Podcasts about Isaac Asimov

LANCE ROBINSON Author & Writers of the Future Winner – Biography Lance Robinson has had a strong interest in Science Fiction since elementary school reading The Hobbit, Lord of the Rings, and Dune being a fan of Ray Bradbury, Isaac Asimov and Arthur C. Clarke as well as writing his first novel before finishing high school. Lance lives in the city of Thunder Bay, in northwestern Ontario, Canada, in the traditional territory of the Anishnaabeg peoples and Fort William First Nation. When he's at his day job, he's a social scientist whose work revolves around the human dimensions of managing natural resources. He generally doesn't put an “environmental science fiction” label on his work, but environmental themes and musings about human beings' economic, cultural and spiritual relationships with nature are often woven into his fiction. Find out more at: LanceRobinsonWriter.com LISA SILVERTHORNE Author & Writers of the Future Winner – Biography Lisa Silverthorne writes mythic, emotionally charged fantasy, romance, mystery, and science fiction—stories of lost souls, destiny, devotion, redemption, irreverent humor, the sacred cost of power, and the right to belong. An award-winning storyteller with almost 35 novels and over 150 short stories, she blends vivid prose, elemental world-building, and character-driven intensity into tales that are sometimes irreverent, sometimes heartbreaking, but always mythic. Her stories also blend intimate slow burn with apocalyptic stakes, creating emotionally resonant worlds where love endures even in ruin. She is drawn to characters who break, endure, and find their way back to themselves—and to each other—against impossible odds. Her worlds are rich with magic, danger, and heart‑deep connection, always anchored by the belief that even in darkness, love remains a transformative force. She lives in Las Vegas with a skittish tabby Maine Coon, a brash grey ragdoll, and a feisty tortie Persian kitten. Find out more at: www.LisaSilverthorne.com United Public Radio & UFO Paranormal Radio www.uprntalkradio.com

Elon Musk decided not to use a traditional mundane concrete block dummy payload for the first launch of the SpaceX Falcon Heavy launch vehicle to test his rockets lifting capabilities. After orbiting the Earth for 5 hours a third burn by the Falcon second stage placed a 2,750 pound payload consisting of a 2008 Tesla Roadster, Starman mannequin, Hot Wheels toy model roadster, electronic copy of Isaac Asimov's Foundation novels, and plaque etched with the names of more than 6,000 Space X employees into orbit around the Sun. Surrealistic video from a camera mounted ahead of this unusual spacecraft showed the red roadster and its dummy pilot with the Earth in the background. My Catalina Sky Survey teammate Greg Leonard joined with astronomers around the world in tracking starman and his booster rocket. The JPL Horizons Software system used 269 such ground-based optical astrometric observations spanning Feb 8 through 13 of 2018 to determine that Tesla and Starman will cross the orbit of Mars on July 31, 2018 and reach it's furthest distance from the Sun on November 9, 2018 before coming back to it's closest point about the Sun near the Earth's orbit on August 14, 2019. After that Starman and Tesla will continue to orbit the Sun for millions of years to come as a physical testament to human ingenuity and our sense of humor.

Alejandro Dolina, Patricio Barton, Gillespi Introducción • 0:01:14 Apertura y presentación del equipo • 0:01:33 Mundial terminado y saturación de la previa al próximo Anuncios • 0:02:43 Funciones de La noche extraviada en el Teatro Real de Córdoba • 0:05:48 Gira de La venganza por Avellaneda, Buenos Aires, El Palomar y Montevideo • 0:07:09 Presentación de La conversación infinita en Junín Segmento Humorístico • 0:07:33 Informe: cómo detectar si un vecino es mala gente • 0:09:06 Vecinos que tiran basura al patio y el absurdo circuito de desechos • 0:12:24 El vecino que se queda con las pelotas ajenas • 0:17:38 Faena clandestina, olores y límites del derecho de propiedad • 0:19:54 Obra vecina ruidosa que hace temblar la casa • 0:24:42 Vecinos ruidosos, boliches clausurados y reclamos • 0:27:58 Corrimiento de medianeras, zanjas y fantasías de progreso • 0:29:55 Árboles, ramas invadidas y disputa por las toronjas • 0:31:26 Rampa de garage, vereda pública y autos del taller • 0:33:08 El vecino que espía en silencio • 0:31:50 Relato de un auto destrozado y un dueño que observa sin intervenir • 0:35:36 Herramientas prestadas que nunca vuelven • 0:37:08 Ruidos de departamentos, intimidad escandalosa y ascensores bulliciosos • 0:40:17 Humedad, arreglos cosméticos y objetos acumulados en el palier • 0:42:33 Fiesta de consorcio imaginaria y amenazas vecinales veladas Mensajes de oyentes • 0:46:55 Medianeras, dedicatorias radiales, Calvino y comienzos literarios • 0:53:23 Programas que suceden al propio, audiencias y fotógrafos de plaza • 0:56:06 Caída de Kodak y Polaroid ante la fotografía digital • 0:58:40 Ave lira, posible visita a Santa Fe y comentario sobre Le Pétomane Segmento Dispositivo • 1:02:55 Isaac Asimov: vida, obra y formación • 1:05:55 Un guijarro en el cielo y su argumento • 1:09:13 Yo, Robot, cerebro positrónico y tres leyes de la robótica • 1:11:48 Fundación y el Imperio Galáctico • 1:12:38 Asimov divulgador y sus libros de ciencia e historia • 1:13:28 Predicciones para 2014 y balance de aciertos • 1:15:50 Muerte de Asimov, VIH ocultado y homenaje final • 1:18:04 Lo que vendrá ♫ Juego / Verdadero o falso • 1:23:13 Trivia sobre bebidas • 1:23:26 Coca-Cola, whisky, champagne y cerveza antigua • 1:27:24 Absenta, cocaína en la receta original y cerveza medieval • 1:32:10 Margarita, 7UP, té y vino picado • 1:35:22 El vino rebajado en Grecia y cierre del juego Sordo Gancé / Manuel Moreira • 1:39:10 Presentación del segmento musical • 1:39:54 “Suerte loca” ♫ • 1:42:31 “Wonderwall” ♫ • 1:45:20 “Samba de una nota sola” ♫ • 1:46:49 “El último café” ♫ • 1:49:17 Cierre musical y despedida (Resumen generado automáticamente con IA, puede contener errores)

Send us Fan MailWhat sci fi writer Isaac Asimov's 1951 novel Foundation says about now and about Star Wars.Reviving the past at Harrogate's Royal Hall with the brilliant young Cuore Chamber  Orchestra.Reviews: Yard Act's new album, You're Gonna Need a Little MusicRolling Stones' new album Foreign TonguesKeep in touch with Two Big Egos in a Small Car:X@2big_egosFacebook@twobigegos

At first it sounds ridiculous. But it might be inevitable. Guest host Steve Levitt talks to a team that hopes to push A.I. infrastructure off the planet. Part one of a two-part series.)   SOURCES: Blaise Agüera y Arcas, vice president and fellow at Google, C.T.O. of technology and society. Travis Beals, senior director of product management at Google, Project Suncatcher lead. Will Marshall, co-founder and C.E.O. of Planet Labs.   RESOURCES: What Is Intelligence?, by Blaise Agüera y Arcas (2025). "Towards a future space-based, highly scalable AI infrastructure system design," by Blaise Agüera y Arcas, Travis Beals, Maria Biggs, Jessica V. Bloom, Thomas Fischbacher, Konstantin Gromov, Urs Köster, Rishiraj Pravahan, and James Manyika (Google, 2025). Reason, by Isaac Asimov (1941).   EXTRAS:  "Are Our Tools Becoming Part of Us?," by People I (Mostly) Admire (2024). Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In a landmark episode the team discusses an alarming AI jailbreak, the EU's continuing efforts to weaken Google's monopolies and LG's ingenious but deplorable trick of using Windows Update to distribute adware. Our Hot Hardware candidate is the Devolo BE6500, the cheapest 6GHz Wi-Fi 7 router we've ever seen.

Capítulo 296 de «Audiolibros y Relatos» y broche final de la octava temporada con la sección «El Crítico Cítrico», el spin-off más didáctico, irreverente y desvergonzado. En esta ocasión, Xavi y el inimitable Emilio Dollar Baby se enfrentan a uno de los mayores gigantes de la ciencia ficción: Isaac Asimov, para descubrir todos los secretos de su extraordinario relato «La última pregunta», una obra que lleva décadas fascinando a lectores de todo el mundo y que muchos consideran uno de los mejores cuentos de ciencia ficción jamás escritos. Pero eso no es todo. Quédate hasta el final porque, para despedir esta temporada como se merece, te espera un regalo sorpresa muy especial. Una forma de dar las gracias por haber acompañado a «Audiolibros y Relatos» durante estos meses y de dejarte con ganas de volver en la próxima temporada. ¡No te lo pierdas! Narrado por Xavi Villanueva y Alícia Martínez. Síguenos en Patreon: https://www.patreon.com/AudiolibrosyRelatos !Nuevo episodio! Ya puedes disfrutar de (REGALO EXTRA) EL CRÍTICO CÍTRICO. Isaac Asimov en ABISMOfm.

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

John Bond is an author, publishing consultant, former editor, former librarian, and lover of books who has been immersed in books and the expression of ideas for over 35 years. His new novel is "To the End of Reckoning," high-concept speculative thriller that asks what happens when history stops being debatable. As a Publishing Consultant, John brings a deep understanding of getting started on writing and then publishing a book. He is also the author of a three book series, The Little Guides, which cover writing a book, but also authoring journal articles and giving poster presentations (by Bloomsbury Publishing). We talk about books, Stephen King, nightmares, Isaac Asimov, his book "To the End of Reckoning," the craft of writing, plotting, where ideas come from, taking inspiration everywhere we find it, screenplays, recording audiobooks, how the industries of writing and publishing are changing, libraries, poetry, Riverwinds Consulting, self-publishing, querying agents, differnt types of editors, what makes a book great, creating realities in books, speculative fiction, literary fiction, sleep, goodreads, and more.

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.

https://youtu.be/Ji1OZYu1r1Y Charles Fry, Founder and CEO of CODE Éxitos, is helping businesses hire AI in enterprise to transform software engineering, modernize product development, and build intelligent connected systems.  In this conversation, Charles introduces The Agentic Org Chart Framework: Hire Systems Thinker, Look for Failed Entrepreneurs, and Have AI Replace “Trade Skills”. He explains why AI is fundamentally changing software development, how organizations must redesign their structures for an AI-first workforce, and why systems thinking is becoming more valuable than technical specialization. Charles also discusses how the rise of agentic software development is reshaping the future of SaaS, why combining AI with connected hardware creates a stronger competitive advantage, and what business leaders must do to successfully navigate AI-driven transformation. — Hire AI in Enterprises with Charles Fry  Good day. Steve Preda here, and I’m talking with Charles Fry, the Founder and CEO of CODE Éxitos, building cyber-physical systems for mid-market and enterprise companies, as well as full-stack web, mobile, and SaaS development. Charles, welcome back to the show.  Hey, I’m happy to be here. It’s always great to see you, and I’m looking forward to our chat. Yeah. It’s so interesting to talk to you because the last time we had you on the show, three or four years ago, it was still before the AI age was fully upon us.  Right.  Your business was kind of a different business. I’ve been following you on LinkedIn, and I see that you’ve evolved your approach, and now you’re an AI-first company. So tell me a little bit about how that came about, this whole evolution, and how you found your new focus?  Yeah. Wow. It’s been that long since we were on the show. It was a lot of fun, but here we are. You’re right. AI really sort of came out of left field. I’ll skip all the technical things that suddenly made AI an achievable thing. But really, at the beginning of 2024—and somebody can fact-check my timeline—ChatGPT, if you were aware of it, was kind of passing the Turing test. It was giving pretty reasonable answers to natural-language questions.  And we were like, “Wow, this is interesting.” At first, we were helping our clients think about how to build those capabilities into their products, something we still do.Share on X But by mid-’24, late ’24, it became pretty obvious that one of the best applications of large language models—and expert systems, we used to call them that—is writing software. And so by early to mid-’25, the systems were suddenly not novelties. They were credible at what they were doing, and they were gaining momentum in the quality and credibility of the software they were producing.  Now, CODE Éxitos was started largely to create an opportunity for entrepreneurs and enterprises that needed, let’s call it, garden-variety, well-done software. We built that through the Americas to arbitrage labor rates in Latin America and leverage the time zones. So it was essentially an offshore, blended, hybrid-team model. Honestly, by the middle of 2025, the AI tools for software engineering were as good as, or better than, 50 percent of the human developers that we employed.  And at some point, as a business owner, when you’re out there representing yourself, and your product is yourself, and you’re representing that to clients, you have a moral and ethical obligation to say, “Hey, I think I can still give you the best product that you’re looking for, but I’m going to do it in a different way.” So beginning in late 2025, we were hard into the pivot. Today, all of our software development is done agentically. There are still people. It’s not a complete dark factory. But our mid-level performers and below, we exited them from the business, which caused a lot of human turmoil. I mean, we were at around 100 people. A lot of human turmoil. Our clients were going through the same thing. We were watching what was happening in their organizations and what the leadership demands were.  We just made the decision to lean into it. And here we are, almost mid-’26 now, and it’s actually going really well. Now, AI, of course, anyone who opens an internet browser anymore sees it. AI is everywhere. You read the newspaper. AI is going to change everything.  Every application has an AI layer to it.  Yeah.  Right? Every SaaS application has a button that says, “Use AI here.”  My view, at least—and these are the things people should probably give me some credibility on—I’m going to keep my views focused on how AI applies to the software industry, my industry, and its direct impact. We see, and we have clients working on, things like AI in customer service, the legal department, and the finance department. We do all of those things internally—agentic first, AI first. But those really aren’t my industry. I’m not ready to make a sweeping prognosis about how AI is going to change capitalism in the United States. But in the software industry, it’s a fundamental change. And it’s not done yet.  So what’s your vision? Where is everything going? What’s it going to look like three years from now?  Well, I’m not smart enough to know that. But I think the patterns we've seen—and again, within the world of writing software, and making that a broad category of activitiesShare on X —are going to continue to consolidate and converge to where humans are important, but they might be only 10 to 20 percent of the input to the process. I really do think we’re going to see a day, sometime in the three-to-five-year time horizon, where a large amount of software will be written and managed by other software systems.  There’s no technical reason to prevent that. For example, I was talking to one of our clients today, a CIO at a great company. A couple hundred million dollars in revenue. A really well-run business. A sizable internal IT team. But there’s a lot of ongoing maintenance and attention required. Building the software is just the beginning of a five-to-ten-year life cycle. So I think in the near term we’re going to see that building the software becomes, “Okay, we got that figured out.” That’s a largely solved problem.  We’ll then progress to the problem of: “Hey, this software has been in production for five years.” “It needs updates.” “It needs attention.” “It needs maintenance.” “It needs to scale.” More software systems will take care of that. Fewer and fewer humans will be involved in that kind of work. So I think that’s where the software industry is headed. I think it’s going to be 60 to 80 percent smaller in human capital than it is today. Sometime soon. Yeah. I really do think it’s about as close as I want to get to calling it an extinction event. Let’s put it that way. Some people say SaaS companies are going to go out of business, and it’s all going to be agents running around doing things for us. But other people say SaaS companies are actually the SOP for whatever activity is out there, and you need that structure. The SaaS application provides that structure. You don’t want agents running in an unstructured way. You’d rather have these SaaS applications. What’s your view?  I think that’s a good way of looking at it. If you’re a dinosaur like I am, back in the late 1980s or early 1990s, when you wrote software for a company, everything was custom software because there were no packaged software products, no SaaS platforms. But over the last 20 years, I think SaaS companies have become, for a lot of businesses, exactly what you said. They’re the embodiment of best practices. If you take something like HubSpot, which I’m sure you and many of your audience are familiar with, you really don’t need to customize it.  You just need to follow its baseline processes because they have thousands of customers who have helped refine the sales motions that work. So I think there’s some truth to that. The problem SaaS systems face is that the barrier to competitive entry is much, much lower. If you look at a company like Salesforce—and I think I’ve led three different Salesforce deployments back when I was a CIO or CTO—that software really shows its age. It’s layers and layers of complexity built to serve a wide audience. It’s great. It’s expensive. Emerging companies don’t need that. They can effectively vibe-code their own CRM system, and it works. I think the threat for big SaaS companies is twofold.  One is that the next generation of customers is going to onboard very differently into those systems than the previous generation.Share on X I don’t know what that onboarding ramp is going to look like. The second problem is there’s very little defensibility in having a pure software product. And the other part of our intro—you talked about cyber-physical systems. We’re spending more and more of our product development cycles on hardware-related products, things that have a nexus in the physical world. Here’s a good example. I’m wearing one of these health rings. This Oura Ring. Oura, yeah.  There’s a lot of amazing hardware in here that justifies my monthly subscription for the app. The app we could recreate pretty easily. But the development, manufacturing, and distribution of this physical item create a much higher barrier for a competitor to overcome. So more and more of our clients are companies that have a physical product they either want to make smarter or make more connected.  That’s really what it comes down to. And that’s a pretty exciting space. But for a pure-play SaaS company, I think it’s going to get tough. The competitive pressure is going to be intense. And the barrier to entry is going to be really low. It’s not even about engineering cost anymore because the cost of engineering has dropped so much with AI. It’s almost like it went full circle. You had all these product businesses that wanted to become service businesses to create recurring revenue. And now the service businesses—the SaaS businesses—want to become product businesses to create a barrier to entry, improve retention, or reduce disruption. Isn’t that interesting?  Yeah. I hadn’t thought about it exactly that way. Maybe the pushback would be that these professional services businesses wanted to have a technology play or a platform. That’s interesting. But I think we’re going to see AI, at least in technology, continue to lower the barrier to entry. It will allow much faster experimentation with pure software ideas. And we’re focused on the things where the AI robots can’t play. They’re not going to cut your grass.  They might guide the machine that cuts your grass, but they’re not going to cut your grass. So I think that while the turmoil is still sorting itself out in the pure software world, we’re going to see a whole new set of opportunities open up. We’ll be able to build truly smart devices. Devices that think for themselves. Devices that are aware of the world around them. They can participate with us in our day-to-day work. That’ll be a lot of fun. I think we still have some rough sailing ahead of us as AI sorts itself out.  Isn’t it true that people prefer to interact with a purpose-designed device rather than a software product? And maybe an app is kind of a device that is software, or maybe that’s the overlap there. But I know there are some things I’d rather have on my phone, even though it’s complicated because there are so many other things on it. But if I have a single-purpose device, like you have your Oura Ring, it’s easier to interact with. There’s no complexity, and then it lowers the accessibility.  Yeah. An area of active study is something called HMI, or Human-Machine Interface. Again, back in the ’80s and ’90s, it meant things like: Are the buttons big enough for someone to push? Does a red light always mean a bad thing, and a green light always mean a good thing? But now that’s expanded into the kind of research in psychology and sociology that you’re talking about, Steve. Some of that is really amazing.  I’m sure you’ve seen them, and your audience has seen them. You can find these videos on YouTube. There are humanoid robots. It took a while for researchers to figure out that a robot doesn’t actually need a head. It can have what is essentially a torso with arms and legs. The head doesn’t really need to be there. But a robot with no head freaks people out. Yes. People don’t like it. So the robotics engineers put heads on them. Then they thought, “Well, if we’ve got a head here, we’ll just put a face on it.” But if the face is too realistic, it gives people the creeps.  Yeah.  So people didn’t like faces on them. If you look at the current generation of humanoid autonomous robots, they have these, I don’t know, sort of pseudo-faces. They kind of look like Halloween jack-o’-lanterns or something. They’re not scary, but they’re somewhere in the middle. Anyway, the things you’re talking about are really fascinating.  I mean, Isaac Asimov wrote about humanoid robots and all the challenges that come with them. What happens when they have a human-like appearance? What happens when people think they are actually people, but they just don’t age? All those things have been explored. But listen, I’d like to switch gears here and ask you this. Right now, in this AI age, what drives your business? What drives growth in your business?  This part is truly fascinating to me. Everyone is working off the same timeline now, which isn’t a very long timeline. We don’t have a lot of experience to draw on. Much more quickly than when the internet became commercially available—I was there when that happened too— the adoption of AI as a fundamental change happened in a matter of months, compared to several years for the internet.Share on X Some people also compare it to the adoption of mobile phones, which you mentioned.  But this has happened very fast. A year ago, we were talking to sophisticated technical buyers who said, “Yeah, I’m still on the fence about whether I like agentic software development.” That doesn’t happen anymore. Everybody says, “Yeah, we’re using it too.” What we’re seeing now is that it’s evolved so quickly and had such a fundamental impact that people don’t know not only how to manage it inside their business, but also how to deploy it. It’s really disruptive. And this is where you’re a pro.  It’s really disruptive to organizations. So in less than a year, we’ve gone from, “Hey, should I let my developers use AI?” to now everybody using AI. And the leading teams, including ours, can produce high-quality commercial code faster than organizations can absorb it, and faster than org charts can adapt to the change. Our engineering teams have to adapt to the pace of the business, not the other way around. Because we get clients saying, “Hey, you guys are producing too much.” “We can’t check everything.”  “We haven’t finished testing last week’s new features and capabilities yet.” “We can’t take another batch of features and capabilities this week.” So we’re seeing a lot of organizational behavior change starting to come out of this. When we’re talking to C-level executives and senior leaders, that’s where most of the conversations are today. “How do I retool my organization to capture the benefits?”  Yeah. Because what I see is that the more AI you apply, the faster decision velocity becomes. And the complexity of understanding the whole picture, connecting the dots, increases. So you need a different kind of person who can operate at that higher level of contextualization. Do you see the same thing?  We do. Software engineering and product development had matured into a pretty predictable set of job descriptions and capabilities. The business processes were really well worn. We knew what the product owner did. We knew what a project manager did. We knew what a tech lead did. Et cetera, et cetera. A lot of these, frankly, became trade skills. “Hey, I’m really good at writing code.” Or, “I’m really good at doing QA, but I’m not really a systems thinker.” “I’m not an entrepreneur.” “I’m not a creator.” Pick your fuzzy lens of choice.  That’s really what AI displaces right now. AI displaces those trade skills and, frankly, does them better and cheaper. There’s no way to dispute that. What we look for now, and I think where the trend is going with our clients, is systems thinkers. We have enough agentic tooling built on our own internal platform that the people operating and building products for our clientsShare on X —we refer to our team as digital creators—come from a variety of backgrounds. You don’t have to be a computer science major. You do have to have some domain experience. You do have to be a systems thinker. You do have to understand what business value you’re trying to create. But as far as actually writing really good code, nobody’s really doing that now. It’s being done automatically.  If you have a couple of gray hairs like I do, you’ll remember back 20 years ago when we talked about the war for talent. That’s what everybody was looking for. They wanted people with these highly specialized engineering skills. I think there’s a new war for talent. It’s going to be harder to pin down because we’re going to be looking for whole-systems thinkers as opposed to technical specialists. Because AI will be the technical specialist we need, regardless of the business domain. So what do you do to infuse systems thinking in your business?  Wow. I wish I had a good answer for that. I don’t even know how to recruit these kinds of people right now. I’ll be that candid with you and your listeners. I was talking to a couple of my senior people, and I said, “Maybe we should go look for failed entrepreneurs.” Which is kind of a heretical thing to say. But as an entrepreneur, I know firsthand that it doesn’t always work. The fact that the business fails doesn’t necessarily mean you, as an entrepreneur, are a personal failure.  Entrepreneurs are about the only, I don’t know, primary source I can think of for people who have done a little bit of everything. They’re systems thinkers. Maybe they didn’t get it right, but they could. So we talked about that. I don’t know if Disney still does it, but Disney was phenomenal at producing these kinds of people through its internal training programs. We’re not big enough to compete with Disney. But to answer your question, how do we teach it? I can’t honestly say that we do. Because we’re still figuring out what it is that we would even teach.  Well, it’s a new type of SOP that’s needed in the business. So what are the best practices for building an AI workforce? That still needs to be defined.  Yeah. For larger organizations, our clients that are running larger organizations have the same problem. All of a sudden, their org chart is broken. What I mean by that is, if you look at the way we’ve traditionally built and scaled businesses, you have this pretty large cadre of managers who give you what Eliyahu Goldratt called the span of control, your degree of leverage. When you’re younger, you hear things like, “Ah, my manager doesn’t even do anything.” You’ve probably heard that before. “Oh, my manager doesn’t really do any work.” “He just comes in and bugs me.”  It’s not entirely wrong because we rely on that manager’s experience to be spread across six, eight, or ten other people and supervise their work. So managers don’t really do a whole lot of delivering the work themselves. I think AI is going to change that. I know AI is already changing that inside technical teams. All of a sudden, we have clients saying, “My org chart doesn’t translate to the way my business operates under this new agentic model.” That’s problem number one. Problem number two is, “I have people on my team who are good people and good contributors, but there’s no box for them in the new org chart that I think works with an agentic workflow.” Does that make sense?  Yeah.  So two things have happened suddenly. We see a lot of press—although I think it’s moderating a little bit now—about how kids coming out of university are having trouble getting entry-level jobs. True enough. I think the other area where org charts are collapsing is managers who don’t actually produce any output. Supervising other managers and compiling the weekly report of reports just isn’t a valuable job function, even at the best of times. And now—I hate to say this—but it’s useless. So I think there’s a lot more work we’re going to have to do with our clients, and ourselves, on what an org chart should look like. And what the expectations are for people doing work inside a company that’s moving aggressively toward leveraging AI capabilities in what we would normally call white-collar job functions. Yeah. Some years ago, I thought about the org chart being broken. The top-down hierarchical org chart—I think it’s completely broken. In my head, the org chart is more like an amoeba, where you have the entrepreneur and the manager in the middle as yin and yang. Different departments report to different people. And you’ve got these pizza teams all over, actually delivering teamwork. But that’s fascinating. Yeah, fascinating topic. So who are the ideal customers for you? If they have the right kind of projects, what are the right kinds of customers and the right kinds of projects for CODE Éxitos that would be interesting to look at?  There are two types of clients that we focus on and that we can help quite a bit. The first type of client is one that has a large, established internal software development and product development process, and they’re trying to figure out how to adapt, modernize it, and harness AI. We can come in, and we have a very opinionated point of view. We can have a couple of conversations, and they either like the direction our telescope is pointed in and want us to help, or they say, “No, we think we’re going to do it a different way.”  And that’s okay, too. Because right now, nobody really knows the final answer. We call those engineering transformation projects. Somebody says, “Hey, we have a team. Can you help us get better?” The second type of client we like is one that has this physical connection challenge. I’ll give you an example. We have a client that primarily makes pumps and motors. They put those pumps and motors into very specific industrial applications across North America. They wanted those pumps and motors connected to a network.  They wanted to collect data from those pumps and motors to help their customers. Once we built the data collection, the electronics, and the connectivity, the data started coming in. Now there are a lot of AI-related things we can do with that data. We’re beginning to work on what you can think of as supervisory agents that watch what’s going on. They’re much more robust than the old filters that just looked for exceptions and red lights. Those are the kinds of clients we really help on the product side.  Sometimes they come to us with an idea scribbled on a napkin. It’s like, “Hey, we have this system or this process that we envision, and we need somebody to help us build it.” We’ll do the electronics, the AI, and the software engineering. And that becomes a complete system. So, more systems thinking. Yeah. And then you combine software with hardware. Then you have AI agents doing much of the coding, management, and maintenance of these systems.  Yeah, that’s right. This is not a client of ours, by the way, but the story I’m going to tell is fascinating. It’s a second-degree connection that I chatted with. He runs a $100 million-a-year manufacturing company. I think he’s second or third generation—I can’t remember which. He knows the business. He grew up in the industry. He’s in the process of transforming the company so that he can basically run the whole business from his phone.  He’s applying AI to his internal business functions like finance and accounting. He’s done some really amazing stuff. He’s automating the manufacturing process, the machines, and the feedback systems. It’s just stunning what this guy is already able to do. He just picks up his phone and says, “Yeah, I want to run my company from here.” I think he’s going to be able to do it. I think we’re going to see more of that emerge. Yeah. That’s fascinating. The race is for the first one-person unicorn, right?  I think that’s already happened. I don’t know if you’ve seen this. I can send it to you. There was a New York Times article a couple of months ago about a guy—not a tech guy, a marketing guy. He and his brother run an online company that generates $1.8 billion a year in sales. And it’s just the two of them. Wow!  Spoiler alert: As I remember, they sell weight-loss drugs. He’s a marketing guy with a tech background. He figured out all these marketing channels where, if you order Ozempic or whatever online, it basically drop-ships from the pharmaceutical company to you, and he gets a cut. But he said in the article, “At one point, we were doing $300 million a month in sales.” He goes, “Well, technically, I’m not a one-man company because I had to hire my brother to help me out.” So it’s the two of them.  That’s pretty great. Yeah. That’s definitely a unicorn. So if you’re listening to this and you have an enterprise company, and you want to harness AI in your business, create agentic systems, streamline your operations, and make your company more efficient and productive, then reach out to Charles Fry at CODE Éxitos. Any last thoughts for listeners who are thinking about building a business in the AI age? What advice would you give them? I don’t know that it’s changed a whole lot. Building a business is always hard work. For any listener who wants to chat about any of these topics or see if we’re the right fit, they can always reach out and contact me. The conversation is free, and I usually learn something from it. But no, I would say that things are different. It doesn’t mean they’re wrong or better. I think they’re just different. It’ll be interesting to see how all of this unfolds over the next few years.  Yeah.  I’m in it for the journey.  We’re living in interesting times. So, Charles Fry, Founder and CEO of CODE Éxitos, thanks for coming on the show. And if you enjoyed this show, make sure you follow us on YouTube and Apple Podcasts. Give us a review, and stay tuned because every week I bring an amazing entrepreneur onto the show. Thanks for coming. Thanks for listening.  Thanks, Steve. Important Links: Charles's LinkedIn Charles's Website

The 46th anniversary of the debut of this program happened earlier this week.  We decided to revisit it this week, as more footage of the show has found its way online in the last 6 years like Isaac Asimov talking about the future, Chuck Norris doing some martial arts, and Phil Donahue supposedly dating Bill Murray's grandmother.  Also, a sitting senator was supposedly an occasional guest?!

Neste episódio, Tiago Meira mostra como autores como Arthur C. Clarke, Frank Herbert, Isaac Asimov, Philip K. Dick, Ray Bradbury e Robert Heinlein usaram a fé, o misticismo e a espiritualidade para refletir sobre o futuro da humanidade.De 2001: Uma Odisseia no Espaço e Duna a Star Wars, Fundação, VALIS e Fahrenheit 451, descobrimos como a ficção científica transformou Deus, profecias, messias e transcendência em algumas de suas ideias mais fascinantes.

A lonely Massachusetts crossroads has been claiming the lives of lawmen for over two hundred years—each one stabbed in the back in a spot so open no killer could possibly reach him, while the only sound in the dark is a woman's cold laughter.Look for this podcast on Apple Podcasts, Spotify, iHeart Radio, Amazon Music, Pandora, TuneIn Radio, and other podcast apps. Get a list of free listening apps here: https://weirddarkness.tiny.us/OTRCHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = Show Open00:01:30.028 = CBS Radio Mystery Theater, “The Talking Women” (February 06, 1978) ***WD00:47:04.966 = 2000 Plus, “The Giant Walks” (November 08, 1950) ***WD01:15:57.050 = The Unexpected, “Nightmare” (October 31, 1948)01:29:30.334 = Unsolved Mysteries, “Writing On The Wall” (October 05, 1949) ***WD01:44:12.246 = Dark Venture, “Hideout” (January 07, 1947) ***WD02:09:03.788 = The Weird Circle, “Dr. Jekyll and Mr. Hyde” (1945)02:36:35.446 = The Whistler, “Danger Is a Beautiful Blonde” (March 05, 1945)03:07:19.667 = Strange Wills, “Madman's Diary” (August 17, 1946)03:37:02.993 = Witch's Tale, “Haunted Crossroads” (October 17, 1932) ***WD04:01:39.046 = X Minus One, “Hostess” (December 12, 1956)04:29:47.425 = ABC Mystery Time, “Four Fatal Jugglers” (1957) ***WD04:53:37.561 = Strange Adventure, “Diamonds In The Desert” 04:56:54.720 = Show Close(ADU) = Air Date Unknown(LQ) = Low Quality***WD = Remastered, edited, or cleaned up by Weird Darkness to make the episode more listenable. Audio may not be pristine, but it will be better than the original file which may have been unusable or more difficult to hear without editing.CUSTOM WEBPAGE: https://weirddarkness.com/WDRR0692This installment of #RetroRadio — old-time radio in the dark — gathers twelve vintage broadcasts spanning crime, science fiction, the supernatural, and the just plain strange, drawn from CBS Radio Mystery Theater, 2000 Plus, The Unexpected, Unsolved Mysteries, Dark Venture, The Weird Circle, The Whistler, Strange Wills, The Witch's Tale, X Minus One, Masters of Mystery, and Strange Adventure.CBS Radio Mystery Theater opens the night with "The Talking Women," written by Sam Dan and starring Ed Ames, as host E.G. Marshall introduces wealthy executive Robert Bayswell, a man whose endless "business trips" to New York have quietly covered a five-year affair with his mistress, Lolly "Dolores" Harbison. When Bayswell decides to end the relationship and return to his wife Martha, a struggle over a loaded .38 revolver sets a chain of events in motion — one that draws in nightclub photographer Julie Palmer and homicide detective Sergeant DeLuca, both circling a death no one can quite explain.2000 Plus delivers the science-gone-wrong terror of "The Giant Walks," in which the obsessed Dr. Ellsworth, having used a pituitary revitalizer to breed giant rats four feet long, sets his sights on the next logical subject — a human being. His powerfully built test subject Barstow is grown to thirty feet of muscle and bone, while uneasy assistant Weston watches the experiment spiral past anything Ellsworth can hope to control.The Unexpected stars radio's Lurene Tuttle in "Nightmare," the tale of understudy actress Jenny, who answers her door to a hideous, dwarf-like old peddler selling two dolls — one that cries and one that laughs. Against the peddler's strange warning, she chooses the laughing doll, and its contagious, mocking laughter begins to follow her everywhere she goes, into the theater, the subway, and her sleepless nights.Unsolved Mysteries presents a true-style ghost story told by foreign correspondent Jackson, who recalls a visit to a centuries-old medieval castle in Northumberland, England, complete with drawbridge, moat, and turrets — and its resident phantom, the Lady Evelyn, said to warn the family of any impending disaster. Sleeping in the haunted wing, Jackson is roused by a figure who writes a message in letters of fire across the stone wall, a warning tied to the RMS Titanic.Dark Venture stars William Conrad in "Hideout," the confession of small-time gambler Sam, who sits in on one of Phil Collins's famous high-stakes poker games, wins and loses a fortune, and ends the night shooting political big shot Mike Barnes. Fleeing to Chicago and a rooming house run by Dave Jordan, Sam stumbles into a carnival fortune teller, Madame Zara, who reads the cards and tells him he will die within three days at the hands of a man with white hair — just as hired killer Whitey Burke begins closing in.The Weird Circle summons its bellkeeper for the immortal Robert Louis Stevenson tale "Dr. Jekyll and Mr. Hyde," in which Dr. Henry Jekyll brews a potion meant to separate the good and evil halves of a single man. The draught gives life to the stooped, deformed, and wholly malevolent Edward Hyde, who terrorizes the streets of London while lawyer Mr. Utterson, Dr. Lanyon, and the faithful butler Poole try to understand what their friend has unleashed.The Whistler brings the Signal-sponsored noir "Danger Is a Beautiful Blonde," as bored construction engineer Van Stevens, killing time in a small coast city on a Saturday night, is picked up on the street by a beautiful young blonde in a slick convertible. She drives him to a seaside mansion full of priceless art, and the flirtation turns to ice the moment she asks him to look under her bed — where a dead man lies hidden.Strange Wills stars distinguished Hollywood actor Warren William as attorney John Francis O'Connell in "Madman's Diary," a probate-court reading of the last testament of the late Professor Lucifer Nicolai. The diary records the professor's decade-long obsession: an electromagnetic experiment to separate the human mind from the body and hurl it backward along light waves into the past. His subject, a young orphan named Alice, is sent first to the age of King Arthur and Guinevere, then far deeper — a quarter-million years before Christ.The Witch's Tale, narrated by 122-year-old Nancy, the Witch of Salem, and her wise black cat Satan, tells "The Haunted Crossroads," where state troopers keep dying at a barren Massachusetts intersection — each one stabbed in the back in a spot so open no killer could possibly reach him and flee unseen. After young Trooper Tom Fallon falls beside his uncle Sergeant Pat McGee and friend Gene Hardy, the only clue is a woman's cold laughter in the dark and a curse reaching back to 1721 and a hanged woman named Goody Fairfax.X Minus One, hosted by Isaac Asimov, presents "Hostess," the story of biologist Rose Smollett, who brings home a guest from another world — the Hawkinsite physician Dr. Harg Tolan, a six-limbed being who breathes cyanide from a cylinder at his mouth. Tolan has come to Earth to study the dreaded "inhibition death," the wasting illness that kills his people, and his quiet questions about the missing persons bureau begin to unsettle Rose's policeman husband, Drake.Masters of Mystery offers the island thriller "Four Fatal Jugglers," in which business partners Gordon Penrose and Dave Copeland — tangled together by Gordon's wife Lydia and her demands for a divorce — head off for a weekend of duck hunting on a tiny, isolated island in the middle of a lake. Lydia's protective brother Bob is drawn in too, and with old grudges, suspicions of murder-by-hunting-accident, and a hunting knife in play, the trip becomes a deadly game of who can be trusted.Strange Adventure closes the night with a desert tale of two weather-beaten prospectors, gangling Slim Sandstone and his stocky partner Geordie Gaines, who walk into the bank of George Alden and deposit a canvas sack half-filled with uncut diamonds. Their secret field out on the desert is rich beyond belief, and the greedy banker schemes to maneuver the pair out of their claim — never suspecting what a salted diamond strike can teach a smart financial tycoon.

Mindframes Show Notes Obsession (2026) Directed by: Curry Barker Written by: Curry Barker Starring: Michael Johnston, Inde Navarrette, Cooper Tomlinson, Megan Lawless, Andy Richter IMDB: https://www.imdb.com/title/tt37287335/ Episode Summary In this episode of Mindframes, Michael and Dave dig into Obsession (2026), Curry Barker's micro-budget feature debut that turned into one of the biggest horror phenomenons in years — a $750K film bought for $15 million out of TIFF that went on to gross well over $148 million worldwide, growing at the box office in consecutive weekends rather than declining. The discussion explores the film's monkey's-paw premise, its working-class Gen Z setting, the moral architecture of Bear's wish, and the central question of whether Bear is the film's actual villain — while comparing the film to Weapons, Pearl, Get Out, The Witch, and Isaac Asimov's Foundation and Empire. Thematic Discussion Obsession explores consent and agency — what happens when desire is granted without consent. The film suggests that Bear doesn't earn or deserve Nikki's love; he eliminates her will and replaces it with his own. As Curry Barker has put it, "love is earned, not demanded," and "any time you wish for something, it's probably going to be selfish." The true engine of the horror isn't the curse twisting the wish — it's that the wish works exactly as asked. On-air verdict — Is Bear the villain? Both hosts landed on no. He's flawed, selfish, and prolongs the harm once he knows better, but he's the story's antagonist rather than its villain — if anyone is the "real" villain, it's the cursed object itself. Michael's framing: not every flawed person is a villain, and the film is more interesting because its characters are layered rather than purely good or evil. On-air verdict — the ending. Dave correctly intuited that Nikki originally killed herself in an earlier draft — that actually was Barker's original Romeo-and-Juliet mutual-suicide ending, before his playwright father pushed him toward the survival cut used in the final film. Michael argued the survival ending is more thematically persuasive: if the theme is one person's coercion of another's agency, the resolution should be Nikki's, not a mutual destruction that treats the harm as shared. Bear's selfishness has to die for Nikki to live. A live reference worth flagging for listeners: Michael cited Naomi Serpell's New Yorker piece "The New Literalism" (March 2025) as a framework for questioning how intentionally — and how literally — modern horror handles its themes of trauma and control. ⏱️ Timestamps Time Segment 00:01 Intro & setup 00:03 Director background — Curry Barker, box office story 00:09 Cinematography & cast discussion 00:30 Reviews & ratings 00:41 ⚠️ Spoiler section begins — "What would you wish for?" 00:44 Thematic discussion: consent and agency 00:45 Is Bear the villain? 01:01 The ending — survival vs. the original Romeo & Juliet cut 01:13 The New Literalism / intentionality debate 01:22 Closing thoughts & next episode

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

Will Blesch is a researcher, entrepreneur, marketer, and dual American–Israeli citizen whose work is fueled by a lifelong fascination with history's greatest mysteries. Having lived and worked within one of the world's most ancient and spiritually significant regions, he brings a unique perspective to questions surrounding theology, politics, human origins, and the forces that have shaped civilization. A former member of the central council of Bayit Yehudi (Jewish Home), the conservative Israeli political party once led by Prime Minister Naftali Bennett,Will has experienced firsthand the cultural and ideological dynamics that continue to influence modern Israel and the Middle East. Alongside a successful career in international marketing and media, including serving as Global Marketing Director for the Adizes Institute, Will has remained deeply committed to exploring the unknown. Inspired by the works of Ray Bradbury, Isaac Asimov, C.S. Lewis, and J.R.R. Tolkien, he investigates the fascinating crossroads of ancient history, theology, UFO phenomena, and speculative thought. Through both research and storytelling, Will seeks to uncover hidden truths and examine the mysteries that lie beyond conventional understanding, exploring where faith, history, and the unexplained converge.Spaced Out Radio is your nightly source for alternative information, starting at 9pm Pacific, 12am Eastern.  We broadcast LIVE every night. #UFO #UAP #AlienDisclosure #UFOSightings #UFOCoverUp #Aliens #SpacedOutRadio #Paranormal #UFOCommunity #disclosure -------------------------------------------------------You can now join the Space Traveler's Club;Join us at  https://www.patreon.com/sor_space_travelers_club  --------------------------------------------------------Grab Our Latest Spaced Out Radio Gear At:http://spacedoutradio.com/shop  It's a great way to support our show!--------------------------------------------------------OUR LINKS:TWITTER: https://www.twitter.com/spacedoutradio   FACEBOOK:https://www.facebook.com/spacedoutradioshow  SPACED OUT RADIO - INSTAGRAM:https://www.instagram.com/spacedoutradioshow  DAVE SCOTT - INSTAGRAM:https://www.instagram.com/davescottsor   TWITCH: https://www.twitch.com/spacedoutradioshow  WEBSITE: http://www.spacedoutradio.comGUEST IDEAS OR QUESTIONS FOR SOR?Contact Klaus at bookings@spacedoutradio.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/spaced-out-radio--1657874/support.

Gold miners working in the Yukon regularly find ancient ground squirrel burrows throughout the permafrost, many containing fossilized feces. Researchers analyzing these well-preserved poop piles found they contain some of the oldest DNA ever recovered, dating from 30,000 to 700,000 years ago. Tucked inside were traces of a wide range of ancient animals, including woolly mammoths, grasshoppers, steppe bison, ancient horses, American cheetahs, as well as hundreds of plant species.PLUS:‘Super-good, ice-making microbes' may trigger snow and rain, or help freeze foodWe're a hotbed of mutations, and scientists are leveraging that for our healthGoing out on a limb. Animals regrow body parts, maybe we can tooFrom the archives: Isaac Asimov on human creativity and robots

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.

El individuo soberano visualiza un futuro en el que las ciudad-estado rompen el actual monopolio de los estado-nación. El inversor Balaji lanzó el proyecto de los network state con este preciso fin, su objetivo era el de trasladar una comunidad online de emprendedores a un territorio que buscaría en última instancia el reconocimiento diplomático de los estados preexistentes. Alex, que ha vivido en una de estas comunidades, te cuenta todo lo que siempre quisiste saber sobre la sociedad del futuro.Kapital es posible gracias a sus colaboradores:⁠TaxDown⁠. Tus impuestos bien hechos⁠.¿Declaras bien tus inversiones? Este año, si tienes inversiones, hay nuevos cambios y regulaciones que tienes que saber (DAC8, modelo 721, normativa europea), así que es clave hacerlo bien. Si inviertes, yo te recomiendo TaxDown por ser la forma más fácil de presentar la Renta. TaxDown se integra con la mayoría de brókers, te lo calculan todo, y además cuentan con expertos fiscales en inversiones que revisan tu caso. Así evitas líos y cálculos raros. Si quieres probarlo, puedes usar mi código KAPITAL para obtener descuento. O puedes entrar directamente desde este enlace.Página Internacional⁠⁠. Lo mejor de la prensa de todo el mundo.Página Internacional es un nuevo medio digital y papel que publica en español los mejores artículos de las principales revistas y periódicos del mundo. Con una sola suscripción, en Página leerás las piezas esenciales de The Economist, The New York Times, Foreign Affairs, Der Spiegel, Le Monde o The Atlantic. Página nace con el propósito de aportar filtro, acceso y selección, y reunir en un mismo lugar el mejor periodismo global. Como dice Toni Segarra, que estuvo en el podcast y que es socio fundador del proyecto: «Lo sorprendente es que Página Internacional no existiera hace ya tiempo. Lo importante es que exista ahora, en este momento». Puedes formar parte de Página suscribiéndote anualmente, ahora con un descuento de 30 euros si aprovechas el código KAPITAL30. También tienes la opción vitalicia, en la que te prometen una vida entera de buena lectura y sabiduría. ¡Feliz lectura!Patrocina Kapital. Toda la información en este link.Índice:0:32 Una misteriosa ciudad abandonada.7:48 La revolucionaria visión de Balaji.15:15 Las locuras de Bryan Johnson.27:51 El regreso de la ciudad-estado.36:05 Thiel te paga para que dejes la universidad.42:23 Superabundancia.47:49 El golem de arcilla.57:01 Soberanía cognitiva.1:01:55 Una economía sin trabajos.1:06:43 La realidad de los nómadas digitales.1:10:56 Prepara tu pitch para entrar en Network School.Apuntes:The network state. Balaji Srinivasan.Trilogía fundación. Isaac Asimov.El individuo soberano. William Rees-Mogg & James Dale Davison.El niño soberano. Aaron Stupple.De cero a uno. Peter Thiel.Propaganda. Edward Bernays.

Alberto Aparici recurrió esta semana a su ya clásica "biblioteca" para hablar de optimismo científico a través del libro Horizontes de la civilización, del astrofísico Héctor Socas. Tras un recorrido por autores fundamentales como Carl Sagan, Isaac Asimov y Arthur C. Clarke, la sección reflexionó sobre cómo recuperar la esperanza en una época dominada por las distopías y el miedo al futuro. Socas explicó que su libro aborda cuestiones como el impacto de la inteligencia artificial, la exploración espacial, la posibilidad de colonizar otros mundos y los desafíos de una sociedad cada vez más tecnológica, defendiendo la necesidad de mantener una visión optimista para afrontar los grandes retos científicos y sociales del siglo XXI.

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.

Human moral judgment emerges from emotion, empathy, lived experience, social development, and our embodied understanding of the world. AI has none of those things. So, can artificial intelligence be taught right from wrong?If we're going to rely on AI (the way the tech bros want us to), we're going to need to trust it, which means we're going to need to believe it has a trustworthy moral sense. Is that reasonable? Or even possible? Pigweed and Crowhill recall Google's Gemini image-generation fiasco (where "give me an image of a pope" created anything but an image of a pope), which resulted from a ham-handed attempted to paste moral rules on top of AI. It was comically stupid, but entirely predictable. Many people assume morality is simply a matter of following a set of rules, but no set of rules can create a proper moral sense. The boys discuss hallucinated legal citations, content moderation, reinforcement learning, the limits of rule-based ethics, Isaac Asimov's famous Three Laws of Robotics, and Pope Leo's recent call for AI guardrails. The conversation also explores autonomous weapons, the global AI arms race, and the uncomfortable reality that even the engineers building these systems do not always understand how they arrive at their conclusions.Their conclusion is both simple and unsettling: AI may become useful, powerful, and even trustworthy in certain contexts, but that is not the same thing as being moral. Machines may imitate moral reasoning, yet human beings must remain skeptical, vigilant, and ultimately responsible for the decisions AI helps make.Can a machine have a conscience? Or are we fooling ourselves when we talk about "moral AI" at all?

¿Cómo sacar el máximo partido de las formaciones? Juanda, que se ha leído todos los libros, te cuenta cómo hacerlo en su proyecto de Learning legendario. Los empleados pierden valiosas horas en cursos que no están bien diseñados. Todo cambio empieza por las lecciones de Dale Carnegie. Juanda lo llama «un manual para aprender a tratar con la gente». Lo mejor de sus libros es que puedes llevarlos inmediatamente a la práctica, sales a la calle y compruebas en tus interacciones que sus trucos funcionan.Kapital es posible gracias a sus colaboradores:⁠⁠Página Internacional⁠⁠. Lo mejor de la prensa de todo el mundo.⁠⁠Página Internacional es un nuevo medio digital y papel que publica en español los mejores artículos de las principales revistas y periódicos del mundo. Con una sola suscripción, en Página leerás las piezas esenciales de The Economist, The New York Times, Foreign Affairs, Der Spiegel, Le Monde o The Atlantic. Página nace con el propósito de aportar filtro, acceso y selección, y reunir en un mismo lugar el mejor periodismo global. Como dice Toni Segarra, que estuvo en el podcast y que es socio fundador del proyecto: «Lo sorprendente es que Página Internacional no existiera hace ya tiempo. Lo importante es que exista ahora, en este momento». Puedes formar parte de Página suscribiéndote anualmente, ahora con un descuento de 30 euros si aprovechas el código KAPITAL30. También tienes la opción vitalicia, en la que te prometen una vida entera de buena lectura y sabiduría. ¡Feliz lectura!TaxDown⁠. Tus impuestos bien hechos.¿Declaras bien tus inversiones? Este año, si tienes inversiones, hay nuevos cambios y regulaciones que tienes que saber (DAC8, modelo 721, normativa europea), así que es clave hacerlo bien. Si inviertes, yo te recomiendo TaxDown por ser la forma más fácil de presentar la Renta. TaxDown se integra con la mayoría de brókers, te lo calculan todo, y además cuentan con expertos fiscales en inversiones que revisan tu caso. Así evitas líos y cálculos raros. Si quieres probarlo, puedes usar mi código KAPITAL para obtener descuento. O puedes entrar directamente desde este enlace.Patrocina Kapital. Toda la información en este link.Índice:0:32 Tres leyes de la robótica.9:14 El sesgo ideológico de la IA.15:28 Bauman y la interdenpendencia.27:02 Formaciones online.42:09 Anti-PowerPoint Party.50:13 Acaparadores del micrófono.56:17 Los consejos de Dale Carnegie.1:09:34 Entrenar la improvisación.1:20:33 Hacer las preguntas correctas.Apuntes:Trilogía fundación. Isaac Asimov.Yo, robot. Isaac Asimov.Her. Spike Jonze.La teoría sueca del amor. Erik Gandini.Modernidad líquida. Zygmunt Bauman.Cómo ganar amigos e influir sobre las personas. Dale Carnegie.Cómo disfrutar de la vida y del trabajo. Dale Carnegie.What they don't teach you at Harvard Business School. Mark McCormack.Pre-suasión. Robert Cialdini.Reshuffle. Sangeet Paul Choudary.

After getting lost in the back corner of the editing bay, we finally arrive at the final part of Caleb's look at the books he read in 2025. This one includes the last few books he read, as well as some of the stand out short stories.   Included in this episode: 1. Alien vs Predator: Hunter's Planet (1994) [David Bischoff] 2. The Haunting of Hill House (1959) [Shirley Jackson] 3. The Haar [2022] [David Sodergren] 4. Raptor Red (1995) [Robert T. Bakker] 5. Hangsaman (1951) [Shirley Jackson] 6. Dune (1965) [Frank Herbert] *Shorts Mentioned: 7. I Have No Mouth and I must Scream (1967) [Harlen Ellison] 8. A Matter of Traces (1958) [Frank Herbert] 9. The Tactful Saboteur (1964) [Frank Herbert] 10. Conan Collection [Robert E Howard] 11. Nightfall [1941] [Isaac Asimov]

A professor created an advanced robot named Junior, but it was stolen by a crook during the early stages of its intellectual and emotional development.To download, right-click here and then click SaveJoin the Journey Into Patreon to get extra episodes and personal addresses, plus other extras and rewards.Robert Bloch was an American fiction writer, primarily of crime, psychological horror and fantasy, much of which has been dramatized for radio, cinema and television. He also wrote a relatively small amount of science fiction. Best known as the writer of Psycho (1959), the basis for the film of the same name by Alfred Hitchcock, Bloch wrote hundreds of short stories and over 30 novels. He was a protégé of H. P. Lovecraft, who was the first to seriously encourage his talentX Minus One was a half-hour science fiction radio drama series broadcast from April 24, 1955 to January 9, 1958 in various timeslots on NBC. Initially a revival of NBC's Dimension X (1950–51), the first 15 episodes of X Minus One were new versions of Dimension X episodes, but the remainder were adaptations by NBC staff writers, including Ernest Kinoy and George Lefferts, of newly published science fiction stories by leading writers in the field, including Isaac Asimov, Ray Bradbury, Philip K. Dick, Robert A. Heinlein, Frederik Pohl and Theodore Sturgeon, along with some original scripts by Kinoy and Lefferts.Theme music: Liberator by Man In SpaceTo comment on this or any episode:Send comments and/or recordings to journeyintopodcat@gmail.comPost a comment on Facebook here, or on X here

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.

En esta conversación exploramos, junto a Alex Sanz Vicente, el mundo del branding, la percepción de marca y cómo las interacciones diarias influyen en la construcción de la identidad de una marca. Desde conceptos básicos hasta estrategias avanzadas, descubren cómo influir en la percepción y gestionar la reputación en un entorno digital y social en constante cambio. En esta conversación profunda, exploramos cómo las marcas y comunidades pueden construir autenticidad, confianza y pertenencia en un mundo digital en constante cambio. Desde ejemplos concretos como Nike o Liquid Death hasta la importancia de la última milla en marca personal, profundizamos en estrategias para conectar genuinamente con audiencias e, incluso, fortalecer la identidad nacional. "Saber es perdonar" "Lo que no sabes puede ser tu mayor limitación" Palabras clave branding, percepción de marca, comunicación, identidad, estrategia, marketing, redes sociales, influencia, cultura, comunidad marca personal, comunidad, Liquid Death, última milla, marca país, comunicación auténtica, redes sociales, confianza, identidad, liderazgo Temas centrales Definición de marca y percepción El papel de la comunicación y la identidad Estrategias para influir en la percepción pública La importancia de la coherencia y la autenticidad El impacto de las interacciones diarias en la reputación: El ejemplo de Liquid Death y su estrategia de marca La importancia de la comunidad genuina y creíble La dificultad y valor de construir una marca país El concepto de la última milla en marca personal y autoridad La complejidad de la comunicación en la era digital Minutaje: 00:00 Introducción al Branding y la Identidad 03:03 Percepción y Construcción de Marca 06:05 La Identidad en el Entorno Empresarial 08:58 La Honestidad en las Interacciones 12:10 El Impacto del Libro de Carnegie 14:59 La Comunicación en la Era Digital 17:53 Datos y Estrategias de Marketing 21:14 Conclusiones sobre Marca y Autenticidad 24:14 La Importancia de los Datos en las Empresas 27:25 Estrategias de Comunicación y el Cliente Ideal 30:25 Limitaciones y Oportunidades en el Marketing 33:33 La Reacción en la Estrategia de Marca 36:19 Entendiendo las Limitaciones y la Política en las Marcas 41:46 La Conversación como Clave en la Marca 49:25 Estrategias de Marca en Mercados Competitivos 52:21 La Importancia de la Adaptación y la Persistencia 53:56 Construyendo Comunidades de Marca 01:00:03 La Última Milla en la Comunicación 01:07:39 Limitaciones y Oportunidades en el Marketing Personal 01:12:51 Definiendo la Marca España 01:15:05 La Complejidad de la Conversación 01:17:08 La Importancia de la Escucha Activa 01:20:16 Construyendo Comunidad y Marca 01:23:33 El Futuro de la Identidad Española 01:26:01 Desafíos y Reflexiones sobre España Recursos Libros: Dale Carnegie - Cómo ganar amigos e influir sobre las personas - https://www.amazon.es/ganar-amigos-influir-personas-Deusto/dp/8423440028?tag=masdivi-21 Chris Voss – Rompe la barrera del no - https://www.amazon.es/Rompe-barrera-del-principios-negociar/dp/8416029741?tag=masdivi-21 Antifrágil de Nassim Taleb - https://www.amazon.es/Antifr%C3%A1gil-cosas-benefician-desorden-Contextos/dp/844934185X?tag=masdivi-21 2666 de Roberto Bolaño - https://www.amazon.es/2666-CONTEMPORANEA-Roberto-Bola%C3%B1o/dp/8466337121?tag=masdivi-21 Fundación de Isaac Asimov - https://www.amazon.es/Estuche-fundaci%C3%B3n-contiene-Fundaci%C3%B3n-Imperio/dp/8466389245?tag=masdivi-21 Podcasts: La Ingobernable - https://www.laringobernable.com Episodio Kapital (Joan Tubau) con Luis Bassat - https://open.spotify.com/episode/5kYnzbBGWt8A6KHlxq51oQ?si=W1WanY-EQV-S67AZnVrEmA Ilustres pucelanos con Alex Sanz Vicente - https://www.youtube.com/watch?v=RHpNav2CabY Documentales: Abstract: El arte del diseño https://www.netflix.com/es/title/80057883 La industria de los expertos: https://www.rtve.es/play/videos/documentos-tv/documentos-tv-industria-expertos-comienzo/1753156/ Webs: Microbio Comunicación: https://www.microbio.tv/ Generalismo: https://www.generalismo.com Comunidad CPS: https://www.comunidadcps.es/ El mejor románico del MUNDO: https://www.diputaciondepalencia.es/sitio/turismo/rutas-culturales/rutas-romanico Perfiles Invitado: Twitter - https://twitter.com/alexsanzvicente LinkedIn – https://www.linkedin.com/in/alex-sanz-vicente/ Otros: Javier Recuenco https://x.com/Recuenco Guillermo de Haro https://x.com/deharoguillermo Joan Tubau https://x.com/joantubau

Ricardo Geldres es un educador e investigador en diseño peruano que investiga en torno a las colaboraciones entre artesanía y diseño. Es profesor en la Pontificia Universidad Católica de Perú. En esta charla nos cuenta sobre cómo son esos viajes donde  estudiantes van al territorio y colaboran con artesanas. Esta entrevista es parte de las listas: Perú y diseño, Educación en diseño, Investigación en diseño y Territorio y diseño. Ricardo menciona a Diana Albarrán, una investigadora en diseño mexicana que vive en Nueva Zelanda. A ella la entrevistamos en el episodio 88, hace mucho tiempo, pero seguimos en contacto. Incluso la invitamos a colaborar en el episodio 700 donde discutimos sobre diseño participativo y co-diseño. Su entrevista fue parte de nuestro libro, Diseño y territorio, que lo pueden bajar de manera gratuita de nuestra página web. Recomienda: Saga de la fundación de Isaac Asimov.

What happens when the law meets a general-purpose cultural machine? In this episode, hosts Matteo Iuorio and Sofia Debernardi sit down with intellectual property expert Professor Giancarlo Frosio to unpack the massive legal battleground surrounding generative AI. We start with the immediate legal technicalities—separating the liability of tech companies training models from the liability of users prompting them—before sliding into the gripping, high-stakes philosophical landscape of what happens to human labor, law, and purpose as we race toward Artificial General Intelligence (AGI) and superintelligence. Key Takeaways The Two Legal Battlegrounds:Copyright issues with AI are split into two distinct phases: theTraining Stage(ingesting data to extract patterns) and theOutput Stage(whether an AI-generated result is "substantially similar" to a protected work).Strict Liability & The Neutral Tool Dilemma:Copyright is a strict liability offense. Professor Frosio shares his perspective that AI labs are placing "neutral, general-purpose tools" on the market. Therefore, legal liability for an infringing output should ideally sit with the user prompting it—provided the developer implemented standard safeguards.The Geopolitical AI Arms Race:Stricter text and data-mining copyright regulations in regions like Europe can function as a bottleneck for local tech development, inadvertently pushing the dominance of the AI "arms race" exclusively toward the US and China.The Looming Threat to Purpose:As the operational capabilities of AI shift from narrow tasks to holistic human replication (AGI) and beyond (superintelligence), society faces a massive conundrum: if artificial entities can outperform human intellectual labor completely, what is left for humanity's sense of purpose? Terminology Glossary LLM (Large Language Model): Note: Mentioned contextually as "LMS" during the interview recording. These are AI programs trained on vast amounts of text data to understand, summarize, generate, and predict new content. Substantial Similarity: A fundamental legal doctrine used by courts to determine if an unauthorized reproduction has taken too much protectable expression from an original copyrighted work. AGI vs. Superintelligence: Narrow AI handles specific single tasks. Artificial General Intelligence (AGI) can holistically apply knowledge to any task like a human. Superintelligence refers to a theoretical future entity whose collective intellect far surpasses the capacity of the human brain. References & Links to Explore Learn more about Professor Frosio's work and research at theGlobal Intellectual Property and Technology Centre (GIP Tech).Check out the landmark pending litigation referenced in the episode:Getty Images v. Stability AIin the UK.Learn about the European Union's framework discussed by reading the official documentation on theEU Artificial Intelligence Act (AI Act).To explore the philosophical warnings mentioned by the "Godfather of AI" Geoffrey Hinton on AGI and systemic alignment risks, check out hisNobel Prize lecturesand recent AI safety advocacy.Read up on the historic sci-fi themes referenced at the end of the episode via Isaac Asimov's classicFoundation Series.

Una mattina d'agosto del 1999 qualcosa di molto strano sta per succedere.La gente guarda il cielo e aspetta in silenzio.Ma immaginate un mondo dove il buio non esiste.Un pianeta illuminato continuamente da più soli.Un luogo dove nessuno ha mai visto la notte.E cosa accadrebbe se, improvvisamente, l'oscurità arrivasse davvero?In questo episodio vi porto dentro “Notturno”, uno dei racconti più famosi di Isaac Asimov.Una storia inquietante e affascinante tra fantascienza, astronomia e paura dell'ignoto.

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

What made you the kind of person who questions things? Returning guest Rob McKenzie joins Matthew to trace the science fiction and fantasy that quietly shaped his ethics, and the conversation turns out to be about a lot more than books.They start with Isaac Asimov: the pacifism baked into “Foundation,” the Three Laws of Robotics as a moral framework, and the surprisingly dark places minimizing-harm logic can lead. Along the way Rob makes the case that Pratchett's trolls, who get smarter in cold temperatures, say something important about judging minds by the wrong standard. From there it opens up into righteous humanism, the ethics of shoplifting diapers, Chesterton's fence, and what the cancellation of “Starfleet Academy” says about who gets to tell challenging stories right now.At the center of all of it is a question worth sitting with: how much of what we take for granted is just a rule we forgot to ask about?Connect with Rob: Good Luck High Five (YouTube)**************************************************************************This episode is a production of Superhero Ethics, an Ethical Panda podcast and part of the TruStory FM Entertainment Podcast Network. Check out our website to find out more about this show and our sister podcast Star Wars Generations.We want to hear from you! Keep up with our latest news and send us feedback, questions, or comments via social media or email.TikTok · Twitter/X · Instagram · Facebook · EmailJoin the conversation in the Star Wars Generations and Superhero Ethics channels on the TruStory FM Discord.Want even more content while supporting the podcast? Become a member! For $5 a month or $55 a year you get access to bonus episodes and bonus content at the end of most episodes — and you can even give membership as a gift. Sign up here.You can also support us through our sponsors:Purchase a lightsaber from Level Up Sabers, run by friend of the podcast Neighborhood Master Alan.Use Audible for audiobooks. Sign up for a one-year membership or gift one through this link.Purchase any media discussed this week through our sponsored links.

La Cina e la robotica, tra leggi sull'"intelligenza incarnata", sentenze contro i licenziamenti di lavoratori sostituiti da AI e tutto quanto bolle nell'attuale capitale mondiale della tecnologia, Hangzhou. Learn more about your ad choices. Visit megaphone.fm/adchoices

Matt and Michael return from two very different deserts. Vegas and Big Bend. One all lights and noise, the other all silence and heat. Matt shares what it meant to scatter his father's ashes in West Texas. Michael talks about the solitude of crowds. And somewhere around the forty minute mark, the conversation turns into something else entirely. What is AI actually for? What gets lost when we outsource struggle? Why do we need to be broken to become whole? And what happens to a culture that forgets the purpose of things? They land on teleology, the study of purpose itself. A knife only makes sense if you know it's meant to cut. So what are we meant for? And what happens when we stop asking? Cheers y'all

We start with the big thesis: the Sci-Fi Channel is an early masterclass in niche marketing, built on the belief that sci-fi fans are loyal and underserved. From there we dig into the credibility play of bringing in Gene Roddenberry and Isaac Asimov, and how the network's direction shifts once the people with real “skin in the game” are gone. We also revisit the weirdest, most charming early experiments like Faster-Than-Light Newsfeed, the idea that the network itself has a story, and the scrappy reality of filling a schedule with syndicated classics before the bigger deals arrive.

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When scientist Edward Bloom demonstrated humanity's first anti-gravity device to the world, a single billiard ball punched through his chest at the speed of light — and the only question that remains is whether the man who aimed it knew exactly what would happen.If you have a story you'd like to contribute to the series, you can visit https://submissions.soundconceptmedia.com/You can support the show by becoming a paid subscriber on Substack: https://auditoryanthology.substack.comBy becoming a paid subscriber you can listen to every episode completely ad-free!Curator: Keith Conrad linktr.ee/keithrconradNarrator: Darren Marlar https://darrenmarlar.com/Other shows hosted by Darren:Weird Darkness: https://weirddarkness.com/Paranormality Magazine: https://weirddarkness.tiny.us/paranormalitymagMicro Terrors: Scary Stories for Kids: https://weirddarkness.tiny.us/microterrorsRetro Radio – Old Time Radio In The Dark: https://weirddarkness.tiny.us/retroradioChurch of the Undead: https://weirddarkness.tiny.us/churchoftheundead Hosted on Acast. See acast.com/privacy for more information.

Who are the greatest science fiction and fantasy authors North America has produced?That's exactly what we're tackling in this episode of Fantasy for the Ages.Today, Jim is ranking the Top 25 North American SFF Authors since 1930, based on quality, influence, success, and overall body of work. That means we're looking at the writers who didn't just tell great stories…

This week on The Video Store Podcast, I am recommending four movies built around one of the simplest and most reliable science fiction ideas there is, shrinking people down. It is a strong trope because every one of these films understands that once a character gets small, nothing has to be exotic to feel dangerous. A bloodstream can look like deep space. A shopping cart can feel absurd and threatening at the same time. A backyard can turn into a full scale survival story. The fun of these movies is not just the effect itself, it is the way each one finds its own tone inside the same basic setup.Fantastic Voyage starts this set in an old-style studio style. Richard Fleischer directed it, Raquel Welch was still early in her career, and the movie ended up winning Academy Awards for art direction and special effects. Isaac Asimov wrote the novelization, which helped give the film an added layer of science fiction prestige even though the movie was not adapted from one of his earlier books. It is still one of those sixties films where the production design does a lot of the selling. You are watching people turn the inside of a human body into a full cinematic world, and they do it with real confidence.The Incredible Shrinking Woman takes the same basic concept and pushes it toward satire. Lily Tomlin is the main reason to see it, and she is surrounded by exactly the kind of bright, slightly unreal suburban world that makes the jokes work. Jane Wagner wrote it, Joel Schumacher directed it, and the movie has a cast that includes Charles Grodin and Ned Beatty. There is also a nice eighties detail in the score, since Suzanne Ciani handled the music, which gives the film one more thing separating it from the older version of this idea. It is not the most famous title in this group, but it feels very specific to its moment, especially in the way it folds consumer culture and household products into the premise.Innerspace may be the easiest recommendation here because it is so good at being funny, fast, and a little chaotic without losing track of the effects work. Joe Dante directed it, Dennis Quaid and Martin Short make a very good mismatch at the center, and the movie won the Academy Award for visual effects. This is one of those late eighties studio movies where the effects are both impressive and funny. It also has that Dante who has a habit of making a mainstream movie feel just a little off center. You can sense the touch of Industrial Light and Magic in the technical side, but it never turns into a dry demonstration reel.Honey, I Shrunk the Kids is a joy to watch. Joe Johnston made his live action directing debut with it, Rick Moranis is exactly right for the inventor at the center, and Disney turned a backyard into a full adventure landscape. It was a major hit, and for a while it stood as Disney's highest grossing live action film. Part of what makes it hold up is that so much of it was built around practical effects, oversized sets, models, puppetry, and carefully staged perspective tricks. It also had Tummy Trouble attached in theaters, so for a lot of people there was a Roger Rabbit bonus built into the experience. That is a pretty good rental memory to have.What I like about putting these four recommendations is that they show how flexible a shrinking movie can be. One plays it as a polished sixties science fiction trip. One turns it into satire. One uses it for special effects comedy with a little manic energy. One makes it into a family adventure that a lot of people probably first met on cable or VHS. Same basic hook, very different results. That is usually a good sign you have a real movie trope and not just a gimmick.Thanks for reading Video Store Podcast! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.videostorepodcast.com

What happens if you REMOVE every American author from science fiction and fantasy?Do you still have a strong list?Oh yeah… you absolutely do.In this episode of Fantasy for the Ages, we're ranking the Top 25 European SFF Authors since the 1930s—but with one major twist:

Send us Fan MailWelcome to season 5 of the Another Way To See It Podcast. On this episode we talk about the blurred space that we're currently occupying. Facing the deluge of heartbreaking headlines, trying to decipher if the news is real,  if the videos we watch are real. Sometimes it can feel like were in Margaret Atwood's novel The Handmaid's Tale, or Isaac Asimov's I Robot. We need to feel real ground inside and outside of our bodies. On this episode we talk about ways to cultivate ground in turbulent times.Please reach out we love to hear from you, and please support our podcast by liking it on whatever platform you listen, sending it to a friend, and if possible donating. We are interdependent media creators and you, the listener, is the reason we keep showing up. Coaches:  Kim Moranhttps://www.kimmorancoaching.com/https://www.instagram.com/kimcalifornia/ Tracy Holemeyerhttps://www.uncontrollablyme.com/https://www.instagram.com/uncontrollably_me/Join our grief group:https://www.uncontrollablyme.com/befriending-grief Produced by: Kim MoranMusic: Wishing Star by Big Score Audio Support the show

Send us Fan MailWhat makes science fiction so powerful? And why do these stories stay with us long after we've finished them?In Episode 103, we explore the minds that helped shape the genre. From early works like New Atlantis and Somnium to the groundbreaking stories of H. G. Wells, Isaac Asimov, Arthur C. Clarke, and Philip K. Dick, this episode dives into the ideas, predictions, and strange realities that define science fiction.Then, for the first time, I share my own journey into the genre—what inspired me, how the story developed, and what it took to bring my first novel to life.Featuring a live reading from Drawn to the Stars: Book One — The Exchange.Two planets. Two wars. One connection that could decide everything.Support the show

Welcome back to Impact Theory with Tom Bilyeu. In today's gripping deep dive, Tom Bilyeu unpacks a game-changing theory about America's future and the global balance of power. Drawing on a recent, viral interview with Professor Jiang—an analyst who predicted the Trump-Iran war years before it happened—Tom Bilyeu breaks down a predictive framework that combines game theory, historical pattern recognition, and the study of "predictive history" inspired by Isaac Asimov. We'll explore how oil and the petrodollar prop up the value of your money, why Iran is the world's pressure point, and the structural forces driving seemingly unpredictable geopolitical events. Tom Bilyeu reveals why America might be walking straight into a geopolitical trap, what that could mean for your wallet and job, and how deindustrialization, rising regionalism, and remilitarization could reshape the world as we know it. This episode isn't about fear—it's about clarity. If you want to get inside the logic that could predict the next seismic shift on the global stage and learn how to position yourself to not just survive, but thrive, you won't want to miss this breakdown. Let's get started. Shopify: Sign up for your one-dollar-per-month trial period at https://shopify.com/impactQuince: Free shipping and 365-day returns at https://quince.com/impactpodDuck.Ai: Protect your privacy at https://duck.ai/impactBlinkist: Start your free trial at https://blinkist.com/impactQuo: Try for free PLUS get 20% off your first 6 months at https://quo.com/impactPique: 20% off at https://piquelife.com/impactMonetary Metals: Future-proof your wealth at https://monetary-metals.com/impactCozy Earth: code IMPACT for 20% off https://cozyearth.comSumm: code TOMVIP20 for 20% off your first year at https://summ.com?via=tombilyeu&coupon=TOMVIP20 What's up, everybody? It's Tom Bilyeu here: If you want my help... STARTING a business: join me here at ZERO TO FOUNDER:  https://tombilyeu.com/zero-to-founder?utm_campaign=Podcast%20Offer&utm_source=podca[%E2%80%A6]d%20end%20of%20show&utm_content=podcast%20ad%20end%20of%20show SCALING a business: see if you qualify here.:  https://tombilyeu.com/call Get my battle-tested strategies and insights delivered weekly to your inbox: sign up here.: https://tombilyeu.com/ ********************************************************************** If you're serious about leveling up your life, I urge you to check out my new podcast, Tom Bilyeu's Mindset Playbook —a goldmine of my most impactful episodes on mindset, business, and health. Trust me, your future self will thank you. ********************************************************************** FOLLOW TOM: Instagram: https://www.instagram.com/tombilyeu/ Tik Tok: https://www.tiktok.com/@tombilyeu?lang=en Twitter: https://twitter.com/tombilyeu YouTube: https://www.youtube.com/@TomBilyeu Learn more about your ad choices. Visit megaphone.fm/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Welcome back to Impact Theory with Tom Bilyeu. In today's gripping deep dive, Tom Bilyeu unpacks a game-changing theory about America's future and the global balance of power. Drawing on a recent, viral interview with Professor Jiang—an analyst who predicted the Trump-Iran war years before it happened—Tom Bilyeu breaks down a predictive framework that combines game theory, historical pattern recognition, and the study of "predictive history" inspired by Isaac Asimov. We'll explore how oil and the petrodollar prop up the value of your money, why Iran is the world's pressure point, and the structural forces driving seemingly unpredictable geopolitical events. Tom Bilyeu reveals why America might be walking straight into a geopolitical trap, what that could mean for your wallet and job, and how deindustrialization, rising regionalism, and remilitarization could reshape the world as we know it. This episode isn't about fear—it's about clarity. If you want to get inside the logic that could predict the next seismic shift on the global stage and learn how to position yourself to not just survive, but thrive, you won't want to miss this breakdown. Let's get started. Shopify: Sign up for your one-dollar-per-month trial period at https://shopify.com/impactQuince: Free shipping and 365-day returns at https://quince.com/impactpodDuck.Ai: Protect your privacy at https://duck.ai/impactBlinkist: Start your free trial at https://blinkist.com/impactQuo: Try for free PLUS get 20% off your first 6 months at https://quo.com/impactPique: 20% off at https://piquelife.com/impactMonetary Metals: Future-proof your wealth at https://monetary-metals.com/impactCozy Earth: code IMPACT for 20% off https://cozyearth.comSumm: code TOMVIP20 for 20% off your first year at https://summ.com?via=tombilyeu&coupon=TOMVIP20 What's up, everybody? It's Tom Bilyeu here: If you want my help... STARTING a business: join me here at ZERO TO FOUNDER:  https://tombilyeu.com/zero-to-founder?utm_campaign=Podcast%20Offer&utm_source=podca[%E2%80%A6]d%20end%20of%20show&utm_content=podcast%20ad%20end%20of%20show SCALING a business: see if you qualify here.:  https://tombilyeu.com/call Get my battle-tested strategies and insights delivered weekly to your inbox: sign up here.: https://tombilyeu.com/ ********************************************************************** If you're serious about leveling up your life, I urge you to check out my new podcast, Tom Bilyeu's Mindset Playbook —a goldmine of my most impactful episodes on mindset, business, and health. Trust me, your future self will thank you. ********************************************************************** FOLLOW TOM: Instagram: https://www.instagram.com/tombilyeu/ Tik Tok: https://www.tiktok.com/@tombilyeu?lang=en Twitter: https://twitter.com/tombilyeu YouTube: https://www.youtube.com/@TomBilyeu Learn more about your ad choices. Visit megaphone.fm/adchoices

1170. This week, we look at "feghoots," the pun-based stories popularized by writers like Isaac Asimov, and why they are designed to make you roll your eyes. Then, we look at how your brain stores words and the lightning-fast way it retrieves them during a normal conversation.

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===========================

Welcome to Exponential View, the show where I explore how exponential technologies such as AI are reshaping our future. I've been studying AI and exponential technologies at the frontier for over ten years. Each week, I share some of my analysis or speak with an expert guest to make light of a particular topic. To keep up with the Exponential transition, subscribe to this channel or to my newsletter: https://www.exponentialview.co/ ----- Meet R Mini Arnold - my OpenClaw chief of staff, which manages the equivalent of a ten-person team from a Mac mini in my garden studio. While I slept, that AI team debugged its own code at 3am, researched a trending Substack essay using five parallel investigators, and wrote a 4,600-word script for this very episode in 40 minutes. The gap between people who've started building this way and those who haven't is widening every week.  I covered: 00:51 Introducing my OpenClaw agent “R Mini Arnold” 03:59 What my AI chief of staff actually does 07:58 The hardware and software stack 10:38 A morning brief before you wake up 12:05 Overnight agents: research and code 15:00 How I communicate with my agent 18:56 Example 1: the sovereign wealth fund 22:41 Example 2: how this video was written 26:34 What it costs 29:22 The soul.md personality spec 32:39 Am I losing the judgment muscle? 35:46 Individuals vs. Fortune 500s 38:25 What to try this week ----- Where to find me: Exponential View newsletter: https://www.exponentialview.co/ Website: https://www.azeemazhar.com/ LinkedIn: https://www.linkedin.com/in/azhar/ Twitter/X: https://x.com/azeem Production by EPIIPLUS1 Production and research: Baba Films, Chantal Smith, Marija Gavrilov. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

When scientist Edward Bloom demonstrated humanity's first anti-gravity device to the world, a single billiard ball punched through his chest at the speed of light — and the only question that remains is whether the man who aimed it knew exactly what would happen.*No AI Voices Are Used In The Narration Of This Podcast*Take the Weird Darkness Survey: https://take.supersurvey.com/QGZCRXPVSIN THIS EPISODE: “The Billiard Ball” is a science fiction murder mystery short story by author Isaac Asimov, written in September 1966 and first published in the March 1967 issue of “If”. The story is based on a journalist's tale on the events that occurred when an antigravity device was discovered. The story describes the relationship between the creator of the device, billionaire inventor Edward Bloom, and his old college friend James Priss, a Nobel Prize-winning theoretical physicist who discovered the theory on which Bloom's invention is based. Both also happen to be very good pool players.HELPFUL LINKS & RESOURCES…https://WeirdDarkness.com/STORE = Tees, Mugs, Socks, Hoodies, Totes, Hats, Kidswear & Morehttps://WeirdDarkness.com/HOPE = Hope For Depression or Thoughts of Self-Harmhttps://WeirdDarkness.com/NEWSLETTER = In-Depth Articles, Memes, Weird DarkNEWS, Videos & Morehttps://WeirdDarkness.com/AUDIOBOOKS = FREE Audiobooks Narrated By Darren Marlar SOURCES and RESOURCES:“The Billiard Ball” by Isaac Asimov: https://weirddarkness.tiny.us/4a7a9m9a=====(Over time links may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)= = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = =WeirdDarkness® is a registered trademark. Copyright ©2026, Weird Darkness.=====Originally aired: July, 2021EPISODE PAGE (includes sources): https://weirddarkness.com/TheBilliardBallABOUT WEIRD DARKNESS: #WeirdDarkness is a true crime and paranormal podcast narrated by professional award-winning voice actor, Darren Marlar. Seven days per week, Weird Darkness focuses on all things strange and macabre such as haunted locations, unsolved mysteries, true ghost stories, supernatural manifestations, urban legends, unsolved or cold cases, conspiracy theories, and more. Weird Darkness has been named one of the “20 Best Storytellers in Podcasting” by Podcast Business Journal. Listeners have described the show as a blend of “Coast to Coast AM”, “The Twilight Zone”, “Unsolved Mysteries”, and “In Search Of”.DISCLAIMER: Stories and content in Weird Darkness can be disturbing for some listeners and intended for mature audiences only. Parental discretion is strongly advised.