Journalism is Lossy Compression

There has been much praise in human chat — Twitter — about Ted Chiang’s New Yorker piece on machine chat — ChatGPT. Because New Yorker; because Ted Chiang. He makes a clever comparison between lossy compression — how JPEGs or MP3s save a good-enough artifact of a thing, with some pieces missing and fudged to save space — and large-language models, which learn from and spit back but do not record the entire web. “Think of ChatGTP as a blurry JPEG of all the text on the Web,” he instructs. What strikes me about the piece is how unselfaware media are when covering technology. For what is journalism itself but lossy compression of the world? To save space, the journalist cannot and does not save or report everything known about an issue or event, compressing what is learned into so many available inches of type. For that matter, what is a library or a museum or a curriculum but lossy compression — that which fits? What is culture but lossy compression of creativity? As Umberto Eco said, “Now more than ever, we realize that culture is made up of what remains after everything else has been forgotten.” Chiang analogizes ChatGPT et al to a computational Xerox machine that made an error because it extrapolated one set of bits for others.  Matthew KirschenbaumAgreed. This reminds me of the sometimes rancorous debate between Elizabeth Eisenstein, credited as the founder of the discipline of book history, and her chief critic, Adrian Johns. Eisenstein valued fixity as a key attribute of print, its authority and thus its culture. “Typographical fixity,” she said, “is a basic prerequisite for the rapid advancement of learning.

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