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The technology of Artificial Intelligence is here, and moving fast,
without ethical standards in place. A Blueprint for the Regulation
of Artificial Intelligence Technologies leans on classical western
philosophy for its ethical grounding. Values such as conscience,
rights, equity, and discrimination, establish a basis for
regulatory standards. Multiple international agencies with
governing interests are compared. The development of ethical
standards is suggested through two new non-governmental
organizations (NGOs). The first is to develop standards that evolve
from practice, while the second acts as an ombudsman to settle
abuse. Both NGOs are envisioned to cooperate with regulators. More
than seeking a perfect solution, the book aims to balance the
tension between conflicting interests, with the goal to keep this
dangerously wonderful technology under global human control. For
that to materialize, the technology needs to have a seat on the
table of global ethics. The final chapter lists fourteen thinking
points to achieve an ethics balance for new technologies.
Welcome to the world of that archetypal American, Reuben Lucius
Goldberg, the dean of American cartoonists for most of the
twentieth century. For more than sixty-five years, Rube Goldberg's
syndicated cartoons -- he produced more than fifty strips --
appeared in as many as a thousand newspapers annually He was
earning a hundred thousand dollars a year...in 1915. He wrote hit
songs and stories and was, in succession, a star in vaudeville,
motion pictures, newsreels, radio, and, finally, television.
He even, at the age of eighty, began an entirely new career as a
sculptor, and, in inimitable Goldberg fashion, was soon selling his
work to galleries, collectors, and museums all over the world.
Sure, Rube won the Pulitzer Prize. Every year "some" cartoonist
wins the Pulitzer Prize. But the National Cartoonists Society
"named" its award -- the Reuben -- after you-know-who.
But it was Rube's "Inventions," those drawings of intricate and
whimsical machines, that earned Rube his very own entry in
"Webster's New World Dictionary: " Rube
Goldberg..."adjective."..Designating any very complicated
invention, machine, scheme, etc. laboriously contrived to perform a
seemingly simple operation.
"Inventions," even the earliest ones that date from 1914, are still
being republished and recycled today as they have been over the
last eighty-five years. New generations rediscover and enjoy them
every day, even though their creator cleaned his pens, put the cap
on his bottle of Higgins Black India Ink, and cleared his drawing
board for the last time almost thirty years ago. The inventions
inspired the National Rube Goldberg(TM) Machine Contest, held
annually at Purdue University, an "Olympics of complexity" in which
hundreds of engineering students from American universities and
colleges -- and even middle and high schools -- compete to build
and run Rube Goldberg invention machines that perform, in twenty or
more steps, the annual challenge.
In 1970 the Smithsonian Institution hosted a show honoring Rube
Goldberg's lifework. In a life filled with superlatives, it hardly
needs mentioning that Rube is the only living cartoonist and
humorist to have been so honored. In his speech at the show's
opening, Rube said, "Many of the younger generation know my name in
a vague way and connect it with grotesque inventions, but don't
believe that I ever existed as a person. They think I am a
nonperson, just a name that signifies a tangled web of pipes or
wires or strings that suggest machinery. My name to them is like
spiral staircase, veal cutlets, barber's itch -- terms that give
you an immediate picture of what they mean..."
So welcome to a collection of spiral staircases and veal cutlets --
to the inventions of an American original, a creative genius named
Rube Goldberg.
Diplomarbeit aus dem Jahr 2002 im Fachbereich Psychologie -
Sonstiges, Note: 1,5, Hamburger Universitat fur Wirtschaft und
Politik (unbekannt), Sprache: Deutsch, Abstract: Inhaltsangabe:
Problemstellung: Ist es in der Belletristik oder in den Dramen der
Unterhaltung, etwa die verschmahte oder ungluckliche Liebe, so ist
es in den realen Lebensverhaltnissen meist doch nuchterner, weshalb
sich Menschen gegen ihren Korper (durch Destruktivitat) bzw. gegen
ihr eigenes Leben (durch Suizidalitat) wenden. Das Phanomen
Destruktivitat und Suizid ist ein komplexer
Untersuchungsgegenstand. Wie ist das Paradox des Suizids zu
erklaren? Kann man ihn als eine freie Entscheidung ansehen oder
geschieht er aus einer Verkettung unglucklicher Lebensumstande. Das
Interesse zur Beantwortung des Phanomens ist im Lauf der Zeit des
19. und 20. Jahrhunderts grosser geworden. In der
interdisziplinaren Suizidforschung, die sich als eigener
Forschungsstrang, namens Suizidologie etabliert hat, lasst sich der
Erklarungsgegenstand grob in zwei wissenschaftlichen
Interessenrichtungen teilen. Zum einen, stellt sich die Frage fur
die Soziologie und Philosophie; welche ausseren Einflusse und
Umstande (d.h. Wann, Wo, Wie?) der erlebten Umwelt/Gesellschaft
lassen Suizidhandlungen zu, beziehungsweise begunstigen ihn sogar?
Zum anderen, gerat das Individuum in den Fokus des Interesses,
insbesondere bei den Psychoanalytikern und der Psychopathologie; es
wird gefragt aus welchen inneren Antrieben (d.h. Wer der Betroffene
ist, Wie er geworden ist, Welche Grunde?) - vor allem psychischer
Natur - bildet sich eine suizidale Bedrohung bilden bzw. ausgelost
werden kann, beziehungsweise Moglichkeiten zur nachhaltigen
Suizidprophylaxe oder seelsorgerische Hilfsmassnahmen? Der Suizid
ist keine Erscheinung der industriellen Revolution oder des alten
oder neuen Jahrtausend, so kann man davon ausgehen, dass seit der
Genese der Menschheit Selbsttotung praktisch als eine Moglichkeit
zum subjektiv-individuellen Handeln ex
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