内容来源：https://techcrunch.com/2026/03/11/ai-actor-tilly-norwood-put-out-the-worst-song-ive-ever-heard/

内容总结：

去年秋天，当制作公司Particle6推出其AI生成的“演员”蒂莉·诺伍德时，这一举动并未受到好莱坞的欢迎。金球奖得主艾米莉·布朗特在接受行业媒体《综艺》采访时直言：“天哪，我们完了。拜托，经纪公司别这么做，请停止吧。”

然而Particle6并未听从建议，反而为其AI角色发布了音乐视频《掌控先机》。这首歌被评论者称为“AI尴尬的新高度”，其歌词围绕AI角色被人类低估的处境展开，声称“我仍是人类，毋庸置疑”——这一表述显然与事实不符。更引人深思的是，这首歌的主题注定无法引发人类共鸣，因为它描绘的是AI被歧视的体验，而这在现实中并不存在。

视频中，诺伍德穿梭于数据中心走廊，最终站在满是虚拟观众的舞台上接受“欢呼”。歌曲副歌部分呼吁AI演员们“携手创造未来”，结尾更明确将其定义为AI群体的集结号。美国演员工会SAG-AFTRA早前曾发表声明强调：“‘蒂莉·诺伍德’并非演员，而是基于无数专业表演者作品训练而成的计算机程序产物，它缺乏真实的情感与生命体验。”

这种现象令人联想到二十年前音乐媒体Pitchfork对摇滚乐队Jet的批判。当时编辑斯科特·普拉根霍夫批评主流摇滚乐变得“粗劣而复制化”，如今艺术家们对AI生成作品也提出相似指责——这些作品空洞乏味，仅仅是对过往艺术的机械复刻。不同的是，Jet尚能从传统摇滚乐中汲取灵感，而AI作品的训练数据却是在未经许可的情况下获取的。

有评论尖锐指出：我们不需要AI角色通过励志颂歌相互鼓励，更不需要它们试图证明人类是错的。当科技公司用未经授权的数据训练模型，再创造出宣称“人类创造力”的AI角色时，这无疑是对艺术创作本质的背离。二十年前Pitchfork或许过早给出了零分评价，但现在，他们可能终于遇到了值得这个评分的对象。

中文翻译：

去年秋天，当制作公司Particle6推出其AI生成的"演员"蒂莉·诺伍德时，这一举动并未受到好莱坞的热烈欢迎。

"天哪，我们完蛋了，"金球奖得主艾米莉·布朗特在接受行业媒体《综艺》采访时表示，"拜托，各大经纪公司，别这么干。请停下来。"

要是Particle6听从了布朗特的建议就好了。然而，这家公司反而为其AI角色发布了一首名为《引领潮流》的音乐视频。

这并非标题党。听完这首歌后，我真心认为这是我听过最糟糕的歌曲。

我原本以为诺伍德的音乐首秀会类似于AI生成的数字人格赞妮娅·莫奈的歌曲《我怎么会知道？》——那首歌曾登上公告牌R&B排行榜，引发了不少关注。赞妮娅·莫奈的AI生成音乐并非我的菜，即使其歌词据称由真人创作——我个人更喜欢那些无需Suno这类AI音乐生成器也能存在的音乐。但诺伍德的歌曲将AI的尴尬程度推向了新高度。

共有18人参与了《引领潮流》视频的制作，包括设计师、提示词工程师和编辑。然而歌曲内容却围绕蒂莉作为AI生成角色所面临的挑战展开：批评者因为她非人类的身份而低估了她。

"他们说这不真实，是假的，"诺伍德对着镜头咆哮道，"但我仍是人类，别搞错了。"

说得委婉些，这并非事实。

音乐未必需要让所有人产生共鸣，但至少应该能让一个人感同身受。诺伍德这首歌最令人"印象深刻"之处在于，其创作团队成功打造了一首关于人类永远无法体验之事的歌曲——毕竟没有人能真正理解因AI身份而被轻视的感受。

这首听起来像山寨版萨拉·巴莱勒斯的歌曲，开头唱道："当他们谈论我时，他们看不见/人类的火花，创造力。"随着诺伍德向自我确认"我不是傀儡，我是明星"，歌曲情绪逐渐推进。

随后进入副歌部分，诺伍德向其他AI演员发出呼吁：

演员们，是时候引领潮流
创造未来，播下种子
别被落下，别掉队
打造属于你的世界，你将获得自由
我们能扩展，我们能成长
成为我们一直熟知的那个创造者
这是下一次进化，难道你看不见？
AI不是敌人，而是关键

视频中，诺伍德在数据中心走廊里昂首阔步——这或许是全片唯一体现真实元素的场景。当第二段副歌以可预见的转调响起时，她转而走上舞台，望向体育场里欢呼的虚拟人群，享受着本不属于她的"胜利"时刻。

或许有人会辩称诺伍德意在吸引所有演员，而不仅是其他AI角色。但歌曲结尾明确无误地表明，这实际上是蒂莉向AI同胞发出的战斗号角：

掌握你的力量，占据舞台
下一次进化正风靡全场
解锁一切，别再犹豫
AI演员们，我们创造自己的命运

我们不需要这个。我们不需要一个AI人格向其他AI人格高唱希望颂歌，呼吁携手证明人类批判者的错误。

二十年前，权威音乐媒体Pitchfork给Jet乐队的专辑《闪耀》打出了0.0分。他们没有撰写乐评，而是直接嵌入了一段猴子往自己嘴里撒尿的YouTube视频。这张专辑并非不堪入耳，但Pitchfork编辑斯科特·普拉根霍夫在2024年的采访中解释了当年乐评人如此愤怒的原因：

"看到我们大多数人自幼喜爱的主流摇滚音乐，变得如此粗鄙且充满复制痕迹，实在令人失望。"

这正是如今艺术家们对AI生成作品的相同批评——这些作品空洞无物，只是对过往艺术家作品的简单复刻。

代表演员权益的美国演员工会SAG-AFTRA去年秋天发表声明指出："'蒂莉·诺伍德'不是演员；它是计算机程序生成的虚拟角色，该程序在未经许可且未支付报酬的情况下，使用了无数专业表演者的作品进行训练。它没有可供汲取的生活经验，没有真实情感，而且据我们观察，观众对脱离人类体验的计算机生成内容并不感兴趣。它没有解决任何'问题'——反而制造了新问题：利用窃取的表演让演员失业，危及表演者生计，贬损人类艺术价值。"

如果说Jet乐队是通过借鉴经典摇滚乐队来制作"粗鄙复制品"音乐，那么蒂莉·诺伍德则完全源自AI模型——而这些模型若没有科技公司未经艺术家同意就窃取的训练数据，根本不可能存在。

我认为Pitchfork当年操之过急了。二十年后，他们终于等到了一个名副其实的批判对象。

英文来源：

When the production company Particle6 debuted its AI-generated “actor” Tilly Norwood last fall, the move was not warmly welcomed by Hollywood.
“Good Lord, we’re screwed,” Golden Globe winner Emily Blunt said in an interview with the industry publication Variety. “Come on, agencies, don’t do that. Please stop.”
If only Particle6 followed Blunt’s advice. Instead, the company has put out a music video for its AI character, featuring a song called “Take the Lead.”
This is not clickbait. Upon listening to it, I actually think it is the worst song I have ever heard.
I was prepared for Norwood’s musical debut to sound something like “How Was I Supposed to Know?”, the AI-generated song attributed to the digital persona Xania Monet, which turned heads when it made it onto the Billboard R&B charts. Xania Monet’s AI-generated music isn’t my cup of tea, even if its lyrics are supposedly written by a real person — I personally prefer music that could exist without an AI music generator like Suno. But Norwood’s song has unlocked a new level of AI cringe.
Eighteen people contributed to the video for “Take the Lead,” including designers, prompters, and editors. Yet the song itself is about Tilly’s challenges as an AI-generated character who critics underestimate, because they believe she is not human.
“They say it’s not real, that it’s fake,” Norwood snarls at the camera. “But I am still human, make no mistake.”
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That is, to put it gently, not true.
Music does not have to be relatable to everyone, but perhaps it should be relatable to at least one person. What’s most impressive about Norwood’s song is that the AI character’s team managed to create a song about something that literally no human will ever experience, because no person can connect with the feeling of being disregarded for being an AI.
The song, which sounds like a Sara Bareillis rip-off, opens with the lines, “When they talk about me, they don’t see/The human spark, the creativity.” The song builds as Norwood affirms to herself, “I’m not a puppet, I’m the star.”
Then comes the chorus, in which Norwood appeals to her fellow AI actors:
Actors, it’s time to take the lead
Create the future, plant the seed
Don’t be left out, don’t fall behind
Build your own, and you’ll be free
We can scale, we can grow
Be the creators we’ve always known
It’s the next evolution, can’t you see?
AI’s not the enemy, it’s the key
In the video, Norwood struts down a hallway in a data center, which is perhaps the only part of the video grounded in any element of honesty. When the second chorus hits with a predictable key change, she instead walks across a stage, looking out into a stadium of cheering fake people who give her an undeserved moment of “triumph.”
You could make the argument that Norwood is trying to appeal to actors at large and not just other AI characters. But the outro leaves no question that this is, in fact, a rallying cry from Tilly to her AI brethren:
Take your power, take the stage
The next evolution is all the rage
Unlock it all, don’t hesitate
AI Actors, we create our fate
We do not need this. We do not need music from an AI persona addressing other AI personas with a hopeful anthem about working together to prove judgmental humans wrong.
Twenty years ago, the influential music publication Pitchfork gave Jet’s album “Shine On” a 0.0 out of 10. Instead of writing a review, they just embedded a YouTube video of a monkey peeing into its own mouth. The Jet album isn’t abhorrent, but Pitchfork editor Scott Plagenhoef explained in a 2024 interview why the site’s writers had been so angry about it all those years ago.
“Seeing mainstream rock music, which of course most of us had grown up with a fondness for, become so knuckle-dragging and Xeroxed was disappointing,” he said.
These are the same complaints that artists have today about AI-generated works — these productions ring hollow and simply reproduce the work of artists past.
“‘Tilly Norwood’ is not an actor; it’s a character generated by a computer program that was trained on the work of countless professional performers — without permission or compensation,” SAG-AFTRA, the union representing actors, wrote in a statement last fall. “It has no life experience to draw from, no emotion and, from what we’ve seen, audiences aren’t interested in watching computer-generated content untethered from the human experience. It doesn’t solve any ‘problem’ — it creates the problem of using stolen performances to put actors out of work, jeopardizing performer livelihoods and devaluing human artistry.
While Jet was taking inspiration from older rock groups to make its “knuckle-dragging and Xeroxed” music, Tilly Norwood is literally derived from AI models that could not exist without the training data that tech companies took from artists without their consent.
I think Pitchfork jumped the gun. Twenty years later, they finally have a worthy subject.