Our Father Who art in heaven Hallowed be Thy name Thy Kingdom come Thy will be done on Earth as it is in heaven Give us this day our daily Bread And forgive us our trespasses As we forgive those who trespass against us And lead us not into temptation But deliver us from evil

Amen

Jesus is Lord! Come Lord Jesus!

Come Lord Jesus! Christ is Lord!

Heroes and Their Grain

Giving thanks for recompense And orders of ovation Sipping wild leaves and hanging still in Fortis by the fire, a beckon of apostasy And using little days of Swindon Maximizing strength and running- places near and North Shining to a sale Ripping into water Making great amends Using heat for war- when matches near Proposed to ten more leaves To carbonize our year In a place five times the week Another year for Carney- Year of the invincible fight When truth supposes a way- to save us from the darkness In any way a prayer For forgiveness and works in the world Accepting prayers in judgement time While Donald reads the fax A spirit machine And a tripartite statement What comes of news is war And the Senate even supposed Whatever Norway chooses Is a risk to the untold We offer every golden rule To sow for prizes heard In remorse and about this fear That rain may fall on Winter Sending mosquito gifts For the first in quarter time A witness calls- Seeking better insurance Who treasures the ugly prize For picking up on pastures And then it snows- Affording to said Witness The cards under the table Are a long walk to Don The fallacy of gamesman days Besting those who dare To speak for what is fortune And hanging left to dry- the venerable year A palatial place of hell But in that garden we do grow With ecstasy and a fever And when our greens are ready We will send some in the mail About face: I am a drifter Wallowing in Canada Post My favourite type of office And liking your remain If it is fallen And darkest night The weary hear a beep For Jezebel the accountant Standing up for you, the money prophet host For which there is return Upon this hallowed ground And shunning court with hades While men pick up the news- Rome is here and ready While peace is months to be- No single war- can escape the Senate’s will Marks and calls for escape From Wildwood and its pen- the dealers of Upham calling To smear the great assumption That Canada isn’t ready Simple years and native wild- species to the garden Accepted by Man’s plate And feeding your return:

Gracious Canada, Lean into beginning As much as peace to happen The days ahead will call Go, Row alone And sacrifice the news For dirty years of Able And forceps to the new Raking dawn, Sin as war In these things we watch And the hero is the same, Pretending men of war- Will call us to the room Sight unsigned Proxy to this witness Failhead for the dowry And what is done by rote- the insubstantial A year’s quest by the page So this worry will abide And untoward thy name By pressure rank Sealing days of ore And often then We keep the Water clean Heaven’s rouse And home.

Mensen spottende vogels gesignaleerd.

Op twee locaties in Oost Smægmå nabij het diepe dal in de vallei zijn een paar vogels gezien die mensen spotten. Het gaat om vrij onopvallende figuren meestal zittend op hardhouten bankjes in het beschermd milieu park. De vogels gaan in de nabijheid van hun mens opvallend aanwezig zitten zijn, alwaar ze zich duidelijk amuseren rondom hun doelwit voor vermaak en of verwondering, ondanks het gebrek aan noodzaak voor deze aanwezigheid. Als de eenmaal gespotte lieden proberen te ontkomen aan de blikken van de vogels en bijbehorend spot gedrag dan maken de vogels gebruik van de vogel vluchtige transport voordelen aanwezig, lichtvoetige tred, en kleine gestalte om maar niks te missen van al wat de persoon daar doet om aan het vliedende spot licht te ontkomen, ze blijven op deze wijze hardnekkig volhouden in volgen met spotten, in ieder geval tot ze de interesse verliezen en dan opvliegen naar een plek waar ze niet worden gezien terwijl ze vast wel iets spotten maar dan zonder dat iemand daar erg in heeft.

STER(2) De Vereniging voor Mensen die niet Bespot willen worden heeft ook deze keer over dit euvel zijn beklag gedaan bij de instanties hun ter wille. Deze hebben aangegeven de kwestie te zullen behandelen bij de eerst volgende vergadering.

House purchased. Rough day though, I’m so stressed with work.

Uitgaand bericht tevens inkomend

Albert H. de jongeman die gisteren op de hoofdstraat met een mes in stak op willekeurige voorbijgangers was een werknemer van de lokale megalomane super geweldig markt, de AU. Het openbare weg incident bleek enkel te gaan om een steekproef in opdracht van de winkel en was geen terreur aanslag. “Het was een kleine ingreep nou eenmaal nodig om het voortbestaan van deze zaak te garanderen.” aldus een verklaring van de woordvoerder van het “Samen op dezelfde Snelweg” management team verantwoordelijk voor het in goede banen leiden en helpen uitvoeren van de nieuwe landelijk ingevoerde maatregelen aangaande het verdoezelen van de ware betekenis van het woord, met name bepaalde uitdrukkingen veelvuldig gebezigd door het bedrijfsleven, dezelfde woorden met andere betekenis eerder eens op posities elders ingezet. Er was goede rede voor en daarom is er in dit ene als ook vergelijkbare gevallen geen rede voor ongerustheid. De daarvoor betaald krijgende woord voerende zei verder “Steekproeven zijn sinds we duizenden jaren geleden begonnen met ondernemen een noodzakelijk goed, Het is simpelweg een waarschuwing opdat de klant, gebruiker van ons spul, geen misbruik maakt van alles wat er is dankzij ons, zoals bijvoorbeeld de hoofdstraat met zijn winkels. Wij staken en steken er iedere werkdag veel energie in en dat kan alleen uit als u dat ook doet en blijft doen. Dat is het hele punt, het mes in onze handen snijdt aan twee kanten, dus ook bij u.”

“De slachtoffers van de steekproef maken het naar omstandigheden goed” aldus de begrafenis ondernemer.

Generativ AI säljs in som lösningen på allt från sjukvård till skolkris — men används i praktiken för att massproducera meningslöshet. Bakom löftena om innovation döljer sig en teknologi som exploaterar arbetare, utarmar kulturen, dränerar språket och centraliserar makt. Ändå vågar få säga emot — för ingen vill vara den som står i vägen för ”framtiden”. Men just därför måste vi börja ifrågasätta vad det är vi håller på att bygga. Och för vems skull.

Generativ artificiell intelligens (genAI) — det senaste begreppet inom det mer generella AI-fältet — lyfts fram som en revolutionerande teknologi med enorm potential. De flesta associerar i praktiken begreppet med tjänster som ChatGPT, DeepSeek, Claude, DALL·E och Midjourney — tjänster som kan “skapa” text, bilder och musik med en precision som för bara några år sedan var otänkbar. Även en rad andra förmågor tillskrivs genAI och berättar historien om en teknik-driven samhällsförbättrande revolution.

Halo-effekten, även kallad Thorndike-effekten, är ett psykologiskt fenomen där vår helhetsbedömning av något påverkas oproportionerligt mycket av en enda positiv egenskap eller association. Termen myntades av psykologen Edward Thorndike i början av 1900-talet, efter att han observerat att soldaters fysiska utseende påverkade hur deras övriga egenskaper bedömdes av officerare. Om en soldat uppfattades som attraktiv eller vältränad, ansågs han också vara mer intelligent, kompetent och disciplinerad — trots att det inte fanns några belägg för det.

Inom teknikområdet uppstår halo-effekten ofta när en ny innovation associeras med framtid, förbättring, intelligens eller förlösande potential — vilket gör att vi tenderar att överse med dess brister eller ignorera dess negativa konsekvenser. Generativ AI omges av en kraftfull halo-effekt. GenAI lyfts fram som nyckeln till framtidens sjukvård, skräddarsydd undervisning, effektiv välfärd och vetenskapliga genombrott. Eftersom tekniken potentiellt kan förbättra sjukvård, undervisning och vetenskap — antas det underförstått att alla tillämpningar är värdefulla. Men i praktiken används tekniken i första hand till att massproducera texter, bilder och kod som ofta är snabb och billig — men sällan meningsfull eller värdeskapande i längden.

Halo-effekten i kombination med en allmän sense of urgency — att vi alla snabbt måste anamma genAI för att inte “förlora AI-racet” eller “halka efter” — gör att kritik blir svår. Den som ifrågasätter tekniken riskerar att framstå som bakåtsträvande, teknikfientlig eller likgiltig inför samhällets behov. Och just därför krävs ett kritiskt förhållningssätt.

För under den glänsande fernissan finns en baksida som sällan diskuteras, en verklighet där ekologiska, sociala och ekonomiska hållbarhetsproblem samverkar med geopolitiska och kulturella frågor — och förvärras i skuggan av en i dagsläget okritisk teknikutveckling.

Ekonomisk ohållbarhet — en attack på “kreativa” yrken

Författare, konstnärer, fotografer och musiker har under lång tid byggt sina yrken på kreativitet och upphovsrätt. Men generativ AI utmanar detta fundament genom att träna på data insamlad från internet — oftast helt utan tillstånd eller ersättning till de ursprungliga skaparna som nu ser sina verk bli råmaterial i AI-träning. Generativa AI-tjänster baserade på språkmodeller och GPT-arkitekturen kan nu generera konst, musik och texter som imiterar existerande kreatörers stilar, vilket ytterligare väcker frågor om upphovsrätt och rättvis ersättning.

Lagstiftningen släpar efter, och i många länder är det fortfarande i en juridisk gråzon att använda kreatörers verk för AI-träning utan samtycke. Det finns många slags metoder för text- och datautvinning som innebär att material samlas in (“skrapas”) från internet av mjukvarurobotar. För författare, konstnärer och kreatörer innebär detta att deras verk exploateras utan att de får någon kompensation — en utveckling som hotar hela den kreativa sektorn.

Den kulturella skadan är redan omfattande. Redan år 2023 uppskattades det att AI-tjänster genererat fler bilder än vad som fotograferats under hela mänsklighetens historia. Mer än hälften av internettrafiken utgörs i dag av robotar, och en växande andel av allt innehåll online bär spår av att vara maskinellt genererat. Resultatet är en medie- och informationsmiljö som snabbt förlorar sin mänskliga kvalitet, där originalitet ersätts av variationer på statistiska sannolikheter.

Utvecklingen riskerar att avskräcka en ny generation kreatörer. Varför investera tid, pengar och liv i att bli författare, illustratör eller fotograf, om ens verk utan samtycke kan skrapas, användas, och sedan imiteras av en AI-modell som snabbt tar över ens marknad? I stället för att stimulera kreativitet, bygger generativ AI en industri där den som matar in en prompt — en kort textbeskrivning — får resultatet, medan hela den visuella, språkliga eller musikaliska skapandeprocessen outsourcas till en kommersiell statistisk prediktionsmaskin. Den “kreativa” insatsen reduceras till beställning, och vi får en alltmer AI-fierad mediaverklighet — präglad av likriktning, reproduktion och kommersiell optimering.

I förlängningen riskerar detta att leda till en form av kulturell modellkollaps: när AI-modeller i allt högre grad tränas på sitt eget, redan genererade material, utarmas kvaliteten, variationen och djupet. Samhället står då inte bara inför en ekonomisk och rättslig kris i den kreativa sektorn — utan inför en mer grundläggande fråga: hur bevarar vi mänsklig kultur, språk och uttryckskraft i en värld där maskinen tillåts härma människan utan gränser, ansvar eller motstånd?

🔍 Om du är författare kan du själv undersöka om din text är skrapad och använd i Metas senaste modeller. Du kan också använda tjänsten haveibeentrained.com för att undersöka om dina bilder använts som träningsdata.

Social ohållbarhet — det dolda arbetet bakom AI

För att de generativa AI-modellerna ska fungera krävs å andra sidan en stor mängd mänskligt arbete för att kurera den insamlade datan. Bakom varje välformulerad text och varje genererad bild döljer sig tusentals timmars lågavlönat arbete. I det tysta har en global skuggarbetsmarknad vuxit fram, där människor i länder som Kenya, Filippinerna och Venezuela manuellt märker upp, städar och modererar innehåll i den brokiga skrapade datan. Lönerna är låga, skyddsnäten obefintliga, och det psykologiska priset för dem som dagligen tvingas exponeras för våldsamt eller exploaterande material är högt. AI-industrins framgångar vilar bokstavligen på dessa människors skuldror, men arbetet i dessa ”digitala sweatshops” förblir osynlig för de flesta slutanvändare.

Innehållsmoderatorer (“content moderators”, “clickworkers”, “taggers”), som arbetar med att rensa bort olämpligt material från sociala medier och AI-system, har rapporterat om PTSD, depression och ångest till följd av sitt arbete. Techbolagen, som skördar miljardvinster, ger ofta minimalt stöd till dessa arbetare.

📕 Boken “Feeding the Machine” (Cant et al., 2024) går grundligt igenom problemen med det osynliga arbetet och lidandet hos innehållsmoderatorer.

Ekologisk ohållbarhet — en energislukande industri

Utvecklingen och driften av storskaliga AI-modeller kräver stora mängder energi och vatten. För att träna en enda modell, som OpenAIs GPT-4, krävs elförbrukning motsvarande tusentals hushålls årliga energibehov. De datacenter som driver AI-systemen är energislukande kolosser, där processorkraften genererar en enorm värme som i sin tur kräver kylning — en process som förbrukar stora mängder färskvatten. Vattenbrist är redan ett akut problem i många delar av världen, men AI-industrins vattenförbrukning är dåligt dokumenterad, vilket gör det svårt att bedöma den faktiska påverkan.

Därtill kommer koldioxidutsläpp. Träningen av storskaliga AI-modeller (“foundation models”) kan producera lika mycket utsläpp som flera långdistansflygningar, och även den dagliga användningen av AI kräver betydande energi. Detta är en aspekt som ofta glöms bort när man pratar om AI:s klimatpåverkan — det handlar inte bara om träning, utan också om varje enskild gång någon beställer en text eller bild. Den generativa AI:ns miljöpåverkan utgör ett växande problem som vi ännu inte fullt ut förstår konsekvenserna av. Problemet är att det är svårt att få ut korrekt data kring energi, koldioxid och vattenåtgång. Detta faktum gör att det går att nedprioritera frågan, vilket i förlängningen gör att så länge techbolagen lyckas undanhålla dessa siffror så adresseras inte miljöproblemen.

📕 Boken “Atlas of AI” av Kate Crawford (2021) beskriver den ekologiskt miljömässiga baksidan av AI.

Geopolitisk osäkerhet — AI som resiliens och infrastruktur

Hypen kring AI har börjat påverka den globala geopolitiken på ett sätt som tidigare teknologiskiften inte gjort på samma snabba sätt. Ett allvarligt problem är Europas och Sveriges ökande beroende av amerikanska techjättar för AI-tjänster. Företag som OpenAI, Google och Meta dominerar utvecklingen av generativ AI, och deras modeller används i allt större utsträckning inom både offentlig förvaltning och näringsliv. Detta skapar en sårbarhet i en värld där geopolitiska konflikter och ekonomiska sanktioner kan förändra spelplanen snabbt.

Om AI betraktas som en central del av framtidens infrastruktur — vilket den i allt högre grad blir — måste vi fråga oss vilka risker som följer av att en så viktig teknologi kontrolleras av enskilda företag i exempelvis USA. I ett framtida krisläge skulle Sverige och EU kunna hamna i en situation där tillgången till AI-tjänster begränsas eller påverkas av beslut fattade utanför vår kontroll. Det gör att vi måste se AI inte bara som en kommersiell innovation, utan som en fråga om digital suveränitet och resiliens.

📕 Carl Heath har skrivit en artikel om digital resiliens utifrån ett svenskt perspektiv (2025).

Språklig påverkan — Sveriges språkpalett

Ett underskattat men långsiktigt problem med generativ AI är dess påverkan på språkanvändning. De största språkmodellerna är optimerade för amerikansk engelska och har ett implicit anglocentriskt perspektiv som riskerar att påverka hur svenskan används och utvecklas. AI blir i allt högre grad en del av vårt dagliga språkbruk — i textgenerering, kundservice, utbildning och offentliga sammanhang. Om den svenska AI-utvecklingen släpar efter och vi blir beroende av anglosaxiska modeller, kan det leda till en urvattning av svenskan både som kommunikativt och kulturellt verktyg.

Detta handlar alltså inte första hand om korrekt syntax och grammatik, utan om språkets roll som tankemönster och identitetsbärare. Språk formar hur vi ser på världen, och om AI domineras av en viss kulturell kontext riskerar det att förändra hur vi uttrycker oss och vilka perspektiv vi tar med oss in i våra resonemang.

Särskilt allvarligt är detta för Sveriges minoritetsspråk, såsom samiska, meänkieli och romani chib, som redan kämpar för sin överlevnad. Dessa språk är obefintligt representerade i dagens AI-modeller och riskerar att ytterligare marginaliseras om inte särskilda insatser görs för att inkludera dem i en nationell språkmodellsutveckling.

Om vi ser AI som språkmodellering och en del av vårt samhälles digitala operativsystem måste vi också förstå vikten av att bevara språklig mångfald och säkerställa att framtida AI-modeller stärker, snarare än underminerar, våra egna språkliga och kulturella identiteter.

AI och informationspåverkan — en ny arena för manipulation

En växande risk med generativ AI är dess sårbarhet för informationspåverkan och manipulation från antagonistiska aktörer. Utländska propaganda- och desinformationsnätverk har redan börjat infiltrera språkmodeller genom en strategi som kallas ”LLM grooming”. Genom att massproducera falska nyheter och använda sökmotoroptimering lyckas dessa aktörer få AI-modeller att upprepa och legitimera främmande makts narrativ, även i fall där modellerna försöker motbevisa dem. Ryska Pravda driver 50+ domäner som producerade 3,6 miljoner skräddarsydda artiklar bara under 2024. Dessa artiklar skrapas som innehåll och flyter sedan fritt in i chattbotar och AI-genererade nyhetsartiklar.

Detta är en allvarlig säkerhetsfråga för Sverige och Europa. Om vi förlitar oss på AI-modeller som tränats på data manipulerad av främmande makter, riskerar vi att skapa digitala ekosystem där desinformation sprids på ett sätt som är svårt att upptäcka och motverka. Det gör det brådskande att utveckla inhemska språkmodeller med robusta mekanismer för att identifiera och motstå informationspåverkan. Sverige måste ta fram processer för att testa och granska AI-modeller som används i samhällskritiska funktioner, och samtidigt investera i öppna, transparenta språkmodeller för det svenska språket och dess minoritetsspråk.

Juridiken — rättslöshet som affärsmodell?

Generativ AI har gjort det möjligt för teknikföretag att kliva rakt in i medie-, kultur- och underhållningssektorerna, utan att ta det ansvar som traditionella aktörer i dessa branscher länge burit. När AI-modeller producerar text, bild och video blir teknikbolagen inte bara plattformsleverantörer — de blir i praktiken publicister. Men till skillnad från förlag, nyhetsredaktioner eller TV-kanaler har dessa aktörer inget utgivaransvar. Detta är ett känt mönster från sociala media-bolagen. Det är en systemisk frikoppling mellan innehåll och ansvar, och den får redan allvarliga konsekvenser.

I dag används generativa AI-tjänster för att producera förtal, deepfake-porr, falska nyheter och utpressningsmaterial. Fall där AI genererat barnpornografiskt innehåll har avslöjats, liksom händelser där människor oskyldigt pekats ut som mördare av språkmodeller. I inget av dessa fall har företagen bakom modellerna burit något rättsligt ansvar. Att distribuera övergreppsbilder via zip-filer är (med rätta) olagligt — men att träna och distribuera en AI-modell som möjliggör samma handlingar möts ofta med axelryckning och en länk till ett “användaravtal”.

Samtidigt är det i praktiken svårt för användare att skydda sig. Initiativ som haveibeentrained.com har möjliggjort att över 1,5 miljarder bilder optats ut från träning — men dessa val har ignorerats av bolag som OpenAI och Stability AI i senare versioner av DALL·E 3 och Flux. Samma gäller text: databasen Books3, som bland annat använts av DeepSeek och OpenAI, innehåller upphovsrättsskyddade verk från tusentals författare utan tillstånd. The Atlantics söktjänst för att hjälpa författare hitta sina egna verk i databasen hjälper föga, när ingen mekanism för ersättning eller opt-out finns.

ℹ️ The Authors’ Guild har en informationssida med tips på vad du som författare kan vidta för åtgärder om dina verk använts utan tillåtelse.

I praktiken har vi fått en situation där kostnaderna — juridiska, sociala och samhälleliga — skjuts över på användare, kreatörer, offer och myndigheter, medan vinsterna koncentreras hos ett fåtal globala aktörer. Om vi menar allvar med att AI ska användas för samhällsnytta kan vi inte fortsätta tolerera ett ekosystem där ansvarsfrihet är inbyggd i affärsmodellen.

Vem tjänar på AI?

Den avgörande frågan är: vem gynnas egentligen av nuvarande genAI-utveckling? Techbolagen bakom generativ AI gör enorma vinster, medan samhällskostnaderna fördelas på resten av världen. AI-industrin slukar energi, utarmar naturresurser, exploaterar arbetskraft i den globala södern, skiftar geopolitisk maktbalans och hotar framtiden för kreativa yrken. Samtidigt är transparensen från dessa företag nästintill obefintlig.

Varför springer vi?

Vem tjänar egentligen på dagens AI? Det är den centrala frågan vi måste ställa oss. Vi har tydligen gått med på att delta i ett “AI-race” där målet verkar vara snabbare, större och mer integrerad teknologi — men till vilken nytta, och för vem? Har vi ens valt den här vägen, eller har vi bara accepterat att den är oundviklig (“adapt or die”)?

Vi har en tendens att alltid se effektivisering och teknologisk innovation som synonymt med framsteg för samhället, men är det verkligen så? Innovation kan vara en nödvändig pusselbit, men den är inte tillräcklig i sig själv. Vad händer när tempot ökar, men riktningen förblir oklar? Generativ AI lovar mycket, men skapar också nya sårbarheter, nya beroenden och nya former av exploatering. Istället för att fråga hur vi kan springa snabbare borde vi kanske fråga varför vi springer överhuvudtaget — och vart denna diffusa språngmarsch egentligen skall leda.

En annan väg — AI för samhällsnytta

Om man studerar teknologisk utveckling historiskt, så gynnar den initialt och primärt en ekonomisk elit snarare än samhället i stort. Det är först när policy och regelverk modererar och distribuerar effekten av den nya teknologin som den börjar gynna resten av samhället. Detta glöms ofta bort när det målas med breda penslar om exempelvis förra sekelskiftets industrialisering. Det var först då arbetarna organiserade sig och lagar om arbetstid och minimilön etc. kom på plats som de positiva effekter som vi idag förknippar med industrialiseringen infann sig för samhället i stort. Ångmaskinen i sig skapade inte lagstadgade semesterdagar, så att säga. Fackföreningar, politik och lagar var viktiga styrmedel för att förflytta teknologin till det vi idag förknippar med industrialismens innovation (om vi med innovation verkligen menar värde för samhället). Var finns dessa mekanismer i dagens AI-race?

Det är alltså möjligt att dra en annan slutsats än de ensidigt utopiska AI-förespråkare som hävdar att vi måste delta i “AI-racet” för att inte bli omsprungna. Istället för att blint acceptera genAI-utvecklingen som en naturlag skulle man istället kunna fråga: Hur kan vi styra teknologin för att tjäna demokratin, arbetarna och den breda befolkningen — snarare än några få företagsintressen?

Generativ AI, precis som ångmaskinen, elektriciteten och datoriseringen, är inte en neutral kraft. Den formas av de regler vi sätter upp, av de incitament vi bygger in, av de aktörer som väljer att agera, och av de prioriteringar vi gör. Thorndikes halo-effekt berättar en ensidigt positiv och optimistisk historia om demokratiserande generativ AI, även om den just nu utvecklas i en riktning som påminner om den tidiga industrialiseringen där den istället ökar ojämlikhet, underminerar arbetstillfällen och koncentrerar makt hos några få aktörer.

Men så behöver det inte fortsätta.

Vi kan välja en väg där AI förbättrar arbetslivet snarare än förstör jobb, där den hjälper oss att skapa en mer hållbar värld snarare än att sluka resurser, och där den förstärker vårt språk, vår kultur och vårt samhälle snarare än att urvattna dem. Poängen är att detta inte kommer att ske automatiskt. Det är inte en inneboende egenskap hos teknologi att göra det. Det krävs regler, policy och lagar för att uppnå detta.

Den verkliga frågan är alltså inte om vi ska ha generativ AI eller inte. Det är hur vi vill att den ska fungera — och för vems skull. Att blint rusa framåt är inget framsteg. Ett verkligt framsteg vore att stanna upp och fråga: Vilken framtid vill vi egentligen ha?

Neil Postman, mediateoretiker och författare, formulerade sju centrala frågor vi alltid bör ställa oss när vi står på tröskeln inför ett nytt teknologiskifte:

1. Vilket problem påstår teknologin sig vara en lösning på?

2. Vems problem är det?

3. Vilka nya problem kommer att skapas genom att lösa ett gammalt?

4. Vilka människor och institutioner kommer att drabbas hårdast?

5. Vilka förändringar i språket främjas?

6. Vilka skiften i ekonomisk och politisk makt är troliga som följd?

7. Vilka alternativa medier skulle kunna skapas utifrån teknologin?

En seriös och eftertänksam genomgång av dessa frågor när det gäller generativ AI skulle vara bra att göra – innan man tar på sig löparskorna och ställer sig i startblocken.

Jag heter Pontus Wärnestål och är forskare, designer och författare. Jag arbetar, forskar och undervisar inom artificiell intelligens, design och digitalisering. Inte bara med generativ AI, utan bredare tillämpningar av digital teknologi i företag, samhälle, infrastruktur och kultur. Det kan verka motsägelsefullt att jag i min yrkesroll är så kritisk till något jag själv är en del av. Men det är just skälet! Jag vill att det vi bygger ska bli bra; hållbart, rättvist och klokt. Vi har bara en chans att göra det här på rätt sätt. För att det ska ske behöver vi fler perspektiv, inte färre. Teknik är aldrig neutral, och det är upp till oss att styra den i den riktning vi tror på.

Tack till Oskar Broberg och Johan Cedmar-Brandstedt för feedback och bidrag till den här texten.

A Single Ownership Model is the only way a league can both succeed and operate with integrity. Any form the Brand New Shield takes will be with a single ownership model. So, let's dive into single ownership models and why they are better than the alternative.

A single ownership model is when one person or entity owns the entire league. While there are some drawbacks which are mostly financial, there are many advantages. The biggest advantage is that all of the teams in the league are operating on a level playing field. If all the teams operate in the same manor and within the same overall organizational structure, you're naturally going to create more competition and more parity than if they didn't. Obviously it does not work out this way all of the time, but it happens at a much more frequent rate than it does in the team owned leagues where each team is owned by a different person/entity. As we know, some of these teams in this format are operated by utter buffoons. If we take the buffoonery out of the equation, the league is better off. The downside to a single ownership model here is that if the people in the entity that runs the entire league are buffoons, then buffoonery spreads everywhere throughout the league. I'd rather take my chances on trying to take all the idiocy out of the equation altogether than have many teams run by delusional idiots.

The single ownership model also makes decision making easier. It is much easier for one entity to make decisions such as rule changes, adopting new business policies, approving new media rights deals and such than it is for a league of multiple entities who have to then schedule votes on such decisions. A league under one entity can adapt and evolve more quickly because the organizational structure of the league is simply way more efficient. The league can also more easily implement policies that benefit players and league employees at all levels alike instead of some of these things varying from team to team.

The downside like I said is mainly financial. You don't have all of these partners so to speak bringing in billions of dollars to the table all the time like you do in the current structure of the major sports leagues here in North America when you have a single ownership model. However, most of the time, that money comes with corruption and integrity issues. The vision for the Brand New Shield is to eliminate the corruption and the integrity issues, so the financial downsides are welcome to that extent (but of course, the league still has to make enough to sustain itself and operate).

I can write about this subject at length as you all can see, but I will stop here. Ideally, a football league will be run by football people who believe both in moving the game forward to the future and see football for what it should be, a game of integrity. We currently do not have that in my opinion anywhere in professional football which is why I've created this blog to flush out my argument for why we the people deserve a Brand New Shield.

I think if somebody was hurting me while they told me they loved me, that would really turn me on. I think I have an affinity to being bullied and abused. Not crazy abuse, that would piss me off, but small amounts of abuse. I think this might be because I was beat frequently as a kid, and some of the love that I received was conditional on achievement. I lack any sort of self respect, and I find it hard to disobey orders from time to time.

I haven’t started cutting yet, because I’m afraid I might lose control and actually kill myself. I would definitely not want that happening although I fantasize about dying from time to time. I wonder what a safer alternative is to cutting that would let me give me release on this urge to hurt myself.

In films weten ze altijd wat ze doen als het op eerste keer seks met iemand aankomt.

Er is wat gezoen. De kleren gaan uit. We zien altijd de blote borsten van de vrouw. Met een beetje geluk de billen van de man. Dan is het klaar en liggen ze tevreden in bed.

Maar ik zal nooit vergeten wat een studiegenote tegen me vertelde toen we het hadden over seks.

Ik bekende dat ik nog maar één bedpartner had gehad en die relatie was net over. Zij zei dat ze inmiddels haar derde serieuze relatie had en dus drie bedpartners.

‘Het is met elk persoon zo anders.’

Dat zie je nou nooit in films.

=

Omdat het met iedereen zo anders is, ontkom je er niet aan dat de eerste paar keer het niveau belabberd is. Laat maar zeggen: sukkel-seks-niveau.

Tegen elkaar aan botsende tanden. Gepruts met condooms. Verwarring over het standje. Het gaat te snel, of te langzaam.

Je doet beiden maar wat. Zenuwachtig. Onhandig. Onbekend met elkaars lijf.

And I think that is beautiful.

Bedoel.

Ken je de piratenserie Black Sails (2014)? In de openingsaflevering heeft de hoofdpersoon out of the blue een sekspartij met een paar vrouwen. De noodzaak van deze scène ontging me volledig. En dan die lichamen.

Hij SUPERGESPIERD. De vrouwen SUPERSLANK en goed verzorgd. Ze weten allemaal wat ze doen. Ze genieten allemaal extreem.

Hallo.

We hebben het over piraten. Niet over een hijgerige parfumreclame.

Je merkt overigens inmiddels wel dat ook de film-, televisie- en boekenwereld verandert.

In de dramaserie The Deuce (2017) van de briljante David Simon (1960) volgen we de opkomst van de porno-industrie in de jaren ’70 en ’80 in Amerika.

Ja. Er zit veel seks in. Maar niets wordt verheerlijkt. We zien echte lichamen. We zien gewoon piemels. En veel schaamhaar. Maar ook de knulligheid van seks, en helemaal bij het opnemen van een pornofilm.

In het derde boek van Sally Rooney (1991), Prachtige wereld, waar ben je (2021), zit ook veel seks.

Lieve-woorden-fluisteren-toestemming-seks.

‘Vind je dit lekker? Mag ik dit doen? Mag ik dat zeggen?’

En ze zaten beiden aan elkaar, er was een kreun en een zucht en klaar is Kees.

Dat is overigens oké.

Maar ook een beetje geromantiseerd.

Ik wil gewoon ‘sukkelseks’, als tegengif in films en boeken en tv-series.

• ’s Ochtends met je graftakkenbek de ander zoenen
• Niet-werkende piemels door alcohol of spanning of ouderdom
• Droge vagina’s
• Gekraak van het bed dat enorm afleidt
• Blaasontstekingen door het zaad van de man
• Een vrouw die van de man eist dat ze hard wordt aangepakt en dat die man dan in huilen uitbarst

Dat niveau.

Omdat de wereld niet perfect is, maar ongemakkelijk.

=

Neem nou mannen.

Die maken zichzelf wijs dat ze goed stijf moeten worden en het lang moeten volhouden.

Enter de wereld van sukkelseks.

Een vriend was al maanden verliefd op een studiegenootje van hem. Na een paar keer een drankje doen, kwam ze bij hem thuis langs. Het zoenen ging over in voelen en van voelen kwam kleren uittrekken.

Nou.

Het moment suprême.

Onderbroeken eruit.

Condoom om.

Erin.

Hij kwam al meteen klaar.

Wat een desillusie.

Beetje suf. Klein beetje schaamte. Maar hij verbloemde het niet. Hij vertelde het gewoon aan me.

Geen stoere praat. Gewoon kwetsbaarheid.

Sukkelseks.

En het is allemaal goedgekomen. Soort van.

Vijf jaar later hadden ze een hypotheek, kinderen en ringen om elkaars vingers. Tien jaar later stonden ze te vechten bij de rechter om de voogdij van de kinderen. En ze leefden nog kort en ongelukkig.

Het is ook een terugkerend thema in de zes autobiografische Mijn strijd-boeken van de Noor Karl Ove Knausgård (1968).

Hij komt altijd na drie of vier stoten klaar.

Hoe hij dit in detail uitlegt in de boeken, hoe de eerste jaren seks met diverse meiden ging. Bij de een leverde dat ongemak op, dat snelle klaarkomen. Bij de ander ontstond er juist verbinding en intimiteit.

Het werkt ontnuchterend.

Of de film Dream Scenario (2023) met Nicolas Cage (1964).

De suffige, verongelijkte evolutiebiologieleraar Paul Matthews duikt op in de dromen van mensen. Niet van één of twee personen. Maar van bijna iedereen.

Hoe ga je om met deze plotseling ontstane roem? Hij probeert er een slaatje uit te slaan. Nu heeft hij eindelijk de kans om een boek te publiceren over zijn vakgebied: mieren.

Maar de partij die hem erbij wil begeleiden, heeft helemaal niet zoveel interesse in zijn interesses. Ze zijn in hem geïnteresseerd als fenomeen.

Heeft hij er weleens over nagedacht om het gezicht van het drankje Sprite te worden? Elke avond een socialmediapost van hem met een blikje in de hand en dan mensen welterusten wensen?

Paul wil geen Sprite. Hij wil schrijven. Over mieren.

Een van de medewerkers van dit PR-bedrijf, Molly, bekent aan Paul dat ze vrij specifieke dromen over hem heeft.

Je weet wel.

SEKSDROMEN.

Die droom gaat zo:

Ze is alleen thuis. Ze kijkt tv. En dan komt hij zelfverzekerd haar kamertje binnen.

Hij loopt naar haar toe, met langzame stappen. Zelfverzekerde blik. Hij gaat naast haar op de bank zitten, kijkt haar aan, begint aan haar oor te lebberen en legt zijn hand tussen haar benen. Hij pakt haar bij de nek vast en begint haar te zoenen.

Je weet hoe het verder gaat.

Het moge duidelijk zijn dat Molly deze dromen graag in het echt wil beleven met Paul. En je merkt dat Paul, bevangen door al die aandacht voor hem als persoon, hier ook wel warm van wordt.

Ze gaan met z’n tweeën naar haar huis toe.

Ze gaat op de bank zitten.

Hij moet binnenkomen in haar huis, zoals hij in haar dromen binnenkomt.

Maar ja. Dit is de realiteit. Dit is de ongemakkelijke Paul. En niet alleen dat. Deze hele situatie voelt natuurlijk gekkig aan.

‘In mijn dromen neem jij vaak de leiding,’ zegt Molly tegen Paul als aanmoediging.

‘Wat wil je?’ vraagt Paul verward.

Molly begint hem te zoenen en probeert daarna zijn broek los te maken.

Dan laat hij een scheet.

Vervolgens volgt de biologische verklaring uit zijn mond: dat dit komt door de spanning. Allemaal heel logisch en begrijpelijk.

Molly gaat verder met het losmaken van de broek.

En dan komt Paul al klaar, met een schitterende ongemakkelijke kreun.

Kortom: sukkelseks.

Meer van dat alsjeblieft.

==

Seks hoeft geen hijgerige parfumreclame te zijn.

Klungel, giechel en stuntel aan.

Laat de sukkelseks er zijn.

Blijven proberen, blijven zoeken, blijven prutsen. Totdat je elkaars lichaam en verlangens écht begrijpt.

Daar, in dat onhandige gedoe, ontstaat uiteindelijk de echte magie.

En dan volgt vanzelf intergalactische avonturen tussen de lakens.

Het eerste boek dat ik schreef heette De schilders van de Golden Gate Bridge.
(Nooit gepubliceerd.)

Deze schilders deden er vijf jaar over om de beroemde brug in San Francisco van een kleurtje en een antiroestlaag te voorzien. Om daarna opnieuw te beginnen.

Elke dag die brug schilderen. Vijf jaar lang!

Ik vond het een hele deprimerende gedachte.

Dat was het thema van mijn boek.
(Ik ben het plot vergeten.)

Het leven zit vol Golden Gate Bridge-taken.

• Weer pepernoten in september in de winkel.
• Weer het herhaalnummer intikken bij de apotheek voor mijn driemaandelijkse hooikoortstabletten.
• Weer een verjaardagscadeau kopen voor iemand die zelf ook niet weet wat hij wil.
• Weer een pakketje bij de buren ophalen.

Ik had een collega die de zin van gordijnen dichtdoen niet inzag. Na het slapen deed je ze weer open. Waar sloeg het op?

Ja. Nu ik er dieper over nadenk: waarom doen we dit?

Maar laten we wel wezen, het leven zit vol praktische herhalingen.

Het leven is de herhaling van wat we doen.

Het is juist wanneer het leven in ons zwaar wordt, dat deze taken ook zwaarder beginnen te drukken.

==

Zelfverwaarlozing begint met het bed niet meer opmaken in de ochtend. Vervolgens sla je het ontbijt over en kleed je je niet eens meer aan. Je begint appjes te negeren. Je negeert de pakketbezorger voor de deur. Uren verstrijken, maar aan het einde van de dag heb je geen idee waarmee.

De bekendste metafoor voor de herhaling van het leven is Sisyphus. De man die in de Griekse mythologie elke dag als straf een steen de berg oprolt. Om die vervolgens weer naar beneden te zien rollen.

Dat zijn wij. Elke dag weer hetzelfde doen bij een werkgever. Zonder dat het per se iets bijdraagt aan de wereld of ons innerlijk leven.

Mijn favoriete filosofische romanschrijver en favoriete Fransman, Albert Camus (1913–1960), schreef dat we Sisyphus als een gelukkig mens moeten beschouwen. Want de ware vrijheid zit niet in het steen duwen, maar in wat je er zelf van maakt.

Dat wat we doen mag dan zinloos zijn op de schaal van het universum, je kunt altijd nog een eigen wereldje creëren dat wel de moeite waard is.

Weet je wat ik denk?

Ik denk dat als het leven goed gaat, het niet eens voelt als elke dag een steen de berg oprollen.

De repeterende taken onthouden we niet eens. We doen ze gewoon. Tandenpoetsen, pannetje op het vuur, je moeder een appje sturen.
Net zoals we op werk geen vragen stellen over wiens leven nou precies beter wordt van het aantal toetsaanslagen dat jij dagelijks op je toetsenbord maakt en het aantal mailtjes dat je per dag beantwoordt.

Het is juist bij tegenslag of bij een periode van sleur dat het leven een rotsblok wordt. Juist dan vallen die repeterende dingen ons op en die beginnen zwaar aan onze ziel te trekken.

En voor je het weet worden de gedachten zeer donker.

Wat heeft het eigenlijk voor zin om mijn tuin te onderhouden, als ik over vijf jaar hier niet meer woon en dan andere mensen hier komen wonen, die al deze schoonheid eruit graven en er tegels voor in de plaats leggen?

Waarom ga ik toch zo fel in tegen mijn collega over dit project? Het gaat nergens over. Waarom doe ik dan alsof dit me raakt?

Maar, niet getreurd. Ik denk oprecht dat juist in de repeterende taken het pad naar verlichting ligt bij tegenslag.

Ja. Dat denk ik echt. En nee. Ik ben geen boeddhist.

Juist als alle zuurstof je ontnomen is, blijf goed voor jezelf zorgen.

Bij de dood, liefdesverdriet, kanker, miskraam, reorganisatie, gebroken vriendschap, najaarsdip, ruzie met je ouders. Juist dan moeten we die steen elke dag weer de berg op blijven duwen.

• Blijf op tijd opstaan.
• Blijf ontbijten.
• Houd de was bij.
• Blijf appjes beantwoorden.

Het wordt een levenslijn in de chaos van gevoelens en gebrek aan zingeving.

Het is een taak, hoe zinloos ook, die structuur geeft. We hoeven er niet te veel bij na te denken. Het sleept ons de dag door.

Juist als het leven even als een sleur aanvoelt, moet je nog meer de praktische kanten ervan blijven uitvoeren.

Juist als je geen zin hebt om het toilet schoon te maken, moet je die gele handschoenen aantrekken en bleekmiddel erin mieteren en ‘woehaa’ roepen als je de onderrand aan het borstelen bent (of ben ik de enige die dit doet?).

Juist als je geen zin hebt om te sporten, moet je die kont van je in een trainingsbroek stoppen en even laten zien wie het hardst kan zweten van allemaal.

Dat gevoel dat daarna komt, als je het dan toch gedaan hebt. Dat is het begin van het herstel. Dat je nog steeds in staat bent om fijne gevoelens te forceren. Ook al is dat gevoel maar even.

Je hebt het toch maar weer gedaan.

Liefs,

tomson

In Summary: * Not my favorite Wednesday: this. I did handle a variety of chores, and handled them rather well, actually. But could have done them better if I'd been in top form. Or anywhere near top form. Oh well, some days are better than others. This just happened to be one of the “others.” Tomorrow may be better.

Prayers, etc.: *I have a daily prayer regimen I try to follow throughout the day from early morning, as soon as I roll out of bed, until head hits pillow at night. Details of that regimen are linked to my link tree, which is linked to my profile page here.

Health Metrics: * bw= 221 lbs. * bp= 123/75 (67)

Exercise: * morning stretches, balance exercises, kegel pelvic floor exercises, half squats, calf raises, wall push-ups

Diet: * 06:10 – toast and butter * 07:40 – crispy oatmeal cookies * 14:00 – fried chicken, white bread, crispy oatmeal cookies

Activities, Chores, etc.: * 05:00 – listen to local news talk radio * 06:20 – bank accounts activity monitored * 06:50 – read, pray, follow news reports from various sources, surf the socials, nap * 07:10 – begin prep for doctor's appointment * 11:30 – go to Doctor's office for regular check up * 15:45 – tune in the The Jack Riccardi Show * 17:40 – listening to The Joe Pags Show * 20:00 – Browsing “Amelia” themed memes on YouTube. Definitely a high point of my day. :)

Chess: * 17:20 – moved in all pending CC games

In November 2025, Grammy-winning artist Victoria Monet sat for an interview with Vanity Fair and confronted something unprecedented in her fifteen-year career. Not a rival artist. Not a legal dispute over songwriting credits. Instead, she faced an algorithmic apparition: an AI-generated persona called Xania Monet, whose name, appearance, and vocal style bore an uncanny resemblance to her own. “It's hard to comprehend that, within a prompt, my name was not used for this artist to capitalise on,” Monet told the magazine. “I don't support that. I don't think that's fair.”

The emergence of Xania Monet, who secured a $3 million deal with Hallwood Media and became the first AI artist to debut on a Billboard radio chart, represents far more than a curiosity of technological progress. It exposes fundamental inadequacies in how intellectual property law conceives of artistic identity, and it reveals the emergence of business models specifically designed to exploit zones of legal ambiguity around voice, style, and likeness. The question is no longer whether AI can approximate human creativity. The question is what happens when that approximation becomes indistinguishable enough to extract commercial value from an artist's foundational assets while maintaining plausible deniability about having done so.

The controversy arrives at a moment when the music industry is already grappling with existential questions about AI. Major record labels have filed landmark lawsuits against AI music platforms. European courts have issued rulings that challenge the foundations of how AI companies operate. Congress is debating legislation that would create the first federal right of publicity in American history. And streaming platforms face mounting evidence that AI-generated content is flooding their catalogues, diluting the royalty pool that sustains human artists. Xania Monet sits at the intersection of all these forces, a test case for whether our existing frameworks can protect artistic identity in an age of sophisticated machine learning.

The Anatomy of Approximation

Victoria Monet's concern centres on something that existing copyright law struggles to address: the space between direct copying and inspired derivation. Copyright protects specific expressions of ideas, not the ideas themselves. It cannot protect a vocal timbre, a stylistic approach to melody, or the ineffable quality that makes an artist recognisable across their catalogue. You can copyright a particular song, but you cannot copyright the essence of how Victoria Monet sounds.

This legal gap has always existed, but it mattered less when imitation required human effort and inevitably produced human variation. A singer influenced by Monet would naturally develop their own interpretations, their own quirks, their own identity over time. But generative AI systems can analyse thousands of hours of an artist's work and produce outputs that capture stylistic fingerprints with unprecedented fidelity. The approximation can be close enough to trigger audience recognition without being close enough to constitute legal infringement.

The technical process behind this approximation involves training neural networks on vast corpora of existing music. These systems learn to recognise patterns across multiple dimensions simultaneously: harmonic progressions, rhythmic structures, timbral characteristics, production techniques, and vocal stylings. The resulting model does not store copies of the training data in any conventional sense. Instead, it encodes statistical relationships that allow it to generate new outputs exhibiting similar characteristics. This architecture creates a genuine conceptual challenge for intellectual property frameworks designed around the notion of copying specific works.

Xania Monet exemplifies this phenomenon. The vocals and instrumental music released under her name are created using Suno, the AI music generation platform. The lyrics come from Mississippi poet and designer Telisha Jones, who serves as the creative force behind the virtual persona. But the sonic character, the R&B vocal stylings, the melodic sensibilities that drew comparisons to Victoria Monet, emerge from an AI system trained on vast quantities of existing music. In an interview with Gayle King, Jones defended her creative role, describing Xania Monet as “an extension of myself” and framing AI as simply “a tool, an instrument” to be utilised.

Victoria Monet described a telling experiment: a friend typed the prompt “Victoria Monet making tacos” into ChatGPT's image generator, and the system produced visuals that looked uncannily similar to Xania Monet's promotional imagery. Whether this reflects direct training on Victoria Monet's work or the emergence of stylistic patterns from broader R&B training data, the practical effect remains the same. An artist's distinctive identity becomes raw material for generating commercial competitors.

The precedent for this kind of AI-mediated imitation emerged dramatically in April 2023, when a song called “Heart on My Sleeve” appeared on streaming platforms. Created by an anonymous producer using the pseudonym Ghostwriter977, the track featured AI-generated vocals designed to sound like Drake and the Weeknd. Neither artist had any involvement in its creation. Universal Music Group quickly filed takedown notices citing copyright violation, but the song had already gone viral, demonstrating how convincingly AI could approximate celebrity vocal identities. Ghostwriter later revealed that the actual composition was entirely human-created, with only the vocal filters being AI-generated. The Recording Academy initially considered the track for Grammy eligibility before determining that the AI voice modelling made it ineligible.

The Training Data Black Box

At the heart of these concerns lies a fundamental opacity: the companies building generative AI systems have largely refused to disclose what training data their models consumed. This deliberate obscurity creates a structural advantage. When provenance cannot be verified, liability becomes nearly impossible to establish. When the creative lineage of an AI output remains hidden, artists cannot prove that their work contributed to the system producing outputs that compete with them.

The major record labels, Universal Music Group, Sony Music Entertainment, and Warner Music Group, recognised this threat early. In June 2024, they filed landmark lawsuits against Suno and Udio, the two leading AI music generation platforms, accusing them of “willful copyright infringement at an almost unimaginable scale.” The Recording Industry Association of America alleged that Udio's system had produced outputs with striking similarities to specific protected recordings, including songs by Michael Jackson, the Beach Boys, ABBA, and Mariah Carey. The lawsuits sought damages of up to $150,000 per infringed recording, potentially amounting to hundreds of millions of dollars.

Suno's defence hinged on a revealing argument. CEO Mikey Shulman acknowledged that the company trains on copyrighted music, stating, “We train our models on medium- and high-quality music we can find on the open internet. Much of the open internet indeed contains copyrighted materials.” But he argued this constitutes fair use, comparing it to “a kid writing their own rock songs after listening to the genre.” In subsequent legal filings, Suno claimed that none of the millions of tracks generated on its platform “contain anything like a sample” of existing recordings.

This argument attempts to draw a bright line between the training process and the outputs it produces. Even if the model learned from copyrighted works, Suno contends, the music it generates represents entirely new creations. The analogy to human learning, however, obscures a crucial difference: when humans learn from existing music, they cannot perfectly replicate the statistical patterns of that music's acoustic characteristics. AI systems can. And the scale differs by orders of magnitude. A human musician might absorb influences from hundreds or thousands of songs over a lifetime. An AI system can process millions of tracks and encode their patterns with mathematical precision.

The United States Copyright Office weighed in on this debate with a 108-page report published in May 2025, concluding that using copyrighted materials to train AI models may constitute prima facie infringement and warning that transformative arguments are not inherently valid. Where AI-generated outputs demonstrate substantial similarity to training data inputs, the report suggested, the model weights themselves may infringe reproduction and derivative work rights. The report also noted that the transformative use doctrine was never intended to permit wholesale appropriation of creative works for commercial AI development.

Separately, the Copyright Office had addressed the question of AI authorship. In a January 2025 decision, the office stated that AI-generated work can receive copyright protection “when and if it embodies meaningful human authorship.” This creates an interesting dynamic: the outputs of AI music generation may be copyrightable by the humans who shaped them, even as the training process that made those outputs possible may itself constitute infringement of others' copyrights.

The Personality Protection Gap

The Xania Monet controversy illuminates why copyright law alone cannot protect artists in the age of generative AI. Even if the major label lawsuits succeed in establishing that AI companies must license training data, this would not necessarily protect individual artists from having their identities approximated.

Consider what Victoria Monet actually lost in this situation. The AI persona did not copy any specific song she recorded. It did not sample her vocals. What it captured, or appeared to capture, was something more fundamental: the quality of her artistic presence, the characteristics that make audiences recognise her work. This touches on what legal scholars call the right of publicity, the right to control commercial use of one's name, image, and likeness.

But here the legal landscape becomes fragmented and inadequate. In the United States, there is no federal right of publicity law. Protection varies dramatically by state, with around 30 states providing statutory rights and others relying on common law protections. All 50 states recognise some form of common law rights against unauthorised use of a person's name, image, or likeness, but the scope and enforceability of these protections differ substantially across jurisdictions.

Tennessee's ELVIS Act, which took effect on 1 July 2024, became the first state legislation specifically designed to protect musicians from unauthorised AI replication of their voices. Named in tribute to Elvis Presley, whose estate had litigated to control his posthumous image rights, the law explicitly includes voice as protected property, defining it to encompass both actual voice and AI-generated simulations. The legislation passed unanimously in both chambers of the Tennessee legislature, with 93 ayes in the House and 30 in the Senate, reflecting bipartisan recognition of the threat AI poses to the state's music industry.

Notably, the ELVIS Act contains provisions targeting not just those who create deepfakes without authorisation but also the providers of the systems used to create them. The law allows lawsuits against any person who “makes available an algorithm, software, tool, or other technology, service, or device” whose “primary purpose or function” is creating unauthorised voice recordings. This represents a significant expansion of liability that could potentially reach AI platform developers themselves.

California followed with its own protective measures. In September 2024, Governor Gavin Newsom signed AB 2602, which requires contracts specifying the use of AI-generated digital replicas of a performer's voice or likeness to include specific consent and professional representation during negotiations. The law defines a “digital replica” as a “computer-generated, highly realistic electronic representation that is readily identifiable as the voice or visual likeness of an individual.” AB 1836 prohibits creating or distributing digital replicas of deceased personalities without permission from their estates, extending these protections beyond the performer's lifetime.

Yet these state-level protections remain geographically limited and inconsistently applied. An AI artist created using platforms based outside these jurisdictions, distributed through global streaming services, and promoted through international digital channels exists in a regulatory grey zone. The Copyright Office's July 2024 report on digital replicas concluded there was an urgent need for federal right of publicity legislation protecting all people from unauthorised use of their likeness and voice, noting that the current patchwork of state laws creates “gaps and inconsistencies” that are “far too inconsistent to remedy generative AI commercial appropriation.”

The NO FAKES Act, first introduced in Congress in July 2024 by a bipartisan group of senators including Chris Coons, Marsha Blackburn, Amy Klobuchar, and Thom Tillis, represents the most comprehensive attempt to address this gap at the federal level. The legislation would establish the first federal right of publicity in the United States, providing a national standard to protect creators' likenesses from unauthorised use while allowing control over digital personas for 70 years after death. The reintroduction in April 2025 gained support from an unusual coalition including major record labels, SAG-AFTRA, Google, and OpenAI. Country music artist Randy Travis, whose voice was digitally recreated using AI after a stroke left him unable to sing, appeared at the legislation's relaunch.

But even comprehensive right of publicity protection faces a fundamental challenge: proving that a particular AI persona was specifically created to exploit another artist's identity. Xania Monet's creators have not acknowledged any intention to capitalise on Victoria Monet's identity. The similarity in names could be coincidental. The stylistic resemblances could emerge organically from training on R&B music generally. Without transparency about training data composition, artists face the impossible task of proving a negative.

The Business Logic of Ambiguity

What makes the Xania Monet case particularly significant is what it reveals about emerging business models in AI music. This is not an accidental byproduct of technological progress. It represents a deliberate commercial strategy that exploits the gap between what AI can approximate and what law can protect.

Hallwood Media, the company that signed Xania Monet to her $3 million deal, is led by Neil Jacobson, formerly president of Geffen Records. Hallwood operates as a multi-faceted music company servicing talent through recording, management, publishing, distribution, and merchandising divisions. The company had already invested in Suno and, in July 2025, signed imoliver, described as the top-streaming “music designer” on Suno, in what was billed as the first traditional label signing of an AI music creator. Jacobson positioned these moves as embracing innovation, stating that imoliver “represents the future of our medium. He's a music designer who stands at the intersection of craftwork and taste.”

The distinction between imoliver and Xania Monet is worth noting. Hallwood describes imoliver as a real human creator who uses AI tools, whereas Xania Monet is presented as a virtual artist persona. But in both cases, the commercial model extracts value from AI's ability to generate music at scale with reduced human labour costs.

The economics are straightforward. An AI artist requires no rest, no touring support, no advance payments against future royalties, no management of interpersonal conflicts or creative disagreements. Victoria Monet herself articulated this asymmetry: “It definitely puts creators in a dangerous spot because our time is more finite. We have to rest at night. So, the eight hours, nine hours that we're resting, an AI artist could potentially still be running, studying, and creating songs like a machine.”

Xania Monet's commercial success demonstrates the model's viability. Her song “How Was I Supposed to Know” reached number one on R&B Digital Song Sales and number three on R&B/Hip-Hop Digital Song Sales. Her catalogue accumulated 9.8 million on-demand streams in the United States, with 5.4 million coming in a single tracking week. She became the first AI artist to debut on a Billboard radio chart, entering the Adult R&B Airplay chart at number 30. Her song “Let Go, Let God” debuted at number 21 on Hot Gospel Songs.

For investors and labels, this represents an opportunity to capture streaming revenue without many of the costs associated with human artists. For human artists, it represents an existential threat: the possibility that their own stylistic innovations could be extracted, aggregated, and turned against them in the form of competitors who never tire, never renegotiate contracts, and never demand creative control. The music industry has long relied on finding and developing talent, but AI offers a shortcut that could fundamentally alter how value is created and distributed.

The Industry Response and Its Limits

Human artists have pushed back against AI music with remarkable consistency across genres and career levels. Kehlani took to TikTok to express her frustration about Xania Monet's deal, stating, “There is an AI R&B artist who just signed a multi-million-dollar deal, and has a Top 5 R&B album, and the person is doing none of the work.” She declared that “nothing and no one on Earth will ever be able to justify AI to me.”

SZA expressed environmental and ethical concerns, posting on Instagram that AI technology causes “harm” to marginalised neighbourhoods and asking fans not to create AI images or songs using her likeness. Baby Tate criticised Xania Monet's creator for lacking creativity and authenticity in her music process. Muni Long questioned why AI artists appeared to be gaining acceptance in R&B specifically, asking, “It wouldn't be allowed to happen in country or pop.” She also noted that Xania Monet's Apple Music biography listed her, Keyshia Cole, and K. Michelle as references, adding, “I'm not happy about it at all. Zero percent.”

Beyonce reportedly expressed fear after hearing an AI version of her own voice, highlighting how even artists at the highest commercial tier feel vulnerable to this technology.

This criticism highlights an uncomfortable pattern: the AI music entities gaining commercial traction have disproportionately drawn comparisons to Black R&B artists. Whether this reflects biases in training data composition, market targeting decisions, or coincidental emergence, the effect raises questions about which artistic communities bear the greatest risks from AI appropriation. The history of American popular music includes numerous examples of Black musical innovations being appropriated by white artists and industry figures. AI potentially automates and accelerates this dynamic.

The creator behind Xania Monet has not remained silent. In December 2025, the AI artist released a track titled “Say My Name With Respect,” which directly addressed critics including Kehlani. While the song does not mention Kehlani by name, the accompanying video displayed screenshots of her previous statements about AI alongside comments from other detractors.

The major labels' lawsuits against Suno and Udio remain ongoing, though Universal Music Group announced in 2025 that it had settled with Udio and struck a licensing deal, following similar action by Warner Music Group. These settlements suggest that large rights holders may secure compensation and control over how their catalogues are used in AI training. But individual artists, particularly those not signed to major labels, may find themselves excluded from whatever protections these arrangements provide.

The European Precedent

While American litigation proceeds through discovery and motions, Europe has produced the first major judicial ruling holding an AI developer liable for copyright infringement related to training. On 11 November 2025, the Munich Regional Court ruled largely in favour of GEMA, the German collecting society representing songwriters, in its lawsuit against OpenAI.

The case centred on nine songs whose lyrics ChatGPT could reproduce almost verbatim in response to simple user prompts. The songs at issue included well-known German tracks such as “Atemlos” and “Wie schon, dass du geboren bist.” The court accepted GEMA's argument that training data becomes embedded in model weights and remains retrievable, a phenomenon researchers call “memorisation.” Even a 15-word passage was sufficient to establish infringement, the court found, because such specific text would not realistically be generated from scratch.

Crucially, the court rejected OpenAI's attempt to benefit from text and data mining exceptions applicable to non-profit research. OpenAI argued that while some of its legal entities pursue commercial objectives, the parent company was founded as a non-profit. Presiding Judge Dr Elke Schwager dismissed this argument, stating that to qualify for research exemptions, OpenAI would need to prove it reinvests 100 percent of profits in research and development or operates with a governmentally recognised public interest mandate.

The ruling ordered OpenAI to cease storing unlicensed German lyrics on infrastructure in Germany, provide information about the scope of use and related revenues, and pay damages. The court also ordered that the judgment be published in a local newspaper. Finding that OpenAI had acted with at minimum negligence, the court denied the company a grace period for making the necessary changes. OpenAI announced plans to appeal, and the judgment may ultimately reach the Court of Justice of the European Union. But as the first major European decision holding an AI developer liable for training on protected works, it establishes a significant precedent.

GEMA is pursuing parallel action against Suno in another lawsuit, with a hearing expected before the Munich Regional Court in January 2026. If European courts continue to reject fair use-style arguments for AI training, companies may face a choice between licensing music rights or blocking access from EU jurisdictions entirely.

The Royalty Dilution Problem

Beyond the question of training data rights lies another structural threat to human artists: the dilution of streaming royalties by AI-generated content flooding platforms. Streaming services operate on pro-rata payment models where subscription revenue enters a shared pool divided according to total streams. When more content enters the system, the per-stream value for all creators decreases.

In April 2025, streaming platform Deezer estimated that 18 percent of content uploaded daily, approximately 20,000 tracks, is AI-generated. This influx of low-cost content competes for the same finite pool of listener attention and royalty payments that sustains human artists. In 2024, Spotify alone paid out $10 billion to the music industry, with independent artists and labels collectively generating more than $5 billion from the platform. But this revenue gets divided among an ever-expanding universe of content, much of it now machine-generated.

The problem extends beyond legitimate AI music releases to outright fraud. In a notable case, musician Michael Smith allegedly extracted more than $10 million in royalty payments by uploading hundreds of thousands of AI-generated songs and using bots to artificially inflate play counts. According to fraud detection firm Beatdapp, streaming fraud removes approximately $1 billion annually from the royalty pool.

A global study commissioned by CISAC, the international confederation representing over 5 million creators, projected that while generative AI providers will experience dramatic revenue growth, music creators will see approximately 24 percent of their revenues at risk of loss by 2028. Audiovisual creators face a similar 21 percent risk. This represents a fundamental redistribution of value from human creators to technology platforms, enabled by the same legal ambiguities that allow AI personas to approximate existing artists without liability.

The market for AI in music is expanding rapidly. Global AI in music was valued at $2.9 billion in 2024, with projections suggesting growth to $38.7 billion by 2033 at a compound annual growth rate of 25.8 percent. Musicians are increasingly adopting the technology, with approximately 60 percent utilising AI tools in their projects and 36.8 percent of producers integrating AI into their workflows. But this adoption occurs in the context of profound uncertainty about how AI integration will affect long-term career viability.

The Question of Disclosure

Victoria Monet proposed a simple reform that might partially address these concerns: requiring clear labelling of AI-generated music, similar to how food products must disclose their ingredients. “I think AI music, as it is released, needs to be disclosed more,” she told Vanity Fair. “Like on food, we have labels for organic and artificial so that we can make an informed decision about what we consume.”

This transparency principle has gained traction among legislators. In April 2024, California Representative Adam Schiff introduced the Generative AI Copyright Disclosure Act, which would require AI firms to notify the Copyright Office of copyrighted works used in training at least 30 days before publicly releasing a model. Though the bill did not become law, it reflected growing consensus that the opacity of training data represents a policy problem requiring regulatory intervention.

The music industry's lobbying priorities have coalesced around three demands: permission, payment, and transparency. Rights holders want AI companies to seek permission before training on copyrighted music. They want to be paid for such use through licensing deals. And they want transparency about what data sets models actually use, without which the first two demands cannot be verified or enforced.

But disclosure requirements face practical challenges. How does one audit training data composition at scale? How does one verify that an AI system was not trained on particular artists when the systems themselves may not retain explicit records of their training data? The technical architecture of neural networks does not readily reveal which inputs influenced which outputs. Proving that Victoria Monet's recordings contributed to Xania Monet's stylistic character may be technically impossible even with full disclosure of training sets.

Redefining Artistic Value

Perhaps the most profound question raised by AI music personas is not legal but cultural: what do we value about human artistic creation, and can those values survive technological displacement?

Human music carries meanings that transcend sonic characteristics. When Victoria Monet won three Grammy Awards in 2024, including Best New Artist after fifteen years of working primarily as a songwriter for other performers, that recognition reflected not just the quality of her album Jaguar II but her personal journey, her persistence through years when labels declined to spotlight her, her evolution from writing hits for Ariana Grande to commanding her own audience. “This award was a 15-year pursuit,” she said during her acceptance speech. Her work with Ariana Grande had already earned her three Grammy nominations in 2019, including for Album of the Year for Thank U, Next, but her own artistic identity had taken longer to establish. These biographical dimensions inform how listeners relate to her work.

An AI persona has no such biography. Xania Monet cannot discuss the personal experiences that shaped her lyrics because those lyrics emerge from prompts written by Telisha Jones and processed through algorithmic systems. The emotional resonance of human music often derives from audiences knowing that another human experienced something and chose to express it musically. Can AI-generated music provide equivalent emotional value, or does it offer only a simulation of feeling, convincing enough to capture streams but hollow at its core?

The market appears agnostic on this question, at least in the aggregate. Xania Monet's streaming numbers suggest that significant audiences either do not know or do not care that her music is AI-generated. This consumer indifference may represent the greatest long-term threat to human artists: not that AI music will be legally prohibited, but that it will become commercially indistinguishable from human music in ways that erode the premium audiences currently place on human creativity.

Navigating Forward Without a Map

The emergence of AI personas that approximate existing artists reveals that our legal and cultural frameworks for artistic identity were built for a world that no longer exists. Copyright law assumed that copying required access to specific works and that derivation would be obvious. Right of publicity law assumed that commercial exploitation of identity would involve clearly identifiable appropriation. The economics of music assumed that creating quality content would always require human labour that commands payment.

Each of these assumptions has been destabilised by generative AI systems that can extract stylistic essences without copying specific works, create virtual identities that approximate real artists without explicit acknowledgment, and produce unlimited content at marginal costs approaching zero.

The solutions being proposed represent necessary but insufficient responses. Federal right of publicity legislation, mandatory training data disclosure, international copyright treaty updates, and licensing frameworks for AI training may constrain the most egregious forms of exploitation while leaving the fundamental dynamic intact: AI systems can transform human creativity into training data, extract commercially valuable patterns, and generate outputs that compete with human artists in ways that existing law struggles to address.

Victoria Monet's experience with Xania Monet may become the template for a new category of artistic grievance: the sense of being approximated, of having one's creative identity absorbed into a system and reconstituted as competition. Whether law and culture can evolve quickly enough to protect against this form of extraction remains uncertain. What is certain is that the question can no longer be avoided. The ghost has emerged from the machine, and it wears a familiar face.

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References and Sources

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2. TheGrio. “Victoria Monet sounds the alarm on Xania Monet: 'I don't support that. I don't think that's fair.'” https://thegrio.com/2025/11/18/victoria-monet-reacts-to-xania-monet/

3. Billboard. “AI Music Artist Xania Monet Signs Multimillion-Dollar Record Deal.” https://www.billboard.com/pro/ai-music-artist-xania-monet-multimillion-dollar-record-deal/

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5. Music Ally. “Hallwood Media sees chart success with AI artist Xania Monet.” https://musically.com/2025/09/18/hallwood-media-sees-chart-success-with-ai-artist-xania-monet/

6. RIAA. “Record Companies Bring Landmark Cases for Responsible AI Against Suno and Udio.” https://www.riaa.com/record-companies-bring-landmark-cases-for-responsible-ai-againstsuno-and-udio-in-boston-and-new-york-federal-courts-respectively/

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13. ASCAP. “ELVIS Act Signed Into Law in Tennessee To Protect Music Creators from AI Impersonation.” https://www.ascap.com/news-events/articles/2024/03/elvis-act-tn

14. California Governor's Office. “Governor Newsom signs bills to protect digital likeness of performers.” https://www.gov.ca.gov/2024/09/17/governor-newsom-signs-bills-to-protect-digital-likeness-of-performers/

15. Manatt, Phelps & Phillips. “California Enacts a Suite of New AI and Digital Replica Laws.” https://www.manatt.com/insights/newsletters/client-alert/california-enacts-a-host-of-new-ai-and-digital-rep

16. Congress.gov. “NO FAKES Act of 2025.” https://www.congress.gov/bill/119th-congress/house-bill/2794/text

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18. Hollywood Reporter. “Hallwood Media Signs Record Deal With an 'AI Music Designer.'” https://www.hollywoodreporter.com/music/music-industry-news/hallwood-inks-record-deal-ai-music-designer-imoliver-1236328964/

19. Billboard. “Hallwood Signs 'AI Music Designer' imoliver to Record Deal, a First for the Music Business.” https://www.billboard.com/pro/ai-music-creator-imoliver-record-deal-hallwood/

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21. Billboard. “Kehlani Slams AI Artist Xania Monet Over $3 Million Record Deal Offer.” https://www.billboard.com/music/music-news/kehlani-slams-ai-artist-xania-monet-million-record-deal-1236071158/

22. Rap-Up. “Baby Tate & Muni Long Push Back Against AI Artist Xania Monet.” https://www.rap-up.com/article/baby-tate-muni-long-xania-monet-ai-artist-backlash

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27. WIPO Magazine. “How AI-generated songs are fueling the rise of streaming farms.” https://www.wipo.int/en/web/wipo-magazine/articles/how-ai-generated-songs-are-fueling-the-rise-of-streaming-farms-74310

28. Grammy.com. “2024 GRAMMYs: Victoria Monet Wins The GRAMMY For Best New Artist.” https://www.grammy.com/news/2024-grammys-victoria-monet-best-new-artist-win

29. Billboard. “Victoria Monet Wins Best New Artist at 2024 Grammys: 'This Award Was a 15-Year Pursuit.'” https://www.billboard.com/music/awards/victoria-monet-grammy-2024-best-new-artist-1235598716/

30. Harvard Law School. “AI created a song mimicking the work of Drake and The Weeknd. What does that mean for copyright law?” https://hls.harvard.edu/today/ai-created-a-song-mimicking-the-work-of-drake-and-the-weeknd-what-does-that-mean-for-copyright-law/

31. Variety. “AI-Generated Fake 'Drake'/'Weeknd' Collaboration, 'Heart on My Sleeve,' Delights Fans and Sets Off Industry Alarm Bells.” https://variety.com/2023/music/news/fake-ai-generated-drake-weeknd-collaboration-heart-on-my-sleeve-1235585451/

32. ArtSmart. “AI in Music Industry Statistics 2025: Market Growth & Trends.” https://artsmart.ai/blog/ai-in-music-industry-statistics/

33. Rimon Law. “U.S. Copyright Office Will Accept AI-Generated Work for Registration When and if It Embodies Meaningful Human Authorship.” https://www.rimonlaw.com/u-s-copyright-office-will-accept-ai-generated-work-for-registration-when-and-if-it-embodies-meaningful-human-authorship/

34. Billboard. “AI Artist Xania Monet Fires Back at Kehlani & AI Critics on Prickly 'Say My Name With Respect' Single.” https://www.billboard.com/music/rb-hip-hop/xania-monet-kehlani-ai-artist-say-my-name-with-respect-1236142321/

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Tim Green UK-based Systems Theorist & Independent Technology Writer

Tim explores the intersections of artificial intelligence, decentralised cognition, and posthuman ethics. His work, published at smarterarticles.co.uk, challenges dominant narratives of technological progress while proposing interdisciplinary frameworks for collective intelligence and digital stewardship.

His writing has been featured on Ground News and shared by independent researchers across both academic and technological communities.

ORCID: 0009-0002-0156-9795 Email: tim@smarterarticles.co.uk

2 January 2026

Spent significant time with Uccello's Battle of San Romano (1438-40) at the National Gallery today, was transfixed by it. I remember reading about it in the Guston book I Paint What I Want to See, particularly the bit where he highlights how lovely it is to reconcile the depiction with the sensation. That is, for example, how the physics of the piece are in service of the sensation of the piece, not the other way around. I think he says something specifically about the mass of horse legs on the left of the painting, how it's kind of impossible to parse them, but that parsing them is beside the point. For me, the spatial exploration was the thing. It is restless in its asking of spatial questions. Any given element of the piece represents a problem probed to the artist's limit—the foregrounded knight lying facedown is the glaring one, but the lances throughout create a logic and a wireframe structure for the entire thing to play off of (that also extends beyond the work—the lances rocket the eye out of the frame over and over). And the color was wonderful. Apparently it has faded quite a bit over time (greens have turned black, vermilion has turned blue-grey, flesh has turned green, etc.), but to my eyes that just made the luminous bits (oranges, whites, pinks, blues) pop even more. And the last thing I want to mention here is the emotion of it. Bizarrely (but satisfyingly) neutral. A leeching of Uccello's personality in service of the formal issues he was working out. Which gives the whole thing a frozen air, like a scene paused and analyzed under a microscope.

31 December 2025

Worth noting that the last couple of days in the studio have been a slog. Felt strained, way too attached to particular outcomes to drop into any good painting flow. But I took today to fill the well and I think it was the medicine I needed. Tightening the grip, (a stubborn approach to discipline, trying to force my way into noticing/documenting/research), never results in good work or affords me deep focus. So I spent the day in the city exercising, walking, watching, listening, and then went home to cook. Revisited Jesse's 2022 interview with Daniel Arnold for his Apology podcast and Daniel mentioned how his ideal state for creating is to “function as a ghost,” that it's important for him that his work comes from a place where it is incidental/unconscious. Was nice to hear him explain how he has trained the muscle of trust in his non-analytical brain over time, hadn't really heard it put that exact way before. I think that's a crucial point, that switching between the survivalist, concrete idea oriented, logical, decision-making brain and the unthinking, flowing, relaxed, unknown-embracing creative brain is a skill in itself.

There is something deeply unsettling and deeply comforting about Mark chapter four, depending on how tightly we are holding onto control when we read it. This chapter does not reward hustle culture. It does not flatter our obsession with visibility, numbers, or instant results. It does not cater to our need to be validated quickly or to see immediate evidence that what we are doing matters. Instead, Mark four pulls us into a slower, quieter, more mysterious way of understanding how God works in the world and in us. It speaks to people who are tired of trying to force growth, tired of explaining themselves, tired of wondering why obedience does not always produce applause. It speaks to those who are sowing something they believe God gave them, even though the ground looks indifferent and the sky offers no guarantees.

Jesus begins this chapter the same way He often does when He is about to say something that will divide listeners into two groups: those who hear with curiosity and those who hear with surrender. He teaches by the sea, crowds pressing so close that He has to step into a boat, creating distance not because He wants to be inaccessible, but because sometimes clarity requires space. From that boat, He begins to speak in parables, and the first is the one many of us think we already understand: the parable of the sower. Yet familiarity is often the enemy of depth. We hear this parable so often that we forget how confrontational it actually is. Jesus is not explaining why some people fail and others succeed. He is revealing how little control we truly have over reception, timing, and outcome, even when the seed itself is perfect.

The Sower scatters seed generously, almost recklessly. There is no careful placement, no strategic targeting of only the most promising soil. The seed falls everywhere: on the path, on rocky ground, among thorns, and on good soil. This alone should disrupt some of our assumptions. The Sower does not discriminate based on likelihood of success. He does not withhold seed until conditions improve. He does not pause the mission because rejection is possible. He sows because sowing is what he was sent to do. That alone carries weight for anyone who has been tempted to stop speaking, stop serving, stop creating, stop loving, or stop believing because previous attempts did not yield visible fruit.

When Jesus later explains the parable privately to His disciples, He makes something very clear: the seed is the Word. The variable is not the message, but the heart that receives it. Some hearts are hardened paths where the Word never penetrates. Some are shallow, receiving with joy but lacking depth, falling away as soon as pressure arrives. Some are crowded with thorns, where worry, wealth, and desire choke what was once alive. And some are good soil, producing fruit in varying measures. What is often missed is that even good soil does not produce uniformly. Some yield thirtyfold, some sixty, some a hundred. Jesus does not rank these outcomes. He does not shame the thirtyfold harvest for not being more. He simply acknowledges that fruitfulness looks different, even when the soil is healthy.

This matters more than we realize. Many people abandon faith not because they reject Jesus, but because they secretly believe that if God were truly working, their results would look different by now. They compare their lives to others and assume that visible abundance equals divine approval. Mark four quietly dismantles that idea. Fruitfulness is real, but it is not standardized. Obedience is the calling; outcomes belong to God. When we internalize this, it changes how we view our own lives and the lives of others. It frees us from comparison. It frees us from the illusion that we are responsible for controlling reception. It invites us to be faithful sowers rather than anxious managers of outcomes.

Jesus then says something that sounds simple but carries enormous weight: a lamp is not brought to be hidden, but to be put on a stand. Light exists to be seen. Truth is meant to illuminate. Yet He immediately follows this with a warning that feels almost paradoxical: pay attention to what you hear, because the measure you use will be measured to you. In other words, revelation is not just about exposure; it is about responsibility. What we do with the light we receive determines whether more light is given. This is not punishment; it is relational logic. If we treat truth casually, it does not deepen. If we receive it with humility and obedience, it expands.

There is a quiet spiritual law embedded here that many people experience without ever naming. Some wonder why Scripture feels dry, why prayer feels hollow, why sermons no longer move them. Often it is not because God has withdrawn, but because truth was once received and never acted upon. Light that is ignored does not stay bright. Jesus is not threatening; He is describing reality. Attention matters. Posture matters. What we do with what we hear shapes what we are able to hear next.

Then comes one of the most underrated and quietly radical parables in all of Scripture: the parable of the growing seed. Jesus describes a man who scatters seed on the ground and then goes about his life. He sleeps. He wakes. Days pass. And all the while, the seed grows, though he does not know how. The earth produces by itself. First the blade, then the ear, then the full grain. Only when the harvest is ready does the man act again.

This parable should unsettle anyone who equates faithfulness with constant activity. The man is not micromanaging the soil. He is not digging up the seed to check progress. He is not panicking because growth is invisible. He trusts the process because the process was designed by God. The Kingdom of God, Jesus says, is like this. Growth is real, but it is often hidden. Progress is happening, but it rarely announces itself. Much of God’s work happens beneath the surface, beyond our awareness, outside our control.

This speaks directly to those seasons where obedience feels boring, prayer feels repetitive, and faith feels unremarkable. It speaks to the long stretches where nothing dramatic happens, where there are no testimonies to post and no milestones to celebrate. Jesus is telling us that these seasons are not empty. They are formative. The soil is doing what soil does. The seed is responding to conditions we cannot see. And our role is not to force the outcome, but to remain faithful to the assignment.

There is something profoundly freeing about accepting that we do not need to understand how growth happens in order for it to happen. We live in a culture that demands explanations, systems, formulas, and guarantees. We want to know how long it will take, what steps will ensure success, and what indicators prove we are on the right track. Mark four offers none of that. It offers trust. It offers patience. It offers the reassurance that God’s work is not stalled just because it is quiet.

Jesus then turns to the smallest of images to describe the scope of God’s Kingdom: a mustard seed. It is tiny, almost insignificant, easily overlooked. Yet when it grows, it becomes larger than all the garden plants, offering shelter to the birds of the air. This is not an image of dominance or spectacle. It is an image of disproportion. Something small becomes something expansive. Something humble becomes something hospitable. Something planted quietly becomes something that others find refuge in.

This matters because many people disqualify themselves from meaningful participation in God’s work because what they have to offer feels too small. A conversation. A prayer. A habit of faithfulness. A decision to keep going when quitting would be easier. Mark four insists that the Kingdom advances not primarily through impressive beginnings, but through faithful planting. The seed does not look like the tree. The beginning does not resemble the end. And that is by design.

What is striking is how Mark frames all of this teaching. He repeatedly notes that Jesus spoke to the crowds in parables, but explained everything privately to His disciples. This is not favoritism; it is intimacy. Those who stayed close received clarity. Those who lingered only at a distance received mystery. This pattern still holds. Proximity shapes understanding. The more we linger with Jesus, the more layers of meaning begin to unfold. The parables are not riddles meant to exclude; they are invitations meant to draw us nearer.

By the time we reach the latter part of the chapter, the teaching gives way to lived experience. Jesus and His disciples set out across the sea, and a violent storm arises. Waves crash into the boat. Water fills the vessel. And Jesus sleeps. The One who calms storms is resting in the middle of one. The disciples, terrified, wake Him with an accusation disguised as a question: do You not care that we are perishing?

This moment reveals how quickly fear can distort theology. The presence of danger leads them to question His concern. Yet His presence in the boat had not changed. The storm did not signal abandonment. When Jesus awakens, He rebukes the wind and the sea, and there is immediate calm. Then He turns to the disciples and asks a question that cuts deeper than the storm itself: why are you so afraid? Have you still no faith?

This question lingers. It is not a rebuke of emotion; it is a challenge to trust. The disciples had seen His authority in teaching and healing, but storms have a way of revealing what we truly believe about God’s nearness. Mark four ends not with comfort, but with awe. The disciples are more afraid after the calm than during the storm, asking one another who this is, that even wind and sea obey Him.

This is where the chapter leaves us suspended, not with tidy conclusions, but with a deeper invitation. The same Jesus who sows seed generously, who trusts unseen growth, who honors small beginnings, is also present in the storm, even when He appears silent. The Kingdom grows quietly, but it is not fragile. Faith does not eliminate storms, but it anchors us within them. And understanding does not always precede obedience; sometimes it follows.

Mark chapter four is not a chapter about doing more. It is a chapter about trusting deeper. It calls us to sow faithfully, to receive attentively, to wait patiently, and to trust fully. It invites us to release our grip on outcomes and to rest in the assurance that God is at work even when we cannot see it.

And yet, this is only part of what this chapter is pressing into us. Because beneath these parables and moments lies a deeper question about how we measure success, how we endure hidden seasons, and how we respond when God’s timing does not match our expectations. That is where the second half of this reflection will take us, into the quieter places where faith matures not through spectacle, but through surrender.

There is a temptation, especially for those who have been walking with God for a long time, to turn faith into a performance measured by outcomes. We rarely say this out loud, but we live as though visible results are the proof that God is pleased, that we are doing it right, that our obedience has been validated. Mark chapter four quietly dismantles that framework. It invites us into a way of seeing where faithfulness matters more than speed, depth matters more than display, and trust matters more than control. If part one of this chapter unsettles our assumptions about growth, part two confronts how we respond when growth is slow, storms are loud, and God appears silent.

One of the most revealing dynamics in Mark four is not just what Jesus teaches, but how the disciples respond to His teaching and His presence. They are close enough to ask questions privately, yet still confused. They are near enough to be in the boat with Him, yet still overwhelmed by fear. This tension is important because it dismantles the myth that proximity to Jesus automatically produces unshakable faith. Faith is not a switch that flips the moment we decide to follow Him. It is something that forms over time, often under pressure, often in moments where what we believe is tested against what we feel.

When Jesus explains the parables privately, He emphasizes something that many overlook: to those who have, more will be given. To those who do not, even what they have will be taken away. This is not about intelligence or spiritual elitism. It is about responsiveness. Truth grows where it is welcomed and acted upon. Understanding deepens where obedience follows revelation. But when truth is treated as information rather than transformation, it stagnates. This explains why two people can hear the same teaching, read the same Scripture, sit in the same church, and walk away with entirely different trajectories. One leans in. The other moves on unchanged.

This has implications for how we approach Scripture, prayer, and spiritual formation. Mark four quietly teaches us that spiritual growth is cumulative. It builds layer upon layer, season upon season. Small acts of obedience create space for greater understanding. Neglect creates erosion, not always immediately, but inevitably. This is not a message of fear; it is a call to attentiveness. Faith grows best where we take God seriously, even in small things.

The parable of the growing seed returns here as a kind of anchor for the chapter’s deeper rhythm. Jesus intentionally removes human effort from the center of the growth process. The man scatters seed and then waits. He does not orchestrate the growth. He does not control the timeline. He does not even fully understand the mechanics. He trusts that the earth, designed by God, will do what it was created to do. This is deeply countercultural. We live in a world that celebrates constant optimization, productivity, and visibility. Mark four reminds us that some of the most important work happens while we are sleeping.

There are seasons in life where faithfulness looks unimpressive. There are stretches where obedience does not produce applause, where prayer feels repetitive, where doing the right thing feels costly and unrewarded. Mark four speaks directly to those seasons. It insists that hidden growth is still growth. That unseen progress is still progress. That the absence of visible fruit is not the absence of God’s activity. This is a word of comfort for anyone who has wondered whether their faithfulness is being wasted. According to Jesus, nothing planted in obedience is ever wasted.

The mustard seed parable reinforces this truth by shifting our expectations about scale and timing. Jesus intentionally chooses something small, almost laughable in its insignificance, to represent the Kingdom of God. He does not choose a cedar or an oak. He chooses a seed that can be lost between fingers. Yet He insists that this tiny beginning becomes something expansive enough to offer shelter. This is not about rapid expansion. It is about disproportionate impact. God specializes in outcomes that far exceed their beginnings.

This matters because many people disqualify themselves from meaningful participation in God’s work by fixating on what they lack. They believe their voice is too small, their influence too limited, their past too messy, their present too ordinary. Mark four offers a different lens. God does not wait for impressive beginnings. He works with what is offered. Faithfulness is the currency of the Kingdom, not scale. The seed does not need to be large. It needs to be planted.

Then the narrative shifts again, moving from teaching to experience. The storm at sea is not an interruption of the lesson; it is the lesson embodied. The disciples, having just heard parables about trust, growth, and the Kingdom, now face a moment where those truths must move from theory to reality. The storm is sudden and violent. The boat is filling with water. And Jesus is asleep. This detail is unsettling because it confronts one of our deepest fears: that God might be indifferent to our distress.

The disciples’ question reveals the rawness of their fear. They do not ask for help calmly. They accuse. Do You not care that we are perishing? Fear often distorts our perception of God’s character. It convinces us that silence equals absence, that delay equals indifference, that hardship equals abandonment. Mark four does not sanitize this moment. It allows us to see the disciples as they are: afraid, overwhelmed, and confused, even in the presence of Jesus.

When Jesus calms the storm, He does so with authority, speaking to creation as One who stands above it. The calm is immediate. But what follows is even more revealing. Jesus does not congratulate them for surviving. He asks them why they were afraid. He questions their faith, not because they felt fear, but because fear had eclipsed trust. This is not condemnation. It is formation. Jesus is shaping their understanding of who He is and what His presence means.

The disciples’ response is telling. They are filled with great fear, asking who this is that even wind and sea obey Him. The storm reveals not just Jesus’ power, but their incomplete understanding of Him. Mark four ends with awe rather than resolution. The question lingers. Who is this? This is intentional. Mark is not rushing us to answers. He is inviting us to sit with the mystery.

This is where Mark four presses deepest into our lives. It forces us to confront how we respond when God’s work does not match our expectations. Do we trust growth we cannot see? Do we remain faithful when results are slow? Do we believe God is present even when He appears silent? Do we measure success by obedience or by outcome? These questions do not have quick answers. They require reflection, honesty, and humility.

Mark four reshapes how we understand faith itself. Faith is not certainty about outcomes. It is trust in God’s character. Faith is not the absence of storms. It is confidence in who is in the boat. Faith is not constant visibility. It is commitment during hidden seasons. Jesus does not promise immediate clarity or easy growth. He promises presence, purpose, and a Kingdom that is advancing even when it looks small.

For those who feel unseen, Mark four is a reassurance that God sees what is hidden. For those who feel stalled, it is a reminder that growth is happening beneath the surface. For those who feel overwhelmed by storms, it is a declaration that Jesus’ authority extends beyond what threatens us. And for those tempted to quit because results are slow, it is a call to remain faithful to the sowing.

There is a quiet invitation running through this entire chapter. It is an invitation to trust the process God designed rather than the outcomes we desire. To release our obsession with control. To stop digging up seeds to check progress. To believe that the Kingdom of God is not fragile, even when it starts small. To remember that Jesus is present even when He appears silent. And to rest in the assurance that obedience matters more than immediacy.

Mark four does not give us a formula. It gives us a posture. A posture of trust. A posture of patience. A posture of attentiveness. A posture of surrender. It reminds us that faith matures not through spectacle, but through consistency. Not through noise, but through depth. Not through certainty, but through trust.

In a world that demands instant proof and visible success, Mark chapter four invites us into a quieter confidence. A confidence that God is at work even while we sleep. That growth is happening even when we cannot explain it. And that the One who commands the storm is also the One who tends the soil of our hearts.

That is the quiet power of the Kingdom. And it is growing, whether we are watching or not.

Watch Douglas Vandergraph’s inspiring faith-based videos on YouTube https://www.youtube.com/@douglasvandergraph

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Your friend, Douglas Vandergraph

There is a moment in every honest life when a person realizes that the scenery may be changing, but the experience is not. The faces are different. The dates on the calendar have advanced. The surroundings look new. Yet the emotional outcome feels hauntingly familiar. The same tension returns. The same disappointment settles in. The same frustration resurfaces. And slowly, quietly, a realization dawns that is both unsettling and liberating at the same time: this is not random, and it is not meaningless. It is a lesson repeating itself, waiting to be learned.

God does not waste time, and He does not waste pain. Every season carries instruction, and every repetition carries intention. Scripture consistently reveals a God who teaches patiently, who repeats gently, and who refuses to abandon a soul simply because it has not yet understood what He is forming within it. We often assume repetition is evidence of failure, but in the economy of God, repetition is evidence of mercy. It means He has not given up. It means He is still shaping. It means the story is not finished.

One of the most misunderstood ideas in faith is the belief that spiritual growth means constant forward motion without interruption. In reality, growth often involves circling the same ground until understanding replaces impulse. God does not drag people forward against their will; He invites them to grow through awareness, obedience, and trust. When those are resisted, the environment may change, but the lesson remains.

Many people pray for change without ever examining choice. They ask God to remove them from circumstances that feel uncomfortable while continuing to make decisions that guarantee the same outcome. They pray for peace but feed anxiety. They pray for freedom while clinging to familiar chains. They pray for clarity while avoiding silence. Over time, life begins to feel like a loop, not because God is cruel, but because growth requires cooperation.

The Bible never presents God as impatient with human learning. It presents Him as deliberate. From Genesis to Revelation, God teaches through process. He allows tension to reveal truth. He allows repetition to produce humility. He allows waiting to strengthen trust. Spiritual maturity is not rushed; it is refined.

The wilderness journey of Israel remains one of the clearest illustrations of this truth. What should have been a brief transition became a prolonged season not because the destination changed, but because the people refused to change internally. God provided food, protection, guidance, and promise. What He would not do was override their fear or force their faith. Each time a moment required trust, the people chose nostalgia for what was known instead of confidence in what was promised. And so the wilderness remained.

The lesson was not geography. It was identity. God was teaching them who they were, not merely where they were going. Until they understood that they were no longer slaves, they could not live as free people. Until fear loosened its grip, progress could not continue. The pattern repeated because the heart remained unchanged.

This same dynamic plays out quietly in modern lives. A person may leave one situation only to recreate it in another place. They may end one relationship only to find themselves in the same emotional position again. They may escape one job, one church, one season, one conflict, only to encounter the same internal struggle in a new form. The surroundings change, but the pattern persists, because the lesson has not yet taken root.

God does not end patterns by accident. He ends them through understanding.

Understanding requires humility. It requires honesty. It requires the courage to ask a question that many avoid: what is God trying to teach me here?

That question shifts responsibility without removing grace. It does not accuse; it awakens. It moves the soul from victimhood into participation. It acknowledges that while circumstances may not be chosen, responses always are.

This is where faith becomes deeply practical. Faith is not only believing that God exists or that He can intervene. Faith is trusting God enough to adjust behavior, thinking, and posture in response to His instruction. Faith listens. Faith reflects. Faith obeys.

Scripture speaks plainly about this when it teaches that transformation occurs through the renewing of the mind. Change begins internally before it ever manifests externally. A renewed mind responds differently. It pauses where it once reacted. It forgives where it once defended. It listens where it once rushed. It trusts where it once panicked.

Patterns repeat because reactions remain the same.

Growth begins when reactions change.

This moment of change is rarely dramatic. It is rarely visible to others. It often looks like a quiet decision made in the middle of a familiar trigger. A moment when anger rises but is not indulged. A moment when fear appears but does not dictate action. A moment when temptation presents itself but loses authority. These moments feel small, but they are decisive. They are the hinge points on which entire seasons turn.

Jesus spoke about this principle when He taught about foundations. Two houses may look identical from the outside. Both may face storms. Both may endure pressure. The difference is not the presence of difficulty but the depth of the foundation. One collapses; the other stands. Patterns expose foundations. Repetition reveals where life has been built.

If fear has been the foundation, fear will continue to shape outcomes. If pride has been the foundation, pride will continue to isolate. If insecurity has been the foundation, insecurity will continue to sabotage peace. God allows repetition not to shame the builder, but to invite reconstruction.

Rebuilding is sacred work. It requires slowing down enough to notice what keeps collapsing. It requires honesty about why certain choices feel natural even when they are destructive. It requires faith that something better is possible, even if it feels unfamiliar.

The human tendency is to equate familiarity with safety. The soul often prefers known pain to unknown promise. This is why cycles persist. Breaking a pattern requires stepping into uncertainty with trust instead of control. It requires believing that obedience will lead somewhere good even if the path feels unclear.

Scripture consistently affirms that God provides a way of escape from every temptation. This does not mean temptation disappears. It means an alternative response always exists. The loop always has an exit. The question is whether the exit will be taken.

Exits are often quiet. They do not announce themselves. They appear in moments of choice, when the old reaction is available, but a new one is possible. Taking the exit feels uncomfortable because it requires doing something unfamiliar. But unfamiliarity is often the birthplace of growth.

Peter’s story reflects this truth powerfully. His failure was not singular; it was patterned. He often spoke impulsively. He often relied on confidence rather than dependence. When pressure intensified, fear exposed the weakness beneath bravado. His denial of Jesus was not an isolated event; it was the culmination of unaddressed tendencies.

Yet after the resurrection, Jesus did not condemn Peter. He did not rehearse the failure. He repeated the question that mattered most. Love, not shame, became the instrument of restoration. The repetition was not punitive; it was redemptive. Jesus replaced an old pattern with a new one by inviting Peter to respond differently.

That invitation stands for every believer. God does not merely want to rescue people from consequences; He wants to reshape the choices that lead to them. He wants maturity, not just relief. He wants depth, not just deliverance.

Growth ends cycles. Immaturity repeats them.

Maturity does not mean perfection. It means awareness. It means humility. It means responsiveness to correction. It means choosing differently not because it feels easy, but because it aligns with truth.

As long as lessons are avoided, patterns remain. When lessons are embraced, repetition ends. God promotes those who learn, not because they have earned favor, but because they are prepared to steward what comes next.

Many people ask why progress feels delayed. Often the answer is not found in circumstances, but in readiness. God does not advance what would collapse under its own weight. He strengthens first. He refines first. He teaches first.

The repetition is not a curse. It is an invitation.

And when the lesson is finally learned, something shifts quietly but permanently. The same triggers no longer control reactions. The same situations no longer produce the same outcomes. The soul responds with wisdom instead of impulse. Peace replaces panic. Faith replaces familiarity.

This is how growth begins.

When a lesson is finally learned, it rarely announces itself with noise or spectacle. There is no trumpet blast to mark the moment. No external confirmation that says, “You passed.” Instead, the evidence appears quietly in how you respond the next time life presses the same nerve. The same situation arises, but something inside you is different. The old impulse still whispers, but it no longer commands. The familiar reaction presents itself, but it is no longer automatic. In that moment, without fanfare, the loop breaks.

This is how God ends patterns. Not by removing choice, but by reshaping desire.

One of the deepest misunderstandings in faith is believing that God changes us by force. He does not. He invites. He teaches. He waits. He allows us to experience the outcome of our decisions until wisdom replaces impulse. Grace does not eliminate consequence; it redeems it. Grace does not erase responsibility; it empowers transformation.

Many people assume that once they understand a lesson intellectually, the pattern should disappear. But spiritual learning is not merely cognitive. It is embodied. Truth becomes real only when it is lived. A person may know what Scripture says and still repeat destructive cycles because knowledge has not yet matured into obedience. God is patient with this process, but He is also intentional. He will continue teaching until truth is practiced, not just understood.

This is why Scripture emphasizes endurance so strongly. Endurance is not passive suffering; it is active faithfulness over time. It is choosing rightly even when the old way still feels easier. It is trusting God enough to resist what once defined you. Endurance builds maturity, and maturity breaks cycles.

Every repeated pattern carries a question beneath it. Sometimes the question is about trust. Sometimes it is about surrender. Sometimes it is about identity. God often repeats situations because He is addressing something foundational, not surface-level. He is shaping who you are, not merely what you do.

Many cycles persist because people confuse conviction with condemnation. Conviction invites growth; condemnation paralyzes it. When God exposes a pattern, it is never to shame the soul, but to free it. He reveals what binds so it can be released. He brings light not to accuse, but to heal.

The moment a person stops asking, “Why does this keep happening to me?” and begins asking, “What is God teaching me through this?” everything changes. That shift moves the heart from resistance to cooperation. It transforms pain into purpose. It turns repetition into refinement.

Growth often requires grieving old versions of yourself. Familiar patterns feel like identity because they have been lived so long. Letting them go can feel like loss, even when they were harmful. God understands this grief. He does not rush it. He walks with you through it. But He does not allow grief to become an excuse for stagnation.

Scripture makes it clear that God does new things, but new things require new posture. Old wineskins cannot hold new wine. Old thinking cannot sustain new calling. Old reactions cannot support new peace. God prepares the vessel before pouring the blessing. That preparation often looks like repetition until readiness replaces resistance.

This is why breakthroughs often feel anticlimactic when they finally arrive. The miracle is not always external. Sometimes the miracle is restraint. Sometimes it is clarity. Sometimes it is peace in a situation that once caused chaos. These quiet miracles are evidence that growth has taken root.

When patterns end, progress begins. But progress does not always mean ease. It means alignment. It means life moves forward without dragging old wounds behind it. It means choices are no longer dictated by fear, insecurity, or habit, but by wisdom and faith.

God promotes people who can carry what comes next. Promotion is not always visible. Sometimes it is internal stability. Sometimes it is emotional maturity. Sometimes it is spiritual depth. These promotions matter more than external advancement because they sustain everything else.

The patterns that once defined you do not have to follow you forever. They were never meant to. They existed to teach, not to imprison. Once the lesson is learned, God releases the repetition. He does not revisit what has already done its work.

This is why some seasons end suddenly after years of stagnation. Nothing external changed. The person did. The choice shifted. The response matured. And what once returned again and again no longer found a foothold.

Make different choices. Get different results.

Not because effort increased, but because understanding deepened. Not because circumstances changed, but because alignment did. Not because God moved closer, but because the heart finally listened.

Every loop has an exit. Every lesson has a purpose. Every pattern ends when growth begins.

And growth begins the moment you trust God enough to choose differently.

Watch Douglas Vandergraph’s inspiring faith-based videos on YouTube https://www.youtube.com/@douglasvandergraph

Support the ministry by buying Douglas a coffee https://www.buymeacoffee.com/douglasvandergraph

Your friend, Douglas Vandergraph

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