Nga: Ilir Muharremi<\/p>\n
Reflektim mbi kriz\u00ebn e autorit dhe nevoj\u00ebn e z\u00ebrit njer\u00ebzor n\u00eb epok\u00ebn e inteligjenc\u00ebs artificiale.<\/p>\n
N\u00eb pamje t\u00eb par\u00eb, ardhja e inteligjenc\u00ebs artificiale duket se e ka relativizuar rolin e shkrimtarit. Sot nj\u00eb program mund t\u00eb nd\u00ebrtoj\u00eb poezi, tregime, ese dhe madje edhe romane me nj\u00eb shpejt\u00ebsi q\u00eb njeriu nuk e arrin dot. Ai mund t\u00eb imitoj\u00eb stile, t\u00eb prodhoj\u00eb metafora, t\u00eb nd\u00ebrtoj\u00eb dialog\u00eb dhe t\u00eb krijoj\u00eb tekste q\u00eb, n\u00eb sip\u00ebrfaqe, duken t\u00eb plota dhe t\u00eb rrjedhshme. Kjo ka shtyr\u00eb shum\u00eb njer\u00ebz t\u00eb mendojn\u00eb se let\u00ebrsia tashm\u00eb mund t\u00eb prodhohet pa nevoj\u00ebn e autorit si qenie krijuese. Por nj\u00eb mendim i till\u00eb, sado bind\u00ebs n\u00eb fillim, prek vet\u00ebm shtres\u00ebn e jashtme t\u00eb let\u00ebrsis\u00eb, jo thelbin e saj. Sepse let\u00ebrsia nuk \u00ebsht\u00eb vet\u00ebm art i kombinimit t\u00eb fjal\u00ebve. Let\u00ebrsia \u00ebsht\u00eb m\u00ebnyr\u00eb e t\u00eb qenit n\u00eb bot\u00eb. Ajo lind nga p\u00ebrvoja e brendshme e njeriut, nga nd\u00ebrgjegjja e tij e plagosur, nga kujtesa, nga humbja, nga d\u00ebshira p\u00ebr t\u00eb kuptuar ekzistenc\u00ebn dhe p\u00ebr ta b\u00ebr\u00eb at\u00eb t\u00eb komunikueshme. Shkrimtari nuk \u00ebsht\u00eb thjesht nj\u00eb prodhues tekstesh, ai \u00ebsht\u00eb d\u00ebshmitar i koh\u00ebs s\u00eb vet, p\u00ebrkthyes i nj\u00eb drame t\u00eb brendshme dhe njeri q\u00eb e transformon jet\u00ebn n\u00eb gjuh\u00eb. Aty q\u00ebndron dallimi themelor mes nj\u00eb teksti t\u00eb krijuar dhe nj\u00eb teksti t\u00eb jetuar.
\nInteligjenca artificiale mund t\u00eb simuloj\u00eb p\u00ebrvoj\u00ebn, por nuk mund ta p\u00ebrjetoj\u00eb at\u00eb. Mund t\u00eb shkruaj\u00eb p\u00ebr dhimbjen, por nuk e di \u00e7far\u00eb \u00ebsht\u00eb dhimbja. Mund t\u00eb flas\u00eb p\u00ebr dashurin\u00eb, por nuk e ka provuar kurr\u00eb humbjen e saj. Mund t\u00eb p\u00ebrshkruaj\u00eb vetmin\u00eb, por nuk \u00ebsht\u00eb vetmuar asnj\u00ebher\u00eb. Kjo nuk \u00ebsht\u00eb nj\u00eb mang\u00ebsi teknike, \u00ebsht\u00eb kufiri ontologjik i saj. Ajo nuk \u00ebsht\u00eb qenie q\u00eb jeton, por sistem q\u00eb p\u00ebrpunon modele. N\u00eb k\u00ebt\u00eb kuptim, ajo mund t\u00eb jet\u00eb brilante n\u00eb imitimin e form\u00ebs, por nuk ka burimin ekzistencial prej t\u00eb cilit lind dometh\u00ebnia. Pik\u00ebrisht k\u00ebtu fillon kriza e autorit n\u00eb epok\u00ebn e inteligjenc\u00ebs artificiale. Nuk \u00ebsht\u00eb fjala vet\u00ebm p\u00ebr at\u00eb n\u00ebse makina shkruan m\u00eb mir\u00eb apo m\u00eb shpejt. Pyetja m\u00eb e thell\u00eb \u00ebsht\u00eb: \u00e7far\u00eb e b\u00ebn nj\u00eb tekst let\u00ebrsi dhe jo vet\u00ebm informacion t\u00eb organizuar bukur? P\u00ebrgjigjja nuk gjendet te strukturat gramatikore, as te eleganca formale, por te prania e nj\u00eb vet\u00ebdijeje njer\u00ebzore q\u00eb e ka kaluar tekstin n\u00ebp\u00ebr filtrin e p\u00ebrvoj\u00ebs. Nj\u00eb poezi mund t\u00eb jet\u00eb e sakt\u00eb, por e zbraz\u00ebt, nj\u00eb tregim mund t\u00eb jet\u00eb teknikisht i p\u00ebrsosur, por pa frym\u00eb; nj\u00eb roman mund t\u00eb jet\u00eb i rregullt, por pa ekzistenc\u00eb. Lexuesi e ndien k\u00ebt\u00eb boshll\u00ebk edhe kur nuk e formulon dot me fjal\u00eb.
\nLet\u00ebrsia e madhe nuk na prek vet\u00ebm sepse \u00ebsht\u00eb bukur e shkruar, por sepse na v\u00eb p\u00ebrball\u00eb nj\u00eb z\u00ebri q\u00eb rrezikon di\u00e7ka t\u00eb v\u00ebrtet\u00eb. Ajo nuk na jep thjesht nj\u00eb histori, por nj\u00eb m\u00ebnyr\u00eb p\u00ebr ta kuptuar jet\u00ebn, nj\u00eb horizont t\u00eb ri ndjeshm\u00ebrie. Kur lexojm\u00eb veprat e m\u00ebdha, ne nuk admirojm\u00eb vet\u00ebm mjesht\u00ebrin\u00eb e autorit; ne ndiejm\u00eb se dikush ka par\u00eb thell\u00eb n\u00eb gjendjen njer\u00ebzore dhe ka arritur ta artikuloj\u00eb at\u00eb q\u00eb shum\u00eb t\u00eb tjer\u00eb e kan\u00eb ndier, por nuk e kan\u00eb shqiptuar dot. Kjo \u00ebsht\u00eb arsyeja pse let\u00ebrsia mbetet thell\u00ebsisht njer\u00ebzore: ajo nuk prodhon vet\u00ebm k\u00ebnaq\u00ebsi estetike, por njohje t\u00eb vetes.N\u00eb k\u00ebt\u00eb drit\u00eb, inteligjenca artificiale paraqet nj\u00eb paradoks. Nga nj\u00ebra an\u00eb, ajo \u00ebsht\u00eb mjeti m\u00eb i avancuar q\u00eb njeriu ka krijuar p\u00ebr t\u00eb punuar me gjuh\u00ebn. Nga ana tjet\u00ebr, ajo e ekspozon m\u00eb qart\u00eb sesa kurr\u00eb kufirin midis gjuh\u00ebs dhe jet\u00ebs. Ajo mund ta shnd\u00ebrroj\u00eb gjuh\u00ebn n\u00eb nj\u00eb sistem jasht\u00ebzakonisht efikas, por nuk mund t\u2019i jap\u00eb gjuh\u00ebs r\u00ebndes\u00ebn e p\u00ebrvoj\u00ebs. Dhe let\u00ebrsia pa p\u00ebrvoj\u00eb b\u00ebhet vet\u00ebm stil. Mund t\u00eb jet\u00eb stil i mir\u00eb, por nuk \u00ebsht\u00eb ende art i madh. Prandaj, problemi nuk \u00ebsht\u00eb se inteligjenca artificiale po e shkat\u00ebrron let\u00ebrsin\u00eb. Problemi \u00ebsht\u00eb m\u00eb i nd\u00ebrlikuar, ajo po na detyron t\u00eb pyesim \u00e7far\u00eb vlere ka ende z\u00ebri njer\u00ebzor n\u00eb nj\u00eb bot\u00eb ku fjal\u00ebt mund t\u00eb prodhohen pa subjekt, pa vuajtje dhe pa kujtim. Kjo pyetje \u00ebsht\u00eb e r\u00ebnd\u00ebsishme sepse moderniteti shpesh e ka rrezikuar autorin duke e kthyer tekstin n\u00eb produkt, nd\u00ebrsa inteligjenca artificiale e \u00e7on k\u00ebt\u00eb prirje n\u00eb kufirin e saj ekstrem. N\u00ebse gjith\u00e7ka mund t\u00eb prodhohet shpejt, at\u00ebher\u00eb ngadal\u00ebsia e mendimit, dyshimi krijues dhe heshtja e brendshme e shkrimtarit mund t\u00eb duken t\u00eb panevojshme. Por pik\u00ebrisht k\u00ebto elemente jan\u00eb thelbi i krijimtaris\u00eb s\u00eb v\u00ebrtet\u00eb.
\nShkrimtari shkruan jo sepse nuk ka alternativ\u00eb tjet\u00ebr, por sepse shkrimi \u00ebsht\u00eb form\u00eb e ekzistenc\u00ebs s\u00eb tij. Ai shkruan p\u00ebr t\u00eb kuptuar at\u00eb q\u00eb nuk mund ta jetoj\u00eb ndryshe, p\u00ebr ta p\u00ebrballur kaosin e brendsh\u00ebm, p\u00ebr t\u00eb ruajtur kujtes\u00ebn dhe p\u00ebr ta kthyer p\u00ebrvoj\u00ebn personale n\u00eb kuptim universal. Nj\u00eb tekst i shkruar mir\u00eb nuk \u00ebsht\u00eb vet\u00ebm rezultat i teknik\u00ebs, ai \u00ebsht\u00eb gjurm\u00eb e nj\u00eb lufte t\u00eb brendshme. N\u00eb \u00e7do fjali t\u00eb madhe ka nj\u00eb p\u00ebrballje me kufirin, me munges\u00ebn, me heshtjen. Dhe kjo p\u00ebrballje nuk mund t\u00eb simulohet plot\u00ebsisht nga nj\u00eb sistem q\u00eb nuk ka brend\u00ebsi.
\nN\u00eb fakt, ajo q\u00eb e b\u00ebn shkrimtarin t\u00eb domosdosh\u00ebm n\u00eb k\u00ebt\u00eb epok\u00eb \u00ebsht\u00eb pik\u00ebrisht ajo q\u00eb AI nuk mund ta ket\u00eb: vet\u00ebdija se jeta \u00ebsht\u00eb e pakthyeshme. Njeriu shkruan duke e ditur se koha kalon, se trupi dob\u00ebsohet, se dashuria humbet, se kujtesa zbehet dhe se vdekja e pret n\u00eb fund. Ky tension ekzistencial i jep pesh\u00eb \u00e7do fjale. Fjal\u00ebt nuk jan\u00eb m\u00eb vet\u00ebm mjete komunikimi; ato b\u00ebhen p\u00ebrpjekje p\u00ebr t\u00eb l\u00ebn\u00eb shenj\u00eb kund\u00ebr zhdukjes. Shkrimtari shkruan sepse e di se gjith\u00e7ka zhduket, dhe pik\u00ebrisht p\u00ebr k\u00ebt\u00eb k\u00ebrkon t\u00eb shp\u00ebtoj\u00eb di\u00e7ka n\u00eb gjuh\u00eb. Kjo \u00ebsht\u00eb nj\u00eb nga arsyet m\u00eb t\u00eb thella pse let\u00ebrsia nuk mund t\u00eb reduktohet n\u00eb algorit\u00ebm. Sigurisht, inteligjenca artificiale nuk duhet par\u00eb vet\u00ebm si k\u00ebrc\u00ebnim. Ajo mund t\u00eb jet\u00eb nj\u00eb mjet i fuqish\u00ebm ndihm\u00ebs, nj\u00eb laborator p\u00ebr ide, nj\u00eb hap\u00ebsir\u00eb p\u00ebr eksperimentim dhe nj\u00eb m\u00ebnyr\u00eb p\u00ebr ta zgjeruar pun\u00ebn krijuese. Por edhe at\u00ebher\u00eb ajo mbetet instrument, jo burim. Ajo mund t\u00eb ndihmoj\u00eb autorin t\u00eb form\u00ebsoj\u00eb nj\u00eb tekst, por nuk mund t\u00eb marr\u00eb vendimin ekzistencial p\u00ebr ta th\u00ebn\u00eb at\u00eb. Ajo mund t\u00eb ofroj\u00eb materiale, por jo dometh\u00ebnie. Ajo mund t\u00eb jap\u00eb form\u00eb, por jo ndjesi. Dhe let\u00ebrsia e madhe lind pik\u00ebrisht aty ku forma dhe ndjesia takohen n\u00eb nj\u00eb vet\u00ebdije t\u00eb gjall\u00eb.
\nPrandaj, n\u00eb vend q\u00eb t\u00eb pyesim n\u00ebse shkrimtari ka marr\u00eb fund, m\u00eb e men\u00e7ur \u00ebsht\u00eb t\u00eb pyesim si ndryshon statusi i tij n\u00eb nj\u00eb epok\u00eb ku gjuha \u00ebsht\u00eb b\u00ebr\u00eb e automatizueshme. Ndoshta shkrimtari i s\u00eb ardhmes nuk do t\u00eb jet\u00eb vet\u00ebm ai q\u00eb shkruan, por ai q\u00eb dallon t\u00eb v\u00ebrtet\u00ebn nga imitimi, thell\u00ebsin\u00eb nga sip\u00ebrfaqja, p\u00ebrvoj\u00ebn nga simulimi. N\u00eb nj\u00eb bot\u00eb ku tekstet mund t\u00eb prodhohen pafund, do t\u00eb b\u00ebhet edhe m\u00eb e \u00e7muar aft\u00ebsia p\u00ebr t\u00eb shkruar di\u00e7ka q\u00eb ka nerv, kujtim dhe rrezik njer\u00ebzor. Sepse kur \u00e7do gj\u00eb mund t\u00eb thuhet nga nj\u00eb makin\u00eb, b\u00ebhet edhe m\u00eb e r\u00ebnd\u00ebsishme t\u00eb d\u00ebgjohet z\u00ebri q\u00eb e ka jetuar at\u00eb q\u00eb thot\u00eb.
\nN\u00eb fund, let\u00ebrsia nuk do t\u00eb vdes\u00eb nga inteligjenca artificiale. Ajo do t\u00eb vihet p\u00ebrball\u00eb nj\u00eb prove m\u00eb t\u00eb madhe: t\u00eb tregoj\u00eb pse njeriu ende ka nevoj\u00eb t\u00eb shkruaj\u00eb kur shkrimi mund t\u00eb kryhet nga nj\u00eb makin\u00eb. Dhe p\u00ebrgjigjja, me gjas\u00eb, \u00ebsht\u00eb kjo, sepse njeriu nuk shkruan vet\u00ebm p\u00ebr t\u00eb prodhuar tekst, por p\u00ebr t\u00eb mbetur i pranish\u00ebm n\u00eb bot\u00eb. Ai shkruan p\u00ebr t\u00eb mos u humbur krejt\u00ebsisht n\u00eb harres\u00eb. Ai shkruan p\u00ebr t\u00eb kthyer jet\u00ebn n\u00eb kuptim. Dhe p\u00ebr sa koh\u00eb q\u00eb ekziston kjo nevoj\u00eb, shkrimtari nuk b\u00ebhet i panevojsh\u00ebm; p\u00ebrkundrazi, ai b\u00ebhet edhe m\u00eb i r\u00ebnd\u00ebsish\u00ebm.<\/p>\n","protected":false},"excerpt":{"rendered":"
Nga: Ilir Muharremi Reflektim mbi kriz\u00ebn e autorit dhe nevoj\u00ebn e z\u00ebrit njer\u00ebzor n\u00eb epok\u00ebn…<\/p>\n","protected":false},"author":1,"featured_media":7016,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-25176","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-op-ed"],"_links":{"self":[{"href":"https:\/\/faktiditor.ch\/index.php?rest_route=\/wp\/v2\/posts\/25176","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/faktiditor.ch\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/faktiditor.ch\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/faktiditor.ch\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/faktiditor.ch\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=25176"}],"version-history":[{"count":1,"href":"https:\/\/faktiditor.ch\/index.php?rest_route=\/wp\/v2\/posts\/25176\/revisions"}],"predecessor-version":[{"id":25179,"href":"https:\/\/faktiditor.ch\/index.php?rest_route=\/wp\/v2\/posts\/25176\/revisions\/25179"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/faktiditor.ch\/index.php?rest_route=\/wp\/v2\/media\/7016"}],"wp:attachment":[{"href":"https:\/\/faktiditor.ch\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=25176"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/faktiditor.ch\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=25176"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/faktiditor.ch\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=25176"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}