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The study treats AI as a normal technology, not a superintelligence, and draws on past technological revolutions to project gradual implementation. Image: Freepik We're old enough to know that tech hype is practically a structural feature of modern capitalism. In saturated markets, the relentless pursuit of differentiation is a survival condition in a venture capital arena hungry for disruptive narratives to justify their valuations. In this sense, capitalism doesn't just sell products, but also dreams of the future. However, in the case of artificial intelligence, have market players gone too far? Constant versioning patterns point to an artificial intelligence that will emerge, the media says, like a kind of black hole. From this "singularity," already knocking at our doors, "no sector will escape," say influencers, tech gurus, politicians, and even some academics seeking prominence. "AI will transform EVERYTHING," warns the AI Safety community. "Adapt or die," claim the FOMO hysterics (those panicking out of fear of missing out). Now, a paper and book project, published in April by the Knight First Amendment Institute at Columbia University , brings a refreshing breeze to both the fog of a dystopian vision of an apocalyptic scenario without empirical basis and the sweet, cloying incense of the utopian vision. For the authors of this public reflection essay, Arvind Narayanan and Sayash Kapoor, respectively a computer science professor and doctoral candidate at Princeton University, AI is "normal technology," just like other "transformative general-purpose technologies, such as electricity and the internet." AI Innovation Is Fast, Adoption Is Slow The study notes that another technological revolution — industrial electrification — took 40 years to be implemented. Image: karlyukav/Freepik According to the study, the major problem with the current AI debate is that both sides place it in the position of an autonomous agent, capable of making decisions on its own and choosing humanity's destiny, attributing "full autonomy" that would leave it beyond human control. When they speak of "normal technology," Narayanan and Kapoor are actually rejecting this technological determinism. Drawing from historical transformations, the researchers emphasize that it's human institutions — not the "will of the technology" — that shape AI's social impacts. The assertion functions simultaneously as a description of the present (how AI really is today), a prediction of the future (a bet on its most likely trajectory), and a prescription for how we should treat it, including guidance on desirable policies and behaviors. "We do not think that viewing AI as humanlike intelligence is currently accurate or useful for understanding its societal impacts," the authors state in the study. Similarly, this anthropomorphic perspective doesn't provide a basis for anticipating future developments or guiding decisions. But perhaps one of the study's most important contributions is distinguishing between AI creation and adoption . While 40% of Americans have tried generative AI, they use it sparingly — just a few hours per month, not per day. In other words, people need to relearn how to work. Drawing an analogy with the Industrial Revolution, the study recalls that electricity took 40 years to truly transform factories, because it wasn't just a matter of plugging into an outlet. Everything had to be redesigned: machine layouts, work processes, and company structures. The Great Lesson of Electricity and AI's Future During the Industrial Revolution, workers began supervising the machines. Image: Courtesy of United Artists The parallel between the arrival of electricity during the Industrial Revolution and the introduction of AI isn't coincidental. True transformation only occurred when entrepreneurs realized they could place individual electric motors on each machine. More than a century later, AI may be going through the same process. Today, many companies and individuals are simply "plugging" AI into existing processes , such as using ChatGPT to write emails or automate specific tasks. But this means making these tasks more expensive. True transformation, like effective use of the technology, will only come with a complete redesign of business models, professions, work routines, and even social structures. Ironically, the belief that AI will create entirely new ways of producing, interacting, and living is what fuels the hype. Just as Industrial Revolution workers began supervising machines, future jobs will tend to focus on configuring, monitoring, and supervising automated systems. Narayanan and Kapoor warn that without human supervision, AI can make frequent errors that could render it commercially unviable. Despite some complacency regarding employment impacts and some excessively categorical predictions about human supremacy, the paper fulfills its purpose: it offers a balanced perspective between two extreme scenarios and suggests policies grounded in historical lessons rather than speculation.

You Can’t Take It With You is an ode to the cinema. At the age of eighty, there is nothing that makes it more naive or outdated. In the residence of Grandpa Vanderhof people live together and do exactly what they want and only what they want: children, grandchildren, sons-in-law or simply people who went there and did not leave. This anarchic family-community, perhaps a harbinger of what, thirty years later, would become the hippies contrasts sharply with the other family plot, the grumpy banker JP Kirby who, investing in the design of an ammunition plant (the movie is prior to World War II), needs to buy a whole neighborhood, but his investment is frustrated precisely by a resident who insists on not selling his property: Vanderhof that regards ​​more the family values ​​than any value in money. But another quarrel makes the fate of families intersect: the romance between J. P.’s son and vice president of the company, Tony, and his secretary Alice, by chance Grandpa's granddaughter who does not want to sell the house. The scene of the rich family's visit to the Sycamores house is worthy of the so-called screwball comedies of the 1930s, though the film lacks a vocation for laughter, drifting to incredibly modern themes like greed for more and more money, impoverishment of the population (would the 2008-09 Recession be a remake of the Great Depression?), and even the fear of the "red peril," the Communist threat that has been attending America's electoral agendas. The ending of the movie is a good example of what was called in the Capra-corn era, movies that extol the best that was (and still is) in human nature: sensitivity, gentleness, humility, and good humor. If we understand that mankind is governed by greed, selfishness and lack of love, it is easy to understand how the solutions of You Can’t Take It With You lead us to moments of pure enlightenment and dream. As Vanderhof persuades the accountant Poppins to leave the bank and move to his house to make masks and toys, he, still wary, says: "the die is cast". #capra #review

Curious is the word "subversive" that has been the adjective most applied to The Last Tango in Paris . Curious because, 46 years ago, when the film was released, subversive sounded like a libertarian in Europe and a destroyer of good manners in Third World countries. Now, on the eve of his fiftieth birthday, and on the director's death week, the film reappears in the media as offensive or disturbing. But what was, at the time of the launch of The Last Tango in Paris, and is on the rise again, is a real inability to deal with sexual themes, an inability that never ceased to exist, but sounded a little tacky in "culturally correct" environment. Paul and Jeanne met in a Paris apartment for rent in 1972. For some of these reasons that seem strange but certainly inhabit the minds of many, the 45-year-old man kisses the 20-year-old girl and initiates a sexual breakthrough that just cannot be considered rape by her agreement. From there they begin a relationship with the condition, imposed by the American, that no names or personal details were revealed. The movie is so restricted in this respect that we never knew the name of Rosa's mother, Paul's wife who had just committed suicide. If social intimacy does not appear, sexual intercourse is wide open, potty-mouth and dirty (in a good sense, we might say). Bertolucci leaves the actors free for improvisations, and what you see are moments of pure lyricism. Impossible to forget the metamorphosis lived by Paul, a violent man in a little boy sobbing next to the body of his dead wife. There is also an emblematic scene that we might classify as prophetic, in which Jeanne voices against her fiancé Tom, who is filming her life, complaints about how she "can not stand being used" and even "feels raped", phrases that would be employed by the actress Maria Schneider later, in the real life. The photograph of Vittorio Storaro and the music of Gato Barbieri frame this work of art. #bertolucci #review

REVIEWS Amarcord (1973) Federico Fellini Now showing Now showing Now showing Now showing What They Didn't Tell You About AI: It's Just "Normal" Technology Juror #2: between guilt and conviction I'm Still Here is contained and devastating There's something sad about Aftersun REVIEWS IN LINE FOR THE MOVIES DREAMS ON SCREEN I think going to the movies is like premeditating a dream or borrowing other people's dreams. READ MORE

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reviews reviews reviews reviews Juror #2: between guilt and conviction Juror # 2 , which rumours suggest may be Clint Eastwood's final directed film, expresses discontent with how justice is carried out in... JORGE MARIN Mar 18 2 min read I'm Still Here is contained and devastating I’m Still Here is not an easy film to watch, given the anguish it evokes and the helplessness it exposes. However, it is mandatory,... JORGE MARIN Jan 23 2 min read There's something sad about Aftersun There is something sad and unsettling about Aftersun, Charlotte Wells' simple debut movie. The presence of a camcorder and the absence of... JORGE MARIN Mar 24, 2024 2 min read Killers of the Flower Moon is magnificent Watching the release of a cinematic masterpiece is an indescribable thrill, and when a director like Martin Scorsese signs it, it's like... 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JORGE MARIN Nov 20, 2021 2 min read Minari: taking roots Minari is a beautiful film as any human life can be, but, as what happens with everyone else, dreams don’t always work out as they... JORGE MARIN Apr 24, 2021 2 min read Nomadland are the rejects of hypocritical meritocracy Nomadland , Chloé Zhao's movie based on the book of the same name written by American journalist Jessica Bruder, unfolds as if it were a... JORGE MARIN Apr 17, 2021 2 min read The Father charms and frightens My father is a disturbing film and an unprecedented interaction for many people who go to the movies. By "breaking the fourth wall," a... JORGE MARIN Apr 10, 2021 2 min read The Platform is an obvious and violent parable The Platform is a violent and very obvious parable about the capitalist system. However, the way it is presented is more frightening as... JORGE MARIN Feb 22, 2020 2 min read 1917: duty, honor and despair 1917 came, in a way, to supply a shortage of films about the First World War, since the last primary production about the conflict was... JORGE MARIN Jan 18, 2020 2 min read Portrait of a Lady on Fire: desire and art Portrait of a Lady on Fire includes itself in that category of films that go beyond the script and acting and is consolidated as a work... JORGE MARIN Jan 11, 2020 2 min read The Lighthouse is a nightmare The Lighthouse is a nightmare. Horror movie can often be the result of a lifetime of two in isolation. Director Robert Eggers captures... JORGE MARIN Jan 4, 2020 2 min read Fight Club is a clear prophecy Fight Club is a visceral movie that can not be analyzed literally, as if the violence that is seen there is only that of a bunch of... JORGE MARIN Dec 21, 2019 2 min read As influenced as any ordinary woman A Woman Under the Influence is a masterpiece of John Cassavetes and presents a woman who, so influenced by the people around her, can be... JORGE MARIN Dec 14, 2019 2 min read The Two Popes: mutual provocations The Two Popes is a movie based on a play by Anthony McCarten, who wrote the script, and spends much of his 125 minutes in dialogues... JORGE MARIN Dec 7, 2019 2 min read Once Upon a Time... In a Tarantino movie Once Upon a Time... in Hollywood was directed by Quentin Tarantino, but it is not a "Tarantino movie." It's better than that: great... JORGE MARIN Nov 30, 2019 2 min read American Industry calls the class warfare into question American Factory is a 2019 documentary about a GM automobile factory that was shut down in 2008. Six years later, the facility was... JORGE MARIN Nov 23, 2019 2 min read Monster' Ball: repeated violences Monster's Ball is an excellent movie about violence, not just the episodic one portrayed in the news, but the intimate violence of each... JORGE MARIN Nov 16, 2019 2 min read Carnal Knowledge: men who think they desire women Carnal Knowledge is rightly considered Mike Nichols' best work. It can be said that it is a chronicle that sensitively reflects the... JORGE MARIN Nov 9, 2019 2 min read Babel: tragic misunderstandings Babel is not about the separation of peoples due to language diferences, as shown in the biblical account. Director Alejandro Iñárritu... JORGE MARIN Nov 2, 2019 2 min read The Cabinet of Doctor Caligari: reality twists The Cabinet of Dr. Caligari is considered to be a masterpiece of German Expressionism. Filmed in 1920, the action takes place in several... JORGE MARIN Oct 26, 2019 2 min read Pain and Glory: tender and delicate autobiography Pain and Glory is one of the most tender and delicate movies by director Pedro Almodóvar. Autobiographical, and with Antonio Banderas as... JORGE MARIN Oct 19, 2019 2 min read Phantom Thread are shadows of married couples Phantom Thread is a delicate and crude film at the same time, as it deals with the execution of art, from the artisan weft to the final... JORGE MARIN Oct 12, 2019 2 min read Joker is not a comic book Joker is not a movie about comics, like the ones we get used to in the Marvel Universe. Although released to tell the story of the... JORGE MARIN Oct 5, 2019 2 min read Ad Astra: in search of what science claims does not exist Set in the "near future," James Gray's Ad Astra can tell a consistent and ambitious story that, despite the slowness of the narrative,... JORGE MARIN Sep 28, 2019 2 min read The Searchers: epic and beautiful The Searchers is one of John Ford's most epic and beautiful movies. Winton C. Hooch's magnificent cinematography is already present in... JORGE MARIN Sep 21, 2019 2 min read Fargo: unique and dern good Fargo begins with a white canvas, and as the initial credits start to appear, the icy North Dakota landscape arises, with the strange... JORGE MARIN Sep 14, 2019 2 min read Man With a Movie Camera: unrivaled visual experience Man With a Movie Camera is one of the most revolutionary visual experiences ever made in the form of film. Director Dziga Vertov sought... JORGE MARIN Sep 7, 2019 2 min read Marriage Story: that things you never talk about The thread of a Wedding Story seems to be divorce, but what director Noah Baumbach reveals is a glimpse of real-life in a relationship... JORGE MARIN Aug 31, 2019 2 min read Bacurau: metaphor in different languages Bacurau is an extraordinary Brazilian movie directed by Kleber Mendonça Filho and Juliano Dornelles. Named for a bird, "not a birdie,"... JORGE MARIN Aug 24, 2019 2 min read Aguirre: madness and power Werner Herzog's Wrath of God remains after almost 50 years, one of the scariest movies ever made. But terror comes from the condition of... JORGE MARIN Aug 17, 2019 2 min read The Barbarian Invasions: everything goes by The Barbarian Invasions is a 2003 movie that deals in its dialogues with the question of the interpenetration of divergent worlds,... JORGE MARIN Aug 10, 2019 2 min read 1 2