Today, as we navigate the transformative waves of AI, we find ourselves on the cusp of a new era marked by similar uncertainties. However, this time the driving force isn’t merely economics — it’s the relentless march of technology, particularly the rise and evolution of AI.
Visiting a small beautiful village feels like stepping back in time, from the unique architecture to the stunning surrounding scenery. But it’s hard to feel transported when you’re surrounded by throngs of tourists also in search of small-town charm.
Known as the murder capital of the world at the start of the 90s, by the late 2000’s Medellín, Colombia, had undergone a revival. As violence ebbed, it welcomed new investment and visitors from abroad. Backpackers roaming the streets became a common sight.
The first time I heard about Taylor Swift, I was in a Los Angeles County jail, waiting to be sent to prison for murder. Sheriffs would hand out precious copies of the Los Angeles Times, and they would be passed from one reader to the next.
In 1966, an MIT professor named Joseph Weizenbaum created the first chatbot. He cast it in the role of a psychotherapist. A user would type a message on an electric typewriter connected to a mainframe. After a moment, the “psychotherapist” would reply.
In recent months, the signs and portents have been accumulating with increasing speed. Google is trying to kill the 10 blue links. Twitter is being abandoned to bots and blue ticks. There’s the junkification of Amazon and the enshittification of TikTok. Layoffs are gutting online media. A job posting looking for an “AI editor” expects “output of 200 to 250 articles per week.” ChatGPT is being used to generate whole spam sites.
Truman Burbank, the unwitting star of the world’s most popular TV show, is supposed to be an everyman. The Truman Show is set in an island town, Seahaven, that evokes the prefab conformities of American suburbia. Truman is a brand in a setting that is stridently generic. Since his birth, he has navigated a world manufactured—by Christof, the creator of his show—for lucrative inoffensiveness. Everything around him exists to fulfill the primary mandate of a mass-market TV show: appealing to the widest possible audience.
During the summer months in the Oxfordshire town where I live, I go swimming in the nearby 50-metre lido. With my inelegantly slow breaststroke, from time to time I accidentally gulp some of the pool’s opulent, chlorine-clean 5.9m litres of water.
Do you remember life before podcasts? Yes, obviously, is likely to be the short answer. Podcasting is still a relatively youthful medium, after all. In fact, it is exactly 20 years this month since the format’s invention: Open Source – a politics and culture discussion show hosted by the journalist Christopher Lydon – debuted in the summer of 2003, and is widely considered the first ever podcast. (Not that it was actually called podcasting at that point; the term was coined the following year by Ben Hammersley in an article for the Guardian.)
Within minutes of my decision to hand my life over to AI, ChatGPT suggested that, if able, I should go outside and play with my dog instead of work. I had asked the chatbot to make the choice for me, and it had said that I should prioritize “valuable experiences” that contribute to my “overall well-being.”
Increasingly, we’re surrounded by fake people. Sometimes we know it and sometimes we don’t. They offer us customer service on Web sites, target us in video games, and fill our social-media feeds; they trade stocks and, with the help of systems such as OpenAI’s ChatGPT, can write essays, articles, and e-mails. By no means are these A.I. systems up to all the tasks expected of a full-fledged person. But they excel in certain domains, and they’re branching out.
Last week, at Google’s annual conference dedicated to new products and technologies, the company announced a change to its premier AI product: The Bard chatbot, like OpenAI’s GPT-4, will soon be able to describe images.
Kindness and niceness, though both excellent personal qualities, are not the same thing. The former is to be good to others; the latter is about being pleasant. They don’t even have to go together. Some say, for example, that New Yorkers are kind but not nice (“Your tire is flat, you moron—hand me your jack”), in contrast to Californians, who are nice but not kind (“Looks like you’ve got a flat tire there—have a good day!”).
IT STARTS WITH a familiar intro, unmistakably the Weeknd’s 2017 hit “Die for You.” But as the first verse of the song begins, a different vocalist is heard: Michael Jackson. Or, at least, a machine simulation of the late pop star’s voice.
The New York Times recently played host to a trilogy of articles, delving into the shifting landscape of work in the digital age. These thought-provoking pieces shed light on myriad challenges that arise as we navigate the evolving nature of work in the modern world, and underscore the pressing need to prioritise the well-being of workers as we forge ahead into the future.
