Nina Goodheart

In this way we attempt to take the mess and mystery of the future, which has always been frightening because it is the ultimate unknown, and tidy it into a story.

Finally, here are 5 lessons I learned from directing in 2024 (if you have time, please send me the lessons you learned this year from your own practice):

5. If you are scared of something, have great collaborators and they will pull you towards it.**

4. You can never know what is going on with someone else and since it is usually more than you can i... See more

Another worry relates to chatbots’ lack of inner lives. Critics, like the philosopher Shannon Vallor in The AI Mirror (2024), argue that there is something defective about emotional bonds with entities that cannot reciprocate affection or interest, about love that is kept alive by ‘the economic rationality of exchange’ rather than a more precarious... See more

In “Sower,” fire represents both finality and a kind of freedom. Its aftermath affords an opportunity to imagine a renewed world, with renewed requirements for survival.

In an era of tight budgets, why don’t we just drag deer off to the side of the road—far enough away so that scavengers don’t become roadkill themselves—and then let the scavengers and decomposers provide their clean-up services for free?[7] Why do we dedicate so much time, money, and sheer physical exertion to transforming carrion into trash? The m... See more

Because chatbots are not people but props that help us generate imaginary conversations, the user’s interlocutor – a character based on the deceased – does not exist independently of the conversation. Chatbot users create their imaginary interlocutors through their interactions with their prop chatbots. In this way, chatbots bestow a special form o... See more