Lingua inglese II

LEAD

OpenAI’s ChatGPT and DALL-E, alongside other artificial The lead paragraph introduces the

intelligence programs, have stoked fears of machines taking central concern: the rapid

people’s jobs advancement of AI technologies like

ChatGPT and DALL·E and their

potential impact on creative

professions.

[Could a bot write this intro? The hype around AI has pushed this [“Could a bot…illustrations”] =

question to the center of public discourse. Conversational bots such summary

as ChatGPT and automated image generators such as DALL-E — both

built by OpenAI — are popping up everywhere

Despite a few optimistic case studies of their potential, the current

models are limited and the results they produce deeply flawed. But

it doesn’t seem to matter that the tech behind AI is not ready for

prime time. The models only have to tell a convincing story to the

humans signing the checks — and they are ANTITHESIS: AI is poised to replace

Microsoft, which has developed its own Bing chatbot, invested $13 human creatives due to its efficiency

billion in OpenAI. and the economic incentives driving

Early-stage venture companies poured $2.2 billion into generative AI its adoption.

last year alone, and this year Salesforce announced a $250-million APPEAL TO LOGOS:

fund to invest in the space. Headlines and institutions alike are By providing concrete statistics and

declaring AI the future of work, poised in particular to replace observable trends, the author

writers and artists. That these breathless predictions are outpacing supports the argument that the rise

the quality of the tech itself says a lot about our cultural moment — of AI is intertwined (intrecciato) with

and our long-festering trend of devaluing creative work. economic factors affecting creative

professions.

The supposed promise of the AI future is efficient and abundant

content. Office workers can now generate entire presentations with

a prompt or click. Creative agencies are

using image generators to mock up client concepts. Even literary

magazines have reported being bombarded with AI-generated

submissions, and yes, editors are hitting publish on AI-generated

articles and illustrations.] PERSONIFICATION: “prioritize being

But the AI models have proved time and again that they perpetuate convincing over telling the truth.” =

biases, misunderstand cultural context and prioritize being attributing human-like decision-

convincing over telling the truth. making to machines.

They draw on data sets of creative work by humans, an approach

that might otherwise be labeled plagiarism or data-mining. And the

models driving ChatGPT and DALL-E are black boxes, so the data’s

origins can’t technically be traced.

Today, these and other models require humans (with their own

biases) to train them toward “good” results and then check their

work at the end. Because the tools are built for pattern-matching,

their results are often repetitive and thin, an aesthetic of similitude

rather than invention.

The impetus to replace human workers, then, doesn’t come from

slam-dunk capacities of the tech. It stems from years of companies

big and small — especially those in publishing, tech and media —

turning the screws on creative work to spend ever less on workers. APPEAL TO PATHOS: Discussing the

In today’s financial downturn, even tech companies are cutting costs struggles of artists and the potential

through mass layoffs (including slashing AI ethics teams) while loss of cultural richness evokes

funding and selling AI tools. But the situation is more dire for the empathy and concern for the human

writers, artists and musicians who have been struggling to make a aspects of creativity.

living for a long time. Pay for writers, editors and illustrators in this

country has stagnated over the past two decades. Some nations

have started treating art as a public good: Ireland is experimenting

with paying artists to make art, and other countries are subsidizing

audiences for art. But in the U.S., public funding for the arts is

embarrassingly low compared with other wealthy Western nations

and dipped further still during the pandemic. Many artists need to

migrate from one social media app to another to build an audience

for their work and eke out an income. SYNTHESIS (“well…): The article

Meanwhile, ubiquitous streaming subscriptions and algorithmic reconciles thesis and antithesis

feeds, with their laser focus on getting the most engagement, have perspectives by suggesting that the

flattened creativity into an infinite scroll issue is not the technology itself but

of mediocre, repetitive styles — an unsustainable model for how society chooses to integrate it.

original work. Automation is the next chapter in this tale of ever By valuing and investing in human

cheaper content. How much lower can art’s value go? creativity, we can ensure that AI

Why pay creative workers living wages when you can program serves as a tool rather than a

machines to churn out interchangeable content units? Well, because replacement.

these models are no substitute for human creative labor. If we want APPEAL TO PATHOS (“ubiquitous..”):

to break out of repetitive molds, strive to unravel biases and build These statements evoke empathy for

creators facing challenges in a

new possibilities, the work must come from humans. rapidly changing digital landscape.

METAPHOR: “Automation is the next

chapter in this tale of ever cheaper

content.” = This metaphor likens the

progression of automation to a

narrative, emphasizing its ongoing

impact.

METAPHOR: This metaphor likens

the progression of automation to a

narrative, emphasizing its ongoing

impact.

SYNTHESIS

The danger in reducing creative work to widgets for outsourcing is

that we lose the steps of reflection and iteration that produce new

connections. The language learning models behind chatbots are

designed to deliver a single, authoritative response, contracting the

world to the span of the information they’ve already been fed. The

human brain, on the other hand, has a unique capacity for recursive

processing that allows us to interpret ideas beyond a set of rules.

Each step of the creative process — no matter how slow, small or

boring — is an expansive act, transporting a concept into a new

place and imagining a wider world than what exists today. THESIS: The author contends that

An AI takeover is not inevitable, despite what some business and the real threat to creative

tech leaders say. This is not the first tech hype cycle, and some professions stems not from AI's

regulators, unions and artists are already pushing back. In the wake capabilities but from systemic

of the crypto collapse, the Federal Trade Commission established an underinvestment in the arts and a

Office of Technology to support enforcement in emerging tech cultural trend of devaluing creative

areas, and the agency has released multiple public warnings that work. By investing in and supporting

false claims about products’AI capabilities will be challenged. The human creativity, society can ensure

Writers Guild of America, which is poised to go on strike, has that AI serves as a tool to augment

proposed protections and regulatory standards around the use of AI rather than replace human artistic

in script-writing. SAG-AFTRA, the screen actors and TV and radio expression.

This central argument is

workers union, has stated that if studios want to use AI to simulate encapsulated in the editorial's title

actor performances, they’ll have to negotiate with the union. Some and reiterated in the concluding

researchers are building tools to protect the work of visual artists paragraph: “An AI takeover is not

from being absorbed into models for image generators, and others inevitable, despite what some

have launched open-source systems to highlight biases in AI models. business and tech leaders say.”

APPEAL TO ETHOS: By highlighting

the devaluation of creative work and

the ethical implications of AI-

generated content, the article

appeals to readers' sense of justice

and cultural preservation.

The author establishes credibility by

referencing actions taken by

reputable organizations and experts:

(the underlined text here)

SYNTHESIS AND CALL TO ACTION:

But the broader call to action is a cultural one: to recognize that This call to action encapsulates the

creative work is not merely a commodity or content, but a necessary synthesis by urging society to re-

and highly skilled practice that deserves robust funding and support. evaluate and reinforce the value of

Creativity is how meaning is constructed in culture. This is a task that human creativity in the face of

can’t be done by machines — and shouldn’t be controlled by the .

advancing AI technologies

companies that

build them. A bot may be able to swiftly write an ending to this

story, but we have to ask ourselves: Whose voices do we actually

need? FAKE NEWS

FAKE NEWS: false stories that appear to be news, spread on the internet or using other media,

usually created to influence political views or as a joke.

HISTORY OF FAKE NEWS Fake News is NOT NEW, it has been around for many years: the story of

Simonino “Trent, Italy, on Easter Sunday, 1475. A 2 ½-year-old child named Simonino had gone

missing, and a Franciscan preacher, Bernardino da Feltre, gave a series of sermons claiming that

the Jewish community had murdered the child, drained his blood and drunk it to celebrate

Passover. The rumors spread fast. Before long da Feltre was claiming that the boy’s body had been

found in the basement of a Jewish house. In response, the Prince-Bishop of Trent Johannes IV

Hinderbach immediately ordered the city’s entire Jewish community arrested and tortured.

Fifteen of them were found guilty and burned at the stake. “

5 CATEGORIES OF FAKE NEWS:

1. False/ deceptive (ingannevoli):

○ Stories that are completely made up (inventato), no truth to them whatsoever.

○ Deliberately fabricated news that is intended to mislead or make money through clicks.

○ Entirely fake news websites or “imposter sites” that are designed to look like a real/ credible

website.

○ This is the "traditional" fake news category.

2. Misleading (fuorvianti):

○ Stories that contain no established baseline for truth but promote an agenda.

○ These stories will often take a tiny shared of factual information, give it their own spin, and run

off with it in a completely different direction.

○ Examples that fall under this category are intended to "rile you up." (irritarti)

3. Slanted/ biased (tendenziosi/parziali)

○ Stories that contain truthful elements but certain facts are selectively chosen or omitted to serve

an agenda (like gaining headlines).

○ The stories that fall under this category are not necessarily false. The