Ms sect b 20170430 sunday

Page 1

B1

SUNDAY, APRIL 30, 2017 Adelle Chua, Editor

Opinion

Joyce Pangco Pañares, Issue Editor

mst.daydesk@gmail.com

MOVIES WRITTEN BY MACHINES

EDITORIAL

F

UNDER ATTACK

By Stephen L. Carter IF YOU’RE looking for a good movie, I suggest that you try “It’s No Game.” If you’ve never heard of it, that’s okay. The film, just released this week, is a bit less than eight minutes long. It tells the story of a pair of Hollywood writers who learn that they are going to be replaced by an artificially intelligent algorithm that generates screenplays. By now I’m sure you’ve guessed the kicker: “It’s No Game” was itself written by an artificially intelligent algorithm that generates screenplays. Although the algorithm is still crude, we may be looking at the future. The algorithm is called Benjamin— it chose its own name—and is the brainchild of director Oscar Sharp and Ross Goodwin, an AI researcher who is a graduate student at New York University. Their idea was to feed a neural network lots of sci-fi screenplays and teleplays to give it a feel for dialogue, setting and plot, and then switch on the bot and see what came out. Last year, as part of a competition, Benjamin scripted “Sunspring,” its first effort at a short sci-fi film. Three people who seem to be trapped somewhere—it feels like a bunker, but the screenplay calls it a “ship”— engage in quick dialogue that is at once utterly nonsensical and yet oddly charming. (Money quote: “I don’t know what you’re talking about.”“That’s right.”) Slate magazine opined that the film “feels like a movie shot in a foreign language you once studied but never really understood.” I don’t entirely agree. The unadorned screenplay is bizarre, but when actually directed and acted, “Sunspring” offers a weirdly compelling tale of passion and betrayal. A monologue at the end is incomprehensible on the page but burns with a certain life on the screen. What we learn from this is that AI can’t really tell a good story yet, but a determined cast and director can sometimes make a lemon of a screenplay into somewhat watery lemonade. “It’s No Game” is a better film than “Sunspring” in part because the story is better. But so is the acting. In particular, David Hasselhoff is by turns funny and creepy as an actor who has been infected by nanobots and voices the thoughts of an AI bot that just happens to be named Benjamin. Yes, a lot of the dialogue is still nonsense, and the ballet number that Benjamin decided to insert toward the end (with an assist from an AI that chooses ballet moves) will try the patience of some viewers. But unlike “Sunspring,” the new film focuses on an actual idea. It’s nicely recursive: an AI-scripted movie about AI-scripted movies. And although the fear of the screenwriters and the robotic nature of the studio mogul are played for laughs, underlying the comedy is an unsubtle prediction: This day will come. Which perhaps it will. In a paper last year, Google explained how it has trained a neural network to write what I suppose we might call short stories, apparently by feeding it a heavy diet of romance novels. They’re not great short stories. Not yet. A sample: “He was silent for a moment. It was quiet for a moment. It was dark and cold. There was a pause. It was

REEDOM House, a human-rights organization, says global press freedom has hit a 13-year low and raises concerns over governments to clamp down on dissent.

“Political leaders and other partisan forces in many democracies— including the United States, Poland, the Philippines, and South Africa—attacked the credibility of independent media and factbased journalism, rejecting the traditional watchdog role of the press in free societies,” head researcher Jennifer Dunham said. The study, available online at https://freedomhouse.org/ sites/default/files/FOTP_2017_booklet_FINAL_April28.pdf, was conducted among 199 countries. It said only 13 percent of the global population enjoyed a free press—defined as robust coverage of political news, guaranteed safety of journalists, minimal intrusion of the state in minimal affairs, and the absence of onerous legal or economic pressures on the press. Forty-two percent live in partly free press while 45 percent live in places where the press is not free. The Philippines’ media environment is characterized as partly free. According to Freedom House, politicians in democratic states exert an effort to erode press rights so they can shape news coverage and delegitimize media outlets. It cites the United States example, whose press remains largely free but which is now threatened by the apparent war that its new president has waged on the media, calling them enemies of the people when they are just a bit critical of him and his team. These findings seem close to home taken in the light of the Duterte administration’s threat to block the renewal of the license of broadcast network ABS-CBN and to go after the Philippine Daily Inquirer. Both news organizations have been castigated by President Rodrigo Duterte for supposed biased reporting. The National Union of Journalists of the Philippines issued a statement saying only tyrants shut down the

news media. “By issuing such threats, Mr. Duterte is blatantly dangling the powers of the presidency and of the state, signaling his willingness to use these to stifle freedom of the press and of expression. And no, lest his mouthpieces attempt to excuse him by invoking hyperbole or his peculiar sense of humor, he was clearly not joking.” In fact Mr. Duterte is quoted on page 16 of the Freedom House report. “The vultures, pretending to be journalists...” he said. To be sure, he is not the first chief executive who has berated the media. Former President Benigno Aquino III repeatedly berated journalists for focusing on the bad news instead of the good. Before him, President Gloria Macapagal Arroyo had the police storm the editorial offices of the Daily Tribune for being a possible source of destabilization materials. Philippine media are not and have never been perfect. They will continue to struggle with their realities and face big and small ethical decisions. Media organizations may also find differences within and among each other—but all that is immaterial compared to the fundamental goal that brings everybody to the industry in the first place, to put forth the truth, and arm people with information that they need to be truly free and self-governing. These are challenging times, nationally and globally. Journalists must remind themselves of the reason why they have embraced this profession. It’s not about glorifying oneself or saving the world. It’s doing our job, plain and simple, and fending off anything or anyone that prevents us from doing so.

Scan this icon to view the PDF

Turn to B2

PLAY NO GAMES WITH TROLLS

LONG STORY SHORT ADELLE CHUA TROLL is a word that has evolved. It used to refer to a doll with an ugly face and abundant neon-colored hair. I had one of those in high school. The traditional definition goes: It is a mythical, cave-

dwelling being depicted in folklore as either a giant or a dwarf, typically having a very ugly appearance. Now trolls take on a different meaning altogether. They are those who sow discord on the internet. They start arguments and upset people by posting inflammatory, extraneous or off-topic messages in an

online community. We’ve seen trolls at work. They are active, at whatever time of day, and you can easily spot them in, say, the comments section of online publications such as this one. They react to the article, or bash the author, or pick a fight with other commenters. Sometimes they write things completely

unrelated to the article they are supposed to be reacting to. They talk tough. It may be that they are just earnest social media users who feel too strongly about the world and the people around them. True, their comments are incendiary and controversial, often not based on hard facts or present the complete picture.

Sometimes, they are professionals. *** PETA’s A Game of Trolls starts this way—a bunch of paid hacks waging a war with others online. The exercise is akin to “bunong braso” where a battle is won by whoever makes the stronger Turn to B2

Rolando G. Estabillo Publisher ManilaStandard

Published Monday to Sunday by Philippine Manila Standard Publishing Inc. at 6/F Universal Re Building, 106 Paseo de Roxas, corner Perea St., Legaspi Village, Makati City. Telephone numbers 832-5554, 832-5556, 832-5558 (connecting all departments), (Editorial) 832-5554, (Advertising) 832-5550. P.O. Box 2933, Manila Central Post Office, Manila. Website: www.thestandard. com.ph; e-mail: contact@thestandard.com.ph

ONLINE

can be accessed at: manilstandard.net

MEMBER

PPI

Philippine Press Institute The National Association of Philippine Newspapers

Benjamin Philip G. Romualdez Former Chief Justice Reynato S. Puno Anita F. Grefal Baldwin R. Felipe Edgar M. Valmorida

Chairman Board Member & Chief Legal Adviser Treasury Manager OIC-Ad Solutions Circulation Manager

Ramonchito L. Tomeldan Chin Wong/Ray S. Eñano Joyce Pangco Pañares Adelle Chua

Managing Editor Associate Editors City Editor Opinion Editor

Emil P. Jurado

Honor Blanco Cabie Night Editor Romel J. Mendez Art Director Roberto Cabrera Chief Photographer

Chairman Emeritus, Editorial Board


Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.