Ten Demons

Industrial Designer & AI Creative Director, that's how I roll. If I liked your tweet it means I think you have a nice dick.

[Ten Demons @Ten_Demons]

we, checa este CD que quemé con canciones que encontré en un post de 4chan.
https://t.co/cUvxZC5PAb

[Ten Demons @Ten_Demons]

@sanchezu_san Mixquic mentioned!

Buen trabajo mano, por favor continúa :)

[Ten Demons @Ten_Demons]

@shishanyu @Milenio

[Ten Demons @Ten_Demons]

@alexutopia @ericweinstein Should we stay in a permanent state of unknowing? How does beginning to understand look like?
How can we be sure that “there is no such a thing”?

[Ten Demons @Ten_Demons]

@Mykespace2025 Dude, this slaps! Nice work!

[Ten Demons @Ten_Demons]

@XMihura Los expertos en imposición moral de corporativos. Takes one to know one

[Ten Demons @Ten_Demons]

I love this, is like asking an Autist person to do something just to find out your instructions were not clear and thinking you might be an idiot.

[Programmer Humor @PR0GRAMMERHUM0R]

continueFromHereClaude

[Ten Demons @Ten_Demons]

@toothybj This goes with love to @DrBeaVillarroel <3 we love you!

[Ten Demons @Ten_Demons]

@AlanDaitch La inteligencia es algo que no es inherente a los humanos.

Podemos replicar la inteligencia si la vemos aplicada por un ser que sabe aplicar la inteligencia en algo que queremos entender.

Hay que ser humildes para entender la inteligencia.

Yo solo sé que no se nada.

[Ten Demons @Ten_Demons]

@silvercorp Buena esa! Yo vendo análisis y los researchers que los escriben andan muy resistentes a la IA, así como algunos Devs.

Producir ejemplos de cómo se ve la IA usada para hacer el heavy lifting me parece que le ayuda al equipo a reconsiderar sus complejos de productividad.

[Ten Demons @Ten_Demons]

@ymuchosmemes https://t.co/HXHdDFoEKd

Me recuerda al anime del wey que tiene una rosticeria en Tulyehualco

[Ten Demons @Ten_Demons]

@jesscausesprobs @RedPandaKoala Wow, amazing work! Loving it

[👁️Ragmothy👁️ @Ragmothy]

It sure is something

[Brian Roemmele @BrianRoemmele]

The Ghost in the Machine: How Player Pianos Sparked Protests, and What They Reveal About Our AI Future

In the early 1900s, the player piano was a sensation. These self-playing instruments used perforated paper rolls fed through pneumatic mechanisms to reproduce complex piano performances automatically.

By the 1910s to mid-1920s, they outsold ordinary pianos in many markets, filling American parlors, saloons, and theaters with ragtime, marches, and classical pieces.

Great artists like Sergei Rachmaninoff and Ignace Paderewski cut rolls, preserving their interpretations for generations.

It was automation that brought “live” music into every home, without the need for lessons or live performers.

Yet this marvel triggered intense resistance. Composers and musicians saw it as an existential threat. In his fiery 1906 essay “The Menace of Mechanical Music,” bandleader and composer John Philip Sousa warned that player pianos and phonographs would “substitute machinery for the human soul.”

He predicted the death of amateur music-making: children would stop learning instruments, families would stop gathering around the piano, and music would lose its emotional depth.

Sousa testified before Congress, helping drive the 1909 Copyright Act, which created compulsory licensing so composers could earn royalties from mechanical reproductions, a landmark victory born from protest.

As “talkies” and radio displaced theater orchestras in the late 1920s, the American Federation of Musicians (AFM) launched the Music Defense League in 1930.

Funded by a tax on members, the union spent hundreds of thousands of dollars (millions in today’s dollars) on a national advertising blitz.

Dramatic newspaper ads depicted sinister robots replacing human musicians, with slogans like “Is Art to Have a Tyrant?” and warnings that “canned music” would destroy jobs and degrade culture.

The campaign targeted not just records but all mechanical music, including player pianos in public spaces.

While there were no Luddite-style riots smashing machines (player pianos were mostly expensive home devices), the opposition was fierce: boycotts, lobbying, lawsuits, and cultural shaming of anyone who chose “the robot” over living performers.

The protests did not kill the player piano. Record sales, radio, and the Great Depression did that by the early 1930s.

But the episode left a lasting legacy: new copyright rules, heightened awareness of technology’s impact on artists, and a template for how workers respond to automation.

We are living through the same story with AI and robotics. Generative models now compose music, write screenplays, generate art, and even perform.

Musicians, writers, and visual artists are protesting in eerily familiar ways: lawsuits over unlicensed training data (the modern equivalent of the player-piano royalty fight), demands for “human-made” labels, strikes by Hollywood writers and actors, and public campaigns against “AI slop.”

Fears echo Sousa’s exactly: loss of soul, authenticity, jobs, and human connection. “The robot is coming” ads of 1930 could run unchanged today, just swap “canned music” for “AI-generated content.”
History’s lesson is nuanced.

The player piano did not end music; it briefly coexisted with live performance before giving way to richer ecosystems.

Rolls by legends now serve as priceless archives.

Protests forced legal compromises that protected creators while allowing innovation. Yet real displacement happened. Thousands of theater musicians lost steady work, and the cultural shift toward passive consumption was real.

Today’s AI moment carries higher stakes: it threatens not just one profession but broad swaths of cognitive and creative labor.

Robots and AI could augment surgeons, drivers, teachers, and artists, or render many obsolete. The player-piano saga shows that raw Luddism rarely wins,

We cannot stop technological progress, The music plays on. The question is: who, or what, plays it?

[Brian Roemmele @BrianRoemmele]

The rage against the machine advertisement, 1930.

The violent revulsion to the player piano.

It started a call for regulation.

[Michael J. Miraflor @michaelmiraflor]

Getting paid to think is peak everything. If you’re getting paid well to think, don’t take it for granted. That’s 1% of civilization type stuff. Your ancestors are proud and jealous that you’ve gotten this far.

[kache @yacineMTB]

you can outsource your thinking
but you cannot outsource your understanding