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