The programs “sense” how the clients function, but not because AI is becoming more human—rather because clients now function as generically as programs.
We recklessly count on ethics coming from somewhere other than a practice only offered by party politics or activism, from which the majority population excludes itself. The panic invocation of Christian values shows the extent of the dilemma here: please come up with something, anything, that will make people behave responsibly, no mater how obviously illusory it is! But the drift into religious or ideological morality only veils a truth that any theatre performance could tell us: there is no responsible audience. There is no responsibility without a concrete opportunity to formulate an answer whose effects have the status of acknowledged consequences. There is no responsibility-bearing demos without participation in political action.
Sozialismus des Kapitals
Geld ist Zeit
Hyman P. Minsky
Instabilität und Kapitalismus
The ironic self-awareness of the poet can only be that of his own inauthenticity, repeated or fed back into itself at increasingly conscious levels, and ‘to know inauthenticity is not the same as to be authentic’.
The question of authenticity and I go back some way; we’re old sparring partners – frenemies. It’s been a fraught relationship, shot through with paradox and misconstruing. My first novel, Remainder, does turn around its protagonist’s obsession with becoming ‘real’, inhabiting his era or his city, building, skin, movements and gestures in a ‘first-hand’ or ‘authentic’ way, an obsession which he carries to the point of murder. Yet the pleasure of seeing this book receiving glowing press reviews that praised it for its ‘originality’ and ‘true’-ness was tinged with an awareness of something being odd or ‘off’, since Remainder is in fact the most un-original of novels, a novel about non-originality and simulacra that’s quite blatantly composed of set tropes and constructed situations reprised and, only slightly modified, replayed from sources ranging from Ballard’s Crash and Beckett’s Godot back to Sterne’s Tristram Shandy (Uncle Toby’s domestic re-stagings of battle terrains)...