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One of the phrases I have been kicking around lately is “The Great Forgetting”: a hunch that in embracing AI, as an extension both of our capacity to remember and of our heuristic faculties in retrieving and arranging what is remembered, we run the risk of allowing faculties to wither that are in fact central to our capacity to think. (I made this case, and also that it is unevenly distributed across social classes, recently in the New York Times.) Building on these themes, my working hypothesis is that at least at the collective level AI is survivable, but only provided we counterbalance this effect by deliberately cultivating our human faculty for memory, as distinct from the digital kind.
Again: everybody knows. And 98% of us will simply do whatever their tech overlords want them to do. So the only question remaining is: What will the other 2% do?
Me: “From the fall of 2011, when I first stared watching the Premier League regularly and intently, I had what might truly be called an object in fandom: to see Arsenal become champions of the the league.”
Music producer Joe Boyd:
Most music recorded today is created by performers – or operators – sitting beside the engineer; it passes directly on to a hard disk rather than reverberating in the air to be captured by microphones. As a result, the ‘studio’ room itself is often shrunk to a modest space for vocalists or single instruments. The ideal acoustic is now a dead one: digital reverb can supposedly synthesize any atmosphere from Madison Square Garden to your bathroom. In the quest for the perfect track, each part is added separately so that any mistakes can be easily corrected; inflexible rhythms are generated by a machine. Musicians in the sixties were still recording a large part of each track playing together in the same room at the same time, maintaining at least some of the excitement of a live performance, with vocals and solos usually added later. Rhythm sections breathed with the other musicians, accenting and retarding the beat as mood dictated. The acoustics of different studios varied widely, as did the styles of engineering and production. Computers theoretically let musicians and producers choose from an endless palate of varied sounds, but modern digital recordings are far more monochromatically similar to each other than were older analogue tracks.
GOD standeth in the congregation of the mighty; he judgeth among the gods.
How long will ye judge unjustly, and accept the persons of the wicked? Selah.
Defend the poor and fatherless: do justice to the afflicted and needy.
Deliver the poor and needy: rid them out of the hand of the wicked.
They know not, neither will they understand; they walk on in darkness: all the foundations of the earth are out of course.
I have said, Ye are gods; and all of you are children of the most High.
But ye shall die like men, and fall like one of the princes.
Arise, O God, judge the earth: for thou shalt inherit all nations.
Julian Lage’s new album Scenes from Above is FAB. Maybe his best record yet — adding John Medeski to his trio was a genius move. ♫
I joked last week that it would make more sense if we found out that the team behind redesigning the UI for MacOS 26 Tahoe was hired by Meta not a month ago, but an entire year ago, and secretly sabotaged their work to make the Mac look clownish and amateur. More and more I’m wondering if the joke’s on us and it actually happened that way. It’s like MacOS, once the crown jewel of computer human interface design, has been vandalized.
Listening to Joni Mitchell’s 1974 album Miles of Aisles on the remastered vinyl released by Acoustic Sounds. A wonderful record, and performed by Joni and her band at a level of musicianship that’s pretty much unimaginable today. ♫
It was late, the end of an exhausting term at a public university in the Midwest. I logged into our learning-management system (LMS) to answer a routine student email. The gradebook — rows and columns I had populated myself — should have been familiar. But one number was wrong.
A student who had failed my course after submitting a final exam composed almost entirely of AI-generated text now showed as having passed. The F I had entered, following my syllabus and the university’s academic integrity policy, had become a D. […]
Once I understood what had happened to my grades, I did what professors are supposed to do. I raised the matter internally. I tried to work through existing channels. I invoked the language of policy, accreditation, and Title IV compliance. I was told, politely, that the system was working as intended.
Wow.
On the topic of my previous post, here’s Thomas Mann, from Reflections of a Nonpolitical Man (1918):
I do not think that it is the essence and duty of the writer to join “with great fanfare” the main direction the culture is taking at the moment. I do not think and cannot from my very nature think that it is natural and necessary for the writer to support a development in a completely positive way by direct, credulous-enthusiastic advocacy — as a solid knight of the times, without scruple and doubt, with straightforward intentions and an unbroken determination and spirit for it, his god. On the contrary, authorship itself has always seemed to me to be a witness to and an expression of ambivalence, of here and there, of yes and no, of two souls in one breast, of an annoying richness in inner conflicts, antitheses, and contradictions.