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1. "The Rise of Artificial Intelligence: What It Means for Humanity" by David M. Daley, The New York Times 2. "How AI Will Impact the Future of Work" by Jeff Desjardins, Visual Capitalist 3. "AI Is About to Revolutionize Healthcare" by John Wilbanks, Wired 4. "AI and Robotics Could Reshape the Global Economy" by James Manyika et al., McKinsey & Company 5. "The Ethics of Artificial Intelligence" by I. Glenn Cohen, Harvard Law Review 6. "The Impact of AI on Education" by Heather Roff, IPsoft 7. "AI and the Future of Law" by Mark A. Lemley and Robert S. Katz, Stanford Law Review 8. "The Impact of AI on Society" by Katja Grace et al., Oxford Internet Institute 9. "The Role of AI in Financial Services" by Sankar Krishnan and Pratim Sengupta, PwC 10. "The Role of AI in Fighting Climate Change" by Evgeny Morozov, The Guardian
An Intellectual Ark: Dominique Gonzalez-Foerster, “Panoramism and the Abstract Sector” at Esther Schipper, Berlin — Mousse Magazine and Publishing
As the lights go out in the top-floor space of Esther Schipper’s Berlin gallery, the visitors’ chatter grows a little quieter. Some people audibly suck in
Amy Taubin on Jean-Luc Godard - Artforum International
QU’EST-CE QUE LE CINEMA? Posed in the title of André Bazin’s multivolume collection of essays, this question guided Jean-Luc Godard through more than sixty years of filmmaking, yielding the most beautiful, provocative, tender, irritating, glamourous, exhilarating, and emotionally and intellectually complicated works in the history of motion pictures, supreme among them the wildly personal, decade-in-the-making Histoire(s) du cinéma (1988–98).To ask “What is cinema?” is to focus attention—perceptual, kinetic, associative—on the object in question rather than on peripheral considerations such as
Travis Jeppesen on Gao Xingjian - Artforum International
That the Nobel Prize–winning novelist/playwright Gao Xingjian is also an accomplished painter should seem less remarkable when his work is viewed within the Chinese tradition. The division between word and image was less severe in ancient China than in the West, and the literati who formed the Chinese classical canon tended to be equally adept at painting, poetry, and the art form that so sublimely combines the visual with the written: calligraphy. Gao was born in 1940 and personally experienced the tumultuous events of late-modern China up until his exile in 1987. Like that of many intellectuals
Cassie Packard on “Symbionts: Contemporary Artists and the Biosphere” - Artforum International
Life arises from difference. That’s what biologist Lynn Margulis (1938–2011) averred when she proposed that endosymbiosis—the nesting of one unlike organism inside another—allowed for the evolution of multicellular entities on earth, and that various symbiotic unions remain integral to the flourishing of existence. Now accepted as scientific fact, Margulis’s assertions suggest that we have been moving mosaics of interspecies communion from the very beginning. This paradigm elicits a reconsideration of the boundaries and possibilities of being “human,” an intellectual project that might serve as
Michael Corris on Nathaniel Donnett - Artforum International
Nathaniel Donnett’s “To Know a Veil” caught you unawares. Brimming with abstract images, structures, and sound, the exhibition revealed its real aesthetic and intellectual pleasures slowly and unexpectedly. If ever there were an exemplary illustration of aesthetic cognitivism—the concept that the material stuff of art both conveys and generates knowledge—this was surely it.The show’s title was a pun on that phrase of exasperation, “to no avail,” while simultaneously referencing the metaphorical “veil” discussed in W. E. B. Du Bois’s book The Souls of Black Folk: Essays and Sketches (1903) and
Ayesha Green at Te Uru Waitākere Contemporary Gallery - Artforum International
In the early modern period when the European academies ruled supreme, figurative painting was organized by a strict hierarchy of genres, with still life relegated to the lowest echelon. To simply render an arrangement of objects—flowers, fruit, crockery, books—in paint was not considered an intellectual exercise. In her richly layered practice, painter Ayesha Green (Ngāti Kahungunu, Kāi Tahu) reinterprets historical images and artifacts to interrogate the values, mythologies, and systems of power that informed their creation and circulation. Having previously considered, for example, portraits