It's unlikely that machines would spontaneously decide they didn't like people, or that they had goals in opposition to those of human beings.
You have a very precisely defined goal and you build a machine that's superhuman in its capabilities for achieving goals. If it turns out that the subsequent behavior of the robot in achieving that goal was not what you want, you have a real problem.
A lot of people talk about sometime around 2030, machines will be more powerful than the human brain, in terms of the raw number of computations they can do per second. But that seems completely irrelevant. We don't know how the brain is organized, how it does what it does.
I used to say that if you gave me a trillion dollars to build a sentient or conscious machine I would give it back. I could not honestly say I knew how it works.
If human beings are losing every time, it doesn't matter whether they're losing to a conscious machine or an completely non conscious machine, they still lost. The singularity is about the quality of decision-making, which is not consciousness at all.
No one has a clue how to build a conscious machine, at all. We have less clue about how to do that than we have about build a faster-than-light spaceship.
Software was the key element that would determine how useable and how broadly applicable the machine was.
When you write a piece of software you assume a certain type of hardware. If you assume hardware that's too powerful then you can't sell many copies cause very few people have that machine. If you assume hardware that's too simple your product can't do as much.
The machines need to get faster. They need to get cheaper.
We have over 60 million machines that can take the same diskette, plug it in and immediately ah, that that software's working. And so it's created the worldwide software industry that... that is so very competitive and moving so quickly.
Singularity will be an opt-in scenario for human beings, especially as we draw closer to it. The more that we have the opportunity to interface with and combine ourselves with machines and machinery and electronics - those will all be opt-in moments. Would you choose to have some sort of brain implant? Would you choose to have Google Glasses installed in your eyes? It's all an approach; it's all a glide path to the moment of genuine singularity; genuine artificial intelligence.
Oscar Pistorius is now infamous for reasons that I think everybody knows about, but when I hit on his story and put it in the book, what I found fascinating was a description, from one of the scientists who helped Pistorius, of what the Paralympics will become. Because they don't place any restriction on enhancements for athletes, in the very near future the Paralympics will bear a closer resemblance to NASCAR than to the traditional Olympics. There will be a human-machine melding that will result in crazy feats of athleticism.
Legions of young hip-hop fans are as against this as hip-hop's most fierce critics. There is a huge underground movement within hip-hop circles that against these representation. You can hear this message on tons of lyrics and rap songs produced by independent emcees. But they are fighting against a well-oiled and well-financed machine.
It's just interesting to me that the physical enactment of that mind moving has gradually changed for you in the last few years. It made me wonder if the change was deliberate in any sense, or procedural, like when A.R. Ammons stuck an adding machine roll into his typewriter to squeeze his verses into shorter lines.
Look back on the utopian dreams of the previous century, or even the century before that, where people thought machines would ultimately give us a quality of life where our needs would be taken care of so we could all basically be artists together in the evening, after we had fished, hunted, raised cattle - or whatever it was Marx imagined for us.
To go from the vision that we would all be free to express ourselves creatively because our material needs were being met, to this reality where nobody has money, people are unemployed, and the machines are harnessed by the lucky guys who Facebook or Google and we're supposed to be happy just to contribute content to their site.
So if there was a way that I knew something about my character's desires or the things that they were resisting because I was saving it for some grand epiphany moment for my readers, I just feel like that's when you can feel the machine at work in a story. That's when you can feel the writer pulling the strings of the puppet.
We fall into the old stuff of textuality, and almost everything becomes safe because nobody wants to talk about what is not safe in poetry. We fall back on the psychologic, the ethnic, the quota, and serve the perpetuation of the machine.
Since so much of the poetry machine is consumed in and with the mirroring and the reproduction of what is already preexistent, I don't understand why such paranoiac conservatism is dedicated to labels. It's a way of controlling the "other," to label them.
Our own GOP machine, the establishment, they who would assemble the political landscape, they're attacking their own front-runner.
It can be easy and comfortable on the set and you don't go anywhere, or it can be a stress machine and all of a sudden it's a hit.
I wanted to be in an anti-gravity machine so bad! Maybe a different time, a different place.
One thing I loved about New Zealand was the indoor/outdoor lifestyle of the place. I remember going from Xboxing, jamming out on guitars and drum machines in my buddy's apartment, to a bike ride through the parks and up and down the streets all over the city, to the ocean, right into the water. I remember we were swimming outer ways and we got to a certain place where we wanted to see - or I wanted to see - how deep the water was.
Couture was only for rich people. Givenchy was for rich people. A bag cost 5,000 euro; a coat cost 10,000 euro. In the beginning, I couldn't react. I was just working like a machine, because I wanted to make the house happy.
I don't move until an actor is happy, but it was very important to me as a so-called "first time director" to keep the machine moving. It was especially important to me to keep it moving and not be some kind of precious writer-director.
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