Airplanes go faster than people, but they have to be safe in order for you to be carrying passengers in them.” The goal is that as it becomes more powerful, we enforce certain design constraints that result in it being controllable and it being safe.
Russell asked, “If you make systems that are more powerful than human beings, how do human beings maintain power over those systems forever?”īut the goal, according to Russell, isn’t to stop AI “from becoming more intelligent than humans. Berkeley computer science professor Stuart Russell spoke with CNN Opinion’s Jessica Chia and Bethany Cianciolo about how AI has evolved through the decades, how large language models like ChatGPT work, the importance of regulation and his fears about the technology becoming too powerful and moving outside of our control. Such queries are the purview of a new series, “Our AI future: promise and peril,” which explores how artificial intelligence will affect our lives, the way we work and how we understand ourselves. In the title poem of his 2010 collection “Come On All You Ghosts,” Matthew Zapruder writes: “But poems / are not museums, // they are machines / made of words, / you pour as best // you can your attention in” – his lines a play on the language of another poet, William Carlos Williams, who asserted in “The Wedge” (1944): “a poem is a small (or large) machine made of words.”īut what happens when the circuit runs in reverse, when you ask the machine made of words to make its own poem? (At this point, you or someone you know has probably asked ChatGPT to write some verses, and industry leaders warned this week that AI poses a “risk of extinction” to humans.) What happens when the inner workings and potential reach of scientific inventions are unknown, even to the human beings who create them? Whether during the age of the atomic bomb or our current moment, poetry has spanned the breach between the beauties and the dangers of what human beings are capable of creating. When one considers that Oppenheimer was a man so intimately familiar with cataclysm - not to mention humanity’s capacity to devise its own ruin - it makes sense to see among his guiding texts a tragedy in blank verse and a poem best known for using lilacs growing “out of the dead land” as a metaphor for the fractured experience of modernity.
But perhaps surprising coming from a physicist, he also included great works in verse: Dante’s “The Divine Comedy,” William Shakespeare’s “Hamlet,” Charles Baudelaire’s “Les Fleurs du Mal” and T.S. Oppenheimer’s list of books included works by Plato, mathematician Bernhard Riemann and scientist Michael Faraday, and the “Bhagavad-Gita,” with which he has famously long been associated. Robert Oppenheimer what books had shaped his “vocational attitude” and “philosophy of life.” Oppenheimer, often cited as the “father of the atomic bomb” for his service during the Manhattan Project, had by that time been called before the House Un-American Activities Committee, had his security clearance revoked in 1954 and grown increasingly concerned (along with other leading thinkers) about the potential dangers scientific inventions posed to humanity. In 1963, “The Christian Century” magazine asked theoretical physicist J.
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