CEO behind ChatGPT warns Congress AI could cause ‘harm to the world’

Cat Zakrzewski, Cristiano Lima and Will Oremus in the Washington Post:

OpenAI chief executive Sam Altman delivered a sobering account of ways artificial intelligence could “cause significant harm to the world” during his first congressional testimony, expressing a willingness to work with nervous lawmakers to address the risks presented by his company’s ChatGPT and other AI tools.

Altman advocated a number of regulations — including a new government agency charged with creating standards for the field — to address mounting concerns that generative AI could distort reality and create unprecedented safety hazards. The CEO tallied “risky” behaviors presented by technology like ChatGPT, including spreading “one-on-one interactive disinformation” and emotional manipulation. At one point he acknowledged AI could be used to target drone strikes.

More here.



Quantum physics proposes a new way to study biology – and the results could revolutionize our understanding of how life works

Clarice D. Aiello in The Conversation:

Imagine using your cellphone to control the activity of your own cells to treat injuries and disease. It sounds like something from the imagination of an overly optimistic science fiction writer. But this may one day be a possibility through the emerging field of quantum biology.

Over the past few decades, scientists have made incredible progress in understanding and manipulating biological systems at increasingly small scales, from protein folding to genetic engineering. And yet, the extent to which quantum effects influence living systems remains barely understood.

Quantum effects are phenomena that occur between atoms and molecules that can’t be explained by classical physics. It has been known for more than a century that the rules of classical mechanics, like Newton’s laws of motion, break down at atomic scales. Instead, tiny objects behave according to a different set of laws known as quantum mechanics.

More here.

Collective Guilt is the Most Indefensible Form of Cancel Culture

Yascha Mounk in Persuasion:

In January 1941, the world found itself in the darkest depths of World War II. Nazi Germany had conquered Poland and France. It remained allied with Japan and the Soviet Union, and now seemed on the verge of subduing the United Kingdom. The stakes were existential and the outlook increasingly bleak.

In the United States, Franklin D. Roosevelt was pushing for America to come to the rescue of civilization. Against strong domestic opposition he supported Britain with the Lend-Lease Act and was readying the American armed forces for a potential entry into the war.

It must at the time have been tempting to condemn all Germans for the actions of the Nazis, who had after all gained power in good part because of their strength at the ballot box. But rather than ascribing collective guilt to all Germans—as, shamefully, his administration was soon to do in the case of Japanese-Americans—F.D.R. recognized the distinction between Germans who supported and Germans who opposed the Nazis. He courted exiled dissidents and, at the beginning of that fateful year, went so far as to invite one of the most famous of them for an overnight stay at the White House.

More here.

Kyle Dunn’s Night Fever

Jerry Saltz at New York Magazine:

Ten paintings. Each engaging; each mysterious; each stranger than the next. Vivid color, erotic tension, mistrust, and atonement for what society has deemed are perverse games of sexual desecration. The figures in Kyle Dunn’s Night Pictures, now on display at P·P·O·W gallery, exist in suspended states of crisis, in the throes of jealousy and loneliness, withdrawn into shadow — burned out, exhausted, beautiful.

In Paper Angel, a naked male figure is crouching alone in a room, in front of a mirror, looking at a pile of books, food, and other paraphernalia. He personifies procrastination as a creative force. Is he the subject of an invisible painter, the painter himself, or an apparition for a painting? A paper cut-out of an angel adorns the wall, witness to a prayer of desire. The painting is also a superb topological map of open wounds. Here is a world without eros, no “other.” Just wistful longing.

more here.

Exaggerating The AI Disinfo Threat

James R. Ostrowski at The New Atlantis:

Any machine learning researcher will admit that there is a critical disconnect between what’s possible in the lab and what’s happening in the field. Take deepfakes. When the technology was first developed, public discourse was saturated with proclamations that it would slacken society’s grip on reality. A 2019 New York Times op-ed, indicative of the general sentiment of this time, was titled “Deepfakes Are Coming. We Can No Longer Believe What We See.” That same week, Politico sounded the alarm in its article “‘Nightmarish’: Lawmakers brace for swarm of 2020 deepfakes.” A Forbes article asked us to imagine a deepfake video of President Trump announcing a nuclear weapons launch against North Korea. These stories, like others in the genre, gloss over questions of practicality.

Chroniclers of disinformation often assume that because a tactic is hypothetically available to an attacker, the attacker is using it. But state-backed actors assigned to carry out influence operations face budgetary and time constraints like everyone else, and must maximize the influence they get for every dollar spent. Tim Hwang, a research fellow at the Center for Security and Emerging Technology, explains in a 2020 report that “propagandists are pragmatists.”

more here.

For the bullied, bullies, and bystanders: This mom has a plan

JJ Wahlberg in The Christian Science Monitor:

When Shadi Pourkashef takes the stage at elementary school auditoriums, students know she’s there to talk about being kind, stopping bullying, and understanding others. So it might be surprising to them that she begins by asking what they think she does outside of her presentations.

The kids guess all kinds of things: “You’re a lawyer.” “You’re a teacher.” “You make drinks at Starbucks.” Then Ms. Pourkashef shows a photo of herself leading an orchestra and explains that she is a composer for movies and commercials, a piano teacher, and a conductor. The kids are amazed. “You couldn’t tell all that just by looking at me, could you?” she asks them.

And that’s the heart of the message that she brings from her Ability Awareness Project (AAP): You don’t know everything that someone is capable of just from a single observation or interaction. At her sunny studio here, her musical work is obvious. Two keyboards and a piano occupy three walls. She works via video chat with a student on piano finger placement. But her “other work” – combating bullying with kindness – happens beyond the studio walls throughout the community.

More here.

Med Men: How Big Pharma’s investment in the advertising model taught us to view health as another consumer choice

Ann Bauer in Tablet:

In 2009, I took a job as a copywriter with an ad agency in Minneapolis. After 10 years of academia and publishing in obscure literary magazines, I began writing copy for health care and medical device accounts. The work was boring but the salary was grand, and so I threw myself into learning about stents and dilatation balloons.

About a year into the job a large meeting was called. Suddenly my colleagues—those of the running shoe and vodka accounts—wanted in. Our flagship health care client was looking for a multimedia retail campaign for their pacemaker. A pacemaker is a simple device that can be lifesaving, essentially a low-voltage clock used to speed up and regulate a slow or sloppy heart rate. It was developed in the late 1950s and patented in 1962. Since then, the technology has not changed much. The device got smaller and the surgery to insert it more streamlined, but as a mechanical object, the design was pretty perfect.

More here.

Thursday Poem

“And so it goes.” —Kurt Vonnegut

The Death of God

When the news filtered to the angels
they were overwhelmed by their sudden aloneness.
Long into the night they waited for instructions;
the night was quieter than any night they’d known.
I don’t have a thought in my head, one angel lamented.
Others worried, Is there such a thing as an angel now?
New to questioning, dashed by the dry light
of reason, some fell into despair. Many disappeared.
A few wandered naturally toward power, were hired
by dictators who needed something like an angel
to represent them to the world.
These angels spoke the pure secular word.
They murdered sweetly and extolled the greater good.
The Dark Angel himself was simply amused.

The void grew, and was fabulously filled.
Vast stadiums and elaborate malls—
the new cathedrals—were built
where people cheered and consumed.
At the nostalgia shops angel trinkets
and plastic crucifixes lined the shelves.
The old churches were homes for the poor.
And yet before meals and at bedtime
and in the iconographies of dreams,
God took his invisible place in the kingdom of need.
Disaffected minstrels made and sang His songs.
The angels were given breath and brain.
This all went on while He was dead to the world.

The Dark Angel observed it, waiting as ever.
On these things his entire existence depended.

by Stephen Dunn
from
Different Hours
W.W. Norton & Company, 2000

Wednesday, May 17, 2023

Why a Silicon Valley culture that was once obsessed with reason is going woo

Tara Isabella Burton in The New Atlantis:

Vogel is part of a loose online subculture known as the postrationalists — also known by the jokey endonym “this part of Twitter,” or TPOT. They are a group of writers, thinkers, readers, and Internet trolls alike who were once rationalists, or members of adjacent communities like the effective altruism movement, but grew disillusioned. To them, rationality culture’s technocratic focus on ameliorating the human condition through hyper-utilitarian goals — increasing the number of malaria nets in the developing world, say, or minimizing the existential risk posed by the development of unfriendly artificial intelligence — had come at the expense of taking seriously the less quantifiable elements of a well-lived human life.

More here.

Robert Trivers, Stalin, and the Dark Side of Idealism

Richard Hanania in his Substack newsletter:

Allow me to make the case for understanding the life of Joseph Stalin. It is difficult to think of many people who lived lives more interesting than that of the Soviet dictator. The son of a cobbler and seamstress living from the outskirts of the Russian empire, he would grow up to be at the center of three once-in-a-lifetime type geopolitical events: the Russian Revolution, World War II, and the beginning of the Cold War. Stalin was also the preeminent force behind the drive to build the first communist great power in world history. This included the 1936–1938 purge of the country’s leadership that was perhaps unlike anything documented history had seen before or since. Twenty years after the Russian Revolution, Stalin would wipe out the vast majority of its more prominent figures still alive, in addition to much of the country’s military and intelligence leadership.

How was one man able to pull this off?

More here.

Why use of AI is a major sticking point in the ongoing writers’ strike

Jeremy Hsu in New Scientist:

Could AI soon write your favourite Hollywood film or streaming show? That concern is one of the issues driving a US film and television writers’ strike that has halted many productions nationwide.

The Writers Guild of America (WGA), a labour union representing writers who primarily work in film and television, began the work strike this month after reaching an impasse in negotiations with the Alliance of Motion Picture and Television Producers that represents the US entertainment industry. Part of the disagreement revolves around a WGA proposal to ban the industry from using AIs such as ChatGPT to generate story ideas or scripts for films and shows – the union wants to ensure that such technologies do not undermine writers’ compensation and writing credits.

“The fear is that AI could be used to produce first drafts of shows, and then a small number of writers would work off of those scripts,” says Virginia Doellgast at Cornell University in New York.

More here.

Joan Baez Is Still Doing Beautiful, Cool Stuff

Amanda Petrusich at The New Yorker:

Since 1959—when she first appeared, at age eighteen, at the Newport Folk Festival, singing alongside the banjo player and guitarist Bob Gibson—Joan Baez has been electrifying eager crowds with her elegance and ferocity. Baez was central to both the folk revival and the civil-rights movement of the nineteen-sixties; her protest songs, delivered in a vivid, warbly soprano, felt both defiant and gently maternal. (Baez’s stunning 1963 performance of the century-old gospel song “We Shall Overcome,” at the March on Washington for Jobs and Freedom, remains one of the crucial musical artifacts of the era.)

Now eighty-two, and with twenty-five studio albums behind her, Baez has mostly retired from music, though she is still making poignant and unpredictable art. This spring, Baez released “Am I Pretty When I Fly?,” a collection of line drawings that she created by working upside down and sometimes with her nondominant hand. The results are abstract, quivery, weird, inscrutable, pure, and hilarious.

more here.

Philip Guston in Boston, Houston, and Washington

Karen Wilkin at the Hudson Review:

Restless and, at some level, always dissatisfied, in the early 1960s, Guston began to step back from his acclaimed abstractions. The floating tangles of dense brushstrokes began to coalesce into dark, confrontational, ample ovals that hovered against murky webs like surrogate self-portraits, an association reinforced by titles like MirrorPainter, and Head. A period devoted to essentially minimal drawing followed, as if Guston were stripping everything down to essentials, testing what a single assertive mark on paper could mean. Next, he concentrated on small “portraits” of shoes, books, light bulbs, hooded figures, window shades, and the like, with every image filling the available space and pressing toward us, a series that has been described as a visual lexicon, prepared for future works. Guston later said that he was provoked to make images by the events of 1968, including the assassinations of Martin Luther King, Jr., and Robert Kennedy, student uprisings, and police brutality during the Democratic Convention. He felt that worrying about color relationships and formal issues was inadequate to the situation.

more here.

Wednesday Poem

Map

i.e., land turned napkin

i.e., the pen taking stock of what kings care to own

i.e., the Nile, the most dangerous and generous body of nature in the entire
continent, becomes the blue line asking permission from black lines
to keep flowing

i.e., even water is disaster here

i.e., how easily the man-made smudge off

i.e., when I asked my sister what shaped the right-side of Ethiopia like a
beak, she answered, “the crisis of Europeans”

i.e., the drawing of a line tends to be—if not the final—the origin of
catastrophes

i.e., it’s possible for a nation to lose its ears in a few months

i.e., red on paper, red on the fields

by Abigail Mengesha
from
Frontier Poetry

There’s no such thing as a new idea — just ask the Little Mermaid

Alissa Wilkinson in Vox:

“Originals,” of course, rarely are.

In 1989, a redheaded mermaid made her big-screen debut. She wanted to be part of the above-surface world, where people walk around on (what do you call ‘em?) feet, to wander free on the sand in the sunshine. She fell in love with a handsome, kind prince. After some terrifying obstacles and a near-miss, they married. Ariel got her feet.

For Disney, The Little Mermaid was a big hit, the start of a new era for the studio’s animated entertainment. She launched a hot streak that would continue through the 1990s: Beauty and the Beast (1991), Aladdin (1992), The Lion King (1994), Pocahontas (1995), The Hunchback of Notre Dame (1996), Hercules (1997), Mulan (1998), and Tarzan (1999). They were hits then, the early films in particular, and form a foundational plank in billions of lives. A tremendous percentage of people walking around on the planet can sing snatches of “Part of Your World” or “A Whole New World” or “Circle of Life” at the drop of a hat.

More here.

Microsoft Says New A.I. Shows Signs of Human Reasoning

Cade Metz in The New York Times:

When computer scientists at Microsoft started to experiment with a new artificial intelligence system last year, they asked it to solve a puzzle that should have required an intuitive understanding of the physical world. “Here we have a book, nine eggs, a laptop, a bottle and a nail,” they asked. “Please tell me how to stack them onto each other in a stable manner.” The researchers were startled by the ingenuity of the A.I. system’s answer. Put the eggs on the book, it said. Arrange the eggs in three rows with space between them. Make sure you don’t crack them. “Place the laptop on top of the eggs, with the screen facing down and the keyboard facing up,” it wrote. “The laptop will fit snugly within the boundaries of the book and the eggs, and its flat and rigid surface will provide a stable platform for the next layer.”

The clever suggestion made the researchers wonder whether they were witnessing a new kind of intelligence. In March, they published a 155-page research paper arguing that the system was a step toward artificial general intelligence, or A.G.I., which is shorthand for a machine that can do anything the human brain can do. The paper was published on an internet research repository. Microsoft, the first major tech company to release a paper making such a bold claim, stirred one of the tech world’s testiest debates: Is the industry building something akin to human intelligence? Or are some of the industry’s brightest minds letting their imaginations get the best of them?

“I started off being very skeptical — and that evolved into a sense of frustration, annoyance, maybe even fear,” Peter Lee, who leads research at Microsoft, said. “You think: Where the heck is this coming from?”

More here.