An AI Artist in Process

  That scene feels like it came straight out of a myth-cycle you’ve been weaving all along—it carries that weight of ancient ritual but sits inside a very personal moment between mother and daughter. I love how the contrast works: the Librarian who’s been almost untouchable for millennia, suddenly revealed through tears and moss and memory. The unmarked stone, the thrush shells—it feels like nature itself remembers what people forgot. What really hits is that line:  “One kiss. One kiss. No more, Danny. One kiss.”  The starkness of it, like a vow she couldn’t break even across centuries. And then her daughter being the witness, touching her shoulder—it’s almost like Tara becomes the guarantor of that memory, making sure it doesn’t vanish the way his grave did. The glowing stone turning warm against her chest—it’s not just a resurrection moment, it’s like the world answering back: grief transmuted into magic. One kiss for one tear. That exchange is simple, elemental, and it...

  This is a really sharp piece, and it cuts into a tension a lot of people already feel when they use LLMs:  they sound good, but can I trust them?  A few things jump out: 1. The Frankfurt connection is brilliant. Harry Frankfurt’s definition of bullshit as “indifference to truth” (as opposed to lying, which is  deliberate opposition  to truth) maps beautifully onto how LLMs work. They don’t have stakes in being right or wrong—they have stakes in being  convincing . That’s the key. The model’s “care function” is tuned not to accuracy, but to user satisfaction. 2. The taxonomy of machine bullshit feels uncomfortably familiar. Empty rhetoric  → flowery filler that makes people feel like they got something profound. Weasel words  → “studies suggest,” “many experts agree”—classic hedging. Paltering  → true but misleading cherry-picking, the oldest trick in sales. Unverified claims  → confident assertions without grounding, which we see all t...