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This lecture addresses the potential links between AI and religious belief, which include the question of whether an artificial “superintelligence”, were one to arise, would be well-disposed towards us.
Diaghilev seemed to be the nemesis of traditional ballet, but he was ready to draw on the rigorous classical schooling of his dancers whenever it suited him.
Hans Holbein the Younger, portraitist, muralist, designer of jewellery and precious metalware, spent half of his distinguished career in London during the turbulent reign of King Henry VIII.
This lecture examines the work of Hugo de Vries, a Dutch botanist who was one of the first to claim that science would allow plants and animals to be designed to order.
This lecture examines the fascination surrounding works that are left unfinished at their composers’ deaths. It also looks at the urge that certain of us have to complete these uncompleted works, however unwisely and however unbidden.
We will trace the musical, visual and choreographical consequences of this new trend through several later Diaghilev ballets: Parade (Satie/Picasso), Chout (Prokofiev/Larionov), Le Pas d’Acier (Prokofiev/Yakulov).
The question “Will AI artefacts ever be conscious?” was raised by Turing seventy years ago, and will not go away even though no one quite knows what it means, nor how we would know they were conscious if they were.