We interviewed twenty professional comedians who perform live shows in front
of audiences and who use artificial intelligence in their artistic process as
part of 3-hour workshops on ``AI x Comedy'' conducted at the Edinburgh Festival
Fringe in August 2023 and online. The workshop consisted of a comedy writing
session with large language models (LLMs), a human-computer interaction
questionnaire to assess the Creativity Support Index of AI as a writing tool,
and a focus group interrogating the comedians' motivations for and processes of
using AI, as well as their ethical concerns about bias, censorship and
copyright. Participants noted that existing moderation strategies used in
safety filtering and instruction-tuned LLMs reinforced hegemonic viewpoints by
erasing minority groups and their perspectives, and qualified this as a form of
censorship. At the same time, most participants felt the LLMs did not succeed
as a creativity support tool, by producing bland and biased comedy tropes, akin
to ``cruise ship comedy material from the 1950s, but a bit less racist''. Our
work extends scholarship about the subtle difference between, one the one hand,
harmful speech, and on the other hand, ``offensive'' language as a practice of
resistance, satire and ``punching up''. We also interrogate the global value
alignment behind such language models, and discuss the importance of
community-based value alignment and data ownership to build AI tools that
better suit artists' needs.

我们采访了二十位职业喜剧演员，他们在爱丁堡艺术节上进行的「AI x 喜剧」三小时工作坊中使用人工智能作为艺术创作的一部分，并进行了在线调查。结果显示使用大型语言模型进行喜剧创作并未成功，与此同时，参与者也提出了关于偏见和审查等伦理问题。本研究拓展了学术界对伤害性言论和「冒犯性」语言之间微妙差异的理解，并讨论了基于社区的价值观对齐和数据所有权的重要性，以构建更适合艺术家需求的人工智能工具。