@base . @prefix : . @prefix schema: . @prefix xsd: . @prefix rdf: . @prefix rdfs: . @prefix owl: . @prefix skos: . @prefix prov: . @prefix dct: . # ═══════════════════════════════════════════════════════════════════════════════ # The World is Changing: AI For Creativity # A long-form X (Twitter) post by Jeffrey Katzenberg — @jeffreykWNDR # Source: https://x.com/jeffreykWNDR/status/2102774995315245469 # Generated 2026-09-24 by DeepSeek V4 Pro (deepseek_v4pro) acting on behalf of # Kingsley Uyi Idehen, via kg-generator + rdf-infographic-skill. # ═══════════════════════════════════════════════════════════════════════════════ <> a schema:SocialMediaPosting ; schema:headline "The World is Changing: AI For Creativity"@en ; schema:abstract "Jeffrey Katzenberg, former chairman of Walt Disney Studios and co-founder of DreamWorks and WndrCo, argues in a long-form X post that the coming age of generative AI will be settled not by tools but by terms. Drawing on John Philip Sousa's 1906 fight over the phonograph, the arrival of sound in cinema, and Disney's own embrace of CAPS and Pixar, he distinguishes reasoning from creating and insists that the future belongs to those who build AI with storytellers, not on top of them. His central claim is that taste and imagination are uniquely human, while consent, credit, and compensation are the terms on which a creative AI future must be negotiated."@en ; schema:description "A long-form X post by Jeffrey Katzenberg on why AI for creativity is a question of terms rather than technology, reconciling Silicon Valley's reasoning engines with Hollywood's creative soul."@en ; schema:articleBody "The World is Changing: AI For Creativity. By Jeffrey Katzenberg. A few months ago, I sat in my office in Silicon Valley and watched as a tech founder showed me something extraordinary. On the screen was a fully realized, beautifully lit, well-composed animated scene. It was stunning and it made me feel exactly what I felt in 1986 watching Luxo Jr. That was the first time I watched a computer-animated 3D character take a breath and seem, against all reason, to have life. It left me in awe. Later that day, I received a text from an artist I have known for thirty years, 350 miles to the south, in the city where I spent most of my career. After seeing a similar video, she texted: Is this the end of us? My answer was, Certainly not. I have spent the better part of the last decade in Silicon Valley, but the heart of my career has been in Hollywood. Being deeply connected to both worlds means I have deep loyalties to each and a responsibility to speak honestly to both. In 2023, I said that these new AI tools would cut the time and cost of producing world-class animation by as much as ninety percent within three years. Some colleagues were alarmed, many were furious. There is growing fear and resistance surrounding AI within the creative community. I deeply understand it, because I have spent countless hours walking through animation studios watching gifted artists bent over their desks, rebuilding a single second of film for the tenth time because the ninth version was not quite right. The creative process is a calling, there is really no other way to describe it. From the outside some see resistance. From the inside, it is love. People do not fight this hard for things they do not care about. Is History Repeating Itself? The history here is more complicated than either side may realize. In 1906, the most famous composer in America, John Philip Sousa, published an essay titled The Menace of Mechanical Music. He warned that the phonograph would become a substitute for human skill, intelligence and soul. Sousa's fight was not really about the machine, it was about money. The machines were playing his compositions, and the men who built them were not paying him a cent. His campaign helped create the Copyright Act of 1909. He did not stop the technology. He changed the terms under which it could use his work. A hundred years ago, sound came to the movies. We remember it now as a miracle, and it was. What we forget is who paid for it. Before sound, tens of thousands of musicians made their living in the orchestra pits of movie houses, scoring every film live, every night, in towns all over the world. When the soundtrack arrived, the work of one composer and one orchestra was recorded for a film that went into thousands of theaters. The union fought back with everything it had, taking out newspaper ads across the country warning against the menace of canned music. They were not fools, and they were not Luddites. They were right. Those pit jobs did not come back. And yet sound gave us the movie musical, the modern score, sfx, sound design, audio engineering, and an art form vastly larger than the one it disrupted. The loss was real. And yet the art form expanded. This is a story that has been told over and over again. To resist technology is to risk irrelevance. Just look at Kodak or Blockbuster. To embrace technology is to open doors of new possibility. Just consider Apple and Netflix. What I Learned From Walt Disney. In the mid-1980s, I was tapped to lead Disney's animation division at a moment when the studio was at an inflection point. Animation was the soul of the company, a medium revered because of Walt's genius and his passion. But the production system was cumbersome and unforgiving. A single movie was 125,000 individual hand-drawn and painted cels, photographed one frame at a time. We found our way forward in an unexpected place: Walt himself. The Disney archives held astonishing recordings of Walt explaining his creative process. We heard him talk about character, about emotion, about how an audience feels when a character truly comes alive. He never defined animation by the tools. He defined it by whether the audience believed the character. His principles were timeless. The tools were not. That realization changed everything. We co-developed the Computer Animation Production System (CAPS) with a young Northern California company called Pixar, replacing hand-painted cels with CGI. In The Little Mermaid, the final scene shimmered with a dimensionality and light that the old process simply could not achieve. In Beauty and the Beast, the ballroom sequence moved with a cinematic sweep that placed the audience inside the emotion of the moment. In Aladdin, the Cave of Wonders felt vast and alive. In The Lion King, the stampede carried a scale and intensity that raised the emotional stakes beyond anything we had done before. Technology did not diminish the craft, it expanded the canvas. A decade later, when Disney released Pixar's Toy Story, it was proof that a fully computer-animated film could carry real emotional weight. At DreamWorks, we made the difficult decision to sunset hand-drawn animation and become a fully computer-animated studio. It was the right thing to do, but it was not without pain. Tools are never the point. The instruments change with every generation. What endures is taste and imagination. One of the greatest storytellers of our generation, George Lucas, captured the eternal essence of this issue: It is not the how, it is the why. A Distinction With a Difference. I asked one of the leading AI models a question that has been challenging me for months. What is the difference between reasoning and creating? Reasoning is fundamentally evaluative and analytical. It operates on what already exists: facts, premises, evidence. It moves toward a conclusion that was in a sense already implied by the input. Creating is fundamentally generative. It produces something that did not exist before. And crucially, there is no single right answer waiting to be found. A blank page has infinite valid responses. Creation involves choices that cannot be fully justified by logic alone. Taste, intuition and vision fill the gap where deduction runs out. Reasoning is what Silicon Valley has been perfecting. Creating is what Hollywood has been practicing for more than a century. AI today operates almost entirely on the reasoning side of the line. It can deduce, evaluate, optimize, and pattern-match brilliantly. And while it can create, there is a real distinction to being creative. What it does not yet have are those things that make us human: empathy, devotion, serendipity, the kind of creativity that comes from a person trying to say something only they could say. When the bot generates a piece of art, it is not trying to communicate anything. It is statistics, not soul. By contrast, human creativity is about doing something new. One day, AI may close this gap. Today, the line between reasoning and creating is real. Even the leading technologists acknowledge we are not there yet. Understanding that gap is where we will find common ground. A Path Forward. In 2016, I closed one chapter in Hollywood with the sale of DreamWorks and opened another in Northern California, co-founding WndrCo. We have backed more than 50 founders building the next generation of technology. It is worth remembering that the last great revolution in animation also came from the north. Pixar was a Northern California company, forged not in the conventions of the Hollywood studio system, but in the technological breakthroughs of Silicon Valley. Brilliant people in Northern California building this technology have made something extraordinary. But they have not made an artist. The tools are powerful, but they are not what makes a story matter. That knowledge lives 350 miles to the south, inside people whose life's work has informed the very models you are building. The right path forward includes them by design, with credit, with consent, and with compensation. Build this with the storytellers. Not on top of them. Taste is not something that can be synthesized, it is uniquely human. At the same time, Hollywood needs to accept that AI is not going away. The energy they are spending trying to make it disappear is energy they are not spending deciding the terms on which it will exist. And the terms are everything. The north needs something from it that they cannot build and cannot buy: creativity. The artists who learn to wield these new instruments will do things the engineers never dreamed of. Edison invented the motion picture but made terrible movies. It took Chaplin, Lloyd, Keaton and so many others to make movies emotional. Now, the canvas is about to expand yet again. We should decide now that we intend to paint on it. There are so many valuable lessons in history. This has happened many times before, and it was never settled by the technology. It was settled by the terms. Sousa did not stop the phonograph; he helped write the law that made sure composers got paid. And two years ago, when the writers and the actors walked out, they were fighting for the very things Sousa was fighting for in 1906. Consent, compensation, the basic recognition that human creative work has a price that must be paid. The tools-versus-no-tools argument is a trap. First, we must all agree that there should be terms. Then we can have the crucial debate about what fairness requires. What I Learned From Steve Jobs. Years ago, Steve Jobs said, It is in Apple's DNA that technology alone is not enough. It is technology married with the liberal arts, married with the humanities, that yields us the result that makes our hearts sing. He was describing a device. But he could just as easily have been describing this tale of two cities. What I See Coming Soon. As the barriers and the costs come down, more films will get made, not fewer. Studios will get to take more risks. There will be more seats at the table, and very soon entirely new forms of storytelling. In the 1980s, animation was dismissed as a niche corner of the business. Today it is one of the most beloved and profitable forms of storytelling in the world. In live action, filmmakers like Steven Spielberg, James Cameron and Peter Jackson embraced new visual tools not as shortcuts, but as instruments, and expanded cinema in the process. Every time storytelling has met a genuine technological shift, from synchronized sound to color to computer animation, it has redefined the boundaries of the medium and grown larger in the process. Assuredly, I do not have all the answers, but I am confident that the creative opportunities will expand yet again. How we come through this is a choice. The north has the new tools. The south has the creative soul. The best future will draw on the best of both worlds."@en ; schema:inLanguage "en"@en ; schema:datePublished "2026-09-23T15:00:01Z"^^xsd:dateTime ; schema:dateCreated "2026-09-24T16:07:13Z"^^xsd:dateTime ; schema:dateModified "2026-09-24T16:07:13Z"^^xsd:dateTime ; schema:url ; schema:author ; schema:publisher :xPlatform ; schema:isPartOf :xPlatform ; schema:genre "essay"@en, "social media post"@en ; schema:wordCount "2140"^^xsd:integer ; schema:about :aiForCreativity, :reasoningVsCreating, :toolsVsTaste, :theTerms, :northAndSouth, :syntheticTaste, :canvasExpands, :technologyMarriedWithLiberalArts, :notTheHowItsTheWhy, :consentCreditCompensation ; schema:hasPart :secOpening, :secArtistsQuestion, :secThePrediction, :secFearAndResistance, :secHistoryRepeating, :secWaltDisney, :secDistinction, :secPathForward, :secTheTerms, :secSteveJobs, :secComingSoon, :faqPage, :glossary, :howto, :claim90Percent, :claimToolsVsNoToolsTrap, :claimTermsNotTechnology, :claimBuildWithStorytellers, :claimReasoningNotCreating, :claimCanvasExpands, :queryCensus, :queryPeople, :queryTimeline, :queryClaims ; schema:interactionStatistic :statLikes, :statRetweets, :statReplies, :statQuotes, :statBookmarks, :statViews ; schema:accountablePerson ; prov:wasGeneratedBy , , :deepseekV4Pro . # ── Engagement statistics ────────────────────────────────────────────────────── :statLikes a schema:InteractionCounter ; schema:name "Likes"@en ; schema:interactionType schema:LikeAction ; schema:userInteractionCount "6331"^^xsd:integer . :statRetweets a schema:InteractionCounter ; schema:name "Reposts"@en ; schema:interactionType schema:ShareAction ; schema:userInteractionCount "1152"^^xsd:integer . :statReplies a schema:InteractionCounter ; schema:name "Replies"@en ; schema:interactionType schema:CommentAction ; schema:userInteractionCount "641"^^xsd:integer . :statQuotes a schema:InteractionCounter ; schema:name "Quotes"@en ; schema:interactionType schema:InteractAction ; schema:userInteractionCount "619"^^xsd:integer . :statBookmarks a schema:InteractionCounter ; schema:name "Bookmarks"@en ; schema:interactionType schema:BookmarkAction ; schema:userInteractionCount "8814"^^xsd:integer . :statViews a schema:InteractionCounter ; schema:name "Views"@en ; schema:interactionType schema:ViewAction ; schema:userInteractionCount "7084566"^^xsd:integer . # ── Platform ─────────────────────────────────────────────────────────────────── :xPlatform a schema:WebSite ; schema:name "X (formerly Twitter)"@en ; schema:description "The social media platform on which Jeffrey Katzenberg published this long-form post."@en ; schema:url . # ── Curation provenance (skills + LLM acting on behalf of the principal) ────── :deepseekV4Pro a schema:SoftwareApplication, prov:SoftwareAgent ; schema:name "DeepSeek V4 Pro"@en ; schema:url ; prov:actedOnBehalfOf . a schema:SoftwareApplication, prov:SoftwareAgent ; schema:name "kg-generator"@en ; schema:url ; prov:actedOnBehalfOf . a schema:SoftwareApplication, prov:SoftwareAgent ; schema:name "rdf-infographic-skill"@en ; schema:url ; prov:actedOnBehalfOf . # ── People ───────────────────────────────────────────────────────────────────── a schema:Person ; schema:name "Jeffrey Katzenberg"@en ; schema:alternateName "JK"@en ; schema:description "Author of the essay. Former chairman of Walt Disney Studios, co-founder and former CEO of DreamWorks Animation, and co-founder of WndrCo. He bridges Silicon Valley and Hollywood and argues for building AI with storytellers rather than on top of them."@en ; schema:identifier "jeffreykWNDR"@en ; schema:url ; schema:location "Los Angeles, CA"@en ; schema:jobTitle "Co-founder, WndrCo"@en ; schema:founder :wndrco, ; owl:sameAs , . a schema:Person ; schema:name "John Philip Sousa"@en ; schema:description "American composer and conductor, author of the 1906 essay 'The Menace of Mechanical Music', whose campaign against the unpaid use of his compositions by phonograph companies helped create the Copyright Act of 1909."@en ; owl:sameAs . a schema:Person ; schema:name "Walt Disney"@en ; schema:description "Animator and co-founder of Disney, remembered by Katzenberg as a technologist who never defined animation by the tools but by whether the audience believed the character."@en ; owl:sameAs . a schema:Person ; schema:name "George Lucas"@en ; schema:description "Filmmaker cited for the aphorism that defines the essay's core: it is not the how, it is the why."@en ; owl:sameAs . a schema:Person ; schema:name "Steve Jobs"@en ; schema:description "Co-founder of Apple, quoted on technology married with the liberal arts as the source of work that makes our hearts sing."@en ; owl:sameAs . a schema:Person ; schema:name "Thomas Edison"@en ; schema:description "Inventor of the motion picture, cited to show that technology alone does not make emotional art."@en ; owl:sameAs . a schema:Person ; schema:name "Charlie Chaplin"@en ; schema:description "Filmmaker cited as one of the artists who made movies emotional after Edison's invention."@en ; owl:sameAs . a schema:Person ; schema:name "Buster Keaton"@en ; schema:description "Filmmaker cited as one of the artists who made movies emotional after Edison's invention."@en . a schema:Person ; schema:name "Harold Lloyd"@en ; schema:description "Filmmaker cited as one of the artists who made movies emotional after Edison's invention."@en . a schema:Person ; schema:name "Steven Spielberg"@en ; schema:description "Filmmaker cited as one who embraced new visual tools as instruments rather than shortcuts."@en ; owl:sameAs . a schema:Person ; schema:name "James Cameron"@en ; schema:description "Filmmaker cited as one who embraced new visual tools as instruments rather than shortcuts."@en ; owl:sameAs . a schema:Person ; schema:name "Peter Jackson"@en ; schema:description "Filmmaker cited as one who embraced new visual tools as instruments rather than shortcuts."@en ; owl:sameAs . # ── Organizations ────────────────────────────────────────────────────────────── a schema:Organization ; schema:name "Pixar"@en ; schema:description "The young Northern California animation company with which Disney co-developed CAPS, and the studio behind Toy Story. Katzenberg points to Pixar as proof that the last great animation revolution came from Silicon Valley, not the Hollywood studio system."@en ; schema:location "Emeryville, California"@en . a schema:Organization ; schema:name "DreamWorks Animation"@en ; schema:description "The animation studio co-founded by Jeffrey Katzenberg, which he led through the difficult decision to sunset hand-drawn animation and become fully computer-animated."@en . a schema:Organization ; schema:name "The Walt Disney Company"@en ; schema:description "The studio whose animation division Katzenberg led in the mid-1980s, and where CAPS and the Pixar partnership transformed hand-drawn animation."@en . :wndrco a schema:Organization ; schema:name "WndrCo"@en ; schema:description "The technology investment firm co-founded by Jeffrey Katzenberg in 2016, which has backed more than 50 founders building the next generation of technology."@en ; schema:url ; schema:founder . a schema:Organization ; schema:name "Apple"@en ; schema:description "Cited as an example of a company that embraced technology to open doors of new possibility, and the source of Steve Jobs's liberal-arts framing."@en . a schema:Organization ; schema:name "Netflix"@en ; schema:description "Cited as an example of a company that embraced technology to open doors of new possibility."@en . a schema:Organization ; schema:name "Kodak"@en ; schema:description "Cited as an example of a company whose resistance to technology risked irrelevance."@en . a schema:Organization ; schema:name "Blockbuster"@en ; schema:description "Cited as an example of a company whose resistance to technology risked irrelevance."@en . # ── SoftwareApplication ──────────────────────────────────────────────────────── a schema:SoftwareApplication ; schema:name "Computer Animation Production System (CAPS)"@en ; schema:description "The digital ink-and-paint and compositing system co-developed by Disney and Pixar that replaced hand-painted cels with CGI, enabling the dimensionality and light of films from The Little Mermaid through The Lion King."@en ; schema:manufacturer ; owl:sameAs . # ── Creative works: films and source texts ───────────────────────────────────── a schema:Movie ; schema:name "Luxo Jr."@en ; schema:description "The 1986 Pixar short film whose computer-animated lamp gave Katzenberg his first feeling of a 3D character coming to life, a feeling he says a recent AI demo reproduced."@en ; schema:datePublished "1986"^^xsd:gYear . a schema:Movie ; schema:name "The Little Mermaid"@en ; schema:description "The 1989 Disney film whose final scene shimmered with a dimensionality and light the old hand-drawn process could not achieve, thanks to CAPS."@en ; schema:datePublished "1989"^^xsd:gYear . a schema:Movie ; schema:name "Beauty and the Beast"@en ; schema:description "The 1991 Disney film whose ballroom sequence moved with a cinematic sweep made possible by CAPS."@en ; schema:datePublished "1991"^^xsd:gYear . a schema:Movie ; schema:name "Aladdin"@en ; schema:description "The 1992 Disney film whose Cave of Wonders felt vast and alive under CAPS, and whose Magic Carpet became an intricate, compelling character all its own."@en ; schema:datePublished "1992"^^xsd:gYear . a schema:Movie ; schema:name "The Lion King"@en ; schema:description "The 1994 Disney film whose stampede carried a scale and intensity that raised the emotional stakes beyond anything done before."@en ; schema:datePublished "1994"^^xsd:gYear . a schema:Movie ; schema:name "Toy Story"@en ; schema:description "The 1995 Pixar film that proved a fully computer-animated film could carry real emotional weight and make audiences laugh, cry, and believe."@en ; schema:datePublished "1995"^^xsd:gYear . a schema:Article ; schema:name "The Menace of Mechanical Music"@en ; schema:description "John Philip Sousa's 1906 essay warning that the phonograph would become 'a substitute for human skill, intelligence and soul', and the origin of the Copyright Act of 1909."@en ; schema:author ; schema:datePublished "1906"^^xsd:gYear . a schema:Legislation ; schema:name "Copyright Act of 1909"@en ; schema:description "United States copyright legislation that Sousa's campaign helped create, establishing that composers be paid for mechanical reproductions of their work."@en ; schema:datePublished "1909"^^xsd:gYear . # ── Historical events ────────────────────────────────────────────────────────── :soundRevolution a schema:Event ; schema:name "The arrival of synchronized sound in cinema"@en ; schema:description "Around a century ago, recorded soundtracks displaced tens of thousands of live orchestra-pit musicians. The union fought 'canned music', and those pit jobs never came back, yet sound gave cinema the movie musical, the modern score, sound design, and an art form vastly larger than the one it disrupted."@en ; schema:startDate "1927"^^xsd:gYear . :strike2023 a schema:Event ; schema:name "The 2023 writers and actors strike"@en ; schema:description "The Writers Guild of America and SAG-AFTRA walkout, which Katzenberg reads as a fight for the same things Sousa fought for in 1906: consent, compensation, and recognition that human creative work has a price that must be paid."@en ; schema:startDate "2023"^^xsd:gYear . # ── Concepts ─────────────────────────────────────────────────────────────────── :aiForCreativity a schema:DefinedTerm ; schema:name "AI for creativity"@en ; schema:description "The use of generative AI to produce animation, film, and other creative work. Katzenberg's subject: whether such tools will expand the creative canvas or displace the people who hold the craft's soul."@en ; skos:broader :toolsVsTaste . :reasoningVsCreating a schema:DefinedTerm ; schema:name "Reasoning versus creating"@en ; schema:description "The central distinction of the essay. Reasoning is evaluative and analytical, moving toward a conclusion already implied by the input. Creating is generative, producing something new with no single right answer, where taste, intuition and vision fill the gap where deduction runs out."@en . :toolsVsTaste a schema:DefinedTerm ; schema:name "Tools versus taste"@en ; schema:description "The argument that tools are never the point: instruments change with every generation, but what endures is taste and imagination, the ability to make an audience feel."@en . :theTerms a schema:DefinedTerm ; schema:name "The terms"@en ; schema:description "The conditions under which technology may use human creative work — consent, credit, and compensation. Katzenberg's thesis is that history is settled by the terms, not by the technology."@en . :consentCreditCompensation a schema:DefinedTerm ; schema:name "Consent, credit, and compensation"@en ; schema:description "The three conditions Katzenberg insists must govern any creative AI future, echoing the demands of the 2023 writers and actors strike and Sousa's 1906 campaign."@en . :northAndSouth a schema:DefinedTerm ; schema:name "North and south"@en ; schema:description "Katzenberg's shorthand for two cities 350 miles apart: Silicon Valley in the north, which perfects reasoning and builds the tools, and Hollywood in the south, which practices creating and holds the creative soul."@en . :syntheticTaste a schema:DefinedTerm ; schema:name "Taste cannot be synthesized"@en ; schema:description "The claim that taste is uniquely human and cannot be manufactured by a reasoning engine, which is why the north needs the south's creativity, which it cannot build and cannot buy."@en . :canvasExpands a schema:DefinedTerm ; schema:name "The expanding canvas"@en ; schema:description "The recurring historical pattern — from synchronized sound to color to computer animation — in which a technological shift redefines the boundaries of the medium and makes it larger, not smaller."@en . :technologyMarriedWithLiberalArts a schema:DefinedTerm ; schema:name "Technology married with the liberal arts"@en ; schema:description "Steve Jobs's formulation that technology alone is not enough, and that only technology combined with the liberal arts and humanities yields work that makes our hearts sing."@en . :notTheHowItsTheWhy a schema:DefinedTerm ; schema:name "It is not the how, it is the why"@en ; schema:description "George Lucas's aphorism quoted by Katzenberg to capture the eternal essence of the tools-versus-taste question."@en . # ── Claims ───────────────────────────────────────────────────────────────────── :claim90Percent a schema:Claim ; schema:name "AI will cut animation cost and time by 90 percent within three years"@en ; schema:text "In 2023, Katzenberg predicted that new AI tools would cut the time and cost of producing world-class animation by as much as ninety percent within three years."@en ; schema:creator ; schema:about :aiForCreativity ; schema:dateCreated "2023"^^xsd:gYear . :claimToolsVsNoToolsTrap a schema:Claim ; schema:name "The tools-versus-no-tools argument is a trap"@en ; schema:text "The tools-versus-no-tools argument is a trap. First, we must all agree that there should be terms. Then we can have the crucial debate about what fairness requires."@en ; schema:creator ; schema:about :theTerms . :claimTermsNotTechnology a schema:Claim ; schema:name "History was never settled by technology; it was settled by the terms"@en ; schema:text "This has happened many times before, and it was never settled by the technology. It was settled by the terms. Sousa did not stop the phonograph; he helped write the law that made sure composers got paid."@en ; schema:creator ; schema:about :theTerms . :claimBuildWithStorytellers a schema:Claim ; schema:name "Build this with the storytellers, not on top of them"@en ; schema:text "The right path forward includes them by design, with credit, with consent, and with compensation. Build this with the storytellers. Not on top of them."@en ; schema:creator ; schema:about :northAndSouth . :claimReasoningNotCreating a schema:Claim ; schema:name "AI operates on the reasoning side, not yet on the creating side"@en ; schema:text "AI today operates almost entirely on the reasoning side of the line. It can deduce, evaluate, optimize, and pattern-match brilliantly, but it does not yet have empathy, devotion, serendipity, or the creativity that comes from a person trying to say something only they could say."@en ; schema:creator ; schema:about :reasoningVsCreating . :claimCanvasExpands a schema:Claim ; schema:name "The creative opportunities will expand yet again"@en ; schema:text "As the barriers and the costs come down, more films will get made, not fewer. Studios will get to take more risks. There will be more seats at the table, and very soon entirely new forms of storytelling."@en ; schema:creator ; schema:about :canvasExpands . # ── Essay sections ───────────────────────────────────────────────────────────── :secOpening a schema:CreativeWork ; schema:name "A founder's demo and the Luxo Jr. feeling"@en ; schema:abstract "Katzenberg opens in Silicon Valley, where a founder's fully realized animated scene recreated the awe he felt watching Pixar's Luxo Jr. in 1986 — the first time a computer-animated 3D character seemed to have life."@en ; schema:position "1"^^xsd:integer ; schema:isPartOf <> . :secArtistsQuestion a schema:CreativeWork ; schema:name "Is this the end of us?"@en ; schema:abstract "An artist friend texted him, after seeing a similar video, 'Is this the end of us?' His answer: 'Certainly not.'"@en ; schema:position "2"^^xsd:integer ; schema:isPartOf <> . :secThePrediction a schema:CreativeWork ; schema:name "The 2023 prediction"@en ; schema:abstract "In 2023 he said AI would cut the time and cost of world-class animation by as much as ninety percent within three years; some colleagues were alarmed, many furious."@en ; schema:position "3"^^xsd:integer ; schema:isPartOf <> . :secFearAndResistance a schema:CreativeWork ; schema:name "Fear, resistance, and love"@en ; schema:abstract "He reads Hollywood's resistance not as Luddism but as love: the pushback comes from people deeply passionate about a calling, who fight hardest for what they care about most."@en ; schema:position "4"^^xsd:integer ; schema:isPartOf <> . :secHistoryRepeating a schema:CreativeWork ; schema:name "Is history repeating itself?"@en ; schema:abstract "From Sousa's 1906 fight over the phonograph to the arrival of sound in cinema, Katzenberg shows that disruptive technology is never stopped — only re-termed — and that the art form expands even when the loss is real."@en ; schema:position "5"^^xsd:integer ; schema:isPartOf <> . :secWaltDisney a schema:CreativeWork ; schema:name "What I learned from Walt Disney"@en ; schema:abstract "Leading Disney animation in the mid-1980s, he found the way forward in Walt's own words: never define animation by the tools, but by whether the audience believes the character. That insight produced CAPS, Pixar, and the Disney renaissance."@en ; schema:position "6"^^xsd:integer ; schema:isPartOf <> . :secDistinction a schema:CreativeWork ; schema:name "A distinction with a difference"@en ; schema:abstract "Asking a leading AI model to explain the difference between reasoning and creating, he arrives at the essay's hinge: AI reasons; it does not yet create. Closing that gap is where common ground lies."@en ; schema:position "7"^^xsd:integer ; schema:isPartOf <> . :secPathForward a schema:CreativeWork ; schema:name "A path forward"@en ; schema:abstract "Through WndrCo's 50 founders and Pixar's northern-California origins, he maps a future where the north's tools and the south's soul build together — with storytellers, not on top of them."@en ; schema:position "8"^^xsd:integer ; schema:isPartOf <> . :secTheTerms a schema:CreativeWork ; schema:name "The terms are everything"@en ; schema:abstract "Sousa did not stop the phonograph; he wrote the law that got composers paid. The 2023 strike fought for the same consent and compensation. The tools-versus-no-tools argument is a trap; the debate must be about fairness."@en ; schema:position "9"^^xsd:integer ; schema:isPartOf <> . :secSteveJobs a schema:CreativeWork ; schema:name "What I learned from Steve Jobs"@en ; schema:abstract "Jobs's 'technology married with the liberal arts' describes not just a device but the tale of two cities — the north's technology joined to the south's humanity."@en ; schema:position "10"^^xsd:integer ; schema:isPartOf <> . :secComingSoon a schema:CreativeWork ; schema:name "What I see coming soon"@en ; schema:abstract "As costs fall, more films will be made, studios will take more risks, and entirely new forms of storytelling will emerge — because every genuine technological shift has grown the medium, not shrunk it."@en ; schema:position "11"^^xsd:integer ; schema:isPartOf <> . # ── FAQ ──────────────────────────────────────────────────────────────────────── :faqPage a schema:FAQPage ; schema:name "Frequently asked questions"@en ; schema:mainEntity :q1, :q2, :q3, :q4, :q5, :q6, :q7, :q8, :q9, :q10, :q11, :q12, :q13 ; schema:isPartOf <> . :q1 a schema:Question ; schema:name "Who wrote this essay and what is it about?"@en ; schema:acceptedAnswer :a1 ; schema:position "1"^^xsd:integer . :a1 a schema:Answer ; schema:text "Jeffrey Katzenberg, the former chairman of Walt Disney Studios and co-founder of DreamWorks and WndrCo, wrote this long-form X post. It argues that AI for creativity will be settled by the terms — consent, credit, and compensation — not by the tools themselves."@en . :q2 a schema:Question ; schema:name "What was Katzenberg's 2023 prediction about AI and animation?"@en ; schema:acceptedAnswer :a2 ; schema:position "2"^^xsd:integer . :a2 a schema:Answer ; schema:text "In 2023 he predicted that new AI tools would cut the time and cost of producing world-class animation by as much as ninety percent within three years — a claim that alarmed some colleagues and infuriated others."@en . :q3 a schema:Question ; schema:name "What is the difference between reasoning and creating?"@en ; schema:acceptedAnswer :a3 ; schema:position "3"^^xsd:integer . :a3 a schema:Answer ; schema:text "Reasoning is evaluative and analytical, moving toward a conclusion already implied by the input. Creating is generative, producing something new with no single right answer, where taste, intuition and vision fill the gap where deduction runs out. AI today operates almost entirely on the reasoning side."@en . :q4 a schema:Question ; schema:name "Why does Hollywood resist AI?"@en ; schema:acceptedAnswer :a4 ; schema:position "4"^^xsd:integer . :a4 a schema:Answer ; schema:text "Katzenberg reads the resistance as love, not Luddism. He has spent countless hours watching gifted artists rebuild a single second of film ten times, and he believes the pushback represents the collective effort of people deeply passionate about a calling."@en . :q5 a schema:Question ; schema:name "What does the John Philip Sousa story teach?"@en ; schema:acceptedAnswer :a5 ; schema:position "5"^^xsd:integer . :a5 a schema:Answer ; schema:text "Sousa's 1906 essay 'The Menace of Mechanical Music' warned that the phonograph would become a substitute for human skill, intelligence and soul. His fight was really about money — and it helped create the Copyright Act of 1909. He did not stop the technology; he changed the terms under which it could use his work."@en . :q6 a schema:Question ; schema:name "What happened when sound came to the movies?"@en ; schema:acceptedAnswer :a6 ; schema:position "6"^^xsd:integer . :a6 a schema:Answer ; schema:text "Recorded soundtracks displaced tens of thousands of live orchestra-pit musicians, and those jobs never came back. Yet sound also gave cinema the movie musical, the modern score, sound design, and an art form vastly larger than the one it disrupted."@en . :q7 a schema:Question ; schema:name "What did Katzenberg learn from Walt Disney?"@en ; schema:acceptedAnswer :a7 ; schema:position "7"^^xsd:integer . :a7 a schema:Answer ; schema:text "Walt was a technologist forever hunting for state-of-the-art tools, yet he never defined animation by the tools — only by whether the audience believed the character. His principles were timeless; the tools were not."@en . :q8 a schema:Question ; schema:name "What was CAPS and why did it matter?"@en ; schema:acceptedAnswer :a8 ; schema:position "8"^^xsd:integer . :a8 a schema:Answer ; schema:text "The Computer Animation Production System, co-developed with Pixar, replaced hand-painted cels with CGI. It gave The Little Mermaid its shimmering finale, Beauty and the Beast its ballroom sweep, and The Lion King its stampede — expanding the canvas rather than diminishing the craft."@en . :q9 a schema:Question ; schema:name "What does 'It's not the how, it's the why' mean?"@en ; schema:acceptedAnswer :a9 ; schema:position "9"^^xsd:integer . :a9 a schema:Answer ; schema:text "George Lucas's aphorism, quoted by Katzenberg, captures the essay's core: the tools (the how) change every generation, but what endures is the purpose and taste (the why) — the ability to make an audience feel."@en . :q10 a schema:Question ; schema:name "What does 'build with the storytellers, not on top of them' mean?"@en ; schema:acceptedAnswer :a10 ; schema:position "10"^^xsd:integer . :a10 a schema:Answer ; schema:text "Silicon Valley has built extraordinary reasoning tools but has not made an artist. Katzenberg argues the knowledge that makes a story matter lives in Hollywood, and the right path includes those people by design, with credit, consent, and compensation."@en . :q11 a schema:Question ; schema:name "What does Steve Jobs's liberal-arts framing add?"@en ; schema:acceptedAnswer :a11 ; schema:position "11"^^xsd:integer . :a11 a schema:Answer ; schema:text "Jobs said it is technology married with the liberal arts and humanities that yields work that makes our hearts sing. Katzenberg extends it: it describes the tale of two cities, the north's technology joined to the south's creative soul."@en . :q12 a schema:Question ; schema:name "What is the 'terms, not technology' argument?"@en ; schema:acceptedAnswer :a12 ; schema:position "12"^^xsd:integer . :a12 a schema:Answer ; schema:text "History was never settled by the technology; it was settled by the terms. Sousa wrote the law that got composers paid, and the 2023 strike fought for the same consent and compensation. The tools-versus-no-tools argument is a trap."@en . :q13 a schema:Question ; schema:name "What does Katzenberg see coming soon?"@en ; schema:acceptedAnswer :a13 ; schema:position "13"^^xsd:integer . :a13 a schema:Answer ; schema:text "As barriers and costs fall, more films will be made, not fewer; studios will take more risks; and entirely new forms of storytelling will emerge. He is confident the creative opportunities will expand yet again."@en . # ── Glossary ─────────────────────────────────────────────────────────────────── :glossary a schema:DefinedTermSet ; schema:name "Core technical glossary"@en ; schema:hasDefinedTerm :reasoning, :creating, :taste, :theTerms, :caps, :computerAnimation, :synchronizedSound, :menaceOfMechanicalMusic, :cannedMusic, :strike2023Term, :wndrcoTerm, :noteTweet ; schema:isPartOf <> . :reasoning a schema:DefinedTerm ; schema:name "Reasoning"@en ; schema:description "Evaluative and analytical cognition that operates on what already exists — facts, premises, and evidence — and moves toward a conclusion already implied by the input. Constrained by logic and truth; its goal is correctness, not invention."@en ; schema:inDefinedTermSet :glossary . :creating a schema:DefinedTerm ; schema:name "Creating"@en ; schema:description "Generative cognition that produces something that did not exist before, with no single right answer. A blank page has infinite valid responses, and taste, intuition and vision fill the gap where deduction runs out."@en ; schema:inDefinedTermSet :glossary . :taste a schema:DefinedTerm ; schema:name "Taste"@en ; schema:description "The enduring human faculty — with imagination — that decides what moves an audience. Katzenberg argues taste cannot be synthesized and is uniquely human."@en ; schema:inDefinedTermSet :glossary . :caps a schema:DefinedTerm ; schema:name "CAPS (Computer Animation Production System)"@en ; schema:description "The digital ink-and-paint and compositing system co-developed by Disney and Pixar that replaced hand-painted cels with CGI and enabled the Disney renaissance of the late 1980s and 1990s."@en ; schema:inDefinedTermSet :glossary . :computerAnimation a schema:DefinedTerm ; schema:name "Computer animation"@en ; schema:description "Animation produced with CGI rather than hand-drawn cels, proven to carry real emotional weight by Toy Story and adopted studio-wide at DreamWorks."@en ; schema:inDefinedTermSet :glossary . :synchronizedSound a schema:DefinedTerm ; schema:name "Synchronized sound"@en ; schema:description "The arrival of recorded soundtracks in cinema a century ago, which displaced live orchestra-pit musicians yet grew the art form into the movie musical, the modern score, and sound design."@en ; schema:inDefinedTermSet :glossary . :menaceOfMechanicalMusic a schema:DefinedTerm ; schema:name "The Menace of Mechanical Music"@en ; schema:description "John Philip Sousa's 1906 essay warning that the phonograph would become 'a substitute for human skill, intelligence and soul', whose campaign helped create the Copyright Act of 1909."@en ; schema:inDefinedTermSet :glossary . :cannedMusic a schema:DefinedTerm ; schema:name "Canned music"@en ; schema:description "The musicians' union's pejorative term for recorded soundtracks, used in newspaper ads warning against the technology that displaced live pit orchestras."@en ; schema:inDefinedTermSet :glossary . :strike2023Term a schema:DefinedTerm ; schema:name "The 2023 writers and actors strike"@en ; schema:description "The WGA and SAG-AFTRA walkout, which Katzenberg reads as a fight for the same things Sousa fought for in 1906: consent, compensation, and recognition that human creative work has a price."@en ; schema:inDefinedTermSet :glossary . :wndrcoTerm a schema:DefinedTerm ; schema:name "WndrCo"@en ; schema:description "The technology investment firm co-founded by Katzenberg in 2016, which has backed more than 50 founders building the next generation of technology."@en ; schema:inDefinedTermSet :glossary . :noteTweet a schema:DefinedTerm ; schema:name "Long-form post (note tweet)"@en ; schema:description "An extended article published natively on X rather than the short-form 280-character format, of which this essay is an example."@en ; schema:inDefinedTermSet :glossary . # ── HowTo ────────────────────────────────────────────────────────────────────── :howto a schema:HowTo ; schema:name "A path forward: how to build a creative AI future"@en ; schema:description "Katzenberg's actionable path for reconciling Silicon Valley's tools with Hollywood's creative soul."@en ; schema:step :step1, :step2, :step3, :step4, :step5, :step6, :step7 ; schema:isPartOf <> . :step1 a schema:HowToStep ; schema:name "Agree that there should be terms"@en ; schema:text "First, we must all agree that there should be terms. Only then can we have the crucial debate about what fairness requires."@en ; schema:position "1"^^xsd:integer . :step2 a schema:HowToStep ; schema:name "Reject the tools-versus-no-tools trap"@en ; schema:text "Stop arguing about whether the tools should exist. The argument is a trap; the productive debate is over the terms on which the tools may use human creative work."@en ; schema:position "2"^^xsd:integer . :step3 a schema:HowToStep ; schema:name "Build with the storytellers, by design"@en ; schema:text "Include artists in the building of the technology from the start, with credit, with consent, and with compensation — never on top of them."@en ; schema:position "3"^^xsd:integer . :step4 a schema:HowToStep ; schema:name "Hollywood: accept AI is not going away"@en ; schema:text "Spend energy not on making AI disappear but on deciding the terms on which it will exist — because the terms are everything."@en ; schema:position "4"^^xsd:integer . :step5 a schema:HowToStep ; schema:name "Silicon Valley: recognize creativity cannot be built or bought"@en ; schema:text "The north needs something it cannot build and cannot buy — creativity — so the tools must be partnered with the people whose life's work informed the models."@en ; schema:position "5"^^xsd:integer . :step6 a schema:HowToStep ; schema:name "Artists: learn to wield the new instruments"@en ; schema:text "The artists who learn the new tools will do things the engineers never dreamed of, just as Chaplin, Lloyd and Keaton made movies emotional after Edison invented them."@en ; schema:position "6"^^xsd:integer . :step7 a schema:HowToStep ; schema:name "Decide now that we intend to paint on the canvas"@en ; schema:text "The canvas is about to expand again. Studios should take more risks as costs fall, and everyone should resolve to paint on the larger canvas rather than resist its arrival."@en ; schema:position "7"^^xsd:integer . # ── SPARQL recipes ───────────────────────────────────────────────────────────── :queryCensus a schema:SoftwareSourceCode ; schema:name "Entity-type census of the graph"@en ; schema:description "Count every entity in the named graph by type, with a sample entity IRI and label for each type."@en ; schema:programmingLanguage "SPARQL"@en ; schema:codeSampleType "SELECT query"@en ; schema:text """PREFIX rdf: PREFIX rdfs: SELECT ?type ?entityIri (SAMPLE(?label) AS ?name) (COUNT(?s) AS ?entityCount) WHERE { GRAPH { ?s rdf:type ?type . OPTIONAL { ?s rdfs:label ?label } OPTIONAL { ?s schema:name ?name } BIND(COALESCE(?name, ?label) AS ?entityIri) } } GROUP BY ?type ORDER BY DESC(?entityCount)"""@en ; schema:target . :queryPeople a schema:SoftwareSourceCode ; schema:name "People referenced and their contributions"@en ; schema:description "List every person in the essay with their description, showing who shaped the argument."@en ; schema:programmingLanguage "SPARQL"@en ; schema:codeSampleType "SELECT query"@en ; schema:text """PREFIX schema: SELECT ?personIri ?person ?role WHERE { GRAPH { ?personIri a schema:Person ; schema:name ?person ; schema:description ?role . } } ORDER BY ?person"""@en ; schema:target . :queryTimeline a schema:SoftwareSourceCode ; schema:name "The films and texts that expand the canvas"@en ; schema:description "Retrieve every film and source text in the graph with its publication year, forming the essay's historical timeline."@en ; schema:programmingLanguage "SPARQL"@en ; schema:codeSampleType "SELECT query"@en ; schema:text """PREFIX schema: SELECT ?workIri ?work ?year WHERE { GRAPH { ?workIri a ?type ; schema:name ?work ; schema:datePublished ?year . VALUES ?type { schema:Movie schema:Article schema:Legislation } } } ORDER BY ?year"""@en ; schema:target . :queryClaims a schema:SoftwareSourceCode ; schema:name "The essay's central claims"@en ; schema:description "Retrieve every claim in the essay with its creator, showing the argumentative spine of the piece."@en ; schema:programmingLanguage "SPARQL"@en ; schema:codeSampleType "SELECT query"@en ; schema:text """PREFIX schema: SELECT ?claimIri ?claim ?creatorIri ?creator WHERE { GRAPH { ?claimIri a schema:Claim ; schema:name ?claim ; schema:creator ?creatorIri . ?creatorIri schema:name ?creator . } } ORDER BY ?claim"""@en ; schema:target .