Dan Cohen is officially my hero:
I have begun adding art museum [Model Context Protocols] to my custom rig in Claude, including connectors to the collections of the Met and the Art Institute of Chicago. With the article databases our team has attached to Claude through our MCP server, my test setup has reached a level of comprehensiveness that enables me to turn off web retrieval (RAG) entirely, and I now can rely solely on library- and museum-augmented responses. The results are very promising. When I ask about “Cubism,” for instance, instead of web-based regurgitation, Claude returns a good array of articles on Cubism, as well as representative artwork that has been digitized by museums and related curatorial text.
Learn more about Model Context Protocols here. @dancohen is my hero because he is not accepting the defaults imposed the AI megafauna but instead is engaged in an imaginative critical filtering that is, IMO, paving the way for how smart university leaders could leverage LLMs for legitimate educational purposes — instead of just trying to obey and please Sam Altman.
Cover of the first edition of To the Lighthouse (1927), designed and drawn by Woolf’s sister Vanessa Bell.
John Piper, Llan-y-Blodwell, Shropshire 1964
In art, I argue, process matters as much as product.
In his famous 2021 essay, “Moore’s Law for Everything,” [Sam] Altman made the following grandiose prediction:
“My work at OpenAI reminds me every day about the magnitude of the socioeconomic change that is coming sooner than most people believe. Software that can think and learn will do more and more of the work that people now do. Even more power will shift from labor to capital. If public policy doesn’t adapt accordingly, most people will end up worse off than they are today.”
Four years later, he’s betting his company on its ability to sell ads against AI slop and computer-generated pornography.
Finished reading: Yeah! Yeah! Yeah! by Bob Stanley. The first half is brilliant; then, starting around 1970, the pace picks up and Stanley’s attention starts to grow variable. There’s a bit of a British tilt: though he knows that country, and later alt-country, are important, he doesn’t have much to say about them — Gram Parsons, one of the most lastingly influential musicians of the last half-century, goes wholly unmentioned. Also, he is quite dismissive of Joni Mitchell; and inexplicably, given his British vantage-point, he has next-to-nothing to say about Led Zeppelin. Reading this book, you’d think that Marc Bolan was far more important than Zep. All that said, I learned a great deal from the first half of the book, and hope soon to make a playlist of cool & unusual songs Stanley mentions. 📚
I don’t know what makes a good social media network, but I do know what makes it so that when they go bad, you’re not stuck there. You and I might want totally different things out of our social media experience, but I think that you should 100 percent have the right to go somewhere else without losing anything. The easier it is for you to go without losing something, the better it is for all of us.
This is why I’m on the open web.
