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Translation, however, is an example of a field where this approach fails horribly, because words cannot be reduced to their dictionary definitions, and because languages tend to have as many exceptions as they have rules. More often than not, a system like this is liable to translate “minister of agriculture” as “priest of farming.” Still, for math and chess it worked great, and the proponents of symbolic A.I. took it for granted that no activities signaled “general intelligence” better than math and chess.

Bos­trom writes, “Artificial intelligence already outperforms human intelligence in many domains.” The examples range from chess to Scrabble. One program from 1981, called Eurisko, was designed to teach itself a naval role-playing game. After playing ten thousand matches, it arrived at a morally grotesque strategy: to field thousands of small, immobile ships, the vast majority of which were intended as cannon fodder. In a national tournament, Eurisko demolished its human opponents, who insisted that the game’s rules be changed. The following year, Eurisko won again—by forcing its damaged ships to sink themselves.

Artist Amalia Ulman created an online persona and recorded it on Instagram to ask questions about gender online. Cadence Kinsey asks what her project tells us about our own social media identities. facebook Twitter reddit WhatsApp Google + Email

A group of organizations, including Microsoft and the Rembrandthuis museum, have collaborated to produce a new painting by Rembrandt. Or rather, "by" Rembrandt. The team wrote software that analyzed the Dutch master's entire catalog of paintings and used the data to create a 3D-printed Rembrandt-esque painting.

As machine learning becomes more powerful, the field’s researchers increasingly find themselves unable to account for what their algorithms know — or how they know it.

The thought experiment is meant to show how an optimization algorithm, even if designed with no malicious intent, could ultimately destroy the world.

The researchers culled tens of thousands of photos from an online-dating site, then used an off-the-shelf computer model to extract users’ facial characteristics—both transient ones, like eye makeup and hair color, and more fixed ones, like jaw shape. Then they fed the data into their own model, which classified users by their apparent sexuality. When shown two photos, one of a gay man and one of a straight man, Kosinski and Wang’s model could distinguish between them eighty-one per cent of the time; for women, its accuracy dropped slightly, to seventy-one per cent.

Last May, two research groups announced a breakthrough: they each grew human embryos, in the lab, longer than ever before. In doing so, they witnessed a period of human development no one had ever seen. But in the process, they crashed up against something called the '14-day rule,' a guideline set over 30 years ago that dictates what we do, and possibly how we feel, about human embryos in the lab. On this episode, join producer Molly Webster as she peers down at our very own origins, and wonders: what do we do now?

The air of machine precision casts doubt on what our eyes—or the eyes of referees—can process. As viewers, they argue, our instinct is to assume that all forms of assistance are equally effective, or that they do what they claim in the first place. But what we see on television is usually just a representation, or a calculated guess, based on thermal imaging, sound, or the work of cameras tracking an object’s velocity through air.

Ai Weiwei and Jacob Appelbaum are artists, journalists, dissidents, polymaths — and targets. Their respective governments, China and the United States, monitor their every move. They have been detained and interrogated. Ai cannot leave China, and Appelbaum is advised not to return to the United States. They are separated from their families. Ai has been imprisoned and beaten by the police. Yet each continues his work and speaks out against government wrongdoing.In April, Ai and Appelbaum met in Beijing to collaborate on an art project commissioned by Rhizome and the New Museum in New York. As a filmmaker, and as a target of state surveillance myself, I am deeply interested in the way being watched and recorded affects how we act, and how watching the watchers, or counter-surveillance, can shift power. I was asked to film their project. During the encounter, Ai and Appelbaum continually filmed and photographed each other. Between their cameras and mine, we created a zone of hyper-surveillance. Almost everything was documented. Just outside Ai’s studio hung surveillance cameras installed by the Chinese government. The art project the pair made, “Panda to Panda,” was not about surveillance. It was about secrets. They stuffed cuddly toy panda bears with public, shredded N.S.A. documents that were originally given to me and Glenn Greenwald two years ago in Hong Kong by the whistle-blower Edward Snowden. Inside each panda, Ai and Appelbaum placed a micro SD memory card containing a digital backup of the previously published documents.

A former journalist, equipped with an algorithm and the largest collection of murder records in the country, finds patterns in crime.