Jenann Ismael at the IAI:
Any attempt to describe the universe as a totality inevitably involves self-reference. This isn’t something that one often confronts in physics. Most day-to-day physics is modelling other systems: cells, gases, planets. We maintain a separation of subject and object, or of investigator and system being investigated. And even though cosmology is explicitly devoted to the study of the universe as a whole, it is customary in cosmology to maintain the imaginative fiction that we – the people modelling the universe – are looking at it from the outside. We adopt, that is to say, the God’s Eye View.
Ultimately, though, we are part of the universe. And that means that however we regiment the universe, whatever regime we work in, if we aim for a theory that describes all of existence, self-reference is unavoidable. Any system that is modelling the universe as a whole – aiming for full coverage of all of existence – is going to encounter self-reference. This is something that we can ignore in some contexts. It matters in others.
The people that have unavoidably encountered it are people who are trying to program an artificial general intelligence (an AGI).
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What is worrisome about the lab-leak controversy therefore is not only that our public discussions and political decisions about Covid-19 may have been hampered by the experts’ mischaracterization of scientific knowledge. The long-term danger is that the experts themselves have helped to undermine public trust in scientific expertise and the institutions that depend on it, at a moment when such knowledge is more deeply intertwined with our social and political life than ever before.
Petite maman seems an unlikely project for Sciamma, who has tended to be very much a realist director. Yet the film is absolutely of a piece with her previous depictions of female experience at different ages – whether depicting the shifting identities and burgeoning desires of teenagers in her debut Water Lilies (2007) and her breakthrough film Girlhood (2014) or investigating nonconformist gender identity at an earlier age, in her altogether ahead-of-its-time Tomboy (2011). It was 2019’s ambitious Portrait of a Lady on Fire – a lesbian romance set in the 18th century – that confirmed her international auteur renown and that also made her a prominent figurehead in contemporary women’s cinema (even a name emblazoned on T-shirts). But Portrait also marked a shift from conventional realism into a stripped back, imaginative realm of poetic filmmaking, an investigation she pursues further in the concise (72-minute), sparely crafted Petite maman.
Although there is something oblique about these conceits, Calle is associated, above all, with acts of bald exposure. Her celebrity, which now extends far beyond France, has long been attached to charges of voyeurisme and exhibitionnisme (which have sometimes resulted in legal trouble). Yet, as “The Hotel” vividly shows, what Calle is really looking for is more enigmatic and compelling than other people’s dirty laundry. Rather than erase the residue of human presence, as a “real” maid is expected to, Calle does the opposite, preserving every stain and scrap as a sign or symbol. But of what? This is the question at the heart of Calle’s work, and the answer may hardly be the point; what interests her most is the seduction and projection involved in knowing another person—how fantasy intervenes in every attempt to see and be seen.
Though the moon was long considered a barren, inhospitable rocky world, researchers over the past few decades have found that the moon has many of the amenities that humans would need to build a self-sufficient habitat. Indeed, recent discoveries of
When people think of ways to help the world’s poor, a few obvious ideas come to mind:
We will meet climate change with real change, and defeat the fossil-fuel industry in the next nine years.
In dozens of laboratory freezers at Columbia University in New York City, 60,000 cancer specimens await testing that oncologist Azra Raza, M.D., anticipates will find “cancer’s first cell” — the earliest mutated cell that will eventually multiply to become a cancer — and lead to treatments that knock the disease out before it grows. The blood and bone marrow samples come from nearly every one of her patients of 35 years, provided as they moved through cancer treatment.
The carceral system has become a vast debt machine. It creates a dizzying array of financial obligations for those unfortunate enough to be caught in its dragnet. The lowest hanging fruits are the traffic fines extracted from motorists who fall foul of a speed trap, carefully laid by officers assigned to do “
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The tile floor was cold and hard against my knees, but I couldn’t move from my spot in front of the toilet. It was the third morning that week I had spent violently throwing up because of anxiety at the prospect of going into the lab. So far, I had been able to stay home without consequence. But that day I was scheduled to meet other lab members to work on an experiment essential for my Ph.D. project. At 5:45 a.m. I let them know I wouldn’t be coming in, feeling a wave of guilt. “How did I get here?” I wondered.
It surprises us to learn how much literature was penned in the trenches of World War I. The poems of Wilfred Owen or the early tales of Tolkien, for example, are all the more exceptional when we consider that they were composed amid states of mortal terror. But the most incredible and most stupefying example perhaps is Ludwig Wittgenstein’s Tractatus Logico-Philosophicus. Less than a hundred pages long, it is a slender book that, according to its author, set about to find a “final solution” to the problems of philosophy (a phrase made even more cryptic by the knowledge that Wittgenstein and Hitler were once schoolmates). And indeed, when the Tractatus was published in the fall of 1921, Wittgenstein effectively “retired” from his trade, believing that he’d found the basement of Western philosophy and had turned off the lights when he left.