A little more than a year ago, the world seemed to wake up to the promise and dangers of artificial intelligence when OpenAI released ChatGPT, an application that enables users to converse with a computer in a singularly human way.
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Many academic fields can be said to ‘study morality’. Of these, the philosophical sub-discipline of normative ethics studies morality in what is arguably the least alienated way. Rather than focusing on how people and societies think and talk about morality, normative ethicists try to figure out which things are, simply, morally good or bad, and why.
At this point, it doesn’t matter how Napoleon does. Critics might love it or critics might hate it. It might crater at the box office, or it might single-handedly resuscitate the theatrical viewing experience.
Twenty-five years ago, the burgeoning science of consciousness studies was rife with promise. With cutting-edge neuroimaging tools leading to new research programmes, the neuroscientist Christof Koch was so optimistic, he bet a case of wine that we’d uncover its secrets by now.
“It turns out that I’m young, and I have a whole life of shit I can do,” she says. “Maybe because my life became so adult very young, I forgot that I was still that young. I settled in a lot of ways: I lived my life as if I were in my 70s. I realized recently that I don’t need to do that.”
The myth of The Writer looms large in our cultural consciousness. When most readers picture an author, they imagine an astigmatic, scholarly type who wakes at the crack of dawn in a monastic, book-filled, shockingly affordable house surrounded by nature.
A golden age of connectivity is ending. “I deleted my Facebook years ago, spend at least three to six months off Twitter every year, and Bluesky invites are just sitting in my inbox,” a friend tells me when I ask how her relationship to social media has changed in recent times.
Wherever this story takes you—thoughts on marriage, on food, on work, on the rise and fall of the American century, on your own life and time’s passage through it—I invite you to picture Loukas first.
Travel and history can both inspire a sense of moral relativism, as they did for the Greek historian and traveller Herodotus in the 5th century BCE. What should one make of the fact that what counts as adultery, for example, differs around the world?
A few years ago, advertisements for a software service named Monday.com seemed to be suddenly everywhere online. This ubiquity didn’t come cheap. An S.E.C. filing revealed that the product’s developers had spent close to a hundred and thirty million dollars on advertising in 2020 alone, which amounted to roughly eighty per cent of the company’s annual revenue.
In 1925, a new, highly desirable trait was invented. Press reports hailed a new Hollywood star: Count Ludwig von Salm-Hoogstraeten, an Austrian noble and tennis champion, who was rumored to be appearing in a film from the megaproducer Samuel Goldwyn.
“They were the new Charles and Diana, in some ways,” Gary Neville, the former Manchester United player, says in the first episode of “Beckham,” a new, four-part documentary on Netflix. They, of course, are David Beckham, Neville’s friend and onetime teammate, and Beckham’s then girlfriend, Victoria Adams, a.k.a. Posh Spice.
Many people have put forth theories about why, exactly, the internet is bad. The arguments go something like this: Social platforms encourage cruelty, snap reactions, and the spreading of disinformation, and they allow for all of this to take place without accountability, instantaneously and at scale.
For decades, the Department of Commerce has maintained a little-known list of technologies that, on grounds of national security, are prohibited from being sold freely to foreign countries.
omething strange happened the first time I encountered an article online that I wrote for a print magazine. The article was an old-fashioned feature that had taken me months to report, then perhaps six weeks to write, plus another six to eight weeks to edit and rewrite with the help of capable editors, copy editors and fact-checkers who helped give the magazine prose of yesteryear its distinctive glossy finish.
