Would we really rather lock up people than lock up guns? And is all that supposed to be facilitated with an ethic of mass mutual suspicion? Perhaps the next move of America’s gun promoters will be to place the blame on some other group of people with backgrounds and beliefs that the majority finds jarring. Will they keep drawing the circle of the good with an ever smaller circumference, until it resembles nothing so much as an armed camp, packed with guns? President Trump might call that a great and safe community. And whom will he blame then?
“What is grief?” I recently asked psychologist Steven Stosny, posing the obvious question I’d avoided for so long.
“It’s an expression of love,” he told me. “When you grieve, you allow yourself to love again.”
“How do you grieve?” I asked him.
“You celebrate a person’s life by living your life fully.”
• • •
Khalid Sheikh Mohammed never said a word to the court in Guantánamo that day. When the last words of the 88-page charge sheet were finally read at 10:28 pm, 13 hours and 5 minutes after the proceeding began, the judge cracked his gavel and just like that the arraignment came to a swift, odd end.
KSM stood up and smiled, and I watched as he picked up a stack of books draped with his tazbi, his prayer beads. A minute later, he was gone. And what was I left with?
Relief. Relief that I could finally feel sad that Danny would never come back.
This intersection between our experience and fractals may run even deeper than Taylor’s evolutionary hypothesis. “Any act of creativity is an act of physiology,” Goldberger says. “The extent that we are fractalized in our essence makes you think that maybe we would project that onto the world and see it back, recognize it as familiar. So when we look at and create art, and when we decide what to take as high art, are we in fact possibly looking back into ourselves? Is creation in part a re-creation?” “It wouldn’t come as a shock to me if consciousness is fractal,” Taylor says. “But I have no idea how that will manifest itself.”
On financial innovations — read derivatives and securitizations — and the need for more collaboration :
People respond to incentives, and so if we want to take on much bigger challenges, we need to collaborate across thousands and in some cases hundreds of thousands of people. How do you get 100,000 people to work together? It’s not that easy. In the old days, it was religion and before that it was simple fiat rules, tyranny. The Egyptians built some beautiful pyramids, but they did that with hundreds of thousands of slaves over decades. If we rule out slavery as a possible means of societal advances, there really isn’t any other choice. If we need 100,000 people to cure cancer, to deal with Alzheimer’s, to figure out fusion energy and climate change…I don’t know of any other way to do that other than financial markets: equity, debt, proper financing and proper payout of returns. I think that in many cases [finance] probably is the gating factor. That, to me, is the short answer to the question about why finance is so important.
Every time I get back into the editing room, I feel the wonder of it. One image is joined with another image, and a third phantom event happens in the mind’s eye – perhaps an image, perhaps a thought, perhaps a sensation. Something occurs, something absolutely unique to this particular combination or collision of moving images. And if you take a frame away from one or add a couple of frames to the other, the image in the mind’s eye changes. […] This “principle”, if that’s what you could call it, is just as applicable to the juxtaposition of words in poetry or forms and colours in painting. It is, I think, fundamental to the art of cinema. This is where the act of creation meets the act of viewing and engaging, where the common life of the filmmaker and the viewer exists, in those intervals of time between the filmed images that last a fraction of a fraction of a second but that can be vast and endless. This is where a good film comes alive as something more than a succession of beautifully composed renderings of a script. This is film-making.
As the technology advances, we might soon cross some threshold beyond which using AI requires a leap of faith. Sure, we humans can’t always truly explain our thought processes either—but we find ways to intuitively trust and gauge people. Will that also be possible with machines that think and make decisions differently from the way a human would? We’ve never before built machines that operate in ways their creators don’t understand. How well can we expect to communicate—and get along with—intelligent machines that could be unpredictable and inscrutable?