Podcasts about asimov

O Império da IA, com Karen HaoEm 2019 — tempos mais simples! — a jornalista Karen Hao foi fazer o primeiro “perfil” jornalístico da sua carreira, aquelas reportagens em que um jornalista passa dias acompanhando uma pessoa ou empresa, uma coisa meio biografia, meio retrato congelado no tempo.A tal empresa era uma startup do Vale do Silício, ainda pequena e desconhecida dos meros mortais como eu e você, mas que hoje é a mais valiosa da história: a OpenAI, também conhecida como “a criadora do ChatGPT”.A Karen Hao vendeu o projeto do perfil para o MIT Technology Review porque a OpenAI parecia, naquela época, uma startup diferente. O “open” no nome nasceu da visão de que inteligência artificial é um assunto tão importante para o futuro da humanidade que precisava ser explorado de um jeito aberto, compartilhando conhecimento com todo mundo, e mais preocupado em proteger esse tal futuro do que em só gerar lucro.Hoje, aqui direto de 2026, a gente já sabe que não foi exatamente isso que aconteceu. Com o tempo, a OpenAI se transformou numa empresa oficialmente voltada para o lucro como qualquer outra e chegou a ser processada por Elon Musk — um dos apoiadores iniciais do projeto — por quebrar essa promessa de ser ‘open'. Em maio, o Elno perdeu a causa, e a OpenAI agora se prepara para lançar as ações na bolsa e, pelos números atuais, já largar valendo mais de 1 trilhão de dólares.Mesmo em 2019, a Karen Hao sentiu que todo esse papo de “open” não era bem assim: segredos e competitividade em todas as conversas que ela ouvia na empresa. Publicou o tal perfil contando isso e o pessoal da OpenAI… não gostou muito. Achou que ela ia só falar bem deles, e a empresa cortou contato com ela por três anos.O Boa Noite Internet é uma publicação apoiada por pessoas como você, nosso público. Para receber novos posts e apoiar meu trabalho, considere tornar-se um assinante gratuito ou pago.Até que, em maio do ano passado, ela lançou nos EUA o livro O império da IA: Por dentro da corrida irresponsável pela dominação total, que segue contando a história da OpenAI — e abre com a bizarra saída do Sam Altman, demitido do cargo de CEO por “nem sempre falar a verdade” ao conselho da empresa, para voltar quatro dias depois nos braços dos funcionários.Mas esse livro não é exatamente uma biografia da OpenAI. Para mim, é mais um retrato de todo o sistema empresarial em que vivemos hoje — inteligência artificial ou não. O importante é que ele acabou de sair no Brasil pela Editora Rocco, que me procurou para saber se eu queria entrevistá-la aqui no programa, aproveitando que ela veio participar do Esquenta do Congresso Internacional de Jornalismo Investigativo da Associação Brasileira de Jornalismo Investigativo. O congresso, aliás, acontece dia 30 de julho — vai lá no site da Abraji saber mais, quem sabe comprar seu ingresso.Mas enfim, claro que eu queria conversar com ela. Obrigado, Abraji, obrigado, pessoal da Rocco, pelo presente. Quem me conhece sabe que IA agora é um assunto muuuito importante no meu trabalho. Eu fico aqui tentando navegar o meio do caminho entre o fim do mundo exterminador do futuro e a utopia vendida por muita gente. Não acredito em nenhum dos dois cenários, falei disso com a Karen antes e durante a conversa. Mas no final da entrevista a gente volta para falar não só disso, como também de como o IA em Curso, minha comunidade de letramento contínuo em IA, se conecta com tudo. Com promoção? Pode ser. Quem ficar até o fim, verá.A entrevista foi gravada em inglês — a Karen também fala mandarim, mas não fala brazilian —, então vai funcionar assim. Se ouvir no áudio, vai ser a versão original, do mesmo jeito que foi com o Ted Chiang ano passado, para você botar o seu cursinho para trabalhar. Aqui no site boanoiteinternet.com.br você está acompanhando a transcrição completa traduzida, se quiser ler enquanto ouve. E no YouTube tem uma versão legendada. Assim, você entra na conversa do jeito que preferir.Combinado? Então, bora lá entender O Império da IA com Karen Hao, no Boa Noite Internet.Cris: Karen Hao, bem-vinda ao Boa Noite Internet.Karen Hao: Obrigada pelo convite.Cris: Que bom ter você aqui. Espero que o Brasil esteja te tratando bem durante a Copa do Mundo — a gente veio falar sobre isso. Hoje é dia de falar de futebol, de Copa do Mundo, quais são as chances de cada país. Mas a primeira coisa que você precisa saber sobre essa conversa é que eu não sou jornalista. Não sei fazer isso. Peço desculpas antecipadas à sua profissão e ao seu ofício.Além disso, você foi enganada. Eu não estou aqui pra te entrevistar. Isso aqui é uma sessão de terapia. Você vai me ajudar a superar meus traumas.Porque eu sou da… do que eu chamo de “geração esquecida” — sou geração X, nasci nos anos 70. Esquecida porque, nessa guerra de gerações, as pessoas esquecem que a gente existe, e isso é incrível, porque a gente causou muito estrago no planeta. O Elon Musk é geração X, então é só isso que você precisa saber sobre a minha turma. Gente como ele, ou como Marc Andreessen… eu cresci lendo e assistindo à ficção científica que dizia que tecnologia é a melhor coisa do mundo, que ciência e engenheiros são incríveis e vão nos levar pra um lugar incrível.Sou uma daquelas pessoas que, quando a internet surgiu, falou: a paz mundial está logo ali. O conhecimento a um clique de distância, o futuro vai ser incrível. E aqui estamos nós. Então, quando usei o GPT pela primeira vez, e depois o ChatGPT, fiquei super empolgado. Foi a primeira vez, desde a internet, que eu fiquei realmente empolgado.Tenho até uma certa fama de ser mal-humorado com tecnologia: Bitcoin é lavagem de dinheiro, Clubhouse não presta — e as pessoas, ah, Clubhouse é a próxima grande coisa. Mas quando a IA chegou, eu falei: isso é importante. Só que eu já não era mais aquela criança dos anos 70. Tinha crescido, tinha visto o que aconteceu com a internet, tinha trabalhado numa big tech. E estava em desespero com o sistema em que a IA estava sendo construída.Dito tudo isso, o seu livro, aqui, já nas livrarias, recebe provavelmente o melhor elogio que eu posso dar: é otimista. Não é uma lista de reclamações e gente má fazendo coisas más. Claro, você fala muito sobre a OpenAI — ela é o fio condutor da história, especialmente aqueles quatro dias em que o Sam Altman saiu e voltou. E é muito divertido de ler. Mas você toma o cuidado de ser otimista.E uma das coisas que você menciona é como as pessoas na OpenAI, e em todas essas empresas, dizem: “isso é inevitável, a gente tem que fazer”. Quero falar sobre isso. Mas a gente tem que começar pela pergunta que você provavelmente ouve em todo podcast, a do título — Império da IA. Por que império?E acho que essa pergunta é ainda mais relevante no Brasil, país do sul global, colonizado. Por que império da IA?Karen Hao: Antes de mais nada, obrigada por dizer que o livro é otimista. Muita gente não reconhece isso, mas é verdade. Eu escrevo com um profundo otimismo de que os danos que a gente vê podem mudar. Não faria o trabalho que faço se não achasse que as coisas vão mudar.Sobre por que eu uso a expressão império, ou império da IA: a forma como empresas como a OpenAI operam é impressionantemente parecida com a dos impérios antigos. Eu traço quatro paralelos no livro. O primeiro é que elas reivindicam recursos que não são delas — os dados das pessoas, a propriedade intelectual de artistas, criadores como você, jornalistas.Segundo, elas exploram uma quantidade extraordinária de mão de obra. Isso vale tanto para os trabalhadores da cadeia de produção de IA, mal pagos e maltratados, que ainda assim geram uma riqueza extraordinária para essas empresas, quanto para os trabalhadores cujos empregos são automatizados e cujos direitos são corroídos pela implantação dessas tecnologias em diferentes setores.A terceira característica é que impérios controlam os fluxos de informação na sociedade. Essas empresas censuram a pesquisa fundamental sobre essas tecnologias, o que limita nossa capacidade de entender as verdadeiras limitações e capacidades dos modelos que desenvolvem. E estão criando uma tecnologia de informação que tentam transformar no portal único pelo qual qualquer pessoa se relaciona com o mundo.Esse portal impregna as ideologias do Vale do Silício, seus sistemas de valores, sua língua, e projeta a hegemonia do inglês. Isso influencia boa parte do conhecimento que a gente vai produzir daqui pra frente, porque cientistas e educadores usam essas plataformas e acabam perpetuando essas mesmas ideologias e valores.E o quarto e último paralelo é que impérios sempre se agarram a uma narrativa existencial ou moral sobre por que precisam existir. Essas empresas fazem a mesma coisa. Dizem que são o “império do bem”, numa missão civilizatória de trazer progresso e modernidade pra toda a humanidade, competindo contra um “império do mal” que ameaça mandar a humanidade pro inferno.Quando você conversa com algumas pessoas dentro dessas empresas, ou que as lideram, elas dizem: se você nos deixar construir uma inteligência artificial geral, que elas de alguma forma moldam como um deus, a gente vai acabar numa espécie de utopia, um paraíso onde a mudança climática é resolvida, o câncer é curado, a pobreza é aliviada.Mas, se os caras maus conseguirem isso antes, a gente pode acabar com todos os humanos mortos — um risco de extinção pra todos nós.Cris: E eles vêm dizendo isso há quase dez anos, e ainda usam como ferramenta. A gente está num país que foi influenciado por três impérios ao longo da história: Portugal, Inglaterra e agora os Estados Unidos. Então a gente olha pra essas empresas de um jeito meio cínico: sim, sim, já conhecemos essa história.Mas, ao mesmo tempo, ano passado, o Pew Research Center fez uma pesquisa sobre como o mundo enxerga a IA, e o sul global é bem mais otimista do que o norte. Uma das razões é a ideia de democratizar — não só informação, mas: ah, finalmente eu posso montar uma startup, sair desse lugar de exploração e criar o unicórnio de um bilhão de dólares. Os números são grandes na China. Países em desenvolvimento veem muito mais benefício do que risco na IA.China, 83%. Tailândia, 77%. Holanda, 36%. Canadá, 40%. Será que a gente está deixando passar alguma coisa? A gente está certo? Isso está democratizando mesmo? Até que ponto?Karen Hao: Provavelmente tem duas razões. Uma é que muitos dos danos que a indústria de IA causa à maioria global são bem escondidos. Ela se esforça muito pra esconder como polui o ambiente dessas comunidades, como explora e devasta a mão de obra, deixando traumas psicológicos — como documento no livro.E, recentemente, li um artigo de opinião no New York Times que trazia um bom ponto: muitas economias desenvolvidas estão especialmente atentas ao potencial da IA de desmontar oportunidades de emprego de tempo integral. A gente começa a ver isso cada vez mais. Já na maioria global, muito mais gente vive em economias informais, e aí a ideia de que a IA vai tomar um emprego de tempo integral não pesa tanto.Então os danos mais visíveis — a erosão do emprego formal de tempo integral — pesam mais no norte global, ou pelo menos é lá que as pessoas se sentem mais ansiosas. E os danos invisíveis, que atingem o sul global, ninguém percebe tanto, justamente porque são invisíveis. É meio por isso que tanta gente sente essa divisão que aparece na pesquisa do Pew.Cris: Eu tenho acompanhado as notícias sobre IA no Brasil, e toda semana tem um novo data center sendo construído em alguma cidade. Isso é vendido como uma coisa boa: que ótimo investimento, gera emprego. E me fez pensar de novo — a gente passou por três impérios, mas algumas famílias no Brasil, e aposto que em outros lugares também, estão no poder há 500 anos ao longo da história do país.Então, ao mesmo tempo, a gente pensa: é, estamos sendo explorados, é a mesma coisa. Eu já não tenho emprego, então deixa eu usar essa tecnologia pra melhorar minha vida. Mas as pessoas que realmente tomam as decisões, de novo, nos últimos 500 anos, se perguntaram: como a gente ajuda esse pessoal a explorar nosso país de um jeito que nos mantenha no poder e nos dê muito dinheiro?Mas também foi verdade que, sei lá, a Volkswagen abre uma fábrica no Brasil e aquilo gera emprego, contrata gente pro chão de fábrica e pros escritórios. Como é que isso é diferente com a IA?Karen Hao: De certa forma, não é diferente. Existe um fenômeno parecido: a indústria de IA terceiriza muitos dos trabalhos que ela não quer dentro dos centros de poder, e joga isso pra comunidades empobrecidas, do mesmo jeito que outras multinacionais fizeram por décadas.Mas também é diferente, porque a escala dos impactos trabalhistas e ambientais da IA é completamente outra, muito maior que a da indústria automobilística ou da moda. E a velocidade é outra, porque são tecnologias digitais que atravessam fronteiras muito rápido.E é diferente porque a maioria das pessoas não percebe que a IA, mesmo sendo tecnologia digital, tem uma cadeia de suprimentos muito física e intensiva em mão de obra manual.Quando você compra roupa, café, um carro, é mais óbvio que existem materiais que precisam ser extraídos e depois manuseados por pessoas pra criar aquele produto. Já com a IA, a maioria aceita a narrativa que o Vale do Silício projeta: a de que isso vem da “nuvem”, desses espaços etéreos que parecem nem existir no planeta. E a verdade é exatamente o oposto.Ela depende de uma quantidade extraordinária de extração mineral. Depende da construção de infraestruturas enormes — data centers, instalações de supercomputação espalhadas pelo mundo. E depende de muita, muita mão de obra manual: trabalhadores de dados que limpam, preparam e moderam o conteúdo dos sistemas de IA que chegam até você quando usa o ChatGPT.É isso que a torna tão diferente. E há também uma ideologia completamente diferente sustentando a expansão da IA. Quando você conversa com executivos da moda, eles não vão dizer: se você não comprar nossa roupa, vai pro inferno.Já a indústria de IA diz: se você não nos deixar capturar cada vez mais terra, mais recursos e mais mão de obra pra produzir essas tecnologias, vamos ter uma destruição civilizacional. Isso é, ao mesmo tempo, retórica política usada como arma pra moldar o debate público e a cabeça de quem formula políticas, e também está enraizado num sistema de crenças — algumas pessoas dentro dessas empresas realmente acreditam que, se uma AGI fosse construída, e construída nas mãos erradas, isso levaria mesmo a esse tipo de destruição.E é isso que move a sede cada vez maior da indústria por mais capital, mais recursos e mais terra.Cris: Eu quero falar sobre AGI, mas antes: ano passado, a OpenAI estava sendo processada no Reino Unido por violação de direitos autorais, basicamente todos os livros do mundo digitalizados e usados pra treinar modelos. E um dos executivos disse ao júri: bem, se a gente não puder fazer isso, fecha as portas. Me chocou que muita gente reagiu com um “ah, tá, o que a gente pode fazer? Eles vão fechar as portas”.Em parte porque a gente já está acostumado com essa narrativa. Outro dia, numa conferência, um ex-CEO dizia: a gente teve que usar embalagem de plástico porque é mais barata que papel, senão prejudicaria nosso resultado. E a plateia reagia: ah, então é só fechar as portas — a sociedade não pode arcar com isso.Mas isso também, como você disse, se conecta à ideia de uma grande missão, uma missão de salvar o mundo, que a gente precisa cumprir antes que seja tarde, senão estamos condenados. OpenAI está literalmente no nome — só que em português não é tão direto: é “inteligência artificial aberta”.Foi criada a partir de um sonho, um projeto que era pra ser uma coisa pro bem comum. Em 2019, num tempo bem distante, antes da pandemia, você cobriu a OpenAI, foi até o escritório deles, ficou lá dentro. O que você viu? E, mais importante, como essa missão mudou? O Elon Musk os processou outro dia justamente por mudarem a missão. Isso alguma vez foi verdade? Em algum momento eles pensaram mesmo “ah, a gente vai salvar o mundo”?Como essa narrativa de ser aberta funciona com a OpenAI?Karen Hao: Quando comecei a cobrir a OpenAI, levei a sério o que eles diziam — que tinham sido recrutados com a missão de beneficiar toda a humanidade. E aí, quando me infiltrei na empresa, fui ficando bem mais cética, porque via como eles operavam de um jeito completamente diferente, portas adentro, do que diziam em público.Diziam que iam publicar todas as pesquisas e abrir o código de tudo, e na prática eram uma das organizações mais secretas que já cobri. Eram muitas discrepâncias, e, na época, presumi que tinha havido algum tipo de corrupção que os levou a abandonar a missão original. Depois de cobrir a empresa por mais alguns anos e de trabalhar neste livro, mudei de ideia até sobre a missão original.Não acho mais que ela era um esforço sincero e generoso de beneficiar a humanidade. A missão foi criada pra dar à empresa — na época, uma organização sem fins lucrativos — uma margem de manobra extraordinária pra depois levantar muito capital, acumular muito talento e perseguir a força motriz de verdade por trás de tudo aquilo: se tornar a força dominante no desenvolvimento de IA.E penso assim agora porque, quando você olha pras narrativas de cada nova empresa de IA no começo — a Anthropic, a xAI, a Safe Superintelligence do Ilya Sutskever, a Thinking Machines Lab da Mira Murati —, todas usam a mesma narrativa da OpenAI: nós somos os mocinhos, eles são os bandidos.É por isso que precisamos criar uma nova empresa que avance a IA do nosso jeito, não do deles. E você começa a perceber, por esse padrão, que eles repetem a mesma coisa em parte porque acreditam nela até certo ponto, mas também porque ela funciona muito bem com a imprensa, com o público, com quem formula políticas.No livro, eu reproduzo os e-mails internos que Elon Musk, Sam Altman e Greg Brockman trocavam nos primeiros dias da OpenAI. Eles tinham plena consciência de que estavam criando uma missão que soasse bem para o público. E o propósito de verdade, que também deixaram registrado nesses e-mails, era vencer o Google. Viam o Google como a força dominante em IA e queriam ser eles essa força.Não gostavam de ver o Google na frente, então inventaram justificativas: o Google é uma empresa com fins lucrativos, então nós vamos ser sem fins lucrativos. Mas, no fundo, acho que era puro ego: tem que ser a gente, não eles, a gente quer ser quem lidera isso.E aí passaram um tempão moldando essa missão pública, que acabou sendo super útil pra recrutar o primeiro grupo de pesquisadores e turbinar o avanço deles.Cris: Então agora é um bom momento pra falar de AGI, a inteligência artificial geral. Muita gente pergunta: o que é AGI? O que “geral” quer dizer? E a impressão que peguei lendo seu livro é que, por design, isso nunca fica claro de verdade, porque é um alvo móvel. Essas empresas um dia vão dizer “chegamos, alcançamos a AGI”? Ou o plano é sempre “não, não, ainda não chegamos, me dá mais dinheiro, me dá mais poder”?Qual é o papel da AGI na narrativa dessas empresas?Karen Hao: Já que a gente está falando de ficção científica, eu costumo usar a analogia de que o mundo da IA é meio como Duna. Em Duna, o personagem principal, Paul Atreides, entende, ao chegar no planeta Arrakis, que o povo de lá foi semeado com um mito: o de que um dia viria um Messias pra libertá-los. Ele sabe que é um mito, mas decide entrar nele e agir como se fosse o Messias pra controlar melhor aquele povo.E, vivendo, respirando e encarnando esse mito dia após dia, ele começa a perder a noção de que é um mito. Passa a se perguntar se o mito era mesmo verdadeiro ou se foi ele quem o tornou verdadeiro. É essa confusão entre mito e realidade — ele vive num espaço intermediário, sem ter mais certeza do que é verdade e do que é ficção.E trago isso pra responder sobre a AGI porque a AGI é, ao mesmo tempo, um mito e algo que os líderes e os trabalhadores dessas empresas vivem, respiram e encarnam dia após dia, a ponto de perderem a noção do que é mito e do que é realidade. É a ideia de um sistema de IA teórico que um dia igualaria as capacidades humanas. Só que a gente nem tem consenso científico sobre o que é inteligência humana.Por isso, de certa forma, por design, é um termo bem maleável, que deixa essas empresas fazerem o que quiserem. Elas definem e redefinem a AGI conforme a necessidade, movem a trave pra onde quiserem. E, ao mesmo tempo, isso é sustentado por uma crença genuína de certas pessoas lá dentro, por causa dessa confusão entre mito e realidade. Pelas minhas contas, a OpenAI já usou pelo menos quatro definições diferentes de AGI.A primeira está no site deles: “sistemas altamente autônomos que superam humanos na maioria dos trabalhos economicamente valiosos”. É uma definição de automação do trabalho — eles dizem, de forma explícita, que estão atrás dos empregos mais bem pagos. A segunda apareceu no contrato com a Microsoft, por um tempo a maior investidora deles: ali, a AGI virou um sistema que geraria 100 bilhões de dólares em receita.Ou seja, uma definição feita pra incentivar a Microsoft a investir. Já o Sam Altman disse ao Congresso que AGI é um sistema que cura o câncer e resolve a mudança climática — uma definição de benefício social, muito útil quando você quer que os reguladores não te regulem.E, por fim, quando falam com o consumidor, dizem que vai ser o melhor assistente digital que você já teve — porque, claro, estão tentando vender o produto.E aí você percebe duas coisas. Primeiro, que é um conjunto de definições completamente incoerente. Segundo, que eles trocam de definição conforme o público que querem convencer. Mas também tem gente nessas empresas que acredita de verdade que está construindo uma tecnologia capaz de dar conta das quatro coisas.Então é uma realidade bem confusa e complicada: o que a AGI de fato é, e pra que ela serve, para essas empresas, para a agenda delas e também para as crenças delas.Cris: Como ex-funcionário da Meta — entrei em 2013 —, a missão era unir o mundo e torná-lo mais aberto e conectado. É uma missão incrível. E tem uma coisa que eu sempre digo, porque muito amigo meu vem falar comigo, “ah, esse cara da OpenAI, ou a própria Meta, são maus”. Eu conheci muita gente na empresa. Nunca conheci uma pessoa mal-intencionada.Todo mundo, independente da missão, era gente boa tentando entregar o melhor produto possível, pra dar poder a quem tem um pequeno negócio, por exemplo. Tenho amigos pessoais que construíram a empresa deles em cima da publicidade do Facebook e do Instagram. E esse é justamente o problema, porque ainda assim é uma corporação muito má, pelo que ela causa ao mundo pra bater as metas de negócio.Ou seja, você não precisa de um vilão tipo Lex Luthor pra causar um estrago desse tamanho no mundo. E adorei a referência a Duna. Duna é engraçado: é o livro que eu mais reli na vida que não foi escrito pelo Tolkien. Li o primeiro Duna umas três vezes, e toda vez é como se fosse um livro diferente. Na primeira, eu era adolescente, e era só o Paul Atreides, o cara durão.Na segunda, eu morava no Canadá e li com olhos de estrangeiro, pensando em colonização. E na terceira vez foi quando os filmes do Denis Villeneuve saíram, e aí era: ah, o Bene Gesserit criou esse mito, isso é meio pós-moderno. Narrativamente, fico me perguntando o que vai significar pra mim se eu ler uma quarta vez.Karen Hao: Eu ia te perguntar isso. Quando você disse que cresceu numa época cheia de ficção científica falando das maravilhas da tecnologia, fiquei curiosa: que histórias você estava lendo? Porque muita coisa que saiu nos anos 70 e 80 dizia exatamente o oposto. E muita gente já apontou que os executivos de tecnologia de hoje, que vivem citando essas histórias, interpretam elas justamente ao contrário da intenção original.Cris: Concordo plenamente. Mas, respondendo: foi basicamente Isaac Asimov e Arthur C. Clarke. E é por isso mesmo — os executivos de tecnologia, e o Elon Musk mais que todos, leem esses livros como receita, não como aviso. O livro de que eu mais me lembro, nem lembro o título, era um do Asimov em que ele descreve o elevador espacial que aparece na série da Apple TV, Fundação.E o enredo é: eu sou esse engenheiro brilhante, quero construir essa coisa no Sri Lanka, mas o governo trava tudo com regulação — eu sou um gênio e a regulação é a vilã. Hoje eu leio e penso: ah, sei. Mas, quando garoto, era só “olha, um elevador espacial, que genial, a gente nem precisa de foguete”. E aí você começa a entender. E aí eu parei de ler esses caras.E passei a ler gente com uma visão completamente diferente: o Ted Chiang, que entrevistei ano passado, a N.K. Jemisin, o Cory Doctorow, de quem sou muito fã. E talvez eles sejam mais explícitos, pra gente burra como eu entender: “não, bobo, a analogia é essa”. Mas Duna era incrível — vermes gigantes de areia, o tal garoto durão, e aquela coisa do “eu não aceito o meu destino”.Tenho esse grande destino, mas não quero ele. Do resto da série eu já não gosto tanto. Mas o mais importante de tudo: Duna gerou o melhor GIF de filme de todos os tempos, o “Lisan al Gaib” do Javier Bardem — que eu devia ter colocado durante a sua explicação, aquele “uau, ele está cumprindo a profecia, agindo como o profeta”.Mas, de novo, falando de vilões: você mencionou que essas empresas se colocam como o bem contra o mal, feito impérios antigos. Só que elas também jogam a carta da China, né? “Se a gente não fizer, a Rússia faz primeiro.” Só que a Rússia começou uma guerra e está ocupada demais. “Mas a China chega lá, e é por isso que a gente tem que ser fechado.” É por isso que Mythos e Fable e agora o GPT-5.6 foram proibidos pelo governo. Isso tem fundamento?Quero saber se é possível a China competir — quero mesmo essa resposta — mas também porque, desde toda essa conversa do Fable-Mythos, países como Índia e Brasil vêm dizendo que precisam de um modelo soberano. Dá pra fazer, ou a OpenAI, a Anthropic e o Google estão tão à frente que já não dá?Karen Hao: Sobre a China: você está certíssimo, o Vale do Silício usou por anos a carta do “e a China?” pra escapar de qualquer responsabilização de verdade. Fizeram muito isso na era das redes sociais.A Meta fez muito isso, com o Mark Zuckerberg dizendo ao governo dos EUA: vocês não podem nos regular, senão a gente perde. Mas, se a gente ganhar, vai ter um efeito liberalizante no mundo e nas democracias em todo lugar. E, infelizmente, o que a gente viu foi que jogar essa carta repetidamente produziu exatamente o efeito contrário do que o Vale do Silício prometeu.Uma das empresas de rede social dominantes dessa era é a ByteDance. Ou seja, mesmo sem regulação das redes sociais nos EUA, existe uma empresa chinesa de rede social bem dominante. E as redes sociais estadunidenses acabaram tendo um efeito antiliberal no mundo — é bastante consensual que enfraqueceram democracias em todo lugar. E aí, na era da IA, elas seguiram jogando a mesma carta.Mas o que eu sempre aponto é que a gente definitivamente não devia acreditar nelas. Já existe evidência significativa de que tudo o que elas dizem está, de novo, se provando o oposto. Elas disseram: não regulem a gente como empresas de IA, regulem a China, via controles de exportação — um mecanismo do governo dos EUA com alcance extraterritorial.Só que as empresas chinesas agora estão produzindo modelos de IA de código aberto extremamente eficientes, que viraram super populares no próprio Vale do Silício. Existe um monte de startup de lá que prefere usar modelo chinês a OpenAI, Anthropic ou Google.Então, nesse sentido, é um conjunto de evidências bem decisivo, acho, pra mostrar que a gente devia simplesmente responsabilizar essas empresas, não importa o que digam sobre “ah, vamos perder pra China”. No fim das contas, é só retórica política. Não é um argumento real que elas consigam sustentar pra escapar da responsabilização.Responsabilizá-las vai fortalecer a democracia pelo mundo, vai trazer mais direitos humanos, trabalhistas e de privacidade de dados pras pessoas — é sempre o contrário do que elas dizem que aconteceria. E, sobre a sua pergunta em torno da IA soberana: acho a ideia realmente importante, mas acho também que muitos países estão meio confusos sobre o que querem dizer com isso.Muitos governos, hoje, pensam a IA soberana pela pergunta: a gente consegue construir o nosso próprio ChatGPT? O nosso próprio grande modelo de linguagem, o nosso sistema de IA generativa? Estão olhando só pro modelo que o Vale do Silício já definiu e tentando descobrir como recriar aquilo.E o que eu digo pra quem formula políticas é: defina pra que a IA serve no seu país, no seu contexto. Quais são, no fim das contas, os objetivos do seu país? Os objetivos do seu povo? E também os nossos objetivos coletivos, entre países?Porque a gente tem, por exemplo, os Objetivos de Desenvolvimento Sustentável da ONU. Já definimos coletivamente que há coisas que precisamos resolver juntos: superar a crise climática, reduzir a pobreza, melhorar a educação.E, enquanto o Vale do Silício adora dizer que está fazendo tudo isso, na prática não está. Mas a gente poderia — poderia desenvolver, de forma colaborativa, sistemas de IA que realmente avançassem em cada um desses objetivos coletivos que já acordamos.E cada país também devia fazer o exercício: quais objetivos você quer alcançar, e que tipos de sistema de IA você poderia desenhar pra chegar lá — sistemas que talvez não se pareçam em nada com um grande modelo de linguagem. Se os países fizessem isso, acho que descobririam que a maioria dos sistemas de que precisam exigiria muito menos recursos.Ou seja, contextos como o Brasil, a Índia e outros, quando não precisam competir construindo essas infraestruturas de computação gigantescas e gastando centenas de bilhões de dólares, na verdade já têm, localmente, todos os recursos necessários pra desenvolver um sistema de IA soberano.Cris: Quando ouvi falar do seu livro pela primeira vez, uma amiga me disse que você não poupa ninguém — fala mal do Sam Altman, mas também do Dario Amodei. E as pessoas costumam escolher um lado. Eu sou time Claude, odeio o ChatGPT, essas coisas. Então cheguei no livro pensando: ah, é mais um livro dizendo que a IA é terrível, que a gente não devia usar IA.Mas, conforme fui lendo, e ouvindo outras entrevistas suas, me pareceu que o seu problema é justamente o que você acabou de descrever: a forma como essa tecnologia é feita. E, em especial, a palavra escala — a ideia de que a solução é a escala. O que você quer dizer com isso?Karen Hao: Eu costumo usar a analogia de que “IA” é como a palavra “transporte”: na verdade se refere a uma coleção de tecnologias que vão da bicicleta ao foguete. São tipos bem, bem diferentes de tecnologia, que exigem insumos diferentes pra se desenvolver e depois têm impactos diferentes na sociedade.E você está certo: sou especificamente crítica ao que chamo de “foguetes da IA”, os sistemas que os impérios da IA estão desenvolvendo, aqueles que exigem uma quantidade enorme de exploração de mão de obra e extração ambiental.E sou bem otimista com o que chamo de “bicicletas da IA”: sistemas especializados, eficientes, com bom custo-benefício, governáveis pelas pessoas, cujo desenvolvimento pode ser participativo. Países como o Brasil, o Chile, a Índia, qualquer contexto, têm recursos pra desenvolver e se autodefinir, em vez de simplesmente herdar um sistema criado pelos dois únicos centros do mundo capazes de gastar uma quantidade extraordinária de capital: o Vale do Silício e o ecossistema tecnológico chinês.E o motivo pelo qual eu acho tão corrosivo o que os impérios da IA estão desenvolvendo é exatamente o que você disse: a forma como eles fazem isso, por um mecanismo de força bruta pra avançar as capacidades da IA em escala. Eles vão simplesmente empurrando cada vez mais dados de treinamento nesses modelos, e isso exige corroer a privacidade das pessoas, tomar a propriedade intelectual delas e, ainda por cima, baixa a qualidade dos dados que entram nos modelos — o que leva aos danos de exploração de mão de obra, porque aí você tem que dar conta da moderação de conteúdo.E aí você tem pessoas psicologicamente traumatizadas por serem expostas a todo aquele conteúdo horrível que se tenta “lavar” através desses modelos.E aí vem o problema dessas infraestruturas de computação enormes, com impactos ambientais que aumentam a conta de luz das comunidades que as hospedam e agravam a crise de custo de vida. Elas precisam ser alimentadas por fontes fósseis, que jogam mais carbono na atmosfera e mais poluição no ar dessas comunidades.Então todos os problemas que eu identifico, no que têm de corrosivo, derivam inteiramente da abordagem deles pro desenvolvimento de IA. Por que não descartar a abordagem, em vez de descartar a tecnologia? Redefinir e redesenhar de que tipos de sistema de IA a gente precisa de verdade, com uma cadeia de suprimentos fundamentalmente diferente. E isso não é exclusivo da IA.A gente já viu muitas outras indústrias que começaram com uma cadeia de suprimentos bem ruim. A moda, por exemplo: muita degradação ambiental, muita exploração de mão de obra.Com muita organização, protesto, ação de consumidores, regulação governamental e cooperação entre governos, a gente conseguiu criar mercados novos pra moda sustentável e ética, cadeias de suprimentos novas e inovações pra fazer roupa mais saudável pras pessoas e pro planeta.E é basicamente isso que eu defendo: transformar a indústria de IA do mesmo jeito que transformamos a moda, e as cadeias de suprimento de alimentos. Assim a gente fica com os benefícios da tecnologia, ajuda ela a avançar os objetivos que importam pra gente, sem jogar uma fração enorme da população mundial numa condição atrasada e numa qualidade de vida pior.Cris: O Brasil está agora, no Congresso, discutindo a escala de seis dias por semana. A regra atual é: você trabalha seis dias e descansa um. E muitas empresas, o comércio principalmente, dizem “vamos fechar as portas”, e os trabalhadores respondem “isso é problema seu, não meu”. É mais ou menos a mesma narrativa dessas empresas de IA: se eu não usar a sua água, a Idade das Trevas está chegando.Falando em Idade das Trevas, e falando em bicicleta: a sua analogia me lembrou uma coisa. Eu gosto de jogo de zumbi, de mundo aberto, e em nenhum deles tem bicicleta. Num desses jogos, instalei um plugin que deixava andar de bicicleta — você acha uma e sai pedalando. E aí entendi por que não tem bicicleta: desbalanceia tudo. Parte da graça do jogo é você precisar achar um carro, e daí pneu, gasolina, comida pra carregar. De bicicleta, você vai a qualquer lugar.E eu pensei: ah, é. Meio que estraguei o jogo pra mim, porque agora tenho uma bicicleta, é incrível. Enfim, em termos práticos: no fim do ano passado, uns meses atrás, a revista Wired publicou um artigo pedindo pra jornalistas de tecnologia contarem como usam IA no trabalho. E cada um usava de um jeito. Você usa IA no seu trabalho? Como?Karen Hao: Eu não uso nenhum sistema de IA generativa no trabalho — nem ChatGPT, nem Gemini, nem Claude. Por três motivos. O primeiro é uma postura ética, depois de tanto investigar essas empresas. O segundo é privacidade de dados: eu investigo essas empresas.Não quero que elas conheçam todo o meu raciocínio enquanto eu apuro o livro, literalmente investigando elas. E o terceiro é que, no meu caso específico, a força do meu trabalho está na capacidade de construir relações fortes com as fontes, pela empatia, e de contar histórias envolventes, pela narrativa. E os grandes modelos de linguagem simplesmente não são a ferramenta certa pra nenhuma das duas coisas.Não vão melhorar a minha empatia nem a minha escrita. Então eu não perco nada com essa postura ética: simplesmente corto essas ferramentas e sigo fazendo o meu trabalho muito bem. Pra outros jornalistas pode ser diferente, e pra quem está em outras áreas o cálculo pode ser outro.Mas eu incentivo as pessoas a pensarem primeiro: quais são as suas forças no trabalho? Quais são os seus objetivos? E aí ir de trás pra frente pra descobrir se a IA é a ferramenta certa, qual tipo de IA é a ferramenta certa, e qual fornecedor você quer de fato usar, apoiar, votar com os pés. Agora, eu uso, sim, IA preditiva.Aquelas ferramentas de IA especializadas, as “bicicletas da IA”, digamos. No livro, tinha um detalhe que eu queria muito ilustrar: como a OpenAI deu um salto quando passou de organização sem fins lucrativos a um empreendimento bancado pela Microsoft. Percebi que as cadeiras do escritório ficaram bem mais caras. Então fotografei as cadeiras de um escritório e as do outro.E joguei tudo na busca reversa de imagens do Google, que é um sistema de IA especializado — não é baseado em grandes modelos de linguagem, não é IA generativa. Assim descobri quanto essas cadeiras costumam custar. No primeiro escritório, cerca de 2 mil dólares por cadeira. No segundo, eram cadeiras de um designer brasileiro famoso, uns 10 mil dólares cada.Coloquei esse detalhe no livro pra ilustrar o tipo de riqueza e de concentração de recursos de que a gente está falando. Esses são alguns dos jeitos como eu uso IA, ainda que de forma bem limitada, sempre pontual, quando acho que vai ajudar. E, claro, uso ferramentas de transcrição por IA — outra IA especializada — em todas as minhas entrevistas.Cris: Essa foi uma das partes em que a minha cabeça explodiu, eu nunca tinha percebido: a OpenAI criou o Whisper. Deixa eu dizer de outro jeito, do meu ponto de vista. A OpenAI liberou abertamente essa ferramenta incrível de transcrição, o Whisper, em que eu jogo o áudio e ela me devolve as palavras que as pessoas disseram. E eu pensei: ah, que generoso da parte deles.Mas o motivo real de terem criado a ferramenta foi pegar todos os vídeos do YouTube, transcrever e alimentar a máquina. E aí é: ah, claro. Enfim, falando de ferramentas e de otimismo — a gente está chegando ao fim da conversa. Eu tenho uma regra desde o episódio dois deste programa, há oito anos: de novo, como eu disse do seu livro, não pode ser só uma lista de reclamações e coisa ruim. E a gente tem se saído bem até aqui.Você falou de caminhos e de bicicletas, mas eu quero ser mais específico. Se isso aqui fosse uma reunião de negócios: qual é o plano de ação, quais são os próximos passos? Só que uma das coisas que eu repito bastante, na vida e neste programa, é que problema sistêmico não se resolve com ação individual. Se eu tomar banhos mais curtos, isso nunca vai salvar o planeta do aquecimento global.E muitos amigos meus simplesmente: não quero falar de IA, não quero usar IA. Voltando aos videogames: leram que tal jogo usa IA e pronto, não vão jogar. E a minha primeira pergunta pra você é: como a gente ocupa esses espaços da IA generativa — ChatGPT, Gemini e por aí vai? Porque o que a gente viu com as redes sociais foi: ah, o Facebook é do mal, vou sair do Facebook. Ah, vou sair do Twitter.E, na esperança de quê, sei lá, talvez alguém diga: ah, sinto falta do Cris, cadê ele? Ah, está no Bluesky. Mas isso deixa o espaço aberto pra os radicais entrarem e postarem o que quiserem, sem ninguém contrapor ou tornar aquilo um lugar melhor. Então como a gente ocupa o espaço da IA — seja qual for a definição de “espaço da IA” que você preferir — com todos esses problemas que a gente vem discutindo?Karen Hao: Acho que tem duas categorias de ação pra gente pensar. Uma é desmantelar o império. A outra é investir e construir novos tipos de sistema de IA, que se tornem alternativas às tecnologias do império. Quando eu digo desmantelar o império, não estou dizendo que quero que a OpenAI, o Google, a Anthropic, seja quem for, simplesmente deixem de existir.É que eu não quero que elas sejam imperiais. Não quero que fiquem extraindo uma quantidade extraordinária de valor sem redistribuir nada em troca. Se elas voltassem a ser negócios que praticam uma troca justa de valor com o mundo, eu ficaria perfeitamente feliz com qualquer tecnologia que estivessem desenvolvendo.E a forma de desmantelar o império, acho, se resume a muita organização de base, que vai pressionar os governos a regular e responsabilizar essa indústria. No último ano, a gente viu uma quantidade incrível dessa organização de base florescendo pelo mundo.Recentemente, lancei com um grupo de jornalistas, pesquisadores de IA e acadêmicos críticos um projeto chamado AI Resist List, que busca documentar parte dessa organização de base pelo mundo. A gente encontrou cerca de 30 exemplos, de todas as regiões, de ações individuais, institucionais e movidas pela comunidade.Tinha ação artística, ação política. E isso mostra bem o seu ponto: não dá pra contar só com a ação individual, mas o indivíduo pode, sim, ter impacto. Até uma ação pequena pode gerar um grande efeito cascata. Claro que se juntar com os vizinhos pra protestar contra o data center é ainda mais eficaz. Se juntar dentro da sua escola ou universidade pra protestar contra a parceria dela com uma empresa de IA também é mais eficaz.Se juntar com os colegas de trabalho de um setor pra barrar a adoção de uma IA que corrói os direitos trabalhistas é mais um jeito eficaz. A gente tem um monte desses exemplos. Um dos meus favoritos é o de uma comunidade sobre a qual escrevi no livro, Quilicura, no Chile, na periferia de Santiago. É uma comunidade da classe trabalhadora, bem pobre, que vem sendo alvo incessante da expansão de data centers.E por isso protestaram de forma bem aguerrida contra essa expansão, porque não acharam bom negócio hospedar essas instalações sem tirar nenhum benefício, enquanto elas consomem uma parte significativa dos recursos naturais da região.E, logo depois que escrevi sobre eles, foram além na resistência e criaram uma plataforma chamada Quili.ai. É um site em que você entra e que parece um chatbot, parece o ChatGPT: tem uma interface de chat pra você digitar. Só que, quando você faz uma pergunta, em vez de um modelo de IA responder, a mensagem é encaminhada pra alguém que mora em Quilicura, no Chile. Aí, se você pede “quero a imagem de um cachorro”, aquilo vai pro artista local deles, o Benji. Ele pega um pedaço de papel, desenha um cachorro, tira uma foto e te manda de volta.Eles fizeram isso essencialmente como um projeto de arte performática, pra fazer as pessoas pensarem duas vezes antes de usar IA generativa pra bobagem. A mensagem era: ei, quando você fica brincando com essas ferramentas em pedido besta, isso afeta comunidades como a nossa, drena os recursos de que a gente precisa pra viver bem.E também queriam levar as pessoas a pensar: por que não perguntar pra alguém da sua própria comunidade aquela receita que você procurava, ou pedir aquela imagem? Porque aí você reconstrói as conexões que estão tão em falta na sociedade — a falta delas é o que nos deixa mais vulneráveis a esse tipo de colonização do império.Eles deixaram o projeto aberto por 24 horas, e qualquer pessoa no mundo podia mandar um pedido. Receberam uma quantidade extraordinária deles. Viralizou de vez. E essa cidadezinha conseguiu uma virada enorme de narrativa sobre a suposta inevitabilidade e necessidade dessa tecnologia, sobre tudo o que o Vale do Silício diz — que, se você não usar, vai ficar pra trás de quem usa.E esse é só um exemplo, entre muitos, de como pessoas comuns, não importa a sua posição na sociedade, podem ter impacto real no debate, na consciência pública e até na regulação. A gente está vendo isso agora com os protestos contra data centers. Nos EUA, em 2025, cerca de 150 bilhões de dólares em projetos de data center foram travados.Isso virou uma das questões políticas mais quentes nos EUA para as próximas eleições de meio de mandato. Tem gente eleita sendo literalmente tirada do cargo por ter aprovado data centers, contrariando a vontade do povo. E isso já está tendo efeito real sobre as empresas e sobre a trajetória do desenvolvimento de IA.A OpenAI teve que encerrar recentemente a sua ferramenta de geração de vídeo, o Sora. Quando lançaram, apresentaram como o segundo produto mais importante desde o ChatGPT. O que aconteceu entre o lançamento e o fim? Uma reportagem do Wall Street Journal apontou três motivos, todos moldados por ação de base. Um: um gargalo enorme de capacidade de computação.Muitos dos data centers travados ou parados eram da OpenAI. Dois: um cenário financeiro bem mais incerto. A OpenAI está se preparando pro IPO, o que significa ficar mais exposta a Wall Street — e Wall Street está cada vez mais nervoso com a capacidade dessas empresas de cumprir o que prometem.E aí a OpenAI teve que reforçar alguns projetos paralelos pra fazer o balanço parecer um pouco melhor aos olhos de Wall Street. E, terceiro: os consumidores simplesmente não estavam usando o produto — o que também é ação coletiva de consumidores. Então, por todo esse tipo de resistência, de várias formas, de baixo pra cima, as pessoas estão de fato tendo impacto real na indústria e responsabilizando ela.Essa é a primeira categoria de ação. A segunda é: ok, que tecnologias de IA a gente usaria como alternativa? E aí a gente precisa investir mais nelas. Muitas vezes, quando converso sobre o livro, a pessoa diz: ok, me convenci de que não quero usar ChatGPT, não quero usar Claude — mas então uso o quê no lugar?E o problema é que eu não tenho muitas respostas pra essa lista de alternativas. Tem umas poucas aqui e ali, uma plataforma, uma empresa.Cris: Dá pra rodar o modelo no seu próprio computador, como o Cory Doctorow faz, mas aí é limitado e…Karen Hao: Exatamente, exige mais habilidade técnica. Mas, pra quem consegue instalar modelos de código aberto no próprio computador, eu incentivo 100%. Só que a gente também precisa de mais gente desenvolvendo interfaces bem fáceis pra esses modelos de código aberto, pra que qualquer pessoa consiga usar.A gente também precisa de mais gente desenvolvendo “bicicletas da IA”, de investidores e governos investindo mais nesse tipo de solução, e de talento — pesquisadores de IA, desenvolvedores e outras pessoas dispostas a sacrificar um pouco e abrir mão dos pacotes de remuneração enormes.Cris: Eu estava começando a achar que agora as empresas precisam ter menos lucro — e isso nunca vai acontecer.Karen Hao: Não, não é a empresa ter menos lucro. É o trabalhador topar abrir mão do pacote de milhões de dólares pra levar o talento dele pra outro lugar. Mais fácil, bem mais fácil. Eu converso com muito pesquisador de IA cansado da abordagem da indústria, porque ela é completamente sem criatividade intelectual.Eu conversei com pesquisadores que não passaram seis anos num doutorado em IA só pra ficar empurrando mais dados na máquina — pra eles, é o trabalho mais chato do mundo. E depois automatizar a programação, que era justamente o que eles gostavam de fazer. Converso com tanta gente que já não acha graça nenhuma nisso. Estão meio presos por “algemas de ouro”.E estão tentando descobrir, dentro de si, que carreira alternativa poderiam ter. Eu costumo incentivar esses pesquisadores a gastar o talento deles construindo um tipo diferente de empresa, que trabalhe com “bicicletas da IA”. E a gente já começa a ver cada vez mais desse talento indo por aí.E a gente precisa que todas as facetas da sociedade invistam num ecossistema muito mais robusto e rico de tecnologias de IA, capaz de substituir as que hoje dominam. Eu ainda tenho as cicatrizes das minhas próprias “algemas de ouro”, mas concordo plenamente.Cris: E as redes sociais são o exemplo — veja o que aconteceu com elas. Tem aquela frase famosa: as mentes mais brilhantes da minha geração passam o tempo fazendo as pessoas clicarem em anúncios. E ainda dizem: ah, isso pode ser o futuro. Pois é.Você contou a história do Quili.ai e isso me lembrou um dos primeiros criadores de conteúdo do Brasil, o Cid Não Salvo. Uns 10, 15 anos atrás, ele tuitou o seguinte: “Gente, eu disse pro meu pai que, sempre que ele precisar pesquisar alguma coisa na internet, é pra ir no Twitter.com e digitar a pergunta na caixa”. E olha que ele tinha milhões de seguidores.E, por uns bons dias, quase um mês, você entrava no Twitter do pai dele e via perguntas tipo “onde eu compro pizza?”. Era engraçadíssimo. No fim, ele contou pro pai — ou talvez não. Mas eu adoro essa ideia. Antes de a gente terminar: você já deve ter respondido isso mil vezes, mas vai continuar cobrindo IA? O que está na sua cabeça, o que vem por aí? Turnê mundial? O que vem pela frente?Karen Hao: Com certeza estou pensando em como continuar responsabilizando essas empresas. Estou envolvida em várias colaborações, com gente incrível, em diferentes projetos ligados a isso. O AI Resist List foi um deles. Também co-criei um programa chamado AI Spotlight Series, com o Pulitzer Center, uma organização jornalística sem fins lucrativos que financia jornalismo investigativo pelo mundo.É um programa que treina jornalistas do mundo inteiro a cobrir IA por uma lente de responsabilização. Até agora, já treinamos mais de 3 mil. E eu sigo pensando em como construir mais capacidade dentro do jornalismo, da sociedade civil, de outros contextos, pra mobilizar ainda mais essa organização de base — pra conter de verdade os impérios da IA e ajudar a desmantelá-los.Cris: Adorei o seu exemplo da moda. É possível, já foi feito. Ou até a indústria automotiva. Ou o grande exemplo que a gente não mencionou, e que o pessoal da OpenAI vive citando: o Projeto Manhattan, a energia nuclear.O mundo não acabou. Quando eu era criança lendo Asimov, achava que ia tudo acabar num fogo nuclear. Enfim — alguma última palavra, alguma mensagem, algum palpite pros jogos do Brasil na Copa, alguma coisa que você queira dizer antes da gente encerrar?Karen Hao: No fim das contas, o que eu espero que fique desta conversa e do livro é o seguinte: neste momento, o Vale do Silício está concebendo a IA como um projeto político. E a característica central desse projeto é tirar a autonomia de todo mundo — a autonomia de moldar de verdade o próprio futuro e o nosso futuro coletivo. Mas, no instante em que você reconhece que já tem uma autonomia significativa pra resistir, o império começa a desmoronar.Então espero que as pessoas encontrem a própria voz, a afirmem, conquistem o seu lugar à mesa e se conectem com os vizinhos, com a comunidade, com os colegas de trabalho, pra criar mais movimentos juntos.Cris: Que ótimo. Karen Hao, o seu livro é O Império da IA: Por dentro da corrida irresponsável pela dominação total. Obrigado por vir ao Brasil conversar com a gente. Foi um prazer.Karen Hao: Muito obrigada.Uma das primeiras perguntas que anotei quando comecei a pensar nessa conversa foi justamente a do final, a da ocupação de espaços. Porque, como eu disse, quando as redes sociais chegaram para ficar, muita gente falou “ah, não vou usar, é do mal” — e aí as pessoas ruins, vamos chamar assim, acabam ocupando esse espaço e falando o que bem entendem. A gente precisa aprender essa lição agora, no mundo da IA.Fora que vejo muita gente falando de IA sem nunca ter usado — ou que usou, sei lá, dois anos atrás, acha que continua tudo igual e já diz que não quer chegar perto.E por quê? Porque essa abordagem de ocupar espaços é o que eu e a Ana Freitas buscamos fazer no IA em Curso, nossa comunidade de letramento contínuo em IA. Foi, aliás, uma conversa que tive com a Karen antes da entrevista: ao mesmo tempo que a gente fala do impacto da IA no mundo, também precisa focar no que é prático, no que dá para fazer hoje com IA, sem vender sonho nem desastre. A analogia que usei foi a de que é que nem quando a gente fazia curso de Word e Excel — é o que eu faço agora que vai facilitar minha vida, me fazer ganhar tempo, botar a IA para me ajudar. Quem viu minha conversa com a Ana aqui no Boa Noite Internet, no fim de 2025, sabe do que estou falando. Se não viu, volta lá e confere.Desde que a gente lançou este episódio, o IA em Curso já passou de 400 pessoas. Tem muita gente colocando projetos pessoais incríveis na rua, tirando do papel aquela ideia que rondava a cabeça há um tempão. E a comunidade tem mentoria ao vivo, aula gravada, newsletter, banco de agentes, grupo de Telegram… que mais? O que não falta é jeito de passar para você o conhecimento sobre IA de que você precisa hoje, agora. Quero te dar a bússola para navegar nesse universo.Se esse é o tipo de abordagem que você quer ter com a IA, passa lá no iaemcurso.com.br e usa o cupom BNI2026 para ganhar 20% de desconto no plano anual. Mas corre, porque daqui a duas semanas vou apagar esse cupom — não é todo dia que a gente dá um desconto desses.É isso. Boa Noite Internet, temporada 2026 começando — como todo ano, com mudança, ideia, projeto. Ou, como diz minha citação preferida de todos os tempos: “vivemos uma fase de transição, como sempre”. Espero ver você por aqui e lá no IA em Curso.Obrigado pelo seu tempo e pela sua atenção. Até o próximo episódio. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit boanoiteinternet.com.br/subscribe

LTA episodes are not usually filled with stories of soldiers suffering PTSD while on R&R, working women who have to leave their children late at night, mobsters who were guilty of violent crimes, strip clubs, police corruption or the gentrification of Kings Cross…..but here we go….   Welcome to episode 194 of Love That Album Podcast.   Over the course of the second half of the show's life, my most frequent guest has been guitarist Shane Pacey. He's the singer, songwriter and axe-slinger for The Bondi Cigars and The Shane Pacey Trio. He's also a big music nerd who listens to a wide variety of albums, and I've been privileged to have him come on to the podcast to discuss with me some of his favourite records. The weird thing is that until now, we've not devoted that much time to his own creative work. I knew that had to change.   In February of this year, Shane released his second solo album titled “Cross Of The Heart”. In a world where concept albums stretch to Tolkien or Asimov themes or nightmares or the 7 Deadly sins, I was taken aback when I discovered that Shane was pursuing tales of Kings Cross in Sydney. Before even listening, I knew that it would be a rich subject to mine. There are stories I knew of, but many I didn't – be prepared folks, you're going to get a fascinating history lesson. I've started reading Louis Nowra's book “Kings Cross: A Biography” to get a greater appreciation of the history of this infamous district. Of course, Shane being a great melodicist writes some wonderful tunes, but it's the stories and lyrics that are on show here (co written with Shane's partner Holly Campbell – she does a terrific job).   Kings Cross has often been infamous for its crime, but as we discuss, it was also home to bohemians and artists. It's not just about the stuff that made the newspaper headlines. There are many personal stories told here, and it all works beautifully. Shane and Holly's ability to write stories brings everything to life. The SP3 drummer, adds some spice on percussion, but otherwise every instrument and vocal is played by Shane. It's an album I recommend highly. It was great to have Shane talk about his own music for a change.   The album is only available digitally. Search it out on Bandcamp at https://shanepacey1.bandcamp.com/album/cross-of-the-heart If you enjoy the show, please consider giving us a favourable review on whatever podcast platform you listen on and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. I don't care who listens..... Love That Album is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com You can send me feedback at rrrkitchen@yahoo.com.au (written or mp3 voicemail) or join the Facebook group at http://www.facebook.com/groups/lovethatalbum You can download the show by searching for Love That Album on whatever podcast app you favour (except Spotify). Learn more about your ad choices. Visit megaphone.fm/adchoices

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! El miedo a que nuestras creaciones se rebelen contra nosotros no nació con la inteligencia artificial ni con la revolución industrial, sino en el momento en que el ser humano comprendió que podía fabricar algo más fuerte, más rápido y quizá más listo que él mismo. Toda herramienta prolonga el cuerpo y amplía sus capacidades, pero mientras se limita a la fuerza bruta permanece bajo control. El problema surge cuando alguien imagina una criatura fabricada dotada de algo parecido a la voluntad, porque entonces deja de ser herramienta y se convierte en rival. Esa genealogía del temor tiene raíces muy antiguas. Los griegos imaginaron a Talos, un gigante de bronce que custodiaba las costas Creta, pero no sabía distinguir al invasor del náufrago. Talos solo podía ser desactivado mediante un clavo en su tobillo al que al final tuvieron que recurrir. La tradición judía dio forma al golem, un hombre de barro que se volvía inestable porque carecía de alma. Entre ambos median 2000 años pero ninguna distancia real, porque ambos obedecen la letra de las órdenes e ignoran su espíritu. Después llegaron los autómatas renacentistas y dieciochescos, los relojes con figuras, el pato de Vaucanson y el falso turco ajedrecista, hasta que el telar de Jacquard y la furia de los luditas trasladaron el miedo al terreno económico. En 1818 apareció Frankenstein, una fábula sobre la paternidad irresponsable más que sobre la tecnología, porque la criatura no nace perversa, se rebela contra su creador cuando éste le abandona. Samuel Butler en 1863 imaginó la amenaza se en términos evolutivos, predijo que las máquinas nos domesticarían como si fuésemos animales ya que evolucionaban más rápido que los seres vivos. El paso final llegó en 1920, cuando se acuñó la palabra robot, que significa esclavo. Lo hizo un autor checo llamado Karel Čapek que escribió una obra de teatro en la que los robots se rebelaban contra sus dueños. Luego llegaron Fritz Lang, Asimov y sus tres leyes de la robótica, HAL 9000 de Stanley Kubrick, Skynet, Terminator y Matrix que han ido reelaborando la historia hasta el momento presente en el que nuestro temor está en la inteligencia artificial. Pero los miedos de nuestro tiempo no los han traído los microchips ni los modelos de IA. Los hemos traído nosotros. Cambia el material y el vocabulario, pero la pregunta permanece intacta desde hace miles de años, sabemos crear cosas que nos superan y tememos que un día nos sustituyan y ocupen nuestro lugar. · Canal de Telegram: https://t.me/lacontracronica · “Contra el pesimismo”… https://amzn.to/4m1RX2R · “Hispanos. Breve historia de los pueblos de habla hispana”… https://amzn.to/428js1G · “La ContraHistoria del comunismo”… https://amzn.to/39QP2KE · “La ContraHistoria de España. Auge, caída y vuelta a empezar de un país en 28 episodios”… https://amzn.to/3kXcZ6i · “Contra la Revolución Francesa”… https://amzn.to/4aF0LpZ · “Lutero, Calvino y Trento, la Reforma que no fue”… https://amzn.to/3shKOlK Apoya La Contra en: · Patreon... https://www.patreon.com/diazvillanueva · iVoox... https://www.ivoox.com/podcast-contracronica_sq_f1267769_1.html · Paypal... https://www.paypal.me/diazvillanueva Sígueme en: · Web... https://diazvillanueva.com · Twitter... https://twitter.com/diazvillanueva · Facebook... https://www.facebook.com/fernandodiazvillanueva1/ · Instagram... https://www.instagram.com/diazvillanueva · Linkedin… https://www.linkedin.com/in/fernando-d%C3%ADaz-villanueva-7303865/ · Flickr... https://www.flickr.com/photos/147276463@N05/?/ · Pinterest... https://www.pinterest.com/fernandodiazvillanueva Encuentra mis libros en: · Amazon... https://www.amazon.es/Fernando-Diaz-Villanueva/e/B00J2ASBXM #FernandoDiazVillanueva #ia #maquinas Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! El miedo a que nuestras creaciones se rebelen contra nosotros no nació con la inteligencia artificial ni con la revolución industrial, sino en el momento en que el ser humano comprendió que podía fabricar algo más fuerte, más rápido y quizá más listo que él mismo. Toda herramienta prolonga el cuerpo y amplía sus capacidades, pero mientras se limita a la fuerza bruta permanece bajo control. El problema surge cuando alguien imagina una criatura fabricada dotada de algo parecido a la voluntad, porque entonces deja de ser herramienta y se convierte en rival. Esa genealogía del temor tiene raíces muy antiguas. Los griegos imaginaron a Talos, un gigante de bronce que custodiaba las costas Creta, pero no sabía distinguir al invasor del náufrago. Talos solo podía ser desactivado mediante un clavo en su tobillo al que al final tuvieron que recurrir. La tradición judía dio forma al golem, un hombre de barro que se volvía inestable porque carecía de alma. Entre ambos median 2000 años pero ninguna distancia real, porque ambos obedecen la letra de las órdenes e ignoran su espíritu. Después llegaron los autómatas renacentistas y dieciochescos, los relojes con figuras, el pato de Vaucanson y el falso turco ajedrecista, hasta que el telar de Jacquard y la furia de los luditas trasladaron el miedo al terreno económico. En 1818 apareció Frankenstein, una fábula sobre la paternidad irresponsable más que sobre la tecnología, porque la criatura no nace perversa, se rebela contra su creador cuando éste le abandona. Samuel Butler en 1863 imaginó la amenaza se en términos evolutivos, predijo que las máquinas nos domesticarían como si fuésemos animales ya que evolucionaban más rápido que los seres vivos. El paso final llegó en 1920, cuando se acuñó la palabra robot, que significa esclavo. Lo hizo un autor checo llamado Karel Čapek que escribió una obra de teatro en la que los robots se rebelaban contra sus dueños. Luego llegaron Fritz Lang, Asimov y sus tres leyes de la robótica, HAL 9000 de Stanley Kubrick, Skynet, Terminator y Matrix que han ido reelaborando la historia hasta el momento presente en el que nuestro temor está en la inteligencia artificial. Pero los miedos de nuestro tiempo no los han traído los microchips ni los modelos de IA. Los hemos traído nosotros. Cambia el material y el vocabulario, pero la pregunta permanece intacta desde hace miles de años, sabemos crear cosas que nos superan y tememos que un día nos sustituyan y ocupen nuestro lugar. · Canal de Telegram: https://t.me/lacontracronica · “Contra el pesimismo”… https://amzn.to/4m1RX2R · “Hispanos. Breve historia de los pueblos de habla hispana”… https://amzn.to/428js1G · “La ContraHistoria del comunismo”… https://amzn.to/39QP2KE · “La ContraHistoria de España. Auge, caída y vuelta a empezar de un país en 28 episodios”… https://amzn.to/3kXcZ6i · “Contra la Revolución Francesa”… https://amzn.to/4aF0LpZ · “Lutero, Calvino y Trento, la Reforma que no fue”… https://amzn.to/3shKOlK Apoya La Contra en: · Patreon... https://www.patreon.com/diazvillanueva · iVoox... https://www.ivoox.com/podcast-contracronica_sq_f1267769_1.html · Paypal... https://www.paypal.me/diazvillanueva Sígueme en: · Web... https://diazvillanueva.com · Twitter... https://twitter.com/diazvillanueva · Facebook... https://www.facebook.com/fernandodiazvillanueva1/ · Instagram... https://www.instagram.com/diazvillanueva · Linkedin… https://www.linkedin.com/in/fernando-d%C3%ADaz-villanueva-7303865/ · Flickr... https://www.flickr.com/photos/147276463@N05/?/ · Pinterest... https://www.pinterest.com/fernandodiazvillanueva Encuentra mis libros en: · Amazon... https://www.amazon.es/Fernando-Diaz-Villanueva/e/B00J2ASBXM #FernandoDiazVillanueva #ia #maquinas Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

What happens to your creativity when you're in pain or sick, and can you ever get it back? How can you find and sharpen your author voice? J. Daniel Sawyer talks about voice mastery, writing with chronic pain, and building an eclectic author business. In the intro, leaning into your Strengths and deciding what you want to achieve by the end of the year; and Bones of the Deep by J.F. Penn. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn J. Daniel Sawyer is the author of over 30 books across science fiction, fantasy, crime, short stories, and nonfiction, as well as being a podcaster and filmmaker. His latest book for authors is The Pitch-Perfect Author: Voice Mastery for Writers. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Writing fiction through chronic pain and re-emerging into health after surgery How your physical health shapes (and darkens) your fiction Rebooting an author business around a weekly Substack column What author voice really is, and why it's fundamentally about sound The building blocks of voice: functional vocabulary, dialect, and musicality The “crossing the line twice” trick for hearing your own voice objectively You can find Dan at JDsawyer.net or on Substack. Transcript of the interview with J. Daniel Sawyer Jo: J. Daniel Sawyer is the author of over 30 books across science fiction, fantasy, crime, short stories, and nonfiction, as well as being a podcaster and filmmaker. His latest book for authors is The Pitch-Perfect Author: Voice Mastery for Writers. So welcome back to the show, Dan. Dan: Hello, Joanna. It's good to be back. Jo: Goodness me, you have been on the podcast a few times, but actually, the last time was April 2017, which is crazy. It's nine years ago. When I saw your book, I was like, “I can't believe we haven't talked for that long.” For anyone who doesn't know you, tell us a bit more about— What does your creative and author business look like these days? Dan: Oh, well, these days it's in a state of recovery because it basically ground to a halt while I was dying a few years ago. It turned out I had an organ disease from the time I was a kid that I didn't know about, and it just progressively got worse and worse, putting me in more and more pain. I hit a point around about 2020 or so where I was in so much pain that I couldn't write fiction. I continued to write nonfiction, but when you're carrying around a lot of physical pain, there comes a point where so much of your brain's activity goes into coping with it that you actually lose the ability to model other people's emotional states—or at least well enough to write fiction. So I was very frustrated, and I was despairing that I was ever going to be a novelist again. Then suddenly, what I was sick with went acute. I went to the emergency room, and they're like, “Oh, if you don't have surgery in the next 24 hours, you're going to die.” So I went and got surgery, and there was one bed in the whole state. There was a three-hour drive to get to the one that was available in the time window. I get there. They wheel me into the OR. I wake up afterwards, and I realise that I'm not in pain, and that I had never felt that before in my adult life. Jo: Wow. Dan: Just the walls of my whole reality came caving in. Two weeks later, I was back up and working, and since then I've been slowly reacquiring my ability to write fiction. So now I've got four novels going again, like I used to have going all the time, as well as doing a weekly column and all sorts of other stuff. Jo: I think a lot of people will be interested in this. A lot of writers have chronic pain issues or chronic health issues, and yours sounds like it was a sort of down, down, down, down—and then more of a sudden up. Maybe just talk a bit more, because I feel like a lot of the time people are too hard on themselves about, “Oh my goodness, if I can't write fiction, is it the end of everything?” So how did you adapt to that, with the mental health aspect of dealing with that change in circumstance? Dan: Well, it was happening so gradually, and it happened at the same time that a whole bunch of other weirdly stressful things happened, like COVID and a couple of family emergencies that derailed my whole life for a couple of years. I assumed it was just really bad stress that would pass with time. So I had the despairing feeling, because when you write fiction, it tends to occupy a central place in your self-concept. I'd also been through very tough times before, so I was like, “Well, got through that then, maybe I'll get through this now.” I just made sure to keep writing something, because at least you keep the discipline of the words flowing. There was still thought going on, so I would have ideas for novels and write them down. There were good days and bad days. Occasionally I would sit down and be like, “I feel like fiction today,” and I would write a couple thousand words, and then it would be 10 months before I could do that again. When you work with your mind, it is really easy to develop or sink into the delusion that your mind is not your body. Now, if you're paralysed or you're missing limbs, you can still write—but your mind and your body are a single system, and eventually, if something terrible is wrong with your body, it's going to affect your cognition, your emotive abilities, and all the things that we depend on for creativity. That doesn't necessarily mean that if you're sick or injured, or you've got chronic health problems from birth, that you can't write. It just means that it really is one of the factors that goes into shaping your experience of the world, that goes into shaping the way you process things and they come out on paper. When there's a massive change in your health, it's going to show up in your fiction somehow. If your health goes way down, especially if you get into a lot of pain or you have a terminal illness, your fiction's going to get darker. One of the reasons—I discovered this after I got my surgery—one of the reasons is that the sense of impending doom is actually a medical symptom of organ death. Jo: Well, don't say that to a dark writer like me. I have a sense of impending doom the entire time. Dan: Well, there's a cognitive sense of impending doom that you get if you're modelling systems and you see how things can go wrong. But the sense that you feel the claws of demons grasping at your heart all the time—that can be a medical symptom. So pay attention to that. I didn't know that until afterwards, or I'd have gotten looked at a lot sooner. Jo: That is really interesting. You mentioned there you are reacquiring the ability to write fiction, or that's what you've been focusing on. You also talked about having to reboot the business. So what are some of the concrete things you're doing to rebuild? Dan: Well, the first thing I did is I allowed myself to get talked into doing a weekly Substack column a couple of years ago, and that's worked out really well. Pay is pretty decent. I've been posting most everything for free except for some previews of upcoming books, but I'm now learning the art of paywalling, so that also helps. Getting paid for the weekly column is quite nice, and a side effect is that it does drive people occasionally to the fiction, even though I'm writing nonfiction. It more frequently drives people to the nonfiction books, but it gives me a good place to announce new releases, to promote book bundles, Kickstarters, and all that sort of thing. It's a very good place for that because the people who are subscribing there—especially the people who are subscribing and supporting—are interested enough in what I'm saying that they want my email every week. So it's a good filtering mechanism for building the email list as well. Jo: You used to do a lot of audio. That's how we connected way back, like 17 years ago, I think, when we first connected. So are you still doing a lot of audio? Dan: I am not at the moment. It's not because of a decision to drop the audio. It's because I am now building my house, and I don't have a place that's quiet enough to record dependably. I'm living in a little RV at the moment while I build the house. In the deep winter, everything is quiet enough in the forest to record some things, and so I do audiobooks for clients, and I work on audiobooks of my own that are coming out. It's not quiet enough to podcast, and it's not quiet enough to be recording any other time than when the whole world is asleep. Hopefully by next year I will have the recording studio building built, and then I'll be back at it. Because boy, I miss it. Jo: I know. So you mentioned there bundles and Kickstarters and things, and we reconnected because I bought a StoryBundle, and your new book, The Pitch-Perfect Author, was in the StoryBundle, which was part of why I bought it anyway. So let's get into the book and what's useful. Let's start with— What is author voice anyway, and why is it important? Dan: Author voice. Everything about the way that you write is part of your author voice. The themes that you gravitate to, the way that you turn a phrase, the way that you tell a joke, the way that you handle dramatic tension. When all of that combines, it creates in the reader's mind an emotional fingerprint, a gestalt that says, “This is a Joanna Penn book. This is a Dan Sawyer book,” or whoever. When you bring the focus down further, author voice is fundamentally an auditory phenomenon. You can see this if you look at the careers of writers who had major worldview shifts during their career, or who shifted genres. If you read an Isaac Asimov mystery, and you read Asimov's Guide to the Bible, and you read Isaac Asimov's The Robots of Dawn, they're all Asimov. You can hear him talking to you through all of those different venues. So author voice is not a genre thing. It's not dependent on content. It has to do fundamentally with how your brain processes language and how it comes out of your mouth. That, in turn, is based on patterns that were laid down when you were pre-verbal as an infant. You learned language by mapping the music of the conversations around you, and then gradually learning that the sing-song you were hearing corresponded to ideas. That's how the brain bootstraps itself into language. So when you start writing, just like when you start speaking, you wind up imitating a lot—unconsciously—the people you've read and heard, because that's how you develop your voice. There comes a point at which all the various influences on you, and who you are, and how they pass through you, crystallises into something definite. By the time you're a moderately competent writer, and you're finishing novels and short stories well, your author voice is pretty well established. But that doesn't mean it's sharp, because most people don't actually concentrate on learning to hear their author voice, so they can't tell when it's off. This is why new writers who revise a lot tend to revise their voice right out. When they write, they're using language as feels right to them, but when they read, they're reading it like an English teacher, or through the lens of someone who has very definite ideas about how grammar should work in all circumstances. So they tend to smooth the quirkiness out of their voice, and what you get is something flat. It doesn't feel alive. It may convey information, it may tell a good story, but it doesn't feel like you're entering something that's living. Jo: I think this is so difficult, especially for people who are new to writing. Because I remember very much spending the first few years going along to writers' conferences, and there were always sessions on “you must find your writer's voice.” You must find your author's voice, and we publish books because of the voice, and all this. It was very, very confusing to me. As you say, it has to emerge somehow, and yet that emergence seems to be very hard to accept. So what are some of the ways we can perhaps think about voice? You mentioned there some patterns. You talk about music. So what are some of those angles? In the book, you have different chapters on all of these things, but maybe just talk more about some of the elements. Dan: The first and most obvious is functional vocabulary. This is not the number of words that you know. These are the words that you can reach for in the moment. You can expand your functional vocabulary by deliberately using more words—burnish your inner thesaurus. The greater your functional vocabulary is, the more your personality is going to come out through your voice. When you've got more options to do something that's just the way that you want to do it, the closer it's going to be to the way you want to do it. So there's functional vocabulary. There's your native dialect and accent. You, being British, have a different set of preferred terms for everything than I, being a West Coast American, do. One of the great differences that's always visible between an English writer and an American writer is that you guys have a different way of speaking. When you speak of a difference between one thing and another, you talk about how this car is different to that car. And Americans say this car is different from that car. It always marks out a British writer versus an American writer. There are 100 little things like that. They happen not just between major countries, but within regions in every country. You could tell on paper the difference between someone from Yorkshire and someone from London, just as I can tell on paper the difference between someone from the West Coast and someone from Mississippi. Even if they're highly educated, the idiom, the preferred turns of phrase, the preferred imagery—all of that is going to be a little bit different, and it conveys that regionality. There's also the musicality of the language. This is the actual rhythm of the words with which you speak. When you learn to analyse poetry or to write poetry, you learn something called scansion. How a poem scans is—what are the beats of the lines, how are the beats of the lines related to each other, and how does the rhyme move in and out of that? A Shakespearean sonnet, or a sonnet from the Elizabethan era, has a specific metre, a specific number of lines, and a specific rhyme scheme, and the metre is iambic pentameter. An iamb is “bum-bum,” if I remember right. It's the rhythm of the heartbeat. It's “bum-bum, bum-bum, bum-bum.” And you can hear it in the name of the metre, the iamb. The iambic pentameter is where the stressed syllable is the second syllable and the unstressed syllable is the first syllable. All of Shakespeare is written in blank verse, which is unrhymed iambic pentameter. The pentameter is five feet per line, so one iamb is “bum-bum”—that's one foot—and five of those makes one line of Shakespeare. We all have inherent rhythms like that in the way we naturally speak, but we can also tweak those rhythms on purpose to achieve dramatic effect. The iamb has the sound of the heartbeat. It's a very reassuring speech rhythm. The trochaic is a much more rapid one—it mirrors the rhythm of a rapidly beating heart. So you see this a lot in Edgar Allan Poe, especially in his frenetic poems like “The Bells,” how they jingle, jingle, jangle on a hoary moonless night. There's a rushing sound to that metre. You're going to find that you will automatically do a little bit of this, just the way that you'll automatically have picked up the convention of breaking sentences up into shorter lengths during really exciting or suspense-filled parts of your book. Once you know what it is, you can start to use it on purpose. Quite a lot of developing your voice is learning to recognise these latent, existing qualities in the way you communicate, and sharpening them up and making them conscious tools that you can pull in whenever you want. Jo: On the one hand, there are a lot of technical words there that are really interesting, and maybe poets know a lot more of those words than most other writers. The book is really interesting in that way—kind of learning about these different things. I guess I want to reassure people as well that, as you said, some of this can be unconscious. So often when I'm self-editing and I'm reading a sentence to myself, there's something that doesn't feel right about it. So I will rewrite that sentence so that it feels right. Sometimes we do something that might be grammatically less correct, but it sounds better than it did before. So many of these things we almost know instinctively, just from reading so much. Dan: Oh, yes. From reading so much and talking so much, and again, from the way you acquire language. That gives you a template in your head of what sounds right. Language is inherently musical. So if you've ever listened to a song—especially one that wasn't recorded by a professional, but someone singing in a church choir, or your kid practising for a recital, or you practising for a recital—you know that feeling that happens when someone hits a wrong note. There's that little wince down in the core of your being, and then the song carries on and you forget about it, unless there are too many of them, in which case you just sort of cower and ooze out of the room. That feeling of “Ooh, someone just hit a wrong note”—that's exactly the feeling you get when you're reading through to edit your work and something is off in the technical layer of your voice. You should pay attention to that and rewrite so that it feels good, or feels great, which is even better. You've got the opposite of the wince, which is that sense of rapture and joy if you're listening to a professional musician and they go on an amazing guitar solo, or a flautist does an incredible trill that just sends shivers up your spine. That sense of excitement and joy—that's what happens when you're reading and the author does something with the language that makes the whole piece fly. So you want to be paying attention for those too, because those you'll commit without intending to. When you're reading back and you find those, you want to make note of them, because that's you seeing where you are at your strongest with your voice. By learning both where you're making mistakes and where you're being brilliant—just like with anything else—you can start to advance towards being brilliant more often and making fewer mistakes. Jo: Then there's a difficulty around where the line is, especially when you're an early-stage writer. Many people work with editors, and you mentioned the problem of revising your voice away, and that may also happen if you're working with an editor. Like you said, as a Brit, I work with an American editor, Kristen, and she's excellent. She's very, very good at letting my voice be my voice, and then fixing things that make it better. But a lot of people don't feel that way about their editors. So how can people understand where those lines are between being well-edited and becoming a better writer, and then needing to hold the line on their voice? Dan: It really helps if you understand where you are weak. Why are you hiring the editor in the first place? I'm a big believer in the utility of having other eyes on the manuscript, but it's really important to know what you're looking for from them. You and I have both been to the Oregon Coast writing seminars, back when that was a thing. Jo: Mm. Dan: One of the things they would talk about with editors is when you've got a story editor or a beta reader who says, “Hey, something here didn't work in the story for me,” you usually don't want to look at that point. You want to trace back from that point to figure out where you set the wrong expectation. Any editorial feedback is going to have a gap between what they notice and what really needs to be fixed. As a writer, learning to interpret the feedback properly so that you actually elevate the material, instead of interpreting the feedback like you're trying to do customer service for an employer, where you just want to make the customer happy, is a really important skill to develop. That's regardless of whether the feedback has to do with voice or plot or characterisation or whatever. Some editors are really good at back-tracing and actually spotting the real problem. Editors make their money, or get hired, or get picked by you to volunteer, because they're good at being an audience—not because they're good at being a writer. So learning to interpret the editorial feedback is a really important step in that maturation journey. Jo: Yes. I think “maturation journey” is a good way to put it. Personally, I think it was around book five when I really felt, “Okay, now I see what my voice actually is.” Like, it had to be five novels, and then I was like, “Okay, now I know.” I just didn't get it before then, and then finally—I don't know—a penny dropped or something. Maybe I grew into it, grew more confident, that kind of thing. Dan: Yes, and that's actually about right. If you look at writers with a big catalogue, five books in is usually where they start really sounding like them. So that's a pretty normal maturation curve. There is a way to speed it up, which is to read your books aloud—or even better, make audiobooks and then listen to them a thousand times. Listen to them until you are sick of them, and then listen to them until you start to like them again. Jo: That's a lot. Dan: It's a lot, but there's a really specific neurological mechanism at work. You're familiar with the comedy term “crossing the line twice,” right? Jo: Not really. Dan: Okay. Have you seen the Monty Python Spam sketch? Jo: Yes. Dan: Okay. So for those of you who have not seen this—in the Monty Python Spam sketch, there's a couple, they're in a diner, and everything on the menu has spam in it. They say the word “spam” so much that you just want to shoot your television. But they keep it up, and then suddenly, at some point—it's a different point for everybody watching—they keep it going on long enough that everybody gets there. At some point, the word “spam” itself becomes hilarious, and you can't stop laughing, and you don't know why, because it shouldn't work, but goddammit it really does. It's so funny that we named junk email “spam” after this sketch, because it's a whole bunch of stuff that you don't want, but it keeps showing up anyway. That's crossing the line twice. What's going on is that your brain is getting accustomed to a sound. It has extracted all of the meaning it can, and so it's doing what it does with all sensory input. When it thinks it's got it mapped out, it's trying to filter it. Unless you are going to sit and concentrate on it, you can't feel the texture of the fabric of your clothing on the back of your legs, because your brain—despite the fact that it's getting that input all the time—is filtering that out, because it needs you to have your resources free for thinking. When you experience something over and over and over, no matter what it is or how complex it is, the brain habituates like that. But if that signal refuses to be filtered, and the input keeps coming, and it keeps getting more intense, or it stays persistent and it's too complex to filter easily, your brain starts to think, “Oh, maybe I shouldn't be filtering this out.” “Maybe there's meaning here that's important for my survival that I hadn't extracted.” And so suddenly it starts searching for meaning to associate with that sensation—and that's the point at which the joke becomes funny again, or you start to experience your voice as if it's somebody else's. When you begin to experience your author voice as if it's somebody else's, you can hear it as a distinct, objective style, rather than just as an echo of the voices that are in your head. That's why music students practise over and over and over, even on a piece they know cold. They're doing the same trick that I'm advocating with listening to your audiobooks until you're not sick of them anymore. Jo: I mean, I think that's terrifying, because I just don't want to listen to my books over and over again. I think it's very interesting that you think it could shortcut that voice process. Staying on audio—since we last spoke, I have done a lot of my own audiobook narration, mainly for nonfiction, but also my short stories. I haven't done my full-length fiction. What I discovered in doing this is that what read fine to me when I was self-editing my own work on the page—and obviously I'm hearing it in my head—when I perform the audiobook, I actually have to edit things again. So what are some of your tips for how we can bridge that gap? Because that's kind of strange. Dan: So what's happening is that there's a much wider latitude of things that work on the page than what works with voice. The reason is that with voice, all of those rhythmic elements I was talking about before are really pronounced, as well as all the sensual elements. Basically every word and sound has a mouth shape. The mouth shape affects the emotional valence of the sound. Stuff that's unpleasant tends to have a really close-in feel—I'm trying to scrunch my face up—where you would grit your teeth and scrunch up your face if something is unpleasant. And if something is really pleasant, it tends to have a rounded feel, and our language reflects it. In fact, all languages reflect this, because language is a physical thing that's based on the sensuality of the body. So, like, in all cultures “mama” is the word for mother that babies first say, regardless of what it is. It has a round feel, because babies associate their mother with roundness. A lot of language is built up that way, from baseline sensual cues. When you're working just in text, that aspect is not nearly as obvious to you. When you're reading, it's not as obvious to you. It's still at play, but when you go to do something verbally, and you go to read a text, all of those sensual cues come in at the same time. Then the rhythm comes in hard, and you suddenly realise that—hey, that conveys the thought, but it doesn't feel right. So you wind up retooling a bit. There's also occasionally tongue twisters, which you have to work your way around. So that's why that happens. Jo: Then I guess another thing—I hear quite often, people say, “Oh, I don't like my voice.” And they mean, “I don't like speaking out loud. I don't want to be on video. I don't want to be on audio.” I wonder— Does that sort of resistance potentially affect their writing voice? Are there ways people can get over that feeling? Dan: Yes, for sure. There are a few things that go into that. One is basic self-loathing. A lot of people carry it around. Most people learn to make a decent life even though they kind of secretly suspect that they're not worth anything, or they secretly find themselves revolting. That kind of thing you can't really fix with exercises. That's something you fix with — Jo: Therapy. Dan: Psychological work, or spiritual work, or that kind of thing. Jo: Yes. Dan: But the not liking the sound of your own voice—that's easy to fix. Here's why it happens. When you're listening to your voice as you speak, the bones in your head are amplifying the bass signals and attenuating the treble. It's kind of like if you were to shout in another room and your spouse hears you, but they can't make out the consonants. That's because all the consonants are being filtered out by the wall in between, but the bass is being resonated through. The same thing happens in your head. So when you get on a microphone—especially if it's an accurate microphone—you're suddenly hearing what everybody else hears when you speak, and it sounds thin and tinny and unpleasant compared to what you're used to hearing. The really easy way to get around this is to get a microphone that is tuned for singers. The condenser mic that I have isn't made anymore, so I can't really recommend a good condenser mic. If you're on a dynamic mic, the Shure SM58 is the one to use. I podcasted with that for years before I could afford an upgrade. It is tuned for singers to sound as good as possible without any other help from the sound engineer, which means that the baseline sound for that microphone is what you're hearing in your head. If you use the right equipment, you get around that problem really quickly, to the extent that you can technically. Then after that, it's just a matter of crossing the line twice. You listen to yourself enough that you stop hearing, “Oh my God, I'm talking,” and you start hearing, “Oh, that voice is making this sound.” And once you hear, “Oh, it's that voice making this sound,” you don't have that problem anymore, ever again. Jo: Oh, good. Well, hopefully that's fixed it for people. And of course, there are lots of brilliant things in the book, The Pitch-Perfect Author. Before we finish up, I did want to return to your Substack. I was having a look at it, and it includes some really interesting things. Like, you're doing this metalwork, which is really cool. It felt coherent to me, because I know you, and you're a polymath, and you're interested in so many things. So your Substack kind of stood out to me as quite eclectic, compared to, say, other writers who are going on Substack to try and sell specific books. So is this a deliberate marketing choice, or is it just be an interesting person and you will attract people who are interested more generally? Dan: Well, I suppose it kind of winds up being the latter, but basically it's that I get bored easily. If I'm going to be writing every week, I need to stay interested in it. One of the books I wrote when I was really sick—that's not out on the market yet, but it is serialised on Substack—is a guide to self-education. It'll be coming out later this year on the general market. It's called Reclaiming Your Mind: An Autodidact's Bible. I talk in there quite a bit about the illusion of discrete areas of knowledge. There is a level of learning at which the silos of information start to collapse together. Woodworking and writing have a lot to do with each other. A lot of the terminology we use in writing is pulled from the trades—especially woodworking, and metalworking, and gunsmithing. As you begin to spot these connections between different areas of knowledge, it becomes really easy to slide between them for your hobbies, for your writing, for just your personal gratification. As I've gotten older—and also as I've gotten access to a little space that's not contained within a teeny little apartment—I have just gone with it. As I've discovered, “Hey, this thing is tangentially connected to this other thing over here,” I'm like, “Oh, well, I'm going to go over to this other thing and see what's over there.” It's tremendously creatively fertile. Since a lot of the things that our language connects us to have to do with trades and crafts and nature, it gets you out in the open air, which is really good for any writer—because sitting at a desk all day is worse than smoking three packs of cigarettes a day for 40 years. Jo: I love that. Dan: My curiosity is the chief feature of my Substack, and it kind of works for me as a writer, because it's also one of the chief features of my fiction. Jo: Me too, and I was actually quite inspired by your Substack. Because I think this happens when you've been in the writing industry long enough. Substack has become the sort of trendy place to be now. People are going into specific niches, very much like blogging did, and then podcasting had to be on a specific niche, and all this. Of course, we know logically that, marketing a book—you know, if you had just a Substack on voice mastery, then for sure that would be a better marketing vehicle. But, as you say, how boring. Dan: Well, it depends a lot on what you're trying to cultivate as an author. If you're a single-genre author with a very narrow niche, and you're really happy writing that kind of stuff, then a narrow column supporting it is not a bad idea. Especially when you serialise old novels, once you've got 20 or 30 under your belt. That's not a bad idea, because you're trying to attract people who want one thing and want it regularly. If I were to get a reader who wants one thing and wants it regularly, and finds it, say, in my Clarke Lantham mysteries, and then they hop over to my science fiction—oh boy, are they going to be pissed. If they're not there for my voice, and they're just there for the way I write a mystery plot, then not only are they not going to get what they're looking for—but they're going to start to doubt whether they can trust that they're going to get what they're looking for in my next mystery. Whereas if they're coming to me through something where the multiplicity of what I'm doing is on display—whether that's this Substack, or whether that's what I used to do on The Every Day Novelist when I was podcasting that, or whether it's what I did with all the after-shows on my fiction podcast when I was doing that—then they kind of know what they're in for. The people who stick with me are more likely to be people who are in it for the experience of my voice. And for my bibliography, that's what I've got to offer, because I'm all over the place in terms of genre and subject matter. Jo: Yes, which is why I find you interesting. Dan: Oh, why thank you. Jo: So where can people find you and your books online? Dan: Well, you can find pretty much everything at JDsawyer.net. I've got the weekly column at jdanielsawyer.substack.com. At jdsawyer.net there's a page with all of my podcasts on it, and there's also a store with all of my books on it. Of course, everything is also available on Amazon and just about everywhere that the distributors take you. Jo: Brilliant. Well, thanks so much for your time, Dan. That was great. Dan: Thank you, Joanna. It was great to talk to you again.The post Author Voice Mastery, And Rebooting an Author Business With J. Daniel Sawyer first appeared on The Creative Penn.

Alie Dumas-Heidt chats with fellow authors about their earliest beginnings and answer everyone's favorite question - What happens next? - on The Writer's Journey. MAURICE BROADDUS is a fantasy and horror author best known for his short fiction and his Knights of Breton Court novel trilogy. He has published dozens of stories in magazines and book anthologies, including in Asimov's Science Fiction, Black Static, and Weird Tales. Broaddus was born in London, but grew up in Indianapolis. His mother is from Jamaica, where she and many of his relatives still live. mauricebroaddus.com --- Alie Dumas-Heidt is the author of The Myth Maker, a detective thriller introducing Det. Cassidy Cantwell, set in Tacoma Washington. She lives in the PNW with her husband, adult kids, and two spoiled dogs. http://aliedh.com

Alie Dumas-Heidt chats with fellow authors about their earliest beginnings and answer everyone's favorite question - What happens next? - on The Writer's Journey. MAURICE BROADDUS is a fantasy and horror author best known for his short fiction and his Knights of Breton Court novel trilogy. He has published dozens of stories in magazines and book anthologies, including in Asimov's Science Fiction, Black Static, and Weird Tales. Broaddus was born in London, but grew up in Indianapolis. His mother is from Jamaica, where she and many of his relatives still live. mauricebroaddus.com --- Alie Dumas-Heidt is the author of The Myth Maker, a detective thriller introducing Det. Cassidy Cantwell, set in Tacoma Washington. She lives in the PNW with her husband, adult kids, and two spoiled dogs. http://aliedh.com

Cat Rambo's 300+ fiction publications include stories in Asimov's, Clarkesworld Magazine, and The Magazine of Fantasy and Science Fiction. In 2020 they won the Nebula Award for fantasy novelette Carpe Glitter. They are a former two-term President of the Science Fiction and Fantasy Writers of America (SFWA). Their most recent works are space opera Devil's Gun (Tor Macmillan, 2023) and anthology The Reinvented Detective (Arc Manor, 2023), co-edited with Jennifer Brozek.Narration by: Diane Severson Daine Severson is a lyric soprano specializing in Early Music, specifically Baroque and medieval music and loves her work teaching people to sing. She has narrated for Escape Pod, PodCastle, Cast of Wonders, Pseudopod, and Tales to Terrify. Diane has been involved in the Speculative Poetry Scene since 2010, she is Vice President and membership chair of the Science Fiction and Fantasy Poetry Association and is a passionate promoter of genre poetry. The best place to find her is on the web because she tends to pick up and move to another country at the drop of a hat.Fact: Looking Back At Genre History by Amy H SturgisSupport this show http://supporter.acast.com/starshipsofa. Hosted on Acast. See acast.com/privacy for more information.

Regular a inteligência artificial: até onde, por quem e a que custo? Igor Alcantara recebe a advogada Raquel Maciel para uma conversa sobre riscos, responsabilidade e os limites entre proteger as pessoas e travar a inovação. Do Dilema do Bonde às Leis de Asimov, do EU AI Act ao futuro do trabalho, um papo sobre quem deve pagar a conta quando a máquina erra.A Pauta foi escrita por Igor Alcantara e Raquel Maciel. A edição foi feita por Leo Oliveira e a vitrine do episódio feita por Igor Alcantara em colaboração com a Inteligência Artificial Claude Design da empresa Anthropic. A coordenação de redação e de redes sociais é de Tatiane do Vale. A gerência financeira é de Kézia Nogueira. As vinhetas de todos os episódios foram compostas por Rafael Chino e Leo Oliveira.

Can the future of an entire civilisation be calculated like the behaviour of gas molecules? In the second of two episodes on Isaac Asimov, John Helmer and Ezri Carlebach turn from his robots to his other great franchise — the Foundation saga — and the seductive idea at its heart: psychohistory, a fictional science that claims to predict the fate of galactic empires. From a Gilbert and Sullivan libretto opened at random to Apple TV's billion-dollar adaptation, this is a conversation about how one pulp idea grew into a cornerstone of science fiction and why its questions about prediction, determinism and power feel uncomfortably current. In this episode: The origins of Foundation — Asimov, his editor John W. Campbell, and the Gilbert and Sullivan operetta that inspired a galactic empire The original trilogy (Foundation, Foundation and Empire, Second Foundation), Hari Seldon, psychohistory and the Mule How Asimov was pushed by Doubleday into the prequels and sequels — and how he retrofitted Foundation into his robot universe Two adaptations compared: the 1973 BBC Radio dramatization and Apple TV's contemporary series The ideas behind the saga — Gibbon, Spengler, Toynbee, and the long-running argument over Marx and Hegel Prediction as power — from Carissa Véliz's work to prediction markets and accelerationism Asimov the man: his later fame, his legacy, and his failings Connect with The Learning Hack: LinkedIn: linkedin.com/in/johnhelmer X: @johnhelmer Threads: @jphelmer Bluesky: @johnhelmer.bsky.social Instagram: @tech.imaginarium Website: learninghackpodcast.com Listen and watch: All links: https://linktr.ee/learninghack Next time: Frankenstein — Mary Shelley's fever dream and the most enduring image in tech

Palabras clave: Microsoft Copilot, Office, inteligencia artificial, crítica tecnológica, revistas de ciencia ficción, Analog, Asimov, rigor histórico, anacronismos. ### Copilot y las limitaciones de la inteligencia artificial en el entorno Office ### Estado actual de las revistas de ciencia ficción: Analog y Asimov ### Análisis crítico de la calidad narrativa reciente

This show has been flagged as Clean by the host. In his early days as a writer, Heinlein wrote his stories in the context of a shared universe that he called the Future History. These were mostly short stories at first, with hte occasional novella. But they inclode some great stories. The Future History, Part 1 One thing Heinlein became well known for was his Future History. This placed many of his stories in a common framework of a future environment, and allowed events from one story to influence events in other stories. Here is what he had to say about it, in a post I found on the Heinlein Society Facebook site: “I never “created” or “invented” a “Future History.” On April Fool's Day 1939 I started to write commercially; by the middle of August I had written 8 shorts & a serial. As 5 of these items were more or less to the same fictional background, I found that I was continually having to check back to keep from tripping over my own feet. So I took an old navigation chart, about 3×4 feet, turned it over, made the time scale vertical, then set up 5 columns: stories, characters, technical data, sociological, remarks. Then I checked those first 5 stories, filled data into proper columns at the proper height for the fictional date—and continued to do this with other stories later. The chart was on the righthand wall near my elbow and was unusually messy as I never took the chart down to add to it—just reached over and scrawled on it.” Source: https://www.facebook.com/HeinleinSociety/posts/i-never-created-or-invented-a-future-history-on-april-fools-day-1939-i-started-t/1092968002874634/ One thing that became clear as his Future History developed is that he was not looking at our future exactly. He was very clear in his mind that he was writing fiction, and not issuing prophecies. If you are reading it today, it is best to think of this as a kind of alternate timeline, and this is something that holds true through a lot of his work. Even in his later novels, which were never formally part of his Future History, he would mention events from that past group of works, which may implicitly incorporate them. But this is an area where scholars are in disagreement as to which if the later novels, if any, should be incorporated. And there were unwritten stories that appeared on the chart that would have given further background to the stories that were written. They were stories Heinlein seems to have intended to write at some point, but never got around to writing. You can get more information about this in his book Revolt in 2100. The Future History stories were initially collected primarily in three books: The Man Who Sold the Moon (1950), The Green Hills of Earth (1951), and Revolt in 2100 (1953). Each of them fleshes out this hypothetical world in different ways. The first one, The Man Who Sold The Moon, introduces us to a businessman named D.D. Harriman, who is obsessed with going to the moon. But he thinks it should be done by private enterprise rather than by government. So he concocts a scheme to do this. He promotes a legal theory that the rights to the moon belong to the countries that it directly flies over, sort of like air rights taken to infinity. Then he uses the chaos of competing interests to throw this into the United Nations, and then gets the U.N. to give him the rights. He finally gets to launch a mission to set up a Moon base, but cannot join the expedition because the corporation considers him too valuable to risk. In a sequel story, Requiem, he does get to the moon just in time to die there. Heinlein was never above writing a tear-jerker. Of course, the book has other stories not linked to D.D. Harriman. Heinlein's fist story, Life-Line, is also collected here. And his second story, Let There Be Light, anticipates the development of solar power panels, but similarly to Life-Line, this earns the enmity of corporate interest, in the form of the Power Syndicate. The Roads Must Roll postulates moving roadways in the future, but the story really is about the sociology of technology in the future. And Blowups Happen, originally from 1940, anticipates nuclear fission as a power source, but it proves to be dangerous. They claim that the craters on the moon were really caused by a series of explosions to reactors that wiped out an earlier civilization. So they move the reactor into space for safety. And this feeds back into The Man Who Sold The Moon when this reactor in space blows up. In these early stories we can already see that Heinlein has a complex view of society. In Life-Line and Let There Be Light corporate power is the villain of the story, and some of this also shows up in Blowups Happen. But in The Man Who Sold The Moon we see that private enterprise is preferred to government action. I think the way this can be reconciled is to see that Heinlein is always concerned with individual personal freedom and opposed to anything that might endanger that, whether from too much government or too powerful corporate interests. The Green Hills of Earth contains the story of the same name, which concerns a former space engineer, Rhysling, now blinded by radiation and unemployable, who is also a poet. And one of his poems has that title. The crew of Apollo 15 named a crater on the moon “Rhysling”, and they planned to read a bit of it at the crater, but those trips could get very busy. Still, as they were getting ready to leave the moon there was this exchange. Note that Allen is the Capcom, and Scott and Jones are the astronauts : “Allen: As the space poet Rhysling (the blind poet in Robert Heinlein's The Green Hills of Earth) would say, we're ready for you to “come back again to the homes of men on the cool green hills of Earth.” [Scott – “That's from the Green Hills of Earth. That's one we talked about before the flight. Have you read that one?”] [Jones – “Oh, yeah! That was a favorite when I was a kid. Had you read it?”] [Scott – “Sure. (Quoting from memory): We pray for one last landingon the globe that gave us birthTo rest our eyes on fleecy skiesand the cool green hills of Earth.” Although two of the stories in this collection were older, from 1941, most of them are from 1948 and 1949. And there is a reason for that. On December 7, 1941, the United States found itself at war with Imperial Japan, and few days later Nazi Germany. Coming from a family that had fought in every American war you would expect Heinlein to get involved somehow. He could not enlist due to his medical retirement from the Navy, but since he had an engineering background so he became a civilian employee at the Philadelphia Navy Yard, where he was joined by fellow science fiction writers Isaac Asimov and L. Sprague de Camp. A nice retelling of this can be found at Kirkus Reviews, and Asimov also discusses this in his biography. The upshot is that there is a gap of about 5 years when Heinlein did not publish anything. It is also notable that Heinlein by this point had escaped from the pulp science fiction magazines and gotten published in what were called the “slicks', so-called because the paper they were printed on was slick and higher quality than the pulps. His stories began to be published in places like The Saturday Evening Post, Argosy Magazine, and Town & Country. And these outlets paid higher rates than the pulps, a significant matter for any writer. Heinlein always maintained that the only reason anyone would write was to make money. And the stories were getting to be quite good as well. Delilah and the Space Rigger (1949) tells the story of a woman who joins a construction crew on a space station and faces discrimination, but wins out in the end, which was pretty progressive for the time, but not atypical for Heinlein. Space Jockey is a fairly pedestrian story about a rocket pilot dealing with his every day life. But The Long Watch is an important story to Heinlein's view of the important things in life. A young officer is assigned to duty on the lunar base, where there are nuclear weapons stored. His superiors want to stage a coup, using those weapons, which can threaten the Earth while being beyond the reach of retaliation. The young officer sacrifices himself to prevent their plot from succeeding, and becomes recognized in a death as a great hero. And this becomes part of the background to a later juvenile novel Space Cadet, as well as being referenced occasionally in other stories, so you can see that he regarded it as an important statement. Gentlemen, Be Seated is a cute little story about a man who saves people when a leak happens in a tunnel on the Moon by plugging the leak with his rear end. The Black Pits of Luna is little thing about a boy scout who is able to rescue his little brother, but it foreshadows the Juvenile novels he later wrote. It's Great To Be Back! is about a couple who have moved to the Moon, but continually find fault with the living arrangements. They finally decide to go back to Earth, but discover that it was not really the place they had remembered, and they then return to the Moon, which they now realize is home. -We Also Walk Dogs is a gem of a story concerning a company called General Services that basically does things for their clients. Their advertising slogan is “Want somebody murdered? Then DON'T call General Services. But for anything else, call…. It Pays!” They deal a few different problems in this story, but the main one is the development of anti-gravity, and it features a Chinese porcelain bowl. Ordeal in Space is about a spaceman who has an accident that gives him a fear of heights and washed him out of space. But he has to face his fear when he needs to rescue a kitten from the 35th floor. One thing about Heinlein is that he was a firm and devoted cat fancier, so it no accident that a kitten is the one that has to be rescued. And the final story, Logic of Empire, he discusses the development of slavery in the Venus colony as a natural consequence of machinery being expensive and humans being cheap. And in this story there is a background reference to Nehemiah Scudder, who will soon be important in the Future History. One of the things that is worthy of a brief discussion at this point is exemplified by the story Logic of Empire, and that is the reference to the Venus colony. We now know that Venus can best be described as hellish, with crushing air pressure and temperatures high enough to melt metals. The best designed landers can last no more than minutes before being destroyed. But this was not known when Heinlein was writing these early stories. The prevailing view at that time was that Venus was shrouded in clouds because it was very wet and swampy, so that is what Heinlein went with. Similarly his Mars had canals and was inhabited. You just have to go with it in these stories, as you have to do with so much of Golden Age science Fiction, let alone pre-Golden Age. Links: https://www.facebook.com/HeinleinSociety/posts/i-never-created-or-invented-a-future-history-on-april-fools-day-1939-i-started-t/1092968002874634/ https://www.amazon.com/Man-Who-Sold-Moon/dp/0671578634 https://www.amazon.com/Green-Hills-Earth-Robert-Heinlein/dp/0671578537 https://www.amazon.com/dp/B0011GBTKM/ https://www.kirkusreviews.com/news-and-features/articles/asimov-de-camp-and-heinlein-naval-aviation-experim/ https://www.palain.com/science-fiction/the-golden-age/robert-a-heinlein/the-future-history-part-1/ Provide feedback on this episode.

In 1942, a 22-year-old chemistry student and part-time writer set down three short rules for how a fictional robot ought to behave. His aim was to kill off the lazy "robot-as-Frankenstein-monster" cliché. More than eighty years later, real engineers, real ethicists and real lawmakers are still arguing about them. This is the first of two episodes on Isaac Asimov — one of the "big dogs" of science fiction whose output ran to some five hundred books. John Helmer and Ezri Carlebach take on the most enduring part of that legacy: the Three Laws of Robotics. The Laws went on to power nine linked short stories in I, Robot, several films, hundreds of academic papers, and an argument about AI safety that shows no sign of ending any time soon. In this episode: The man and the output Robots before Asimov I, Robot as nine thought experiments Susan Calvin — one of SF's first great female scientists The Three Laws and the trolley problem Coming next: Foundation Links and resources: Website: techimaginarium.co.uk Instagram: @tech.imaginarium Watch on YouTube: https://www.youtube.com/@JohnHelmerConsulting Music by Nick Dwyer recording as Flintet. The Tech Imaginarium is a Learning Hack podcast, produced and hosted by John Helmer and written by John Helmer and Ezri Carlebach.

EPISODE 722 - Andrey Medina - Screenwriter and Author - Sci-Fi storyteller who's fascinated by the questions that don't have easy answersIn this episode, Dave sits down with author and screenwriter Andrey Medina to explore how imagination, movement, and instability as a child sparked a lifelong inner world that eventually led him to science fiction. Andrey explains that he was not so much “called” to authorship as he was found by science fiction itself, discovering in it a way to imagine alternatives to reality. Influences like Tolkien and Asimov did more than shape his taste; they fundamentally shaped how he thinks about worlds, systems, and psychohistory-level questions of how reality can be simulated and reimagined.Andrey shares honest, practical advice for aspiring writers: finish something. Even a three to five page story matters, because reaching the end delivers pride and a deeper sense of catharsis as both writer and reader of your own work. He describes how completing a story can move you to tears or leave you breathless, and why that emotional climax is the best encouragement to keep going. From there, the second crucial step is to show your work to someone. Even if the reader does not fully connect, the simple fact that they speak your character's name out loud proves that someone else now carries a piece of your imagination in their mind. He also talks about setting himself a week-long challenge during Covid to write a short story every day, emphasizing that even “crappy” stories hold fragments of gold worth revisiting later.The conversation turns to craft and career. Andrey talks about mining small but powerful ideas from imperfect drafts, like a story of a boy who believes he is a robot and a father forced to deconstruct life into tiny, teachable truths. He discusses writing both for himself and for readers, consciously merging the stories he loves with clear commercial awareness, particularly in his young adult speculative dystopian thrillers. Drawing on his screenwriting background, he explains how thinking in scenes, locations, conflict, and emotional reaction shapes his novels, and how good dialogue functions as action rooted in motivation and emotional baggage.Andrey introduces his series, beginning with The Conduit Trials, featuring Ren, a sixteen year old rebel in a totalitarian regime whose botched mission leads to a death sentence and a shocking offer to become a fighter pilot for the very system she opposes. He teases themes of moral ambiguity, propaganda, and critical thinking in a world where nothing is fully right or fully wrong, and shares how recent chaotic global events helped fuel the emotional “lava” behind the story. He wants readers to be fully immersed in Ren's world while constantly asking themselves, “What would I do in her place?”He also explains how listeners can currently read The Conduit Trials as a free ARC through BookSprout, join his mailing list via a link at the end of the book, and stay updated on future installments and launches.Key takeaway: Finish something, no matter how small, and let it be seen. Completion gives you emotional proof that you are a storyteller, and every shared story, even an imperfect one, plants your imagined world in another person's mind.https://www.facebook.com/andreymedina84Send us Fan MailSupport the show___https://livingthenextchapter.com/podcast produced by: https://truemediasolutions.ca/Coffee Refills are always appreciated, refill Dave's cup here, and thanks!https://buymeacoffee.com/truemediaca

 Empiezo animando a la gente a que saquen ese juego que tienen enclaustrado en la biblioteca y que parece que nunca va a ser jugado.Luego viene Celacanto con Kilia y Formidable Farm. Luego el juego de la semana Perikles: The Peloponnesian Wars.Para acabar un poco de libros, el tercero de Slow Horses y un poco de Asimov, para acabar algun comentario sobre alguna serie del momento.  DESCARGAR 

As always there are spoilers ahead! You can follow the podcast on social media on Threads, Instagram and Bluesky. If you would like to be a patron of the podcast and help an indie podcaster out, you can join Patreon and for £3 or $3 a month you can get ad free version of the show. https://www.patreon.com/everyscififilm An extra huge thank you to my wonderful guests as this episode had to be re-recorded due to a major problem with the audio file the first time. You can find the synopsis of the film on Wikipedia here: https://en.wikipedia.org/wiki/Fantastic_Voyage#Plot In 1966 20th Century Fox chose a steady pair of hands in Richard Fleischer (the son of animation superstar Max Fleischer) to helm what at the time was both the tiniest and the biggest science fiction adventure. Tiny because of the nano science storyline and biggest because of it being the most expensive science fiction film ever made (at that time) costing over five million dollars.   I talk to two top tier guests about the film. Jay Telotte is Professor Emeritus of film and media studies at Georgia Tech. He has written/edited numerous books and articles about science fiction film including his upcoming books Before Trek: Building American Science Fiction Television. Lisa Yaszek is Regents' Professor of Science Fiction Studies at Georgia Tech and has written/edited multiple books on science fiction including her upcoming book Mothership Rising: Afrofuturism in the Radium Age. Chapters 00:00 Introduction 01:40 Big budget scifi 05:45 Richard Fleischer 09:10 The history of Nanotech sci-fi 16:41 Sci-fi and scale in cinema 19:42 Richard Feynman and small science 22:55 1950s influences 25:53 James Bond and Spy-fi 27:05 Psychedelic scifi 31:22 Harper Goff, Disney and design 33:36 1960s crew dynamics 42:48 Asimov's novelisation 44:24 Secularism vs religion 46:52 Legacy 52:57 Recommendations   Recommendations: The Diamond Lens by Fitz-James O'Brien (which can be found here) Surface Tension by James Blish Microcosmic God by Theodore Sturgeon   Dr Cyclops (1940) The Incredible Shrinking Man (1957) Honey I Shrunk the Kids (1989)   NEXT EPISODE! Next episode I will be speaking with Oscar winning Special Effects Supervisor Paul Franklin to discuss his favourite sci-fi film Blade Runner (1982). Paul has worked on an array of blockbusters including The Batman Begins trilogy, Venom (2018), Inception (2010) and Interstellar (2014).

In 1983, Isaac Asimov predicted that computers would let every person learn what they wanted, in their own time, at their own speed. Forty years on, that vision is more or less the world we live in. So what else might science fiction have to tell us about the future we're already inside? Welcome to The Tech Imaginarium — a new six-part series exploring how science fiction made the modern world. Co-hosts John Helmer and Ezri Carlebach introduce the season ahead, the texts and authors they'll be reading as "skewed mirrors" of our technological present, and why now is exactly the right moment to be paying attention to SF.   In this episode: Asimov's startlingly accurate 1983 prediction about computer-aided learning Why science fiction is a form of learning, not just entertainment — Stephen Baxter's "skewed mirror" A first look at the six-episode season: Amazing Stories at 100, five foundational SF authors, two episodes on Asimov, Mary Shelley's Frankenstein, and the awkward question of whether SF predicts the future   Links and resources: Website: learninghackpodcast.com Instagram: @TechImaginarium Watch on YouTube: https://www.youtube.com/@JohnHelmerConsulting   Music by Nick Dwyer and Flintet. The Tech Imaginarium is a Learning Hack podcast, produced and hosted by John Helmer and written by John Helmer and Ezri Carlebach.

Vakıf serisini, dizi uyarlamasının güzel yönlerini inceleyerek bitiriyoruz. Bilimkurgu sevmeseniz bile, diziyi izlemeyecekseniz bile, hikayecilik açısından faydalı bir bölüm olacağını umuyorum. Konular: (00:00) Alaçatı Kitap Günleri (01:52) Fikir enflasyonu (02:42) Sihir enflasyonu (04:18) Empire: Devlet benim (06:16) Asimovun ruhu (07:10) Genetik hanedan (10:09) Erkeğin Üç Yüzü (14:29) Demerzel (18:30) Ex Machina (20:57) Ebedi imparatoriçe (22:52) Tavsiye: Asimov okuma sırası (25:41 ) Patreon teşekkürleri Kaynaklar:⁠⁠⁠ AppleTV'de yayınlanan Vakıf dizisi (2021) Asimov okuma sırası --- Bu bölüm reklam içermektedir

This show has been flagged as Clean by the host. Robert A. Heinlein Robert A. Heinlein was the author who many people claim kicked off the Golden Age, though that can be the subject of many a barroom argument. E.E. “Doc” Smith was already an established writer by this time, and A.E. van Vogt was contemporaneous with Heinlein. But Heinlein managed to outshine everyone in very short order. He was widely known as “The Dean of Science Fiction Writers,” which testifies to his stature in the community, and along with Arthur C. Clarke and Isaac Asimov he was one of the Big Three of the Golden Age. He was the first person to be named a Science Fiction Grand Master in 1974. Four of his novels won Hugo Awards (Double Star, Starship Troopers, Stranger in a Strange Land, and The Moon is a Harsh Mistress), and 7 more works were given Retro-Hugo awards, which are awarded for works that were written before the Hugos were established. He also had many more works nominated for both awards, as well as many other awards like Nebula Awards. In short, he was a big deal to the science fiction community at large, and to me personally. I was, for a short time, managing the web site for The Heinlein Society, and I have read every work of his that I am aware of. Heinlein Background Robert Anson Heinlein was born in 1907 in Butler, Missouri, and grew up in Kansas City, Missouri, which he described as the middle of the Bible Belt, and this background is reflected in some of his stories, particularly the later ones. His family tradition had it that the Heinlein's had fought in every American war beginning with the War of Independence, and Robert and his brothers all joined the armed forces. Robert lied about his age when he was 16 in order to enlist in the Missouri National Guard, and a few years later obtained an appointment to the Naval Academy, graduating in 1929 with the equivalent of a bachelors degree in engineering (the Naval Academy did not award degrees at the time). His engineering background is very apparent in his writings. He served on several ships, rising to the rank of Lieutenant, before being discharged in 1934 due to pulmonary tuberculosis. It seems likely that if he did not contract this illness he would have continued his career in the Navy, and with World War II coming, well, who knows what might have happened. But he did get ill, and had to find things to do. He notably got involved with Upton Sinclair's socialist organization EPIC (End Poverty in California). He ran for office unsuccessfully, running as a left-Democrat in a conservative district. And while he had a disability pension from the Navy, he turned to writing to pay off his mortgage. Heinlein's Writing Heinlein was originally known as a “hard” science fiction writer, meaning one who puts plausible and accurate science at the heart of the story. But looking at his entire career, he was equally comfortable writing fantasy, though not the faux medieval kind that many writers. In fact, he coined the term “speculative fiction” to describe the kind of stories he wrote. And if he wanted to he was quite capable of mixing the hard science and the fantasy, particularly in his later novels. And his output was very substantial. Asimov wrote more than Heinlein, but Heinlein stuck to fiction, while Asimov wrote in a variety of fields, so Heinlein's output in the general area of science fiction/fantasy is the greater. And he is known for works of all lengths from short stories to novels. A useful guide to his works is the book Robert A. Heinlein: A Reader's Companion, by James Gifford. This book covers all of his science fiction/fantasy works known as of 2000, and gives additional information about the writing and circumstances of the stories. But in 2003 an early work was discovered and published. It was a novel called For Us The Living, and while you can see the germ of Heinlein's style in this novel, it is also a very early work written in 1938 and is not one of his best. He would get a lot better than this. In any case, it was not published at the time, and is mostly of interest to Heinlein superfans or scholars. Heinlein got his real start in 1939 with a short story called Life-line, which was published in John W. Campbell's Astounding magazine. Isaac Asimov had published a few stories by this time, and his first for John W. Campbell's Astounding was in the previous month, July 1939, so as you can see this was a very fertile time in the development of the genre. Heinlein's story was about a scientist who developed a technology to predict a person's time of death. This totally threatens the insurance industry, and one of the CEO's put out hit on the scientist, which he of course already knows about having tested himself. This is not the best short story, but it was quite competent, and John W. Campbell immediately asked for more. More short stories followed. In the November 1939 issue of Astounding the story Misfit appeared. It introduces the character of Andrew Jackson “Slipstick” Libby, a young man with little education but a great ability to do mathematics in his head. And his ability turns out to be just what is needed during a construction project in space when things go wrong. And in 1940 he had 9 more stories published. And at this point he faced a problem. He was becoming so prolific that for a number of reasons he had to employ pseudonyms for some of his stories. One reason was that he couldn't have too many stories in one magazine in his name, it made the editor look bad. In any case all of the stories are now published under Heinlein's name. And of the 9 stories, 6 were either nominated for or won Retro Hugo awards, and several also won Prometheus Hall of Fame Awards, for the best libertarian or anti-authoritarian works. So you can see that his was a talent that exploded on the scene, so that you could legitimately divide the science fiction history into pre-Heinlein and post-Heinlein periods. 11 more stories of various lengths followed in 1941, and 5 in 1942. There were mostly short stories, but a few novellas and novelettes appeared. But he was really a short fiction writer at this time, and there are some extraordinary stories in this group. He was the most successful writer of speculative fiction of the time, and passed along some advice to anyone who wanted to be a successful writer. Heinlein's Rules of Writing Because he was so successful, it should come as no surprise that aspiring writers frequently wrote to him for advice, and in response he formulated his Rules of Writing. This is taken from his On The Writing of Speculative Fiction : You must write. Finish what you start. You must refrain from rewriting, except to editorial order. You must put your story on the market. You must keep it on the market until it has sold. He goes on to say in this article : “The above five rules really have more to do with how to write speculative fiction than anything said above them. But they are amazingly hard to follow—which is why there are so few professional writers and so many aspirants, and which is why I am not afraid to give away the racket!” This is very good advice, but as Heinlein points out his rules are indeed hard to follow. For example, Rule #1: You must write. Many people want to be a writer, but not as many really want to write, and there is a very distinct difference. Just as many people want to be a rock star, but don't want to spend years dead broke playing in dive bars to get there. But it is also fair to point out that Heinlein was a rare talent, and I doubt if simply following his rules would make anyone else a similar success. They are good rules, no doubt, but Heinlein was already very familiar with and well-read in the field before he started writing. That finishes this particular exploration of where Heinlein came from and how be began his career. And since it all started with short fiction, I next want to focus on that. beginning with his Future History. This starts our look at the works of Robert A. Heinlein, the third of the Big Three authors of the Golden Age. Links: https://en.wikipedia.org/wiki/Robert_A._Heinlein https://www.amazon.com/Robert-Heinlein-Readers-Companion/dp/0967987407 https://www.amazon.com/Us-Living-Comedy-Customs/dp/074325998X/ref=tmm_hrd_swatch_0 https://en.wikipedia.org/wiki/On_the_Writing_of_Speculative_Fiction https://www.palain.com/science-fiction/the-golden-age/robert-a-heinlein/ Provide feedback on this episode.

En el restaurante Milano tiene lugar la última cena de El Club de los Viudos Negros. Una reunión final, como todas las anteriores: elegante, tranquila y peligrosamente inteligente. Esta vez, un invitado llega con un relato de ciencia ficción sobre un eclipse, pero sin trama. Solo una imagen, un destello, una intuición. Y en la mesa, entre preguntas afiladas y silencios atentos, el grupo hace lo de siempre: convertir lo incompleto en un enigma con forma, y ahí aparece nuestro Henry....🔎 ¡Feliz noche! y quédense hasta las postres....🍷🍷🍷🍷🍷🍷 Un círculo discreto de seis caballeros que se reúnen una vez al mes, siempre en el mismo restaurante, siempre en la misma mesa, y siempre con una única regla: cada cena debe tener un invitado, y ese invitado debe estar dispuesto a hablar y a ser interrogado. 🕷🕷🕷🕷🕷🕷🕸 El Club de los Viudos Negros', de Asimov. CENA DE MAYO 🍷🍰 📍 Ristorante Casa Milano – Milano, Italia 🧭 Coordenadas: 45°28'19.8"N 9°12'06.4"E Isaac Asimov los creó como un homenaje al placer de conversar, al arte de observar y a la deliciosa costumbre de no quedarse con la primera respuesta. Acomódate. El vino está servido. La cena va a comenzar. Y tú… Tú también estás invitado. Los Viudos Negros son un club de seis hombres que se reúnen una vez al mes en un reservado del restaurante Milano de Nueva York. Cada noche uno de ellos preside el encuentro y tiene el derecho de llevar un invitado, al que interrogan. Al principio sólo se reunían para comer y conversar pero últimamente uno de ellos plantea algún tipo de problema o delito. Los miembros del club buscan respuestas complejas a los enigmas planteados y luego Henry, el camarero, descubre la simple verdad. El club está formado por:🍷🍷🍷🍷🍷🍷 Geoffrey Avalon, Jeff. Alto y delgado, espesas cejas negras, bigote recortado y barbita gris. Fue oficial durante la II Guerra Mundial y trabaja como abogado en derecho patentario. Mario Gonzalo, pintor y gran artista. Thomas Trumbull. Rostro moreno y arrugado, permanentemente descontento. Experto en códigos, alto consejero del gobierno. Emmanuel Rubin, Manny. Bajito, mide 1,55, barba rala, lentes gruesos. Fue predicador adventista con 15 años y conoce bien la Biblia. Está casado y es escritor de novelas policíacas. James Drake. Bigote. Vive en New Jersey. Especialista en química orgánica con amplios conocimientos en literatura. Roger Halsted, calvo. Profesor de matemáticas en una escuela secundaria. Escribe la Ilíada en quintillas y todos los meses les recita una estrofa. Es miembro de los Irregulares de Baker Street. Henry Jackson, el camarero. Unos 60 años, sin arrugas. Es humilde y honrado. Entre ellos se llaman doctores y si uno es doctor de carrera le denominan doctor doctor. Para ayudarse en sus investigaciones cuentan con diccionarios, biblias y las obras de Shakespeare en su biblioteca. Y recuerda que puedes seguirnos en Telegram, YouTube, Instagram y X, y si este podcast te acompaña, te inspira o te gusta lo que hago, puedes hacerte fan y apoyar la nave. Tu energía mantiene viva esta aventura sonora.🚀 Aquí te dejo la página directa para apoyarme: 🍻 https://www.ivoox.com/support/552842 ¡¡Muchas gracias por todos tus comentarios y por tu apoyo!! Voz y sonido Olga Paraíso, Música Epidemic sound con licencia premium autorizada para este podcast. ⏩BIO Olga Paraíso: https://instabio.cc/Hleidas PLAYLIST EL CLUB DE LOS VIUDOS NEGROS EN Ivoox https://go.ivoox.com/bk/11290149 Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

1969 - Asimov, Miller y El Origen de la Vida NT2ARCPC Si va a escribir un comentario, gracias por hacerlo, pero por favor, lea antes las normas de publicación que se encuentran a continuación: (si usted es una persona educada, no tiene que leer las normas). Universo de Misterios tiene reservado el derecho de admisión y publicación de comentarios. Los comentarios son aprobados o rechazados por el departamento de gestión de comentarios y correos electrónicos de UDM (GECOCO). José Rafael solo lee los comentarios una vez hayan sido aprobados por el GECOCO y publicados. El muro de comentarios de los episodios de UDM en iVoox NO es una red social. No espere que el creador del podcast “debata” con usted. Generalmente, los comentarios anónimos podrían no ser publicados. UDM es un podcast independiente y, por tanto, su contenido expresa el criterio de su autor. La temática general es la Ciencia y el Misterio bien entendido, pero su autor podrá abordar otras temáticas según su criterio. No está obligado a escuchar UDM, si no le gusta lo que escucha, puede dejar de hacerlo, pero no le diga al autor de lo que debe o no debe hablar en su podcast. No envíe comentarios que contengan falacias lógicas. No de información personal. Las opiniones valen lo que valen los argumentos que las respaldan. Si su comentario expresa una opinión crítica, no nos interesa su opinión si no está argumentada. No espere que su comentario sea respondido necesariamente. Comprenda que se reciben diariamente un elevado número de comentarios que han de ser gestionados, se publiquen o no. Si hace comentarios con afirmaciones dudosas, arguméntelas aportando enlaces a fuentes fiables (recuerde, el muro de Comentarios de los episodios de UDM en iVoox NO es una red social). En caso de no respaldar su comentario como se indica en la caja de descripción del episodio, su comentario podrá no ser publicado. Siguiendo las recomendaciones de la NASA publicadas en el Informe sobre UAP del 13 de septiembre de 2023, en UDM no aprobamos comentarios que contribuyan a extender el estigma que tradicionalmente ha caído sobre los testigos de UAP/OVNIs. Contacto con Universo de Misterios: universodemisteriospodcast@gmail.com En la realización de los episodios de Universo de Misterios puede recurrirse a la ayuda de Inteligencia Artificial como herramienta. Puedes hacerte Fan de Universo de Misterios y apoyarlo económicamente obteniendo acceso a todos los episodios cerrados, sin publicidad, desde 1,99 €. Aunque a algunas personas, a veces, puede proporcionar una falsa sensación de alivio, la ignorancia nunca es deseable. Pero eso, tú ya lo sabes... Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

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Selam fularsızlar. Vakıf serimizin son iki bölümünü, 2021'de başlayan dizi uyarlamasına adıyorum. Hem çok iyi hem de çok kötü bir uyarlama. Çünkü birbiriyle pek alakası olmayan en az iki farklı diziden oluşuyor. İşin komik tarafı, Asimov'dan esinlendikleri kısımları zayıfken, kendi uydurdukları orjinal kısımları onun vizyonunu daha iyi yansıtıyor. Bugün dizinin "kötü" kısmını anlatacağım. Ama esas derdim, onu bahane olarak kullanıp, genel olarak hikaye anlatıcılığı üstüne atıp tutmak. Yani diziyi izlememiş ve belki hiç izlemeyecek olanların dahi işine yarayacak bir şeyler yapmak istiyorum. Konular: (00:00) Dizi uyarlamaları: Dune ve Vakıf (03:30) Seçilmiş kişi" klişesi (05:26) Kahramanın yolculuğu (07:15) Ölümsüz aktörler (08:30) Fikir enflasyonu (09:03) Anlatım aygıtları vs dünya inşası (11:52) Exposition dump (16:13) 138 yıl daha uyuyalım (17:40) Şiddet yanlısı Salvor Hardin (19:30) Seldon enflasyonu (20:34) Sihirli obje: Vault (23:09) Anti sürpriz: Katır (25:07) Zaman paradoksu (26:50) Lüzumsuz bir Pinokyo (28:31) Awake (30:20) Ve uzaylılar (31:13) Herkesi şaşırtmalıyız hastalığı (33:51) Öğrencinin öğretmenine dönüşümü (35:12) Dizinin iyi yarısı Kaynaklar:⁠ AppleTV'de yayınlanan Vakıf dizisi (2021) --- Bu bölüm reklam içermektedir

WE NEED TO REGULATE THE ROBOT REVOLUTION NOW And our futurist Thomas Frey is on with suggestions about how to manage the robots so they don't kill us. Here he suggests a Geneva Convention of sorts for robots to set up a framework. He explains here that any trust in robots can be destroyed in one afternoon. Here he explains the diaper test and here he digs into the Asimov test. Robots are coming to our homes and we need to get on this now before they kill us all. Thomas joins me at 1 to discuss it all.See omnystudio.com/listener for privacy information.

“I was a science fiction reader from the beginning, and I continued to identify myself as a science fiction writer. However, a lot of my stuff would have to be classified as fantasy.” - David D. Levine In the latest How To Write the Future podcast episode, titled “Read, Write, Repeat with David D. Levine” host Beth Barany talks to science fiction author David D. Levine about his career path, the challenges of history research, and how he uses it in his novels, including gender throughout the ages.ABOUT DAVID D. LEVINEDavid D. Levine is the author of Andre Norton Nebula Award winning novel Arabella of Mars, sequels Arabella and the Battle of Venus and Arabella the Traitor of Mars, space-opera caper novel The Kuiper Belt Job, and over sixty SF and fantasy stories. His story “Tk'Tk'Tk” won the Hugo, and he has been shortlisted for awards including the Hugo, Nebula, Campbell, and Sturgeon. Stories have appeared in Asimov's, Analog, Clarkesworld, F&SF, Tor.com, numerous Year's Best anthologies, and his award-winning collection Space Magic.Facebook: http://www.facebook.com/david.d.levine.sfInstagram: https://www.instagram.com/daviddlevine/Website: https://daviddlevine.comBluesky: https://bsky.app/profile/daviddlevine.comRESOURCESGET HELP WITH YOUR WORLD BUILDING - START HEREFree World Building Workbook for Fiction Writers: https://writersfunzone.com/blog/world-building-resources/SHOW PRODUCTION BY Beth BaranySHOW CO-PRODUCTION + NOTES by Kerry-Ann McDadeEDITORIAL SUPPORT by Iman Llompartc. 2026 BETH BARANYhttps://bethbarany.com/Questions? Comments? Send us a text!Support the show---♦︎ JOIN THE MEMBERSHIP: For fiction writers! You've finished your first draft! Congrats! Now what?Join the Edit the Future: Sci‑Fi/Fantasy Revision Lab. Get premium weekly lessons and a monthly Q&A on Zoom. Subscribe: https://www.buzzsprout.com/2012061/subscribe♥︎ FREE: Sign up here for the Edit Your Novel ChecklistHelps writers revise faster with less overwhelm by focusing first on diagnosis, not fixing. Get yours at http://edityournovelchecklist.com.♡ SHOP: Sci‑Fi & Fantasy 24 Writing Prompts: https://ko-fi.com/s/4ac9160a74❤️ Want to be interviewed on the podcast? => Email us!CONNECT WITH BETHvia emailvia LinkedInCREDITSEDITED WITH DESCRIPT (Affiliate link)MUSIC: Uppbeat.ioDISTRIBUTED BY BUZZSPROUT: https://www.buzzsprout.com/?referrer_id=1994465

Wei Zhou is the CEO of Coins.ph, the largest crypto-native fintech platform in the Philippines, which he acquired in 2022. A former CFO of Binance and long-time finance executive — Wei has been rebuilding Coins.ph as a fully regulated on-ramp between fiat, crypto and stablecoins for Filipino users and businesses, while extending the playbook globally through Coins.xyz. Why you should listen A real-world stablecoin case study: The Philippines pulls in close to $100 billion a year in foreign inflows — roughly $38 billion in retail remittances from nearly 10 million overseas Filipino workers, plus around $50 billion flowing into the country's huge business process outsourcing sector. Historically almost all of it moved over Swift banking rails at 5–6% in fees, which remittance pioneers like Remitly and MoneyGram dragged down to 2–4%. Wei walks through how stablecoin rails are collapsing those costs further still — Coins.ph has run USDC flows with Circle at just 20–30 basis points — and why, post-Covid, everyday Filipino families and businesses with overseas ties are pivoting into stablecoins on their own. A two-sided marketplace with a stablecoin flywheel: Wei thinks of Coins.ph less as an exchange and more as a stablecoin marketplace, with retail users as net buyers of digital dollars on one side, and businesses and institutions sending money into the country as net sellers on the other — a balance that drives liquidity, tightens pricing and fuels growth. The biggest friction, he argues, isn't crypto; it's fiat. Opening up cheap 24/7 deposits and withdrawals is what pulls users in, and weekend trading volumes on Coins already outstrip weekday volumes simply because traditional banks are closed. He also previews a B2B push launching before the end of May, enabling online and offline Coins merchants to accept USDC and USDT payments, alongside partnerships with Circle, HashKey and other licensed players to build out regional stablecoin corridors. Stablecoins as the new unit of account: Looking three to five years out, Wei sees a world where more and more assets — from Bitcoin pairs to tokenised securities and real-world assets — are denominated in stablecoins rather than fiat. The GENIUS Act in the US, along with parallel regimes in the EU, Singapore, Hong Kong, Japan and the UAE, is the unlock: traditional financial institutions can finally engage with stablecoins directly, letting platforms like Coins.ph tap deeper pools of liquidity and bring more investment products to Filipino users. In the hot-take round, Wei calls Bitcoin to a million dollars ("and then sats become the new stablecoin"), argues the AI intelligence layer is already quietly embedded in everything we use, and names Asimov's Foundation and Liu Cixin's The Three-Body Problem as his favourite sci-fi. Supporting links Stabull Finance Coins Andy on Twitter  Brave New Coin on Twitter Brave New Coin   If you enjoyed the show please subscribe to the Crypto Conversation and give us a 5-star rating and a positive review in whatever podcast app you are using.

This was my twelfth RSA Conference. I know that because I remember the first one, 2012, and I've been counting ever since — not out of habit, but because each year feels like a chapter in a longer story I'm trying to read in real time. Twelve years of standing in that same building in San Francisco, watching an industry evolve, stumble, reinvent itself, and occasionally look in the mirror. In the early years it was pure technology. Cryptography, protocols, threat vectors, the architecture of defense. The conversations were technical, the energy was almost academic, the suits were slightly more formal. Then something shifted — gradually, then all at once, the way things usually do. The industry started talking about people. About culture. About the human beings sitting behind the keyboards and the very human mistakes they were making. The themes started reflecting it: community, togetherness, collective defense. Stronger Together. The Human Element. The Power of Community. Year after year, the message from the main stage was some variation of: we are more than our tools. People are what matter. Connection is the point. And then you'd walk the expo floor and see the booths. I'm not being cynical. The community is real — I've felt it, in the hallway conversations, in the side events, in the faces of people I've been running into for a decade who are genuinely trying to make the digital world safer. That part is true and it matters. But there's a growing gap between what the theme says and what the stage performs. And at RSAC 2026, that gap became impossible to ignore. Because this year, while the badge said The Power of Community, the keynotes were almost entirely about agents. Non-human ones. I wrote about this from a different angle in my first piece from RSAC — the Blade Runner angle, the NPC angle, the question of identity and intent when you can no longer tell the difference between a human action and an autonomous one. But there's another layer underneath that deserves its own space. It's the pattern. The twelve-year arc. An industry spends years — genuinely, sincerely — rediscovering the human element. Putting people at the center. Building a vocabulary around community, ethics, shared responsibility. And then, in what feels like a single conference cycle, it pivots to deploying a parallel workforce of non-human identities that outnumber us in our own systems, operate at speeds no human can follow, take actions no human directly authorized, and — here's the part that should make everyone pause — that a significant portion of organizations deploying them cannot monitor, cannot fully distinguish from human activity, and in many cases cannot stop once they're running. We built the community. Then we populated it with agents and handed them the keys. I kept thinking, walking those corridors, about the resistance. Not as a metaphor — or not only as a metaphor. In every story we've ever told about machines that gained too much autonomy, there's always a moment before the crisis where someone in the room knew. Where the warning existed. Where the design decision was made anyway because the pressure to ship, to scale, to compete was stronger than the instinct to pause. The difference between those stories and this moment is that we're not watching it happen to fictional characters. We're the ones making the design decisions. And unlike software — which you can patch, roll back, update at 3am while everyone is asleep — agents with autonomy and access are a different category of thing entirely. The old mantra of move fast and break things made a certain kind of sense when what you were breaking was a feature. It makes no sense at all when what you're deploying can act, chain consequences, and escalate — faster than any human response team can follow. This is where Asimov becomes relevant again. Not as nostalgia, not as science fiction trivia, but as a genuine design philosophy that the industry would do well to remember. His Three Laws of Robotics weren't invented as a plot device. They were a thought experiment in ethics-by-architecture — what does it look like to build the values into the system before the system runs, rather than hoping to correct the values after something goes wrong? He spent decades of stories showing that even the most carefully designed ethical constraints produce edge cases, contradictions, unintended consequences. But the point was never that ethics-by-design is perfect. The point was that without it, you don't have a fighting chance. We are, right now, at the moment before the laws get written. Some people at RSAC were saying this clearly — not from the main stage, but in the rooms and conversations where the more honest thinking tends to happen. The guardrails exist. The frameworks are being built. But they're being built while the deployment is already running, while the agents are already in the systems, while the governance structures are catching up to a reality that moved faster than the institutional response. That gap is the real story of RSAC 2026. Not the products. Not the keynote soundbites. The gap between the speed of deployment and the maturity of the thinking around what we're actually deploying. The community theme was right, actually — just not in the way the branding intended. The most important community at RSAC 2026 wasn't on the main stage. It was the quieter one: the engineers, researchers, practitioners, and security leaders who understand that we are at an inflection point, and that the decisions made in the next few years about how to design, govern, and constrain autonomous systems will matter far beyond the conference floor in San Francisco. Utopia and dystopia are not predetermined destinations. They're design outcomes. We still get to choose the architecture. But the window for making that choice thoughtfully — rather than reactively, in the middle of a crisis that moved faster than our guardrails — is not as wide as we might like to think. Asimov knew that. He wrote the laws before the robots ran. Maybe it's time we did the same. Stay imperfect, stay human. — Marco Let's keep exploring what it means to be human in this Hybrid Analog Digital Age. End of transmission. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Tema final "The American Revolution" by Richard Bales, versión original 1960 en Archive Internet Org. En "La melodía del inconsciente" un soldado canturrea una canción cada vez que se siente amenazado ¿Qué significa? 🔎🎙 Un círculo discreto de seis caballeros que se reúnen una vez al mes, siempre en el mismo restaurante, siempre en la misma mesa, y siempre con una única regla: cada cena debe tener un invitado, y ese invitado debe estar dispuesto a hablar y a ser interrogado. 🕷🕷🕷🕷🕷🕷🕸 El Club de los Viudos Negros', de Asimov. CENA DE abril 🍷🍰 📍 Ristorante Casa Milano – Milano, Italia 🧭 Coordenadas: 45°28'19.8"N 9°12'06.4"E Isaac Asimov los creó como un homenaje al placer de conversar, al arte de observar y a la deliciosa costumbre de no quedarse con la primera respuesta. Acomódate. El vino está servido. La cena va a comenzar. Y tú… Tú también estás invitado. Los Viudos Negros son un club de seis hombres que se reúnen una vez al mes en un reservado del restaurante Milano de Nueva York. Cada noche uno de ellos preside el encuentro y tiene el derecho de llevar un invitado, al que interrogan. Al principio sólo se reunían para comer y conversar pero últimamente uno de ellos plantea algún tipo de problema o delito. Los miembros del club buscan respuestas complejas a los enigmas planteados y luego Henry, el camarero, descubre la simple verdad. El club está formado por:🍷🍷🍷🍷🍷🍷 Geoffrey Avalon, Jeff. Alto y delgado, espesas cejas negras, bigote recortado y barbita gris. Fue oficial durante la II Guerra Mundial y trabaja como abogado en derecho patentario. Mario Gonzalo, pintor y gran artista. Thomas Trumbull. Rostro moreno y arrugado, permanentemente descontento. Experto en códigos, alto consejero del gobierno. Emmanuel Rubin, Manny. Bajito, mide 1,55, barba rala, lentes gruesos. Fue predicador adventista con 15 años y conoce bien la Biblia. Está casado y es escritor de novelas policíacas. James Drake. Bigote. Vive en New Jersey. Especialista en química orgánica con amplios conocimientos en literatura. Roger Halsted, calvo. Profesor de matemáticas en una escuela secundaria. Escribe la Ilíada en quintillas y todos los meses les recita una estrofa. Es miembro de los Irregulares de Baker Street. Henry Jackson, el camarero. Unos 60 años, sin arrugas. Es humilde y honrado. Entre ellos se llaman doctores y si uno es doctor de carrera le denominan doctor doctor. Para ayudarse en sus investigaciones cuentan con diccionarios, biblias y las obras de Shakespeare en su biblioteca. Y recuerda que puedes seguirnos en Telegram, YouTube, Instagram y X, y si este podcast te acompaña, te inspira o te gusta lo que hago, puedes hacerte fan y apoyar la nave. Tu energía mantiene viva esta aventura sonora.🚀 Aquí te dejo la página directa para apoyarme: 🍻 https://www.ivoox.com/support/552842 ¡¡Muchas gracias por todos tus comentarios y por tu apoyo!! Voz y sonido Olga Paraíso, Música Epidemic sound con licencia premium autorizada para este podcast. ⏩BIO Olga Paraíso: https://instabio.cc/Hleidas PLAYLIST EL CLUB DE LOS VIUDOS NEGROS EN Ivoox https://go.ivoox.com/bk/11290149 Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Zack Be is an award-winning author, obscure songwriter, and Couple and Family Therapist/Certified Sex Therapist caught in the Washington, DC gravity well. His clinical work focuses on the more complex corners of relationships—working with couples in crisis, non-traditional dynamics like ethical non-monogamy and BDSM, long-term infidelity, and male sexual health concerns. He also teaches and supervises graduate student therapists at the University of Maryland. His science fiction has appeared in Asimov's Science Fiction, Analog SF and Fact, and Writers of the Future v.36, and he won the 2024 Jim Baen Memorial Science Fiction Award. Off the clock, he's spent 15 years playing, producing, touring, and otherwise toiling away in the DC music scene. Learn more about him:https://www.zackbe.com/Learn more about his work as an author herehttps://www.zackbe.com/authorFollow Zack onIG @bezackbeTwitter @bezackbe--Get in touch: robinsmithshow@gmail.comCall the hotline: +1 (301) 458-0883Follow Robin on Insight Timer: https://insighttimer.com/robinsmithBook an appointment: https://robin-smith.clientsecure.me/request/serviceBecome a supporter on Patreon: https://www.patreon.com/therobinsmithshowGot a question? We'd love to hear from you!

Bugünün konusu, Asimov'a doğrudan bir cevap olarak yazıldığı düşünülen -ve benim de en çok sevdiğim bilimkurgu romanı olan- Dune. Sistemler, kahramanlar, din, teknoloji, kehanet gibi birçok konuda örtüşüyorlar. Karşılaştırmalı bir analiz yapalım. (Dune hakkında biraz spoiler içerir) Konular: (00:00) Epstein serisi notu (02:08) Hangisi daha iyi (03:37) Roma vs Feodalizm (07:52) Tekno-iyimserlik (10:33) Nerede bu yapay zeka (13:19) Kehanet (17:31) Kahramanlık (19:53) Zeitgeist farkı (21:13) Dune kitapları Kaynaklar: Video: Dune vs Foundation - Which Future is Better? --- Bu bölüm reklam içermektedir

Olivier Véran est évidemment l'ancien mnistre de la santé qui a eu à gérer la crise du Covid mais c'est égaleemnt un médecin neurologue. Depuis, il a quitté la politique pour mieux l'observer, et il regarde le monde avec une lucidité qui, franchement, m'a surpris.On s'était croisés autour d'un café pour parler d'un sujet qui m'obsède : comment nos cerveaux vont évoluer à l'ère de l'IA. Et la conversation est allée beaucoup plus loin que prévu.Dans cet épisode, nous parlons de diagnostic préimplantatoire et de design d'enfant, de neurotechnologies d'augmentation, du projet d'Apple de lire vos pensées via les AirPods, de l'absence totale de débat démocratique sur ces sujets, de la société du commentaire vue de l'intérieur d'un ministère, des inégalités creusées par les campagnes de santé publique, de l'avenir de la Sécurité sociale, et de ce qui, selon Olivier, peut encore nous redonner de l'élan.J'ai questionné Olivier sur ce qui se joue vraiment autour des neurotechnologies, sur pourquoi il n'existe pas encore de "conférence d'Asilomar" pour le cerveau, et sur ce que ça dit de nous, collectivement, qu'on laisse ces décisions aux seuls acteurs privés.Un épisode dense, parfois inconfortable, et finalement assez stimulant j'espère.CITATIONS MARQUANTES"Si ton collègue d'à côté parle 50 langues, comprend plus vite que toi et peut bosser 12 heures sans pause, à un moment donné, tu n'auras plus le choix.""Il n'y a pas eu de conférence d'Asilomar pour les neurotechnologies. Pas 150 chercheurs réunis pour dire : est-ce qu'on veut vraiment aller là ?""L'IA, ça nous est littéralement tombé dessus. Aucun État n'était préparé. Et c'est déjà la preuve qu'on est incapables d'anticiper les révolutions technologiques.""80% de tes dépenses de santé, c'est dans ta dernière année de vie.""Je claque la porte à la radicalité de tous bords, celle qui veut nous faire croire qu'on n'a plus la capacité de s'entendre."QUESTIONS DE L'INTERVIEWLe diagnostic préimplantatoire est interdit en France, mais légal ailleurs. Où en est-on techniquement, et à quelle fiabilité ?Le film Bienvenue à Gattaca date de 1997. Est-ce qu'il a pris une ride ?Comment la société du commentaire a-t-elle changé la gestion d'une crise sanitaire comme le Covid ?On a été l'un des pays les plus vaccinés. Comment tu expliques ça, vu le niveau de défiance au départ ?Si tu devais regérer le Covid aujourd'hui, qu'est-ce que tu ferais différemment ?Les neurotechnologies d'augmentation, c'est de la science-fiction ou c'est pour demain ?À quel moment est-ce qu'on nous a demandé notre avis sur ces technologies qui peuvent lire nos pensées ?Interdire les réseaux sociaux aux moins de 15 ans, comme le propose Macron, ça sert à quoi ?L'IA va-t-elle remplacer les médecins, ou simplement transformer leur métier ?Qu'est-ce qui te donne encore de l'élan, dans ce monde qui semble s'effondrer ?Les idées partagées1. La neuroaugmentation n'est pas de la science-fiction, c'est du business Apple a breveté des AirPods capables de capter les ondes cérébrales. L'industrie du gaming développe des casques qui lisent les émotions. Des milliards sont investis sans aucun contrôle démocratique. Le glissement est lent, mais il est en cours. Pourquoi c'est important : on ne nous demande pas notre avis, et c'est précisément le problème. (~28:00)2. Il n'existe pas de "conférence d'Asilomar" pour le cerveau Dans les années 80, les généticiens avaient eux-mêmes demandé l'interdiction du clonage humain. Aujourd'hui, rien d'équivalent n'existe pour les neurotechnologies. Le Chili est le seul pays au monde à avoir inscrit des "neurodroits" dans sa constitution. Pourquoi c'est important : ce vide est une décision par défaut, et elle se prend sans nous. (~32:00)3. Les campagnes de santé publique creusent les inégalités Contra-intuitif mais documenté : plus tu investis dans la prévention grand public, plus tu touches ceux qui en ont le moins besoin. Les messages "mangez des fruits", "faites du sport" n'atteignent pas les ouvriers qui passent 2h30 dans les transports chaque jour. Pourquoi c'est important : la santé publique telle qu'on la pratique produit exactement l'inverse de ce qu'elle prétend faire. (~1:05:00)4. L'IA ne remplacera pas le médecin, mais changera radicalement ce qu'il fait L'IA est déjà plus performante que l'oeil humain en imagerie. Elle va diagnostiquer plus tôt, trouver des biomarqueurs inattendus, raccourcir la durée de formation. Mais la valeur humaine se concentrera sur l'information de première main, celle que l'IA ne peut pas avoir. Pourquoi c'est important : la question n'est pas "IA ou médecin" mais "quel médecin dans un monde avec IA". (~53:00)5. La souveraineté sanitaire est déjà perdue, et Trump l'accélère 98% des matières premières pour les médicaments vitaux viennent d'Asie. Un médicament sur quatre innovants n'est pas distribué en France faute d'accord sur le prix. Et Trump vient d'imposer aux labos que les nouveaux médicaments ne coûtent pas plus cher aux Américains qu'aux Européens, ce qui va mécaniquement augmenter les prix en Europe. Pourquoi c'est important : une décision d'un homme peut mettre à mal tous les systèmes de protection sociale européens. (~45:00)RÉFÉRENCES CITÉESFilms / SériesBienvenue à Gattaca (1997) — Ethan Hawke, Jude Law — modèle d'une société basée sur la sélection génétique (~06:00)Fondation (série Apple TV+, d'après Asimov) — clone d'un dirigeant à trois âges différents (~11:00)Personnalités / Figures historiquesJacques Monod, généticien prix Nobel français, qui disait dans les années 80 qu'on ne pourrait jamais toucher au génome humain (~09:00)Pierre Larocque (gaulliste) et Ambroise Croizat (communiste), co-fondateurs de la Sécurité sociale (~1:03:00)Eduardo Paes, maire de Rio, qui a proposé de rendre les GLP-1 accessibles dans les favelas (~1:10:00)Sam Altman, patron d'OpenAI, rencontré par Olivier Véran (~35:00)Pasteur, cité comme exemple de découverte scientifique accidentelle (~57:00)Nathalie Polony, citée sur la dépendance militaire européenne aux équipements américains (~42:00)Concepts / Références intellectuellesConvention d'Asilomar (Californie) — réunion des généticiens ayant conduit à l'interdiction du clonage (~08:00)La "fenêtre d'Overton" — mécanisme de déplacement des sujets acceptables dans le débat public (~14:00)Le positivisme et le Temple positiviste de Rio — la morale comme sommet de toutes les sciences (~40:00)La Société du commentaire — mentionné comme titre de livre (~12:00)Conation — concept d'élan vital évoqué avant l'enregistrement (~48:00)Rapport UNESCO sur les neurotechnologies (~36:00)Réforme constitutionnelle chilienne sur les neurodroits (~33:00)Étude nord-américaine : 40% des élèves exerceront un métier qui n'existe pas encore (~07:00)F2SOI / Soitec — microprocesseur français présent dans tous les smartphones (~44:00)TIMESTAMPS 00:00 Introduction — Comment redonner envie du futur face aux polycrises 02:30 Choix des embryons et diagnostic préimplantatoire — ce qui est légal, ce qui ne l'est pas 07:00 Bienvenue à Gattaca : la science-fiction est devenue une piste sérieuse 10:00 Clonage humain : l'interdiction d'Asilomar et ce qui se passerait si c'était à refaire aujourd'hui 14:00 La société du commentaire — comment les médias fabriquent des sujets de débat 18:00 Covid : la gestion de crise vue de l'intérieur, la désinformation, le vaccin 24:00 Peut-on envisager une nouvelle crise sanitaire ? Les scénarios sur la table 28:00 Neurotechnologies : du progrès naturel à la lecture de pensées par AirPods 35:00 Neuroaugmentation et transhumanisme — pourquoi on n'a pas notre conférence d'Asilomar 40:00 Le positivisme et la morale comme boussole du progrès technologique 42:00 Souveraineté numérique et sanitaire — la dépendance stratégique de l'Europe 48:00 Conation, IA générative et burn-out de ChatGPT — ce qui se perd quand on fait faire 53:00 IA et médecine — diagnostic, formation, remplacement ou transformation ? 58:00 L'information de première main comme seule plus-value humaine face à l'IA 01:01:00 Ce qui donne encore de l'élan à Olivier Véran — le lien, les amis, la solidarité 01:05:00 Santé publique et inégalités — pourquoi les campagnes touchent les mauvaises cibles 01:10:00 Sécurité sociale : retour aux fondamentaux, le panier de soins, les arbitrages 01:17:00 Robots en médecine — chirurgie de précision, micro-robots, logiciels 01:22:00 Claquement de porte et ouverture — contre la radicalité, pour le débat 01:25:00 La politique, un métier ? Pourquoi Olivier Véran pense que non Suggestion d'autres épisodes à écouter : #376 Quelles stratégies pour reconstruire une France autonome et résiliente? Avec Arnaud Montebourg - Partie 1 (https://audmns.com/UxFQjUM) [SOLO] On s'en fout de la longévité : guide pour ceux que ça saoule mais qui veulent quand même vivre en bonne santé (https://audmns.com/naYIAVO) #294 Les secrets de la longévité en bonne santé avec Docteur Christophe de Jaeger (https://audmns.com/yiQROWd)Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Olivier Véran est évidemment l'ancien mnistre de la santé qui a eu à gérer la crise du Covid mais c'est égaleemnt un médecin neurologue. Depuis, il a quitté la politique pour mieux l'observer, et il regarde le monde avec une lucidité qui, franchement, m'a surpris.On s'était croisés autour d'un café pour parler d'un sujet qui m'obsède : comment nos cerveaux vont évoluer à l'ère de l'IA. Et la conversation est allée beaucoup plus loin que prévu.Dans cet épisode, nous parlons de diagnostic préimplantatoire et de design d'enfant, de neurotechnologies d'augmentation, du projet d'Apple de lire vos pensées via les AirPods, de l'absence totale de débat démocratique sur ces sujets, de la société du commentaire vue de l'intérieur d'un ministère, des inégalités creusées par les campagnes de santé publique, de l'avenir de la Sécurité sociale, et de ce qui, selon Olivier, peut encore nous redonner de l'élan.J'ai questionné Olivier sur ce qui se joue vraiment autour des neurotechnologies, sur pourquoi il n'existe pas encore de "conférence d'Asilomar" pour le cerveau, et sur ce que ça dit de nous, collectivement, qu'on laisse ces décisions aux seuls acteurs privés.Un épisode dense, parfois inconfortable, et finalement assez stimulant j'espère.CITATIONS MARQUANTES"Si ton collègue d'à côté parle 50 langues, comprend plus vite que toi et peut bosser 12 heures sans pause, à un moment donné, tu n'auras plus le choix.""Il n'y a pas eu de conférence d'Asilomar pour les neurotechnologies. Pas 150 chercheurs réunis pour dire : est-ce qu'on veut vraiment aller là ?""L'IA, ça nous est littéralement tombé dessus. Aucun État n'était préparé. Et c'est déjà la preuve qu'on est incapables d'anticiper les révolutions technologiques.""80% de tes dépenses de santé, c'est dans ta dernière année de vie.""Je claque la porte à la radicalité de tous bords, celle qui veut nous faire croire qu'on n'a plus la capacité de s'entendre."QUESTIONS DE L'INTERVIEWLe diagnostic préimplantatoire est interdit en France, mais légal ailleurs. Où en est-on techniquement, et à quelle fiabilité ?Le film Bienvenue à Gattaca date de 1997. Est-ce qu'il a pris une ride ?Comment la société du commentaire a-t-elle changé la gestion d'une crise sanitaire comme le Covid ?On a été l'un des pays les plus vaccinés. Comment tu expliques ça, vu le niveau de défiance au départ ?Si tu devais regérer le Covid aujourd'hui, qu'est-ce que tu ferais différemment ?Les neurotechnologies d'augmentation, c'est de la science-fiction ou c'est pour demain ?À quel moment est-ce qu'on nous a demandé notre avis sur ces technologies qui peuvent lire nos pensées ?Interdire les réseaux sociaux aux moins de 15 ans, comme le propose Macron, ça sert à quoi ?L'IA va-t-elle remplacer les médecins, ou simplement transformer leur métier ?Qu'est-ce qui te donne encore de l'élan, dans ce monde qui semble s'effondrer ?Les idées partagées1. La neuroaugmentation n'est pas de la science-fiction, c'est du business Apple a breveté des AirPods capables de capter les ondes cérébrales. L'industrie du gaming développe des casques qui lisent les émotions. Des milliards sont investis sans aucun contrôle démocratique. Le glissement est lent, mais il est en cours. Pourquoi c'est important : on ne nous demande pas notre avis, et c'est précisément le problème. (~28:00)2. Il n'existe pas de "conférence d'Asilomar" pour le cerveau Dans les années 80, les généticiens avaient eux-mêmes demandé l'interdiction du clonage humain. Aujourd'hui, rien d'équivalent n'existe pour les neurotechnologies. Le Chili est le seul pays au monde à avoir inscrit des "neurodroits" dans sa constitution. Pourquoi c'est important : ce vide est une décision par défaut, et elle se prend sans nous. (~32:00)3. Les campagnes de santé publique creusent les inégalités Contra-intuitif mais documenté : plus tu investis dans la prévention grand public, plus tu touches ceux qui en ont le moins besoin. Les messages "mangez des fruits", "faites du sport" n'atteignent pas les ouvriers qui passent 2h30 dans les transports chaque jour. Pourquoi c'est important : la santé publique telle qu'on la pratique produit exactement l'inverse de ce qu'elle prétend faire. (~1:05:00)4. L'IA ne remplacera pas le médecin, mais changera radicalement ce qu'il fait L'IA est déjà plus performante que l'oeil humain en imagerie. Elle va diagnostiquer plus tôt, trouver des biomarqueurs inattendus, raccourcir la durée de formation. Mais la valeur humaine se concentrera sur l'information de première main, celle que l'IA ne peut pas avoir. Pourquoi c'est important : la question n'est pas "IA ou médecin" mais "quel médecin dans un monde avec IA". (~53:00)5. La souveraineté sanitaire est déjà perdue, et Trump l'accélère 98% des matières premières pour les médicaments vitaux viennent d'Asie. Un médicament sur quatre innovants n'est pas distribué en France faute d'accord sur le prix. Et Trump vient d'imposer aux labos que les nouveaux médicaments ne coûtent pas plus cher aux Américains qu'aux Européens, ce qui va mécaniquement augmenter les prix en Europe. Pourquoi c'est important : une décision d'un homme peut mettre à mal tous les systèmes de protection sociale européens. (~45:00)RÉFÉRENCES CITÉESFilms / SériesBienvenue à Gattaca (1997) — Ethan Hawke, Jude Law — modèle d'une société basée sur la sélection génétique (~06:00)Fondation (série Apple TV+, d'après Asimov) — clone d'un dirigeant à trois âges différents (~11:00)Personnalités / Figures historiquesJacques Monod, généticien prix Nobel français, qui disait dans les années 80 qu'on ne pourrait jamais toucher au génome humain (~09:00)Pierre Larocque (gaulliste) et Ambroise Croizat (communiste), co-fondateurs de la Sécurité sociale (~1:03:00)Eduardo Paes, maire de Rio, qui a proposé de rendre les GLP-1 accessibles dans les favelas (~1:10:00)Sam Altman, patron d'OpenAI, rencontré par Olivier Véran (~35:00)Pasteur, cité comme exemple de découverte scientifique accidentelle (~57:00)Nathalie Polony, citée sur la dépendance militaire européenne aux équipements américains (~42:00)Concepts / Références intellectuellesConvention d'Asilomar (Californie) — réunion des généticiens ayant conduit à l'interdiction du clonage (~08:00)La "fenêtre d'Overton" — mécanisme de déplacement des sujets acceptables dans le débat public (~14:00)Le positivisme et le Temple positiviste de Rio — la morale comme sommet de toutes les sciences (~40:00)La Société du commentaire — mentionné comme titre de livre (~12:00)Conation — concept d'élan vital évoqué avant l'enregistrement (~48:00)Rapport UNESCO sur les neurotechnologies (~36:00)Réforme constitutionnelle chilienne sur les neurodroits (~33:00)Étude nord-américaine : 40% des élèves exerceront un métier qui n'existe pas encore (~07:00)F2SOI / Soitec — microprocesseur français présent dans tous les smartphones (~44:00)TIMESTAMPS 00:00 Introduction — Comment redonner envie du futur face aux polycrises 02:30 Choix des embryons et diagnostic préimplantatoire — ce qui est légal, ce qui ne l'est pas 07:00 Bienvenue à Gattaca : la science-fiction est devenue une piste sérieuse 10:00 Clonage humain : l'interdiction d'Asilomar et ce qui se passerait si c'était à refaire aujourd'hui 14:00 La société du commentaire — comment les médias fabriquent des sujets de débat 18:00 Covid : la gestion de crise vue de l'intérieur, la désinformation, le vaccin 24:00 Peut-on envisager une nouvelle crise sanitaire ? Les scénarios sur la table 28:00 Neurotechnologies : du progrès naturel à la lecture de pensées par AirPods 35:00 Neuroaugmentation et transhumanisme — pourquoi on n'a pas notre conférence d'Asilomar 40:00 Le positivisme et la morale comme boussole du progrès technologique 42:00 Souveraineté numérique et sanitaire — la dépendance stratégique de l'Europe 48:00 Conation, IA générative et burn-out de ChatGPT — ce qui se perd quand on fait faire 53:00 IA et médecine — diagnostic, formation, remplacement ou transformation ? 58:00 L'information de première main comme seule plus-value humaine face à l'IA 01:01:00 Ce qui donne encore de l'élan à Olivier Véran — le lien, les amis, la solidarité 01:05:00 Santé publique et inégalités — pourquoi les campagnes touchent les mauvaises cibles 01:10:00 Sécurité sociale : retour aux fondamentaux, le panier de soins, les arbitrages 01:17:00 Robots en médecine — chirurgie de précision, micro-robots, logiciels 01:22:00 Claquement de porte et ouverture — contre la radicalité, pour le débat 01:25:00 La politique, un métier ? Pourquoi Olivier Véran pense que nonHébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Disminuyen llamadas de emergencia al 911 en la CDMX Papa León XIV recuerda legado de FranciscoIsaac Asimov, legado vigente de la ciencia ficciónMás información en nuestro podcast#grc

Where Real Edge in Quant Trading Actually Comes FromDo not watch this podcast. This is Part 1 with Samir Varma, and in Part 2 we go into great detail about his quantitative trading. In the Collective, he gives our members some specific instructions on how to measure risk differently – this stuff isn't fluff. But in Part 1, I got derailed into quantum physics, determinism, AI, Asimov's three laws of robotics and more. One of my favourite shows – but the first show I've done that isn't about trading! It's the warm-up you need to make the most of Part 2 though, and if I didn't publish it, I'd be depriving a great many of you who will no doubt find this stuff as fascinating as myself! Still, if you only have time for strict ‘trading content', fair warning, skip this. Let me know your thoughts…

Dorothy de Kok skims author bios with mild suspicion—aware they matter, but quietly convinced they are proof that even the greatest writers have writer's block when they have to write about themselves … and here we are. Her own storytelling journey began at twelve, when she attempted her first novel: an earnest and spectacularly terrible fan fiction of Enid Blyton's Magic Faraway Tree series. She finished it, reread it proudly, then lost it, which is just as well, as it was a threat to great literature. Since then, Dorothy has collected an unusually broad résumé: high school English teacher, academic editor, safe-house director, real estate agent, and hopeful but horrendous gardener. She has spent years listening to people's stories—students, clients, and survivors—and those voices sometimes find their way into her fiction. Michael T. Kuester is an engineer by day, science fiction writer by night. An avid hiker and cooking enthusiast, Michael is a passionately curious individual, and lives his life by the motto “In the twenty-first century, there's no excuse for an unanswered question”. Over the years he's devoted free time to researching everything from the history of naval warfare to the origins of potato chips. Michael resides in Cincinnati, Ohio, with his partner Jen, their two children, and their freeloader housemate Eddie the Cat. His work will be appearing soon in Analog Science Fiction and Fact, but L. Ron Hubbard Presents Writers of the Future Volume 42 will mark his professional debut. Mark McWaters Mark McWaters has long been a fan of all things that go bump in the night, scratch at the door, or blow cold air on the back of your neck. From a very young age, he carried a pad and pencil around with him, composing poems to give to girls. He devoured all the Hardy Boys and Doc Savage books he could get his hands on and expanded his reading horizons from there. Robert Heinlein, Asimov, and Bradbury, whetted his appetite for Sci-Fi. Ann Rice's Interview With The Vampire blew his mind. A scene from Stephen King's Salem's Lot haunts him to this day. And Watcher by Dean Koontz made him a lifelong fan.

Matt and Michael watched Artemis 2 launch into obscurity, then went deeper. They explore the mathematical impossibility of DNA arising by chance: 10^77 odds versus 10^56 atoms in the Milky Way. They discuss self-organized criticality and why systems collapse suddenly. They examine Asimov's Seldon Crisis: the inevitable binary choice point. They contrast Lucifer's "knowledge for myself" with Socratic and Christ-like humility. They unpack nihilism versus meaning through Lord of the Rings archetypes. They examine why David's census brought divine punishment. The seed must die to become a plant. The question is not whether you will die. It is whether you will die for something that matters. Cheers y'all

This week we bounce from toy-filled offices and pirate obsessions into brain-powered computers and philosophical robot chaos—before wrapping things up with a very French film discussion and next week's Book Club pick. Real Life Devon kicks things off by giving some Texans a tour of his office—which, unsurprisingly, is packed with what can only be described as adult toys. Naturally, this spirals into a broader conversation about how we're all just kids with slightly more expensive hobbies. No shame there. Ben brings us into the world of VR with Walkabout Mini Golf's Hollywood course (check it out here: https://www.mightycoconut.com/hollywood). But it's not all smooth putting—there's some concern about rising course prices, less frequent releases, layoffs, and reduced iOS support. The vibe is shifting a bit, and not necessarily in a good way. Devon also caught Project Hail Mary in IMAX and came away seriously impressed—calling it one of the best book adaptations he's seen. High praise. That leads into some appreciation for Andy Weir's writing style and a detour into the Cheshire Crossing webcomic, because apparently we're doing high-concept sci-fi and surreal fairy tale mashups in the same breath now. Meanwhile, Steven has fully committed to pirates. A Pirates of the Caribbean rewatch has set the tone, but instead of just watching, he's gearing up to run a full-on Pirate Borg game (https://www.limithron.com/pirateborg). There's also a shoutout to Land of Eem, a muppet-inspired TTRPG being run by Christina's husband—which sounds delightfully weird—but yeah… pirates won this week.   Future or Now Devon brings in something that sounds like it's straight out of a dystopian sci-fi script: data centers powered by human brain cells. Yes, actual biological neurons. https://futurism.com/robots-and-machines/staff-brain-data-center-spine-fluid https://futurism.com/new-computer-neural-network-human-brain-cells These systems require daily maintenance—including swapping out cerebrospinal fluid—which is not a sentence you expect to hear in a tech discussion. What started as experiments where neurons learned to play Pong (https://www.npr.org/sections/health-shots/2022/10/14/1128875298/brain-cells-neurons-learn-video-game-pong) has now escalated to… potentially running DOOM. Because of course it has. If you want to go deeper into the company behind it, check out https://corticallabs.com/. But the real question is: at what point does this stop being "cool innovation" and start being "ethically complicated nightmare fuel"? Ben counters with some technophilosophy, specifically the Three Inverse Laws of Robotics (https://susam.net/inverse-laws-of-robotics.html). It's a fun twist on Asimov's classic rules—basically flipping the script to highlight how things could go very wrong. If Devon's segment is about can we do this?, Ben's is asking should we?   Book Club Next week's read: Through the Machine by P.A. Cornell https://www.lightspeedmagazine.com/fiction/through-the-machine/ This week, the crew dives into Arco!—which you can find here: https://tv.apple.com/us/movie/arco/umc.cmc.16jgcgmdg48xptfayroel0yvy Ben gives a full rundown of the film, clearly coming in as the biggest fan of the group. Steven jumps in with context on the cast and sums up the experience as "very French," which tells you a lot if you've ever watched… well, anything French. Devon lands somewhere in the middle—appreciating a lot of what the movie does, even if it doesn't fully sweep him away. If you're into sci-fi that edges a little too close to reality, pirate RPG chaos, or just three guys trying to figure out where the line is between "cool tech" and "we've gone too far," this episode's got you covered. And if you want more—bonus episodes, unedited chaos, Discord access, and all the weird extras—head over to patreon.com/sciencefactionpodcast and join us there.

En esta ocasión la cena se prepara en el apartamento de Rubin. 🥠🍗🥩🍰🍸 Un círculo discreto de seis caballeros que se reúnen una vez al mes, siempre en el mismo restaurante, siempre en la misma mesa, y siempre con una única regla: cada cena debe tener un invitado, y ese invitado debe estar dispuesto a hablar y a ser interrogado. 🕷🕷🕷🕷🕷🕷🕸 El Club de los Viudos Negros', de Asimov. CENA DE MARZO 🍷🍰 📍 Ristorante Casa Milano – Milano, Italia 🧭 Coordenadas: 45°28'19.8"N 9°12'06.4"E Isaac Asimov los creó como un homenaje al placer de conversar, al arte de observar y a la deliciosa costumbre de no quedarse con la primera respuesta. Acomódate. El vino está servido. La cena va a comenzar. Y tú… Tú también estás invitado. Los Viudos Negros son un club de seis hombres que se reúnen una vez al mes en un reservado del restaurante Milano de Nueva York. Cada noche uno de ellos preside el encuentro y tiene el derecho de llevar un invitado, al que interrogan. Al principio sólo se reunían para comer y conversar pero últimamente uno de ellos plantea algún tipo de problema o delito. Los miembros del club buscan respuestas complejas a los enigmas planteados y luego Henry, el camarero, descubre la simple verdad. El club está formado por:🍷🍷🍷🍷🍷🍷 Geoffrey Avalon, Jeff. Alto y delgado, espesas cejas negras, bigote recortado y barbita gris. Fue oficial durante la II Guerra Mundial y trabaja como abogado en derecho patentario. Mario Gonzalo, pintor y gran artista. Thomas Trumbull. Rostro moreno y arrugado, permanentemente descontento. Experto en códigos, alto consejero del gobierno. Emmanuel Rubin, Manny. Bajito, mide 1,55, barba rala, lentes gruesos. Fue predicador adventista con 15 años y conoce bien la Biblia. Está casado y es escritor de novelas policíacas. James Drake. Bigote. Vive en New Jersey. Especialista en química orgánica con amplios conocimientos en literatura. Roger Halsted, calvo. Profesor de matemáticas en una escuela secundaria. Escribe la Ilíada en quintillas y todos los meses les recita una estrofa. Es miembro de los Irregulares de Baker Street. Henry Jackson, el camarero. Unos 60 años, sin arrugas. Es humilde y honrado. Entre ellos se llaman doctores y si uno es doctor de carrera le denominan doctor doctor. Para ayudarse en sus investigaciones cuentan con diccionarios, biblias y las obras de Shakespeare en su biblioteca. Y recuerda que puedes seguirnos en Telegram, YouTube, Instagram y X, y si este podcast te acompaña, te inspira o te gusta lo que hago, puedes hacerte fan y apoyar la nave. Tu energía mantiene viva esta aventura sonora.🚀 Aquí te dejo la página directa para apoyarme: 🍻 https://www.ivoox.com/support/552842 ¡¡Muchas gracias por todos tus comentarios y por tu apoyo!! Voz y sonido Olga Paraíso, Música Epidemic sound con licencia premium autorizada para este podcast. ⏩BIO Olga Paraíso: https://instabio.cc/Hleidas PLAYLIST EL CLUB DE LOS VIUDOS NEGROS EN Ivoox https://go.ivoox.com/bk/11290149 Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

In a future where emotion is engineered and desire is regulated, a respected surgeon begins to sense a flaw in the system he helps enforce. When doctrine collides with instinct, the cost of perfect control becomes impossible to ignore. The Body-Masters by Frank Belknap Long. That's next on The Lost Sci-Fi Podcast.Thanks to David who recently bought us two coffees. “One of my favorite podcasts, and my favorite science fiction 'cast. Please add some more Asimov and Robert Heinlein. Your podcast has given me a new appreciation for Philip K Dick.”Thanks David! There aren't many more Isaac Asimov stories that are in the public domain that we haven't already narrated, but there are a handful, we will find one and add it to the podcast as soon as possible. Unfortunately, there aren't any more stories by Robert Heinlein left for us to narrate. Happy to hear that you have enjoyed the stories by Philip K. Dick, his stories are always fun to narrate.If you would like to buy us a coffee there is a link in the description.☕ Buy Me a Coffee - https://lostscifi.com/coffeeWe have developed a new found appreciation for Frank Belknap Long's work as of late. Look for another of his creative works in the next week or so.Today's tale was published in Weird Tales Magazine in February 1935 on page 189, The Body-Masters by Frank Belknap Long…Next on The Lost Sci-Fi Podcast, An old spaceman lies dying while a rocket prepares for launch nearby. As the final countdown approaches, he fights for one last moment that proves his life in space meant something. Death of a Spaceman by Walter M. Miller.☕ Buy Me a Coffee - https://lostscifi.com/coffee===========================

This week on the podcast, Patrick and Tracy welcome John Chu, author of The Subtle Art of Folding Space. About The Subtle Art of Folding Space: Ellie's universe?and this one?is falling apart. Her ailing mother is in a coma; her sister, Chris, accuses her of being insufficiently Chinese between assassination attempts; and a shadowy cabal of engineers is trying to hijack the skunkworks, the machinery that keeps the physics of each universe working the way it's supposed to. Daniel, Ellie’s cousin, has found an illicit device in the skunkworks?one that keeps Ellie’s comatose mother alive while also creating destabilizing bugs in the physics of this universe. It’s not a good day. If she can confront her mother's legacy and overcome her family's generational trauma, she just might find a way to preserve the skunkworks and reconcile with her sister…but digging into her family's past is thornier than it seems, and the secrets she uncovers will force Ellie to choose between her family and the universe itself. About John Chu: John Chu is a microprocessor architect by day, a writer, translator, and podcast narrator by night. His fiction has appeared or is forthcoming at Boston Review, Uncanny, Asimov’s Science Fiction, Clarkesworld, and Tor.com among other venues. His translations have been published or is forthcoming at Clarkesworld, The Big Book of SF and other venues. He has been a finalist for the Hugo, Nebula, Locus, and Ignyte Awards, won the Best Short Story Hugo for “The Water That Falls on You from Nowhere.” and won the Best Novelette Nebula for “If You Find Yourself Speaking to God, Address God with the Informal You.” His novel, The Subtle Art of Folding Space will be published by Tor in April, 2026. This week's picks: John: Harmattan Season by Tochi Onyebuchi Tracy: Japanese Curry Blocks Patrick: The 13th Warrior Links: John Chu’s Newsletter Tracy Townsend on BluSky Patrick Hester on Instagram The Functional Nerds Patreon Page © 2026 Patrick Hester The post Episode 697-With John Chu appeared first on The Functional Nerds.

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! El demonio de dos centímetros, relato de Isaac Asimov, publicado en 1988. En esta historia, el propio narrador nos cuenta cómo conoció en un congreso literario a George Bitternut, un hombre excéntrico y aparentemente ingenuo que afirma poseer un diminuto demonio llamado Azazel. Esta criaturita, de apenas dos centímetros de altura, posee poderes sobrenaturales que George utiliza, según él, para ayudar a otras personas. Con su característico ingenio, Asimov mezcla fantasía, humor y sátira, recordándonos que incluso los demonios más pequeños pueden causar los mayores enredos. Gracias a los Fans taberneros Galácticos de la nave por hacer esto posible. Abrazo a todos desde la Taberna. Por cierto… ¿has mirado ya en tu bolsillo? La base musical pertenece a Epidemic Sound con licencia premium para este podcast Sonido y Voz Olga Paraíso BIO Olga Paraíso 🛑BIO Olga Paraíso: https://instabio.cc/Hleidas Mi primer libro Crónicas Vampíricas de Vera disponible en Tapa dura, ebook y bolsilibro en Amazon https://amzn.eu/d/0auGL790 Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

A inteligência artificial escreve bem, responde rápido e parece entender tudo. Mas será que entende mesmo? Neste episódio, partimos de HAL 9000, de 2001:Uma Odisseia no Espaço, para explorar um fenômeno curioso do nosso tempo: máquinas que soam inteligentes… e pessoas cada vez mais dispostas a acreditar. Com Asimov, Bradbury e Arthur C. Clarke como guias, refletimos sobre um risco silencioso da era da IA: quando a aparência de inteligência começa a substituir o pensamento humano.

Hay relatos que merecen volver a cruzar el umbral. Hoy regresa Yo, robot, AL76 de Isaac Asimov, en una versión cuidada con mimo, ajustada para que la experiencia sea más agradable y envolvente. Nada cambia en su esencia: siguen latiendo las leyes, las dudas, la frontera delicada entre máquina y conciencia. Las Tres Leyes han sido grabadas especialmente para este podcast con la voz del maestro Camilo García, Director y actor de doblaje. ❤️ 💙 El extraordinario divulgador científico y maestro de la narrativa que es Asimov nos ofrece esta magnífica historia de Susan Calvin, relato de una aproximación profunda al fenómeno de los robots, en el cual este autor es autoridad indiscutible. En sus relatos de robots, recogidos en Yo, Robot (1950) y El segundo libro de robots (1964), Asimov fijó las tres leyes de la robótica, que ponen al robot al servicio total del hombre y, aunque algunas veces parecen violarlas, se acaba descubriendo que esto sucede en aras de un interés superior de la Humanidad. Pero mientras los robots evolucionan hacia un modelo androide de inteligencia y lucidez moral superiores a las de los hombres, éstos, movidos por sus impulsos egoístas, incuban una profunda hostilidad hacia ellos. Una producción de Historias para ser leídas © voz y sonido Olga Paraíso Intro Las tres leyes, Voz Camilo García La base musical pertenece a Epidemic Sound con licencia Premium autorizada Art by Onder-Kilavuz Isaac Asimov contesta a tus preguntas de Ciencia (Audiolibro completo): https://go.ivoox.com/rf/68011824 - Voz Camilo García. BIO Olga Paraíso 🛑BIO Olga Paraíso: https://instabio.cc/Hleidas Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Geldik Epstein meselesine. Asimov üstadım kusura bakma seni şöyle köşeye alıcaz birazcık Geçtiğimiz günlerde, en az 20 senedir devam eden bir dizi soruşturmayla ilgili milyonlarca belge lap diye önümüze kondu, ve Epstein Dosyaları yeniden herkesin gündemine oturdu. Fakat bence işin yanlış kısımları gündeme oturdu. Bugünkü amacım dosyalara derinlemesine dalıp sapla samanı ayırmak değil; ben dosyaların içeriğinden ziyade toplanma sürecine odaklanacağım. Eğer siz de benim gibiyseniz, bu hengame içinde, her şeyin nasıl başladığını unutmuş olabilirsiniz. İşin sapkınlık tarafı, buzdağının görünen kısmı. Konular: 00:00 Yanlış gündem 04:20 Failing upwards 07:37 Victoria's Secret 09:58 İlk soruşturma 14:25 Grand Jüri 17:56 FBayyyyy 19:57 Gelecek bölüm Kaynaklar: NYT Haber: Scams, Schemes, Ruthless Cons: The Untold Story of How Epstein Got Rich - Bu bölüm reklam içermektedir

Rick Partlow is that rarest of species, a native Floridian. Born in Tampa, heattended Florida Southern College and graduated with a degree in History anda commission in the US Army as an Infantry officer.His lifelong love of science fiction began with Have Space Suit---Will Travel andthe other Heinlein juveniles and traveled through Clifford Simak, Asimov, Clarkeand on to William Gibson, Walter Jon Williams and Peter F Hamilton. Andsomewhere, submerged in the worlds of others, Rick began to create his ownworlds.He has written over 60 books in a dozen different series, and his short stories have beenincluded in twelve different anthologies.He is currently writing the best-selling Drop Trooper series for Aethon Books, a mil-SF alieninvasion series, as well as the Taken to the Stars series for Variant Publishing.He lives in northern Wyoming with his wife and a goofy blackmouth cur. Besides writing andreading science fiction and fantasy, he enjoys outdoor photography, hiking and camping. Moreinformation can be found about Rick at: Rick Partlow | Aethon Books

Feb 20, 2026: AI is already deciding who gets hired, promoted, and fired — and there are almost no rules governing how it does any of that. In this episode, I'm building those rules. I call them the Five Laws of AI in the Workplace, constructed in the spirit of Asimov's Three Laws of Robotics — rigorous enough to pressure-test, honest enough to admit where they fall short. We cover the Law of Transparency — why 30 million job applicants in 2024 were evaluated by algorithms they never knew existed. The Law of Human Primacy — why a human rubber-stamping an AI decision isn't the same as a human making one. The Law of Honest Attribution — why AI washing is one of the most underreported forms of corporate dishonesty happening right now. The Law of True Cost Accounting — why the real costs of workforce cuts don't disappear, they just move to taxpayers and communities. And the Law of Reversibility — the full Klarna story, and why 31% of companies that made AI-driven layoffs ended up worse off than if they'd never done it.

AI is reshaping national power and governance. Drawing on India's digital public infrastructure, Jayant Sinha and Vasant Dhar discuss innovation and sovereignty over compute, data consent and privacy by design in Episode 103 of Brave New World. Useful Resources: 1. Jayant Sinha2. Eversource Capital3. India's Green Startups: Jayant Sinha and Sandeep Bhammer4. Nandan Nilekani5. Brave New World Episode 15: Nandan Nilekani on an Egalitarian Internet6. Brave New World Episode 50: Pramod Varma on India's Digital Empowerment 7. iSpirit8. Unique Identification Authority Of India9. Unified Payments Interface10. M-Pesa11. DigiYatra. 12. Australia has banned social media for kids under 16. 13. Data Empowerment and Protection Architecture, DEPA14. Paul Gruenwald, Global Chief Economist, S&P Global15. Daron Acemoglu, Simon Johnson, James A. Robinson. 16. Neeraj Chopra17. Thinking with Machines, The Brave New World of AI: Vasant Dhar18. Battery Smart19. Nutrifresh20. Zero Cow21. RevFin22. Upside Foods23. Brave New World Episode 93: Uma Valeti on Cultivating Meat24. Brave New World Episode 101: Deepak Chopra On Consciousness and Reality25. Geoffrey Hinton26. Asimov's Laws27. Jonathan Haidt28. The Anxious Generation: Jonathan Haidt Check out Vasant Dhar's newsletter on Substack. The subscription is free! Order Vasant Dhar's new book, Thinking With Machines

By day, Lori Selke is an ESL instructor (and stealth adjunct composition instructor) who lives in Oakland, California. But beneath that wholesome and mild-mannered facade lurks a zine veteran, an education and social justice academic, a queer writer and activist, and a general thorn in the side of normativity. Their fiction has been previously published inNightmare Magazine, Strange Horizons, and Asimov's; their nonfiction has appeared at NPR.org, Offbeat Home, The Billfold, and the SF Weekly, as well as the open-access academic journals Refuge and the International Journal of Human Rights Education. This story originally appeared in Outlaw Bodies (2012).Narration by: Will StaglWill Stagl lives in Tucson, Arizona and is a proud member of the StarShipSofa team. He's like to kick off the new year by inviting any listeners interested in narration to contact him at williamstagl@gmail.com to join our stellar team of volunteer voice actors.Support this show http://supporter.acast.com/starshipsofa. Hosted on Acast. See acast.com/privacy for more information.

A lone explorer confronts a force that fractures identity, memory, and destiny itself. In a place where time refuses to behave, survival depends on facing what you were, what you are, and what you may yet become. Time Trap by Frank Belknap Long. That's next on The Lost Sci-Fi Podcast.Discovered another 5 star rating and review today on Audible from Laura Van Wormer. “Scott Miller's narration of old science fiction short stories is just wonderful. Of course, so is the material! Everyone from Ray Bradbury to HG Wells to Lovecraft to Asimov to Jack London and on and on... But there are also the one-timer sci-fi short-story writers that are relatively unknown and Miller provides a little background on them all. Extremely well done. Bravo, Scott Miller!”Thank you for that awesome review Laura. We don't care where you listen, we're just glad you're here and if you want to give give us a 5 star review, if you think we deserve it, we would appreciate it.This is a different kind of time travel story. Frank Belknap Long, a master of weird fiction, explores what happens when time itself turns predatory. Let's do a little time traveling of our own, to the Winter 1948 issue of Planet Stories magazine and discover this eerie tale on page 109, Time Trap by Frank Belknap Long…Next on The Lost Sci-Fi Podcast, Across unimaginable scales of time and space, a young explorer risks everything to prove that intelligence can bloom in the most unlikely conditions. When his search for reason turns into an accusation of harm, the fate of two civilizations hangs on what it truly means to be rational.Buy Me a Coffee - https://lostscifi.com/coffeeNewsletter - https://lostscifi.com/free/Rise - http://Lostscifi.com/riseX - http://Lostscifi.com/xInstagram - https://www.instagram.com/lostscifiguyFacebook - https://lostscifi.com/facebookYouTube - https://lostscifi.com/youtube❤️ ❤️ Thanks to Our Listeners Who Bought Us a Coffee$200 Someone$100 Tony from the Future$75 James Van Maanenberg$50 MizzBassie, Anonymous Listener$25 Someone, Eaten by a Grue, Jeff Lussenden, Fred Sieber, Anne, Craig Hamilton, Dave Wiseman, Bromite Thrip, Marwin de Haan, Future Space Engineer, Fressie, Kevin Eckert, Stephen Kagan, James Van Maanenberg, Irma Stolfo, Josh Jennings, Leber8tr, Conrad Chaffee, Anonymous Listener$15 Every Month Someone$15 SueTheLibrarian, Joannie West, Amy Özkan, Someone, Carolyn Guthleben, Patrick McLendon, Curious Jon, Buz C., Fressie, Anonymous Listener$10 Anonymous Listener$5 Every Month Eaten by a Grue$5 TLD, David, Denis Kalinin, Timothy Buckley, Andre'a, Martin Brown, Ron McFarlan, Tif Love, Chrystene, Richard Hoffman, Anonymous Listenerhttps://lostscifi.com/podcast/time-trap-by-frank-belknap-long/Please participate in our podcast survey https://podcastsurvey.typeform.com/to/gNLcxQlk Hosted on Acast. See acast.com/privacy for more information.

FOLLOW RICHARD Website: https://www.strangeplanet.ca YouTube: @strangeplanetradio Instagram: @richardsyrettstrangeplanet TikTok: @therealstrangeplanet EP. #1293 Machines That Dreamed Us First: How Science Fiction Built the Future We Now Live Tonight, in Part Two of our four-part series, we plunge into the mechanical heart of science fiction—and the chilling realization that our world of drones, algorithms, and AI was imagined long before it was built. From Čapek's enslaved robots to Asimov's hopeful laws, from Wells's remote-controlled war machines to Orwell's watchful screens, the blueprints were drawn in stories. Professor Mark Brake reveals how these fictions didn't just predict the future—they scripted it. Are we masters of our creations, or have the machines we dreamed up already begun reshaping humanity itself? The déjà vu is real. The reckoning is now. GUEST: Professor Mark Brake is a leading science communicator and author exploring the hidden feedback loop between imagination and innovation. He is the author of FutureWorld: Where Science Fiction Becomes Science and numerous bestselling books examining the real science behind Star Wars, superheroes, time travel, and the multiverse. Known for translating complex ideas into gripping narratives, Brake argues that science fiction doesn't merely entertain — it quietly shapes the laboratories, technologies, and futures we eventually inhabit. LINKS: https://www.instagram.com/profmbrake BOOKS: FutureWorld: Where Science Fiction Becomes Science The Science of Star Wars The Science of Harry Potter The Science of Star Trek The Science of Doctor Who The Science of Jurassic World The Science of James Bond The Science of Sherlock The Science of The Beatles The Science of Super Heroes SUPPORT OUR SPONSORS!!! GHOSTBED GhostBed is a family-run company, founded and still led by real manufacturing experts with more than 20 years of mattress-making experience. They're not marketers chasing trends. They're craftsmen focused on building quality you can feel, night after night. Every GhostBed mattress is designed with premium materials, proven cooling technology, and their exclusive ProCore™ layer—a targeted support system that reinforces the center of the mattress where your body's heaviest. It helps keep your spine aligned and your back supported while you sleep. Right now, during GhostBed's Holiday Sale, you can get 25% off sitewide for a limited time. Just go to GhostBed.com/strangeplanet and use promo code STRANGEPLANET at checkout. That's GhostBed.com/strangeplanet, promo code STRANGEPLANET. Upgrade your sleep with GhostBed—the makers of The Coolest Beds in the World™. Some exclusions apply, see site for details. FOUND – Smarter banking for your business Take back control of your business today. Open a Found account for FREE at Found dot com. That's F-O-U-N-D dot com. Found is a financial technology company, not a bank. Banking services are provided by Lead Bank, Member FDIC. Join the hundreds of thousands who've already streamlined their finances with Found. HIMS - Making Healthy and Happy Easy to Achieve Sexual Health, Hair Loss, Mental Health, Weight Management START YOUR FREE ONLINE VISIT TODAY - ⁠HIMS dot com slash STRANGE⁠ ⁠https://www.HIMS.com/strange⁠ MINT MOBILE Premium Wireless - $15 per month. No Stores. No Salespeople. JUST SAVINGS Ready to say yes to saying no? Make the switch at MINT MOBILE dot com slash STRANGEPLANET. That's MINT MOBILE dot com slash STRANGEPLANET BECOME A PREMIUM SUBSCRIBER!!!⁠ ⁠https://strangeplanet.supportingcast.fm⁠ Three monthly subscriptions to choose from. Commercial Free Listening, Bonus Episodes and a Subscription to my monthly newsletter, InnerSanctum. Visit ⁠https://strangeplanet.supportingcast.fm⁠ Use the discount code "Planet" to receive $5 OFF off any subscription. We and our partners use cookies to personalize your experience, to show you ads based on your interests, and for measurement and analytics purposes. By using our w Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://strangeplanet.supportingcast.fm/