Wednesday 4 June, 2025

Orchids


Quote of the Day

”Ten years ago, when your plane touched down in Dulles or DCA (Ronald Reagan Washington National Airport), you were coming home. Because we had been here for so long. And you would relax. Now I just tense up wherever I am coming in from. There is a menace, an edge to life. Not just in Washington, but in America, that just wasn’t there before. And the possibility of dark stuff. I guess what schoolkids must feel when they do shooting drills. You are suddenly aware of something.”

  • FT columnist Edward Luce in an Irish Times interview 03/06/2025

Musical alternative to the morning’s radio news

Bob Dylan | Girl from the North Country

Link

This was the lovely going-out music at the funeral of a wonderful woman on Monday. It was spot on for the person and the occasion.


Long Read of the Day

The Myth of Automated Learning

Lovely blog post by Nicholas Carr arguing that the real threat AI poses to education isn’t that it encourages cheating but that it discourages learning. Carr is a wise and perceptive thinker. And he goes right to the heart of the issue.

Because generative AI is a general-purpose technology that can be used to automate all sorts of tasks and jobs, we’re likely to see plenty of examples of each of the three skill scenarios in the years to come. But AI’s use by high-school and college students to complete written assignments, to ease or avoid the work of reading and writing, is a special case. It puts the process of deskilling at education’s core. To automate learning is to subvert learning.

Unlike carpentry or calculus, learning is not a skill that can be “mastered.” It’s true that the more research you do, the better you’ll get at doing research, and the more papers you write, the better you’ll get at writing papers, but the pedagogical value of a writing assignment doesn’t lie in the tangible product of the work — the paper that gets handed in at the assignment’s end. It lies in the work itself: the critical reading of source materials, the synthesis of evidence and ideas, the formulation of a thesis and an argument, and the expression of thought in a coherent piece of writing…

This is a great piece. Should be required reading for every parent — and teacher.


So many books, so little time

Screenshot

My son Brian, who has been experimenting productively for quite a while with Claude.ai has nudged into producing what he believes is the first novel completely written by an LLM. It’s available on Amazon.uk, and he’s documented on Github the whole process by which it was created.

It all stemmed from a simple question to Claude: “If YOU were to write a book, what would it be about?”

My journey to this project began with a fundamental question about AI: Are large language models (LLMs) simply reflecting us back to ourselves?

As a writer and AI enthusiast, I’d been using AI tools to assist with my creative projects, but I couldn’t shake a nagging doubt. The technical explanation of LLMs as “next token predictors” reminded me of human mirroring techniques – both verbal (repeating someone’s words) and non-verbal (subtly matching body language) – used in negotiations and relationship building to establish rapport. Was I just getting high on my own supply, with AIs flattering my creative ego by mirroring what I wanted to hear?

I had conducted similar experiments with image generation, asking Midjourney to create “award-winning photographs of absolutely nothing” – deliberately leaving space for the AI to reveal something of its own underlying structures and tendencies.

This time, I wanted to test something more ambitious: Could an AI conceptualise and execute an entire creative work if given complete freedom? Not as a co-author or assistant following human direction, but as the primary creative force?

I’ve been reading the book. It’s oddly competent, and also slightly unconvincing. ‘Uncanny valley’ stuff, I guess.

Brian’s rules for the experiment were:

  1. Claude would determine the novel’s concept, characters, plot and themes.
  2. My role would be purely technical — facilitating Claude’s access to tools and managing the process.
  3. I would provide zero creative input or direction.
  4. All decisions about the narrative would come from Claude.

Interesting ne c’est pas?


Linkblog

Something I noticed, while drinking from the Internet firehose.

  • The David Lynch Collection Link

Almost 450 items from the personal archive of one of the masters of cinema, this special auction offers fans and collectors alike an intimate portal into the life and world of the man who brought us a vast body of work including: Twin Peaks, Mulholland Drive, Blue Velvet, Eraserhead, Lost Highway, Inland Empire, Wild at Heart, The Straight Story, The Elephant Man, Dune, and more.

This collection includes artifacts from all aspects of Lynch’s personal creative life, including the art supplies and tools from his home art studio and wood shop, a vast array of furniture that includes many pieces designed and built by Lynch himself, unique instruments and equipment from his home audio recording studio, memorabilia and ephemera relating to many of his filmed projects, and several coffee machines and mugs because he could never be more than 15 steps away from a damn good cup of coffee.


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Monday 2 June, 2025

Mary Poppins en famille

Arles, 2017


Quote of the Day

”The highest intellects, like the tops of mountains, are the first to catch and to reflect the dawn.”

  • Thomas Macaulay

A thought that sometimes came to mind during the three days of the Beyond Neoliberalism conference last week.


Musical alternative to the morning’s radio news

Taj Mahal & Ry Cooder | Statesboro Blues

Link

Just the ticket for a Monday morning.


Long Read of the Day

A Reality Check for Tech Oligarchs

If, like me, you sometimes wonder what Silicon Valley’s oligarchs are smoking, then this review essay (Gift Link) by John Kaag in The Atlantic is for you. His subject is Adam Becker’s More Everything Forever: AI Overlords, Space Empires and Silicon Valley’s Crusade to Control the Fate of Humanity, which has just arrived on my desk, but the review is interesting in its own right, if only because it provides a glimpse of the madness that grips these people who envision a “vibrant utopia” in which humanity

”has harnessed technology to transcend all of its limits—old age and the finite bounds of knowledge most of all. Artificial intelligence oversees an era of abundance, automating labor and generating wealth so effectively that every person’s needs are instantly met. Society is powered entirely by clean energy, while heavy industry has been relocated to space, turning Earth into a pristine sanctuary. People live and work throughout the solar system. Advances in biotechnology have all but conquered disease and aging. At the center of this future, a friendly AI—aligned with human values—guides civilization wisely, ensuring that progress remains tightly coupled with the flourishing of humanity and the environment”.

This quasi-religious vision, apparently,

“is based on two very basic beliefs. First, that death is scary and unpleasant. And second, that thanks to science and technology, the humans of the future will never have to be scared or do anything unpleasant. “The dream is always the same: go to space and live forever,” Becker writes. (One reason for the interest in space is that longevity drugs, according to the tech researcher Benjamin Reinhardt, can be synthesized only “in a pristine zero-g environment.”) This future will overcome not just human biology but a fundamental rift between science and faith”.

Worth a read. It’s a testimony to the way immense wealth, acquired early in life, drives people mad.


RIP Sebastião Salgado

A truly great photographer has passed away.

From the Obituary in LFI:

His work is defined by impressive black and white images, predominantly published in series. He was an ambassador for humanity, a fighter for justice and a resolute activist. His pictures are dedicated above all to the disadvantaged all over the world, to those affected by wars and crises, but also to the forces of nature. Salgado was a cautioning voice and a precise observer; he saw his images as a call to take more responsibility for the world and our fellow human beings. His photographs show people’s misery and suffering, the destruction of social relationships, but also the dignity and pride of every individual. His images were often shocking, but he was also able to convey the magical beauty of the world.

The FT also had a good obituary:

His work was politically and emotionally challenging. Salgado has been criticised by some for the beauty of composition with which he depicted people in extreme states of suffering. Salgado said that he sought to preserve the dignity of his subjects, and that he didn’t know how to shoot an “un-composition”. He also said there had been instances when he had put his camera down rather than take a particular shot. He once described seeing 10,000 people die from cholera in a single day in a refugee camp in Goma in the Democratic Republic of Congo. John Easterby, the former director of archiving at Magnum, believed that Salgado’s images forced viewers “to look at the unlookable”.


AI: the new globalisation that will create a world of have-nots and have-yachts

Yesterday’s Observer column:

One of the most pernicious misconceptions we have about digital technology is that it is – somehow – weightless, frictionless and dematerialised. You press a button on your phone, launch an app and there it is. What you don’t realise is that you just triggered an interaction with an unfathomable infrastructure of network towers, fibreoptic cables and huge aluminium sheds located somewhere else on the planet. The technology may seem magical but, in reality, it has a heavy material footprint. And it’s about to get much heavier.

How come? Our networked world is morphing into one in which machine-learning systems – AKA AI – will be everywhere. And that’s bad news for the planet, because AI systems are insatiable consumers of parallel computing power and, accordingly, very power-hungry.

Read on


My commonplace booklet

You can perhaps see why I like writing for the Observer!


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