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Ed Webb

DK Matai: The Rise of The Bio-Info-Nano Singularity - 0 views

  • The human capability for information processing is limited, yet there is an accelerating change in the development and deployment of new technology. This relentless wave upon wave of new information and technology causes an overload on the human mind by eventually flooding it. The resulting acopia -- inability to cope -- has to be solved by the use of ever more sophisticated information intelligence. Extrapolating these capabilities suggests the near-term emergence and visibility of self-improving neural networks, "artificial" intelligence, quantum algorithms, quantum computing and super-intelligence. This metamorphosis is so much beyond present human capabilities that it becomes impossible to understand it with the pre-conceptions and conditioning of the present mindset, societal make-up and existing technology
  • The Bio-Info-Nano Singularity is a transcendence to a wholly new regime of mind, society and technology, in which we have to learn to think in a new way in order to survive as a species.
  • What is globalized human society going to do with the mass of unemployed human beings that are rendered obsolete by the approaching super-intelligence of the Bio-Info-Nano Singularity?
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  • Nothing futurists predict ever comes true, but, by the time the time comes, everybody has forgotten they said it--and then they are free to say something else that never will come true but that everybody will have forgotten they said by the time the time come
  • Most of us will become poisoned troglodytes in a techno dystopia
  • Any engineer can make 'stuff' go faster, kill deader, sort quicker, fly higher, record sharper, destroy more completely, etc.. We have a surfeit of that kind of creativity. What we need is some kind of genius to create a society that treats each other with equality, justice, caring and cooperativeness. The concept of 'singularity' doesn't excite me nearly as much as the idea that sometime we might be able to move beyond the civilization level of a troop of chimpanzees. I'm hoping that genius comes before we manage to destroy what little civilization we have with all our neat "stuff"
  • There's a lot of abstraction in this article, which is a trend of what I have read of a number of various movements taking up the Singularity cause. This nebulous but optimistic prediction of an incomprehensibly advanced future, wherein through technology and science we achieve quasi-immortality, or absolute control of thought, omniscience, or transcendence from the human entirely
  • Welcome to the Frankenstein plot. This is a very common Hollywood plot, the idea of a manmade creation running amok. The concept that the author describes can also be described as an asymtotic curve on a graph where scientific achievement parallels time at first then gradually begins to go vertical until infinite scientific knowledge and invention occurs in an incredibly short time.
Ed Webb

Facebook Acquires Israeli Facial Recognition Company - NYTimes.com - 0 views

  • Facebook’s short term future, particularly on Wall Street, depends in large part on how it takes advantage of cellphones and tablets – and how it spins money from one of its singular assets: pictures of babies, weddings, vacations and parties.Face.com’s technology is designed not only  to identify individuals but also their gender and age.
Ed Webb

Doomsday shelters making a comeback - USATODAY.com - 0 views

  • underground shelters, almost-forgotten relics of the Cold War era, are making a comeback
  • a $41 million facility Radius built and installed underground that is suitable for 750 people, McCarthy says. He declined to disclose the client or location of the shelter.
  • Vicino, whose terravivos.com website lists 11 global catastrophes ranging from nuclear war to solar flares to comets, bristles at the notion he's profiting from people's fears. "You don't think of the person who sells you a fire extinguisher as taking advantage of your fear," he says. "The fact that you may never use that fire extinguisher doesn't make it a waste or bad. "We're not creating the fear; the fear is already out there. We're creating a solution."
Ed Webb

What killed Caprica? - 0 views

  • Caprica may have gone too far, tried to cover too much. It broke one of the cardinal rules of mainstream science fiction, which is that if you have a strange alternate universe you'd better populate it with recognizable, ordinary characters. But I like the kind of thought-experiment audaciousness that says, Hell yes we are going to give you complicated characters who defy stereotypes, and put them in a world whose rules you'll have to think hard to understand. It's too late to bring Caprica back. But I hope that this show is the first part of a new wave of science fiction on TV. Like The Sarah Connor Chronicles, Dollhouse, and Fringe, Caprica tackles singularity-level technology as a political and economic phenomenon - not as an escapist fantasy. And that's why it was a show worth watching, even when it stumbled.
Ed Webb

The Imaginative Reality of Ursula K. Le Guin | VQR Online - 1 views

  • The founders of this anarchist society made up a new language because they realized you couldn’t have a new society and an old language. They based the new language on the old one but changed it enormously. It’s simply an illustration of what Orwell was saying in his great essay about how writing English clearly is a political matter.
    • Ed Webb
       
      Le Guin, of course, admires "Politics and the English Language." Real-world examples of people changing languages to change society include the invention of modern Turkish and modern Hebrew.
  • There are advantages and disadvantages to living a very long time, as I have. One of the advantages is that you can’t help having a long view. You’ve seen it come and seen it go. Something that’s being announced as the absolute only way to write, you recognize as a fashion, a fad, trendy—the way to write right now if you want to sell right now to a right now editor. But there’s also the long run to consider. Nothing’s deader than last year’s trend. 
  • Obviously, the present tense has certain uses that it’s wonderfully suited for. But recently it has been adopted blindly, as the only way to tell a story—often by young writers who haven’t read very much. Well, it’s a good way to tell some stories, not a good way to tell others. It’s inherently limiting. I call it “flashlight focus.” You see a spot ahead of you and it is dark all around it. That’s great for high suspense, high drama, cut-to-the-chase writing. But if you want to tell a big, long story, like the books of Elena Ferrante, or Jane Smiley’s The Last Hundred Years trilogy, which moves year by year from 1920 to 2020—the present tense would cripple those books. To assume that the present tense is literally “now” and the past tense literally remote in time is extremely naïve. 
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  • Henry James did the limited third person really well, showing us the way to do it. He milked that cow successfully. And it’s a great cow, it still gives lots of milk. But if you read only contemporary stuff, always third-person limited, you don’t realize that point of view in a story is very important and can be very movable. It’s here where I suggest that people read books like Woolf’s To the Lighthouse to see what she does by moving from mind to mind. Or Tolstoy’s War and Peace for goodness’ sake. Wow. The way he slides from one point of view to another without you knowing that you’ve changed point of view—he does it so gracefully. You know where you are, whose eyes you are seeing through, but you don’t have the sense of being jerked from place to place. That’s mastery of a craft.
  • Any of us who grew up reading eighteenth- or nineteenth-century fiction are perfectly at home with what is called “omniscience.” I myself call it “authorial” point of view because the term “omnisicence,” the idea of an author being omniscient, is so often used in a judgmental way, as if it were a bad thing. But the author, after all, is the author of all these characters, the maker, the inventor of them. In fact all the characters are the author if you come right down to the honest truth of it. So the author has the perfect right to know what they’re thinking. If the author doesn’t tell you what they are thinking … why? This is worth thinking about. Often it’s simply to spin out suspense by not telling you what the author knows. Well, that’s legitimate. This is art. But I’m trying to get people to think about their choices here, because there are so many beautiful choices that are going unused. In a way, first person and limited third are the easiest ones, the least interesting. 
  • to preach that story is conflict, always to ask, “Where’s the conflict in your story?”—this needs some thinking about. If you say that story is about conflict, that plot must be based on conflict, you’re limiting your view of the world severely. And in a sense making a political statement: that life is conflict, so in stories conflict is all that really matters. This is simply untrue. To see life as a battle is a narrow, social-Darwinist view, and a very masculine one. Conflict, of course, is part of life, I’m not saying you should try to keep it out of your stories, just that it’s not their only lifeblood. Stories are about a lot of different things
  • The first decade of her career, beginning in the sixties, included some of her most well-known works of fiction: A Wizard of Earthsea, The Left Hand of Darkness, The Dispossessed, and The Lathe of Heaven. Each of these works imagined not just worlds, but homes, homes that became real for her readers, homes where protagonists were women, people of color, gender fluid, anticapitalist—imaginary homes that did not simply spin out our worst dystopic fears for the future like so many of the apocalyptic novels of today, but also modeled other ways of being, other ways to create home.
  • “Children know perfectly well that unicorns aren’t real,” Le Guin once said. “But they also know that books about unicorns, if they are good books, are true books.”
  • “Fake rules” and “alternative facts” are used in our time not to increase moral understanding and social possibility but to increase power for those who already have it. A war on language has unhinged words from their meaning, language from its capacity as truth-teller. But perhaps, counterintuitively, it is in the realm of the imagination, the fictive, where we can best re-ground ourselves in the real and the true.
  • you can’t find your own voice if you aren’t listening for it. The sound of your writing is an essential part of what it’s doing. Our teaching of writing tends to ignore it, except maybe in poetry. And so we get prose that goes clunk, clunk, clunk. And we don’t know what’s wrong with it
  • You emphasize the importance of understanding grammar and grammar terminology but also the importance of interrogating its rules. You point out that it is a strange phenomenon that grammar is the tool of our trade and yet so many writers steer away from an engagement with it. In my generation and for a while after—I was born in 1929—we were taught grammar right from the start. It was quietly drilled into us. We knew the names of the parts of speech, we had a working acquaintance with how English works, which they don’t get in most schools anymore. There is so much less reading in schools, and very little teaching of grammar. For a writer this is kind of like being thrown into a carpenter’s shop without ever having learned the names of the tools or handled them consciously. What do you do with a Phillips screwdriver? What is a Phillips screwdriver? We’re not equipping people to write; we’re just saying, “You too can write!” or “Anybody can write, just sit down and do it!” But to make anything, you’ve got to have the tools to make it.
  • In your book on writing, Steering the Craft, you say that morality and language are linked, but that morality and correctness are not the same thing. Yet we often confuse them in the realm of grammar. The “grammar bullies”—you read them in places like the New York Times—and they tell you what is correct: You must never use “hopefully.” “Hopefully, we will be going there on Tuesday.” That is incorrect and wrong and you are basically an ignorant pig if you say it. This is judgmentalism. The game that is being played there is a game of social class. It has nothing to do with the morality of writing and speaking and thinking clearly, which Orwell, for instance, talked about so well. It’s just affirming that I am from a higher class than you are. The trouble is that people who aren’t taught grammar very well in school fall for these statements from these pundits, delivered with vast authority from above. I’m fighting that. A very interesting case in point is using “they” as a singular. This offends the grammar bullies endlessly; it is wrong, wrong, wrong! Well, it was right until the eighteenth century, when they invented the rule that “he” includes “she.” It didn’t exist in English before then; Shakespeare used “they” instead of “he or she”—we all do, we always have done, in speaking, in colloquial English. It took the women’s movement to bring it back to English literature. And it is important. Because it’s a crossroads between correctness bullying and the moral use of language. If “he” includes “she” but “she” doesn’t include “he,” a big statement is being made, with huge social and moral implications. But we don’t have to use “he” that way—we’ve got “they.” Why not use it?
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