Download 10,000 of the First Recordings of Music Ever Made, Courtesy of the UCSB Cylinder Audio Archive

Edison_Minstrel-Record

Three min­utes with the min­strels / Arthur Collins, S. H. Dud­ley & Ancient City. Edi­son Record. 1899.

Long before vinyl records, cas­sette tapes, CDs and MP3s came along, peo­ple first expe­ri­enced audio record­ings through anoth­er medi­um — through cylin­ders made of tin foil, wax and plas­tic. In recent years, we’ve fea­tured cylin­der record­ings from the 19th cen­tu­ry that allow you to hear the voic­es of Leo Tol­stoy, Tchaikovsky, Walt Whit­manOtto von Bis­mar­ck and oth­er tow­er­ing fig­ures. Those record­ings were orig­i­nal­ly record­ed and played on a cylin­der phono­graph invent­ed by Thomas Edi­son in 1877. But those were obvi­ous­ly just a hand­ful of the cylin­der record­ings pro­duced at the begin­ning of the record­ed sound era.

Thanks to the Uni­ver­si­ty of Cal­i­for­nia-San­ta Bar­bara Cylin­der Audio Archive, you can now down­load or stream a dig­i­tal col­lec­tion of more than 10,000 cylin­der record­ings. “This search­able data­base,” says UCSB, “fea­tures all types of record­ings made from the late 1800s to ear­ly 1900s, includ­ing pop­u­lar songs, vaude­ville acts, clas­si­cal and oper­at­ic music, comedic mono­logues, eth­nic and for­eign record­ings, speech­es and read­ings.” You can also find in the archive a num­ber of “per­son­al record­ings,” or â€śhome wax record­ings,” made by every­day peo­ple at home (as opposed to by record com­pa­nies).

If you go to this page, the record­ings are neat­ly cat­e­go­rized by genre, instru­ment, subject/theme and ethnicity/nation of origin.You can lis­ten, for exam­ple, to record­ings of JazzHawai­ian MusicOperas, and Fid­dle Tunes. Or hear record­ings fea­tur­ing the Man­dolinGui­tarBag­pipes and Ban­jo. Plus there are the­mat­i­cal­ly-arranged playlists here.

Host­ed by UCSB, the archive is sup­port­ed by fund­ing from the Insti­tute of Muse­um and Library Ser­vices, the Gram­my Foun­da­tion, and oth­er donors.

Above, hear a record­ing called “Three min­utes with the min­strels,” by Arthur Collins, released in 1899. Below that is â€śAlexan­der’s rag­time band med­ley,” fea­tur­ing the ban­jo play­ing of Fred Van Eps, released in 1913.

via Metafil­ter

Relat­ed Con­tent:

A Beer Bot­tle Gets Turned Into a 19th Cen­tu­ry Edi­son Cylin­der and Plays Fine Music

Voic­es from the 19th Cen­tu­ry: Ten­nyson, Glad­stone, Whit­man & Tchaikovsky

Thomas Edison’s Record­ings of Leo Tol­stoy: Hear the Voice of Russia’s Great­est Nov­el­ist

Tchaikovsky’s Voice Cap­tured on an Edi­son Cylin­der (1890)

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W.B. Yeats’ Poem “When You Are Old” Adapted into a Japanese Manga Comic

Yeats Manga

Click on images to view them in a larg­er for­mat.

Last week we fea­tured Julian Peters’ com­ic-book adap­ta­tion of T.S. Eliot’s “The Love Song of J. Alfred Prufrock.” That might seem like an ambi­tious enough clas­sic-lit­er­a­ture-to-comics adap­ta­tion for any artist’s career, but the Mon­tre­al-based art his­to­ry grad stu­dent Peters has put him­self on a larg­er mis­sion. If you take a look at his site, you’ll find that he’s also adapt­ed poems by “Italy’s fore­most poet of the First World War” Giuseppe Ungaret­ti, Sea­mus Heaney’s 1969 poem “The Giv­en Note,” and John Philip John­son’s “Stairs Appear in a Hole Out­side of Town.”

Yeats Manga 2

You see here the ver­sa­tile Peters’ visu­al inter­pre­ta­tion of W.B. Yeats’ “When You Are Old,” a nat­ur­al choice giv­en his appar­ent poet­ic inter­ests, but one drawn in the style of Japan­ese man­ga. In adapt­ing Yeats’ words to a lady in the twi­light of life, Peters has paid spe­cif­ic trib­ute to the work of Clamp, Japan’s famous all-female com­ic-artist col­lec­tive known for series like RG VedaTokyo Baby­lon, and X/1999.

Yeats Manga 3

Clamp fans will find that, in three brief pages, Peters touch­es on quite a few of the aes­thet­ic tropes that have long char­ac­ter­ized the col­lec­tive’s work. (You’ll want to click through to Peters’ own “When You Are Old” page to see an extra illus­tra­tion that also fits well into the Clamp sen­si­bil­i­ty.) Yeats fans will no doubt appre­ci­ate the chance to see the poet­’s work in an entire­ly new way. I, for one, had nev­er before pic­tured a cat on the lap of the woman “old and grey and full of sleep” reflect­ing on the â€śmoments of glad grace” of her youth and the one man who loved her “pil­grim soul,” but now I always will — and I imag­ine both Yeats and Clamp would approve of that. You can read and hear Yeats’ 1892 poem here. If you click on the images on this page, you can view them in a larg­er for­mat.

Yeats Manga 4

Relat­ed Con­tent:

Read the Entire Com­ic Book Adap­ta­tion of T.S. Eliot’s “The Love Song of J. Alfred Prufrock”

Rare 1930s Audio: W.B. Yeats Reads Four of His Poems

Japan­ese Car­toons from the 1920s and 30s Reveal the Styl­is­tic Roots of Ani­me

Col­in Mar­shall writes else­where on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­maand the crowd­fund­ed jour­nal­ism project Where Is the City of the Future? Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Download the Software That Provides Stephen Hawking’s Voice

hawking capitalism future

Cre­ative Com­mons image via NASA

Ah to be pos­sessed of a high­ly dis­tinc­tive voice.

Actress Kather­ine Hep­burn had one.

As did FDR…

And not­ed Hol­ly­wood Square Paul Lyn­de…

Physi­cist Stephen Hawk­ing may trump them all, though his famous­ly rec­og­niz­able voice is not organ­ic. The one we all asso­ciate with him has been com­put­er gen­er­at­ed since wors­en­ing Amy­otroph­ic lat­er­al scle­ro­sis, aka Lou Gehrig’s dis­ease, led to a tra­cheoto­my in 1985.

With­out the use of his hands, Hawk­ing con­trols the Assis­tive Con­text-Aware Toolk­it soft­ware with a  sen­sor attached to one of his cheek mus­cles.

Recent­ly, Intel has made the soft­ware and its user guide avail­able for free down­load on the code shar­ing site, Github. It requires a com­put­er run­ning Win­dows XP or above to use, and also a web­cam that will track the visu­al cues of the user’s facial expres­sions.

The mul­ti-user pro­gram allows users to type in MS Word and browse the Inter­net, in addi­tion to assist­ing them to “speak” aloud in Eng­lish.

The soft­ware release is intend­ed to help researchers aid­ing suf­fer­ers of motor neu­ron dis­eases, not pranksters seek­ing to bor­row the famed physicist’s voice for their door­bells and cook­ie jar lids. To that end, the free ver­sion comes with a default voice, not Pro­fes­sor Hawking’s.

Down­load the Assis­tive Con­text-Aware Toolk­it (ACAT) here.

Relat­ed Con­tent:

Stephen Hawking’s Big Ideas Explained with Sim­ple Ani­ma­tion

Stephen Hawk­ing Starts Post­ing on Face­book: Join His Quest to Explain What Makes the Uni­verse Exist

Stephen Hawking’s Uni­verse: A Visu­al­iza­tion of His Lec­tures with Stars & Sound

Free Online Physics Cours­es

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Her play, Fawn­book, is cur­rent­ly play­ing in New York City. Fol­low her @AyunHalliday

Gravity Visualized by High School Teacher in an Amazingly Elegant & Simple Way

Just a few miles down the high­way from Open Cul­ture’s gleam­ing head­quar­ters you will find Los Gatos High School, where Dan Burns, an AP Physics Teacher, has fig­ured out a sim­ple but clever way to visu­al­ize grav­i­ty, as it was explained by Ein­stein’s 1915 Gen­er­al The­o­ry of Rel­a­tiv­i­ty. Get $20 of span­dex, some mar­bles, a cou­ple of weights, and you’re all good to go. Using these read­i­ly-avail­able objects, you can demon­strate how mat­ter warps space-time, how objects grav­i­tate towards one anoth­er, and why objects orbit in the way they do. My favorite part comes at the 2:15 mark, where Burns demon­strates the answer to a ques­tion you’ve maybe pon­dered before: why do all plan­ets hap­pen to orbit the sun mov­ing in a clock­wise (rather than counter-clock­wise) fash­ion? Now you can find out why.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

via Coudal

Relat­ed Con­tent

Free Online Physics Cours­es

The Feyn­man Lec­tures on Physics, The Most Pop­u­lar Physics Book Ever Writ­ten, Now Com­plete­ly Online

Bertrand Russell’s ABC of Rel­a­tiv­i­ty: The Clas­sic Intro­duc­tion to Ein­stein (Free Audio)

Free Physics Text­books

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Hear Arthur Miller Read From Death of a Salesman, His Great American Play (1955)

1949’s Death of a Sales­man is one of the most endur­ing plays in the Amer­i­can canon, a sta­ple of both com­mu­ni­ty and pro­fes­sion­al the­ater.

Play­wright Arthur Miller recalled that when the cur­tain fell on the first per­for­mance, there were “men in the audi­ence sit­ting there with hand­ker­chiefs over their faces. It was like a funer­al.”

Robert Falls, Artis­tic Direc­tor of Chicago’s Good­man The­ater, brings the expe­ri­ence of dozens of pro­duc­tions to bear when he describes it as the only play that “sends men weep­ing into the Men’s room.”

Small won­der that the tit­u­lar part has become a grail of sorts for aging lead­ing men eager to be tak­en seri­ous­ly. Dustin Hoff­man, George C. Scott, and Philip Sey­mour Hoff­man have all had a go at Willy Loman, a role still asso­ci­at­ed with the tow­er­ing Lee J. Cobb, who orig­i­nat­ed it.

(Willy’s wife, Lin­da, with her famous grave­side admo­ni­tion that “atten­tion must be paid,” is con­sid­ered no less of a plum part.)

On Feb­ru­ary 2, 1955, Arthur Miller joined Salesman’s first Mrs. Loman, Mil­dred Dun­nock, to read selec­tions from the script before a live audi­ence at Manhattan’s 92nd Street YMCA. In addi­tion to read­ing the role of Willy Loman, Miller sup­plied stage direc­tions and explained his ratio­nale for pick­ing the fea­tured scenes. The Pulitzer Prize winner’s New York accent and brusque man­ner make him a nat­ur­al, and of course, who bet­ter to under­stand the nuances, moti­va­tions, and his­tor­i­cal con­text of this trag­i­cal­ly flawed char­ac­ter?

Miller told The New York­er that he based Loman on his fam­i­ly friend, Man­ny New­man:

Man­ny lived in his own mind all the time. He nev­er got out of it. Every­thing he said was total­ly unex­pect­ed. Peo­ple regard­ed him as a kind of strange, com­plete­ly untruth­ful per­son­al­i­ty. Very charm­ing. I thought of him as a kind of won­der­ful inven­tor. For exam­ple, at will, he would sud­den­ly say, “That’s a love­ly suit you have on.” And for no rea­son at all, he’d say, “Three hun­dred dol­lars.” Now, every­body knew he nev­er paid three hun­dred dol­lars for a suit in those days. At a par­ty, he would lie down on his wife’s lap and pre­tend to be suck­ing her breast. He’d curl up on her lap—she was an immense woman. It was crazy. At the same time, there was some­thing in him which was ter­ri­bly mov­ing. It was very mov­ing, because his suf­fer­ing was right on his skin, you see.

If Miller and Dunnock’s per­for­mance leaves you hun­gry for more, you can see her and Lee J. Cobb reprise their roles on tele­vi­sion in a 1966 CBS pro­duc­tion. See Act 1 above, and Act 2 here.

Relat­ed Con­tent:

Albert Camus Talks About Adapt­ing Dos­toyevsky for the The­atre, 1959

Hear Antonin Artaud’s Cen­sored, Nev­er-Aired Radio Play: To Have Done With The Judg­ment of God (1947)

Peter Weiss’s Marat/Sade Pushed the Bound­aries of The­ater, and Still Does

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Her play, Fawn­book, is now play­ing in New York City . Fol­low her @AyunHalliday

Harlan Ellison’s Wonderful Rant on Why Writers Should Always Get Paid

In a per­fect world, I could write this post for free. Alas, the rig­ors of the mod­ern econ­o­my demand that I pay reg­u­lar and some­times high prices for food, shel­ter, books, and the oth­er neces­si­ties of life. And so if I spend time work­ing on some­thing — and in my case, that usu­al­ly means writ­ing some­thing — I’d bet­ter ask for mon­ey in exchange, or I’ll find myself out on the street before long. Nobody under­stands this bet­ter than Har­lan Elli­son, the huge­ly pro­lif­ic author of nov­els, sto­ries, essays screen­plays, com­ic books, usu­al­ly in, or deal­ing with, the genre of sci­ence fic­tion.

Elli­son also starred in Dreams with Sharp Teeth, a doc­u­men­tary about his col­or­ful life and all the work he’s writ­ten dur­ing it, a clip of which you can see at the top of the post. In it, he describes receiv­ing a call just the day before from “a lit­tle film com­pa­ny” seek­ing per­mis­sion to include an inter­view clip with him pre­vi­ous­ly shot about the mak­ing of Baby­lon 5, a series on which he worked as cre­ative con­sul­tant. “Absolute­ly,” Elli­son said to the com­pa­ny’s rep­re­sen­ta­tive. “All you’ve got to do is pay me.”

This sim­ple request seemed to take the representative—who went on to insist that “every­one else is just doing it for noth­ing” and that “it would be good publicity”—quite by sur­prise. â€śDo you get a pay­check?” Elli­son then asked. “Does your boss get a pay­check? Do you pay the telecine guy? Do you pay the cam­era­man? Do you pay the cut­ters? Do you pay the Team­sters when they schlep your stuff on the trucks? Would you go to the gas sta­tion and ask them to give you free gas? Would you go to the doc­tor and have them take out our spleen for noth­ing?”

This line of ques­tion­ing has come up again and again since Elli­son told this sto­ry, as when the jour­nal­ist Nate Thay­er, or more recent­ly Wil Wheaton, spoke out against the expec­ta­tion that writ­ers would hand out the rights to their work “for expo­sure.” The prag­mat­ic Elli­son frames the mat­ter as fol­lows: “Cross my palm with sil­ver, and you can use my inter­view.” But do finan­cial­ly-ori­ent­ed atti­tudes such as his (“I don’t take a piss with­out get­ting paid for it”) taint the art and craft of writ­ing? He does­n’t think so: “I sell my soul,” he admits, “but at the high­est rates.”

Relat­ed Con­tent:

William Faulkn­er Explains Why Writ­ing is Best Left to Scoundrels … Prefer­ably Liv­ing in Broth­els (1956)

Stephen King’s Top 20 Rules for Writ­ers

Ray Brad­bury on Zen and the Art of Writ­ing (1973)

Col­in Mar­shall writes else­where on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­maand the crowd­fund­ed jour­nal­ism project Where Is the City of the Future? Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Horror Legend Christopher Lee Reads Bram Stoker’s Dracula

Did Bram Stoker’s world-famous Drac­u­la character—perhaps the most cul­tur­al­ly unkil­l­able of all hor­ror mon­sters—derive from Irish folk­lore? Search the Gael­ic “Droch-Fhoula” (pro­nounced droc’ola) and, in addi­tion to the req­ui­site met­al bands, you’ll find ref­er­ences to the “Cas­tle of the Blood Vis­age,” to a blood-drink­ing chief­tain named Abhar­tach, and to oth­er pos­si­ble native sources of Irish writer Bram Stok­er’s 1897 nov­el. These Celtic leg­ends, the BBC writes, “may have shaped the sto­ry as much as Euro­pean myths and Goth­ic lit­er­a­ture.”

Despite all this intrigu­ing spec­u­la­tion about Dracula’s Irish ori­gins, the actors play­ing him have come from a vari­ety of places. One recent incar­na­tion, TV series Drac­u­la, did cast an Irish actor, Jonathan Rhys Mey­ers, in the role.

Hun­gar­i­an Bela Lugosi comes clos­est to the fic­tion­al character’s nation­al­i­ty, as well as that of anoth­er, per­haps dubi­ous source, Roman­ian war­lord Vlad the Impaler. Pro­tean Brit Gary Old­man played up the char­ac­ter as Slav­ic aris­to­crat in Fran­cis Ford Coppola’s some­what more faith­ful take. But one too-oft-over­looked por­tray­al by anoth­er Eng­lish actor, Christo­pher Lee, deserves much more atten­tion than it receives.

In ten low-bud­get films made by British exploita­tion stu­dio Ham­mer, Lee por­trayed the mon­strous-yet-seduc­tive blood-suck­ing noble­man as a very prop­er Eng­lish­man with “a cer­tain las­civ­i­ous sex appeal”—begin­ning with 1958’s Hor­ror of Drac­u­la (see a trail­er above) and end­ing with 1973’s The Satan­ic Rites of Drac­u­la. I find Lee’s Drac­u­la so mem­o­rable that I was delight­ed to hear the audio above of him read­ing an adap­ta­tion of the nov­el, in ten parts. The video begins with titles and an estab­lish­ing shot from the Ham­mer films, then segues to images from a 1966 Drac­u­la graph­ic nov­el, the source of the “pret­ty faith­ful” adap­ta­tion by Otto Binder and Craig Ten­nis, for which Lee wrote an intro­duc­tion.

The audio here was also record­ed in 1966 by the book’s edi­tor Russ Jones. Comics blog­ger Steven Thomp­son remarks that “since Drac­u­la is made up of a series of let­ters, jour­nal and diary entries, the writ­ers here log­i­cal­ly take a more straight­for­ward route of telling the tale while main­tain­ing the episod­ic feel quite well.” Rather than the voice of Count Drac­u­la, Lee reads as the nov­el­’s epis­to­lary nar­ra­tor Jonathan Hark­er, and the Drac­u­la in the art­work, drawn by artist Al McWilliams, “bears more than a pass­ing resem­blance here to actor John Car­ra­dine,” a notable Amer­i­can actor who played the char­ac­ter in Uni­ver­sal’s House of Franken­stein and House of Drac­u­la. Nonethe­less, Lee’s voice is enough to con­jure his many excep­tion­al per­for­mances as the pro­to­typ­i­cal vam­pire, a char­ac­ter and con­cept that will like­ly nev­er die.

Schol­ar and writer Bob Cur­ran, a pro­po­nent of the Irish ori­gins of Drac­u­la, argues in his book Vam­pires that leg­ends of undead, blood-drink­ing ghouls are found all over the world, which goes a long way toward explain­ing the endur­ing pop­u­lar­i­ty of Drac­u­la in par­tic­u­lar and vam­pires in gen­er­al. We’ll prob­a­bly see anoth­er actor inher­it the role of Stok­er’s seduc­tive­ly creepy count in the near future. Who­ev­er it is will have to mea­sure him­self against not only the per­for­mances of Lugosi, Car­ra­dine, Old­man, and Mey­ers, but also against the debonair Christo­pher Lee. He would do well, wher­ev­er he comes from, to study Lee’s Drac­u­la films close­ly, and lis­ten to him read the sto­ry in the adap­ta­tion above.

Relat­ed Con­tent:

Christo­pher Lee (R.I.P.) Reads Edgar Allan Poe’s “The Raven,” and From “The Fall of the House of Ush­er”

Christo­pher Lee Nar­rates a Beau­ti­ful Ani­ma­tion of Tim Burton’s Poem, Night­mare Before Christ­mas

Watch Nos­fer­atu, the Sem­i­nal Vam­pire Film, Free Online (1922)

Hear Edgar Allan Poe’s “The Tell Tale Heart” Read by the Great Bela Lugosi (1946)

800 Free eBooks for iPad, Kin­dle & Oth­er Devices.

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Stephen Hawking Wonders Whether Capitalism or Artificial Intelligence Will Doom the Human Race

hawking capitalism future

Cre­ative Com­mons image via NASA

It should­n’t be espe­cial­ly con­tro­ver­sial to point out that we live in a piv­otal time in human history—that the actions we col­lec­tive­ly take (or that plu­to­crats and tech­nocrats take) will deter­mine the future of the human species—or whether we even have a future in the com­ing cen­turies. The threats posed by cli­mate change and war are exac­er­bat­ed and accel­er­at­ed by rapid­ly wors­en­ing eco­nom­ic inequal­i­ty. Expo­nen­tial advances in tech­nol­o­gy threat­en to eclipse our abil­i­ty to con­trol machines rather than be con­trolled, or stamped out, by them.

It’s also the case that our most well-regard­ed sci­en­tists and tech­no­log­i­cal inno­va­tors have not remained silent in the face of these crises. Physi­cist Stephen Hawk­ing has issued some dire warn­ings late­ly when it comes to human­i­ty’s future. Sev­er­al years ago, he pre­dict­ed that “our only chance of long term sur­vival” may be to “spread out into space,” a la Inter­stel­lar. In addi­tion to the wors­en­ing cli­mate cri­sis, the rise of arti­fi­cial intel­li­gence con­cerns Hawk­ing. Along with Bill Gates and Elon Musk, he has warned of what futur­ist Ray Kurzweil has called “the sin­gu­lar­i­ty,” the point at which machine intel­li­gence sur­pass­es our own.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Where Kurzweil has seen this event through an opti­mistic, New Age lens, Hawk­ing’s view seems more in line with dystopi­an sci-fi visions of robot apoc­a­lypse. “Suc­cess in AI would be the biggest event in human his­to­ry,” he wrote in The Inde­pen­dent last year, â€śUnfor­tu­nate­ly it might also be the last.” Giv­en the design of autonomous weapons sys­tems and, as he told the BBC, the fact that “Humans, who are lim­it­ed by slow bio­log­i­cal evo­lu­tion, could­n’t com­pete and would be super­seded,” the prospect looks chill­ing, but it isn’t inevitable.

Our tech isn’t active­ly out to get us. “The real risk with AI isn’t mal­ice but com­pe­tence,” Hawk­ing clar­i­fied, in a fas­ci­nat­ing Red­dit “Ask Me Any­thing” ses­sion last month. Due to the physi­cist’s phys­i­cal lim­i­ta­tions, read­ers post­ed ques­tions and vot­ed on their favorites. From these, Hawk­ing elect­ed the “ones he feels he can give answers to.” In response to a top-rat­ed ques­tion about the so-called “Ter­mi­na­tor Con­ver­sa­tion,” he wrote, “A super­in­tel­li­gent AI will be extreme­ly good at accom­plish­ing its goals, and if those goals aren’t aligned with ours, we’re in trou­ble.”

This prob­lem of mis­aligned goals is not of course lim­it­ed to our rela­tion­ship with machines. Our pre­car­i­ous eco­nom­ic rela­tion­ships with each oth­er pose a sep­a­rate threat, espe­cial­ly in the face of mas­sive job loss due to future automa­tion. We’d like to imag­ine a future where tech­nol­o­gy frees us of toil and want, the kind of soci­ety Buck­min­ster Fuller sought to cre­ate. But the truth is that wealth and income inequal­i­ty, at their high­est lev­els in the U.S. since at least the Gild­ed Age, may deter­mine a very dif­fer­ent path—one we might think of in terms of “The Ely­si­um Con­ver­sa­tion.” Asked in the same AMA Red­dit ses­sion, “Do you fore­see a world where peo­ple work less because so much work is auto­mat­ed? Do you think peo­ple will always either find work or man­u­fac­ture more work to be done?,” Hawk­ing elab­o­rat­ed,

If machines pro­duce every­thing we need, the out­come will depend on how things are dis­trib­uted. Every­one can enjoy a life of lux­u­ri­ous leisure if the machine-pro­duced wealth is shared, or most peo­ple can end up mis­er­ably poor if the machine-own­ers suc­cess­ful­ly lob­by against wealth redis­tri­b­u­tion. So far, the trend seems to be toward the sec­ond option, with tech­nol­o­gy dri­ving ever-increas­ing inequal­i­ty.

For decades after the Cold War, cap­i­tal­ism had the sta­tus of an unques­tion­ably sacred doctrine—the end of his­to­ry and the best of all pos­si­ble worlds. Now, not only has Hawk­ing iden­ti­fied its excess­es as dri­vers of human decline, but so have oth­er decid­ed­ly non-Marx­ist fig­ures like Bill Gates, who in a recent Atlantic inter­view described the pri­vate sec­tor as “in gen­er­al inept” and unable to address the cli­mate cri­sis because of its focus on short-term gains and max­i­mal prof­its. “There’s no for­tune to be made,” he said, from deal­ing with some of the biggest threats to our sur­vival. But if we don’t deal with them, the loss­es are incal­cu­la­ble.

via Huff Po

Relat­ed Con­tent:

187 Big Thinkers Answer the Ques­tion: What Do You Think About Machines That Think?

Bertrand Rus­sell & Buck­min­ster Fuller on Why We Should Work Less, and Live & Learn More

Sev­en Ques­tions for Stephen Hawk­ing: What Would He Ask Albert Ein­stein & More

Stephen Hawk­ing: Aban­don Earth Or Face Extinc­tion

Noam Chom­sky Explains Where Arti­fi­cial Intel­li­gence Went Wrong

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

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