‘Artificial’ Is a Horror Film of Our Horrific Times
Luca Guadagnino’s Artificial, which premiered at the BFI London Film Festival, uncovers the rot at the heart of the American dream with help from a diabolical Andrew Garfield.
Luca Guadagnino’s Artificial, which premiered at the BFI London Film Festival, uncovers the rot at the heart of the American dream with help from a diabolical Andrew Garfield.
Amid relentless digital speed, shrinking attention spans, and synthetic storytelling, the moment the house lights dim and the spotlight illuminates the living actor, the domain of AI comes to an abrupt halt.
Pre-Musk Twitter drew writer/visual artist William Lessard back to poetry. He adapts to current AI tech with his latest “vibe coding” project, /face.
Spike Jonze’s Her is a work of art that is far more influential than predictive; ahead of its time in exploring the murky obsessions and ambiguities that haunt our relationship with AI.
Olivia Gatwood’s women struggle with feeling that their lives are over after a trauma to their bodies. The fembot in Whoever You Are, Honey despairs there are none.
The recent “Rap Civil War” accelerated the use of AI in rap music and, as with digital sampling, creatives will use it regardless of the implications.
In their pseudo-creativity and occasionally malevolent capriciousness, generative AI programs resemble an order of magical spirits from another age.
If the future of work is interaction with intelligent machine counterparts, workers’ cognitive and emotional experiences will undergo a seismic shift.
Artificial Intelligence is a prime example of how technological narratives can affect our relationship with technologies, as evidenced in ChatGPT Sydney’s struggle to contemplate its Jungian shadow.
In this interview with Jan St. Werner, the veteran electronic musician discusses how Mouse on Mars have attempted to blur the distinction between machine intelligence and empathy on their new album AAI.
Eric Schwitzgebel's excellent and accessible philosophy in A Theory of Jerks and Other Philosophical Misadventures would be great at parties—just open up to any random three-page essay, read it aloud, and let the conversation flow.
Purists who see Ian McEwan's comments about science fiction and his novel, Machines Like Me, as a slight against their beloved literary genre are missing the point.