza per sheet. Especially if you're going for the larger formats.
https://arches-papers.com/arches-range-of-papers/watercolor-...
Drawing on paper allows for a wide range of physical setups, such as using a notebook on your lap or on a table, large sheets mounted on a wall, or a board on an easel. Each configuration engages different muscle groups. Large-format drawing relies primarily on shoulder movement, whereas smaller, more detailed work involves the wrist, forearm, and fingers. I'm convinced that deliberately training hand–eye coordination at multiple scales (finger–eye, wrist–eye, or shoulder–eye), is beneficial in learning to draw better.
It is also a good idea to experiment with a variety of media: pens, pencils, chalk, charcoal, and different surfaces such as paper, wood, or canvas. The differing tactile feedback and resistance will improve your motor control. You don't need to spend a fortune on this, but don't limit yourself to the cheapest color pencils and toilet paper.
That said, if your primary goal is accurate photo replication, it's probably easiest to start with Drawing on the Right Side of the Brain [1], along with some YouTube tutorials.