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TED
I think it's safe to say there's never been a moment like this one in all of history. Of course, it's always safe to say that because every moment is unique and can never be reproduced. But when it comes to AI, the changes we've seen in a single generation, and lately in a single day, are truly historically novel. We are the first human beings to ever experience this. I want to talk about how we experience it. AI is changing how we work and create. It's helping us solve complex problems in ecology, urban planning and medicine. From diagnosing disease to detecting forest fires, AI is giving us a new view of our planet and ourselves. This comes with challenges. There are ongoing debates and open questions about ethics, power and the relationships between humans and machines. Are we at risk of losing what makes us most human? How can we preserve and even enhance the best in ourselves with AI? I think the answer to these questions lies in three principles. Creation, collaboration and care. Creation, collaboration and care. We need to nurture creative relationships with AI. I've written with AI on several projects and as an author I've seen firsthand how AI co-writing can open the mind with remarkable results. To test these ideas, I wrote a novel with GPT-3. The AI suggested synchronistic plot twists, penetrating character arcs and critical perspectives I wouldn't have thought of on my own. Together, we created something more compelling and imaginative than either of us would have alone. So let's co-create with AI. love collaborations because collaborations are more than the sum of their parts. For almost 10 years, I have been bringing artists and philosophers in to work with researchers at Google AI through the Artists and Machine Intelligence Program. By collaborating with machines, we've encouraged a new form of art that combines and transforms photography, poetry, cinema and music with machine-learning models. But we've also brought the critical and creative imaginations of artists into the process of developing AI. If we want a world that preserves and enhances the best parts of being human, we need a wide range of voices and disciplines present in the process of making AI. So let's collaborate on making AI. AI needs a goal. It needs a North Star. I believe the highest purpose for AI is to be healing. That's why I created the opera "Song of the Ambassadors," working with neuroscientists to study the effects of music and human-AI feedback loops. By integrating AI-generated brainwave imagery into the performance, we were able to
Our creative
relationship with AI is
propose new musical and therapeutic approaches. "Song of the Ambassadors" is offered as a prototype for a new kind of art that turns our highest technology towards collective healing. So let's care for each other with AI. These principles are simple. They might seem obvious, but the world is changing fast and AI is complex. So the point needs to be made clearly. AI should preserve and enhance the best parts of being human. But first, we must imagine new possibilities and new narratives for our future together. The next time you're thinking about or even thinking with AI, look for opportunities to create, collaborate and care. Thank you.
expanded on his summer plan, and from Caracas he sent me to Wallingford, Connecticut, for the senior year of high school. This time, I remember daydreaming on the plane about "the American high school experience" - with a locker. It was going to be perfect, just like in my favorite TV show: "Saved by the Bell." (Laughter) I get there, and they tell me that my assigned roommate is eagerly waiting. I opened the door, and there she was, sitting on the bed, with a headscarf. Her name was Fatima, and she was Muslim from Bahrain, and she was not what I expected. She probably sensed my disappointment when I looked at her because I didn't do too much to hide it. See, as a teenager, I wanted to fit in even more, I wanted to be popular, maybe have a boyfriend for prom, and I felt that Fatima just got in the way with her shyness and her strict dress code. I didn't realize that I was making her feel like the kids at summer camp made me feel. This was the high school equivalent of asking her, "Do you know what a hamburger is?" I was consumed by my own selfishness and unable to put myself in her shoes. I have to be honest with you, we only lasted a couple of months together, because she was later sent to live with a counselor instead of other students. I remember thinking, "Ah, she'll be okay. She's just different." You see, when we label someone as different, it dehumanizes them in a way. They become "the other." They're not worthy of our time, not our problem, and in fact, they, "the other," are probably the cause of our problems. So, how do we recognize our blind spots? It begins by understanding what makes you different, by embracing those traits. Only then can you begin to appreciate what makes others special. I remember when this hit me. It was a couple months after that. I had found that boyfriend for prom, made a group of friends, and practically forgotten about Fatima, until everybody signed on to participate in this talent show for charity. You needed to offer a talent for auction. It seemed like everybody had something special to offer. Some kids were going to play the violin, others were going to recite a theater monologue, and I remember thinking, "We don't practice talents like these back home." But I was determined to find something of value. The day of the talent show comes, and I get up on stage with my little boom box, and put it on the side and press "Play," and a song by my favorite emerging artist, Shakira, comes up. And I go, "Whenever, wherever, we're meant to be together," and I said, "My name is Mariana, and I'm going to auction a dance class." It seemed like the whole school raised their hand to bid. My dance class really stood out from, like, the 10th violin class offered that day. Going back to my dorm room, I didn't feel different. I felt really special. That's when I started thinking about Fatima, a person that I had failed to see as special, when I first met her. She was from the Middle East, just like Shakira's family was from the Middle East. She could have probably taught me a thing or two about belly dancing, had I been open to it. Now, I want you all to take that sticker that was given to you at the beginning of our session today, where you wrote down what makes you special, and I want you to look at it. If you're watching at home, take a piece of paper, and write down what makes you different. You may feel guarded when you look at it, maybe even a little ashamed, maybe even proud. But you need to begin to embrace it. Remember, it is the first step in appreciating what makes others special. When I went back home to Venezuela, I began to understand how these experiences were changing me. Being able to speak different
languages, to navigate all these different people and places, it gave me a unique sensibility. I was finally beginning to understand the importance of putting myself in other people's shoes. That is a big part of the reason why I decided to become a journalist. Especially being from a part of the world that is often labeled "the backyard," "the illegal aliens," "third-world," "the others," I wanted to do something to change that. It was right around the time, however, when the Venezuelan government shut down the biggest television station in our country. Censorship was growing, and my dad came up to me once again and said, "How are you going to be a journalist here? You have to leave." That's when it hit me. That's what he had been preparing me for. That is what the future held for me. So in 2008, I packed my bags, and I came to the United States, without a return ticket this time. I was painfully aware that, at 24 years old, I was becoming a refugee of sorts, an immigrant, the other, once again, and now for good. I was able to come on a scholarship to study journalism. I remember when they gave me my first assignment to cover the historic election of President Barack Obama. I felt so lucky, so hopeful. I was, like, "Yes, this is it. I've come to post-racial America, where the notion of us and them is being eroded, and will probably be eradicated in my lifetime." Boy, was I wrong, right? Why didn't Barack Obama's presidency alleviate racial tensions in our country? Why do some people still feel threatened by immigrants, LGBTQ, and minority groups who are just trying to find a space in this United States that should be for all of us? I didn't have the answers back then, but on November 8th, 2016, when Donald Trump became our president, it became clear that a large part of the electorate sees them as "the others." Some see people coming to take their jobs, or potential terrorists who speak a different language. Meanwhile, minority groups oftentimes just see hatred, intolerance, and narrow-mindedness on the other side. It's like we're stuck in these bubbles that nobody wants to burst. The only way to do it, the only way to get out of it is to realize that being different also means thinking differently. It takes courage to show respect. In the words of Voltaire: "I may not agree with what you have to say, but I will fight to the death to defend your right to say it." Failing to see anything good on the other side makes a dialogue impossible. Without a dialogue, we will keep repeating the same mistakes, because we will not learn anything new. I covered the 2016 election for NBC News. It was my first big assignment in this mainstream network, where I had crossed over from Spanish television. And I wanted to do something different. I watched election results with undocumented families. Few thought of sharing that moment with people who weren't citizens, but actually stood the most to lose that night. When it became apparent that Donald Trump was winning, this eight-year-old girl named Angelina rushed up to me in tears. She sobbed, and she asked me if her mom was going to be deported now. I hugged her back and I said, "It's going to be okay," but I really didn't know. This was the photo we took that night, forever ingrained in my heart. Here was this little girl who was around the same age I was when I went to camp in Brainerd. She already knows she is "the other." She walks home from school in fear, every day, that her mom can be taken away. So, how do we put ourselves in Angelina's shoes? How do we make her understand she is special, and not simply unworthy of having her family together? By giving camera time to her and families like
TED
Today, we're going to look at the world of Rome through the eyes of a young girl. Here she is, drawing a picture of herself in the atrium of her father's enormous house. Her name is Domitia, and she is just 5 years old. She has an older brother who is fourteen, Lucius Domitius Ahenobarbus, named after her dad. Girls don't get these long names that boys have. What is worse is that Dad insists on calling all his daughters Domitia. "Domitia!" His call to Domitia drawing on the column, Domitia III. She has an older sister, Domitia II, who is 7 years old. And then there's Domitia I, who is ten. There would have been a Domitia IV, but mom died trying to give birth to her three years ago. Confused? The Romans were too. They could work out ancestry through the male line with the nice, tripartite names such as Lucius Domitius Ahenobarbus. But they got in a real mess over which Domitia was married to whom and was either the great aunt or the great stepmother and so on to whom when they came to write it down. Domitia III is not just drawing on the pillar, she's also watching the action. You see, it's early, in the time of day when all her dad's clients and friends come to see him at home to pay their respects. Lucius Popidius Secundus, a 17 year old, he wants to marry Domitia II within the next five to seven years, has come as well. He seems to be wooing not his future wife, but her dad. Poor Lucius, he does not know that Domitia's dad thinks he and his family are wealthy but still scumbags from the Subura. Afterall, it is the part of Rome full of barbers and prostitutes. Suddenly, all the men are leaving with Dad. It's the second hour and time for him to be in court with a sturdy audience of clients to applaud his rhetoric and hiss at his opponent. The house is now quieter. The men won't return for seven hours, not until dinner time. But what happens in the house for those seven hours? What do Domitia, Domitia, and Domitia do all day? Not an easy question! Everything written down by the Romans that we have today was written by men. This makes constructing the lives of women difficult. However, we can't have a history of just Roman men, so here it goes. We can begin in the atrium. There is a massive loom, on which Dad's latest wife is working on a new toga. Domitia, Domitia, and Domitia are tasked with spinning the wool that will be used to weave this mighty garment, 30 or more feet long and elliptical in shape. Romans loved the idea that their wives work wool. We know that because it's written on the gravestones of so many Roman women. Unlike women in Greece, Roman women go out the house and move about the city. They go to the baths in the morning to avoid the men or to separate baths that are for women only. Some do go in for the latest fad of the AD 70s: nude bathing with men present. Where they have no place is where the men are: in the Forum, in the Law Court, or in the Senate House. Their place Four sisters in Ancient Rome
in public is in the porticos with gardens, with sculpture, and with pathways for walking in. When Domitia, Domitia, and Domitia want to leave the house to go somewhere, like the Portico of Livia, they must get ready. Domitia II and Domitia III are ready, but Domitia I, who is betrothed to be married in two years to darling Philatus, isn't ready. She's not slow, she just has more to do. Being betrothed means she wears the insignia of betrothal: engagement rings and all the gifts Pilatus has given her - jewels, earrings, necklaces, and the pendants. She may even wear her myrtle crown. All this bling shouts, "I'm getting married to that 19 year old who gave me all this stuff I'm wearing!" While as they wait, Domitia II and Domitia III play with their dolls that mirror the image of their sister decked out to be married. One day, these dolls will be dedicated to the household gods on the day of their wedding. Okay, we're ready. The girls step into litters carried by some burly slaves. They also have a chaperone with them and will be meeting an aunt at the Porticus of Livia. Carried high on the shoulders of these slaves, the girls look out through the curtains to see the crowded streets below them. They traverse the city, pass the Coliseum, but then turn off to climb up the hill to the Porticus of Livia. It was built by Livia, the wife of the first emperor Augustus, on the site of the house of Vedius Pollio. He wasn't such a great guy. He once tried to feed a slave to the eels in his fish pond for simply dropping a dish. Luckily, the emperor was at the dinner and tamed his temper. The litters are placed on the ground and the girls get out and arm in arm, two by two, they ascend the steps into the enclosed garden with many columns. Domitia III shot off and is drawing on a column. Domitia II joins her but seeks to read the graffiti higher up on the column. She spots a drawing of gladiators and tries to imagine seeing them fighting, something she will never be permitted to do, except from the very rear of the Coliseum. From there, she will have a good view of the 50,000 spectators but will see little by way of blood and gore. If she really wanted a decent view, she could become a vestal virgin and would sit right down the front. But a career tending the sacred flame of Vesta is not to everybody's taste. Domitia I has met another ten year old also decked out in the insignia of betrothal. Home time. When they get there after the eighth hour, something is up. A smashed dish lies on the floor. All the slaves are being gathered together in the atrium and await the arrival of their master. Dad is going to go mad. He will not hit his children, but like many other Romans, he believes that slaves have to be punished. The whip lies ready for his arrival. No one knows who smashed the dish, but Dad will call the undertaker to torture it out of them, if he must. The doorkeeper opens the front door to the house. A hush comes over the anxious slaves. In walks not their master but, instead, a pregnant teenager. It is the master's eldest daughter, age 15, who is already a veteran of marriage and child birth. Guess what her name is. There is a five to ten percent chance she won't survive giving birth to her child, but, for now, she has come to dinner with her family. As a teenage mother, she has proved that she is a successful wife by bringing children and descendants for her husband, who will carry on his name in the future. The family head off to the dining room and are served dinner. It would
TED
Mark Zuckerberg, a journalist was asking him a question about the news feed. And the journalist was asking him, "Why is this so important?" And Zuckerberg said, "A squirrel dying in your front yard may be more relevant to your interests right now than people dying in Africa." And I want to talk about what a Web based on that idea of relevance might look like. So when I was growing up in a really rural area in Maine, the Internet meant something very different to me. It meant a connection to the world. It meant something that would connect us all together. And I was sure that it was going to be great for democracy and for our society. But there's this shift in how information is flowing online, and it's invisible. And if we don't pay attention to it, it could be a real problem. So I first noticed this in a place I spend a lot of time -- my Facebook page. I'm progressive, politically -- big surprise -- but I've always gone out of my way to meet conservatives. I like hearing what they're thinking about; I like seeing what they link to; I like learning a thing or two. And so I was surprised when I noticed one day that the conservatives had disappeared from my Facebook feed. And what it turned out was going on was that Facebook was looking at which links I clicked on, and it was noticing that, actually, I was clicking more on my liberal friends' links than on my conservative friends' links. And without consulting me about it, it had edited them out. They disappeared. So Facebook isn't the only place that's doing this kind of invisible, algorithmic editing of the Web. Google's doing it too. If I search for something, and you search for something, even right now at the very same time, we may get very different search results. Even if you're logged out, one engineer told me, there are 57 signals that Google looks at -- everything from what kind of computer you're on to what kind of browser you're using to where you're located -- that it uses to personally tailor your query results. Think about it for a second: there is no standard Google anymore. And you know, the funny thing about this is that it's hard to see. You can't see how different your search results are from anyone else's. But a couple of weeks ago, I asked a bunch of friends to Google "Egypt" and to send me screen shots of what they got. So here's my friend Scott's screen shot. And here's my friend Daniel's screen shot. When you put them side-by- side, you don't even have to read the links to see how different these two pages are. But when you do read the links, it's really quite remarkable. Daniel didn't get anything about the protests in Egypt at all in his first page of Google results. Scott's
Beware online "filter bubbles
results were full of them. And this was the big story of the day at that time. That's how different these results are becoming. So it's not just Google and Facebook either. This is something that's sweeping the Web. There are a whole host of companies that are doing this kind of personalization. Yahoo News, the biggest news site on the Internet, is now personalized -- different people get different things. Huffington Post, the Washington Post, the New York Times -- all flirting with personalization in various ways. And this moves us very quickly toward a world in which the Internet is showing us what it thinks we want to see, but not necessarily what we need to see. As Eric Schmidt said, "It will be very hard for people to watch or consume something that has not in some sense been tailored for them." So I do think this is a problem. And I think, if you take all of these filters together, you take all these algorithms, you get what I call a filter bubble. And your filter bubble is your own personal, unique universe of information that you live in online. And what's in your filter bubble depends on who you are, and it depends on what you do. But the thing is that you don't decide what gets in. And more importantly, you don't actually see what gets edited out. So one of the problems with the filter bubble was discovered by some researchers at Netflix. And they were looking at the Netflix queues, and they noticed something kind of funny that a lot of us probably have noticed, which is there are some movies that just sort of zip right up and out to our houses. They enter the queue, they just zip right out. So "Iron Man" zips right out, and "Waiting for Superman" can wait for a really long time What they discovered was that in our Netflix queues there's this epic struggle going on between our future aspirational selves and our more impulsive present selves. You know we all want to be someone who has watched "Rashomon," but right now we want to watch "Ace Ventura" for the fourth time. (Laughter) So the best editing gives us a bit of both. It gives us a little bit of Justin Bieber and a little bit of Afghanistan. It gives us some information vegetables; it gives us some information dessert. And the challenge with these kinds of algorithmic filters, these personalized filters, is that, because they're mainly looking at what you click on first, it can throw off that balance. And instead of a balanced information diet, you can end up surrounded by information junk food. What this suggests is actually that we may have the story about the Internet wrong. In a broadcast society -- this is how the founding mythology goes -- in a broadcast society, there were these gatekeepers, the editors, and they controlled the flows of information. And along came the Internet and it swept them out of the way, and it allowed all of us to connect together, and it was awesome. But that's not actually what's happening right now. What we're seeing is more of a passing of the torch from human gatekeepers to algorithmic ones. And the thing is that the algorithms don't yet have the kind of embedded ethics that the editors did. So if algorithms are going to curate the world for us, if they're going to decide what we get to see and what we don't get to see, then we need to make sure that they're not
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Tôi an tâm khi nói là sẽ chẳng bao giờ có khoảng khắc nào như thế này nữa trong suốt chiều dài lịch sử. Dĩ nhiên, điều đấy vốn luôn là chân lí vì mọi thời khắc đều độc nhất và không bao giờ tái diễn. Nhưng khi nói tới AI, thay đổi mà ta đã thấy chỉ trong 1 thế hệ, và gần đây nhất là chỉ trong 1 ngày, thật sự là một biên niên sử. Chúng ta là những con người đầu tiên được trải nghiệm điều này. Tôi muốn nói về cách mà ta trải nghiệm nó. AI đang thay đổi cách ta làm việc và chế tạo. nó đang giúp ta giải quyết các vấn đề phức tạp về sinh thái, đô thị hóa và y dược. Từ việc chuẩn đoán bệnh tật đến phát hiện cháy rừng, AI đang cho ta thấy góc nhìn mới về hành tinh này và về chính chúng ta. Điều này đến cùng những thách thức. Những cuộc tranh luận không hồi kết và những câu hỏi để ngỏ về đạo đức, quyền lực và mối quan hệ giữa người và máy móc. Liệu ta có đang đứng trước rủi ro đánh mất những khía cạnh con người nhất của mình? Làm sao để ta bảo hòa và phát triển ưu điểm của chính mình trước AI? Tôi nghĩ câu trả lời của các câu hỏi này dựa trên 3 nguyên tắc sau. Sự sáng tạo, hợp tác và sự quan tâm. Sự sáng tạo, hợp tác và sự quan tâm. Chúng ta cần nuôi dưỡng mối quan hệ sáng tạo với AI. Tôi từng viết cùng AI trong nhiều dự án và với tư cách một tác giả tôi đã thấy tận mắt cái cách mà người cộng sự AI mở mang đầu óc tôi với những kết quả ấn tượng. Để kiểm chứng cho lập luận này, tôi đã viết tiểu thuyết bằng GPT-3. AI đã đề xuất một cốt truyện đầy kịch tính, khai phá nội tâm nhân vật và có những góc nhìn phê phán mà tôi thậm chí không hề nghĩ tới. Cùng nhau, chúng tôi đã tạo nên một thứ đầy hấp dẫn và sáng tạo thứ không thể có nếu chúng tôi làm một mình. Nên hãy cùng cộng tác với AI. Cơ mà chúng tôi cũng đưa óc phê phán và sức sáng tạo của nghệ sĩ vào quá trình phát triển AI. Nếu ta muốn có một thế giới với sự bảo hòa và phát triển những khía cạnh tốt nhất của con người, chúng ta cần tích hợp rộng rãi tiếng nói và sự kiên định vào quá trình kiến tạo AI. Nên hãy cùng cộng tác để kiến tạo AI nhé. AI cần có mục tiêu. Nó cần một ngôi sao chỉ đường. Tôi tin là mục đích cao cả nhất của AI chính là để chữa lành. Đó là lý do tôi tạo ra vở opera “Bài hát của các Sứ Giả,” làm việc với các nhà khoa học thần kinh để nghiên cứu các hiệu ứng âm nhạc và các vòng phản hồi giữa con người và AI. Bằng cách tích hợp hình ảnh sóng não do AI tạo ra vào buổi biểu diễn. chúng tôi đã có thể tạo ra một cách tiếp cận âm nhạc và chữa lành hoàn toàn mới. “Bài hát của các Sứ Giả” chính là sản phẩm của một hình thức nghệ thuật mới đã khiến thứ công nghệ tân tiến nhất tiến sâu tới sự chữa lành. Hãy cùng bày tỏ sự quan tâm lẫn nhau bằng AI nhé.
Mối quan hệ sáng tạo giữa người
và AI mới chỉ đang bắt đầu.
