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The Sunday Chronicle of DN’s Cultural Affairs Björn Wiman .
Sunday Chronicle of DN’s Cultural Affairs Björn Wiman .
There is an unusually large crowds in front of conversation scene at Kulturhuset in Stockholm. That in itself is not unusual – it unusual is the number of men in the audience. As someone says, are usually simply look as if the women in the audience have brought with them their men – now feeling rather that it is men who have brought with them their wives. Who and what is it that causes this könskonvulsion in the culture-bearing layer? It is the Israeli writer Yuval Noah Harari who are here to talk about his book “Sapiens. A brief history of mankind “- a lofty, philosophical and funny exposé of human origins and conditions.
One might think that it is pleasing to something other than the never-ending stream of books about World War II now find their way to the Swedish masculinity that according to all the surveys are reading less and less. And perhaps the notion of man’s imminent end that forms the basis for the growing fascination with stories about man’s beginning – Oprah’s fantastic books of Kalahari’s another example of this popular genre.
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In a closing chapter speculates Yuval Noah Harari if we are living today may belong to the last generations of our species, so if we know it since the cognitive revolution 70,000 years ago . Harari highlights a number of theories about how artificial intelligence, bionic life and genetic engineering basically could change the man. What happens to the concept that we have long taken for granted – the self, identity, memory and consciousness – if Homo sapiens evolve into a different creature, with other feelings and desires?
The first signs of this development can today be seen in the automation of labor. There are reports showing that nearly half of all jobs in the United States will be taken over by machines in the next twenty years. This applies to work in all sectors: taxi drivers, security guards and business staff but also in areas such as the media – today’s software which can effectively produce simpler forms of journalistic texts.
In the book “The Glass Cage. Automation and us “looks author Nicholas Carr how the automation of work can make us quicker but also more stupid and more bored. The more skilled the machines, algorithms and programs become, the less need of the people, which could lead to a devaluation of professionalism and the joy of work. Doctor gets worse at diagnosis, sellers become less able to sell, bakers good at baking and so on, warns Carr. Automation gives birth automation.
Does this development also cultural life? Of course, it is also valid cultural life. On Monday begins DN Kultur article series “The numerical culture” as from different angles will highlight how digitization and the new concept of data science will affect the culture conditions. What happens if and when programming skills and mathematical analyst becomes the creative process new masters? How is integrity when the ability to “read the reading” increases together with the ability to draw conclusions about how a story should be designed to achieve as much success as possible?
This is about a fundamental change, which may be dissolve the whole notion of freedom, artistic creation entity – the creative genius, if you will. And before it happens rejoices in this resolution should be remembered that it is the idea of this particular entity legislation regarding publication and freedom of expression in our society rests. A cultural and media publicity that increasingly is created by machines can in many ways be undermined and drop it special status that it enjoys today in the legislation. Why should an algorithm protected by the Freedom of the Press? Why should a computer-generated novel or a movie created by analysts considered to be within the framework of “artistic freedom”?
In his book speaks Yuval Noah Harari on the future of man as “an so on fundamentally different sort of creature to the philosophical, psychological and political implications is beyond our comprehension. “
There are big words, might well big words. But so far, they are written by a human being.
More Cultural chronicles by Björn Wiman and DN’s second chroniclers
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