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Javier E

Percival Everett Can't Say What His Novels Mean | The New Yorker - 0 views

  • The more I read Everett’s work, the more my thoughts turned to jazz. “It is the player who, by improvising, makes jazz,” Bernstein said. “He uses the popular song as a kind of dummy to hang his notes on. He dresses it up in his own way and it comes out an original.”
  • A jazz player may reference sheet music, but the resulting performance—animated by intuition and impulse—exceeds the descriptive capacities of the language it draws from.
  • James Baldwin compared it to the talking drum, used to convey messages across distances that the human voice can’t travel: “It is a music which creates, as what we call History cannot sum up the courage to do, the response to that absolutely universal question: Who am I? What am I doing here?”
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  • Everett is not the first to reimagine Huck and Jim’s coupling, which other artists have interpreted as romantic or paternal. But he is perhaps the first to try to invert it. In “James,” Huck is Jim’s shameful appendage, the object of Jim’s resentful affection. He is the secret Jim can’t give up, the wedge that cleaves Jim’s family
  • it’s difficult not to read “James” as a corrective of Everett’s previous works, if not of its source material. For Jim’s predecessors, freedom requires abstraction: the problem is other people. But Jim’s understanding of freedom is literal. He knows that his happiness depends upon the emancipation of his family. At first, he wields a pencil, but then he exchanges it for a gun.
Javier E

How Africans Are Changing French - One Joke, Rap and Book at a Time - The New York Times - 0 views

  • A growing number of words and expressions from Africa are now infusing the French language, spurred by booming populations of young people in West and Central Africa.
  • More than 60 percent of those who speak French daily now live in Africa, and 80 percent of children studying in French are in Africa. There are as many French speakers in Kinshasa, the capital of the Democratic Republic of Congo, as in Paris.
  • Through social media platforms like TikTok and YouTube, they are literally spreading the word, reshaping the French language from African countries, like Ivory Coast, that were once colonized by France.
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  • “We’ve tried to rap in pure French, but nobody was listening to us,” said Jean Patrick Niambé, known as Dofy, a 24-year-old Ivorian hip-hop artist listening to Marla on the rooftop. “So we create words from our own realities, and then they spread.”
  • The youth population in Africa is surging while the rest of the world grays. Demographers predict that by 2060, up to 85 percent of French speakers will live on the African continent. That’s nearly the inverse of the 1960s, when 90 percent of French speakers lived in European and other Western countries.
  • Nearly half of the countries in Africa were at one time French colonies or protectorates, and most of them use French as their official language.
  • President Emmanuel Macron of France said in a 2019 speech: “France must take pride in being essentially one country among others that learns, speaks, writes in French.”
Javier E

Deborah Feldman, the Author of 'Unorthodox,' Touches a Nerve in Germany - The New York ... - 0 views

  • What I really think has happened here is that memory culture has produced two warring phenomena.
  • It produced a society that is paralyzed by guilt and discomfort. Germany doesn’t have emotional space and energy for any other historical responsibility other than the reality that it perpetrated the Holocaust.
  • at the same time, official memory culture created an unchecked arena for politicians to abuse that history. These politicians don’t reflect the views of society, but they don’t feel the need to, because they’ve created a culture in which society doesn’t have a say in this issue. And it is so sad that the Jewish people have such diverse cultural, ethnic and religious identities, but in Germany they have to subsume it into the identity of the Holocaust victim.
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  • Documenta was a very big moment for artists on this issue. Everyone started getting very afraid. What we’ve been experiencing is a gap between the cultural establishment and the political structures that fund the culture scene.
  • I have a lot of Palestinian friends. A lot of Israeli friends. A lot of
  • friends with an immigrant background. My whole community was just paralyzed by fear and hopelessness and this feeling of being humiliated, denigrated, dehumanized.
  • I have lost my faith in German media. I never had faith in German politics, but now I really have no hope for German politics. Honestly, I think what I still feel connected to are the people who tell me privately: “I agree with you, but if I say it, I lose my job.”
Javier E

OpenAI Just Gave Away the Entire Game - The Atlantic - 0 views

  • If you’re looking to understand the philosophy that underpins Silicon Valley’s latest gold rush, look no further than OpenAI’s Scarlett Johansson debacle.
  • the situation is also a tidy microcosm of the raw deal at the center of generative AI, a technology that is built off data scraped from the internet, generally without the consent of creators or copyright owners. Multiple artists and publishers, including The New York Times, have sued AI companies for this reason, but the tech firms remain unchastened, prevaricating when asked point-blank about the provenance of their training data.
  • At the core of these deflections is an implication: The hypothetical superintelligence they are building is too big, too world-changing, too important for prosaic concerns such as copyright and attribution. The Johansson scandal is merely a reminder of AI’s manifest-destiny philosophy: This is happening, whether you like it or not.
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  • Altman and OpenAI have been candid on this front. The end goal of OpenAI has always been to build a so-called artificial general intelligence, or AGI, that would, in their imagining, alter the course of human history forever, ushering in an unthinkable revolution of productivity and prosperity—a utopian world where jobs disappear, replaced by some form of universal basic income, and humanity experiences quantum leaps in science and medicine. (Or, the machines cause life on Earth as we know it to end.) The stakes, in this hypothetical, are unimaginably high—all the more reason for OpenAI to accelerate progress by any means necessary.
  • As with other grand projects of the 20th century, the voting public had a voice in both the aims and the execution of the Apollo missions. Altman made it clear that we’re no longer in that world. Rather than waiting around for it to return, or devoting his energies to making sure that it does, he is going full throttle forward in our present reality.
  • Part of Altman’s reasoning, he told Andersen, is that AI development is a geopolitical race against autocracies like China. “If you are a person of a liberal-democratic country, it is better for you to cheer on the success of OpenAI” rather than that of “authoritarian governments,” he said. He noted that, in an ideal world, AI should be a product of nations. But in this world, Altman seems to view his company as akin to its own nation-state.
  • In response to one question about AGI rendering jobs obsolete, Jeff Wu, an engineer for the company, confessed, “It’s kind of deeply unfair that, you know, a group of people can just build AI and take everyone’s jobs away, and in some sense, there’s nothing you can do to stop them right now.” He added, “I don’t know. Raise awareness, get governments to care, get other people to care. Yeah. Or join us and have one of the few remaining jobs. I don’t know; it’s rough.”
  • Wu’s colleague Daniel Kokotajlo jumped in with the justification. “To add to that,” he said, “AGI is going to create tremendous wealth. And if that wealth is distributed—even if it’s not equitably distributed, but the closer it is to equitable distribution, it’s going to make everyone incredibly wealthy.”
  • This is the unvarnished logic of OpenAI. It is cold, rationalist, and paternalistic. That such a small group of people should be anointed to build a civilization-changing technology is inherently unfair, they note. And yet they will carry on because they have both a vision for the future and the means to try to bring it to fruition
  • Wu’s proposition, which he offers with a resigned shrug in the video, is telling: You can try to fight this, but you can’t stop it. Your best bet is to get on board.
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