What’s so bad?

We humans love a good bit of misery. We note when bad luck befalls us, chronicle our ailments and often consider ourselves to be having a harder-than-average time of it all. The news and media constantly bombard us with stories of injustice, crime, health scares and why we are basically the worst country imaginable in every conceivable respect, and one only needs to spend a few minutes on any internet forum or discussion centre to find a thousand new and innovative reasons as to why you, and everything you stand for, is totally horrible and stupid and deserves to die. And/or that any faith in humanity you have is entirely misplaced.

However, optimists across the globe have pointed out that if the human race was actually as evil, despicable or otherwise useless a barrel of skunks as it often appears, we probably wouldn’t actually be around; or, at the very least, there certainly is nice and good stuff in this world that we humans are responsible for. So why are we so fixated on the bad? Why our attraction to misfortune? Are we all secretly schadenfreude junkies?

Part of the reason is of course traceable back to the simple fact that we humans are decidedly imperfect creatures, and that there is an awful lot of bad stuff in this world; these scare stories have to come from somewhere, after all. Take the two things that I feel most strongly about; climate change and slavery. In the two centuries since the industrial revolution, we have inflicted some catastrophic damage on our planet in the frankly rather shallow pursuit of profit and material wealth that always seem so far away; not only has this left vast scars of human neglect on many parts of our earth, but the constant pumping of pollutants into our atmosphere has sorely depleted our precious, irredeemable natural resources and is currently in the process of royally screwing with our global climate; it may be centuries before the turmoil calms down, and that’s assuming we ever manage to get our act together at all. On the other front, there are currently more slaves in existence today than at any other point in history (27 million, or roughly the combined population of Australia and New Zealand), a horrifying tribute to the sheer ruthlessness and disrespect of their fellow man of some people. The going rate of a slave today is 500 times less than it was in the days before William Wilberforce ended the Atlantic slave trade, at just $90, and this website allows you to calculate approximately how many slaves worldwide work to maintain your lifestyle. I got 40. I felt kinda sick.

However, as previously said there is also a fairly large quantity of awesome stuff in this world, so why doesn’t this seem to go as well-documented and studied as what’s going wrong. We never hear, for example, that X government department was really efficiently run this year, or that our road system is, on average, one of the best and safest in the world; it’s only ever the horror stories that get out.

Maybe it’s that we actively take pleasure in such pain; that we really do crave schadenfreude, or at the very least that negative feeling has a large emotional connotation. We use such emotion constantly in other situations after all; many films exploit or explore the world of the dark and horrifying in order to get under our skin and elicit a powerful emotional response, and music is often ‘designed’ to do the same thing. The emotions of hatred, of horror,  of loss, even fear, all elicit some primal response within us, and can create reciprocating emotions of catharsis, the sense of realisation and acceptance combined with a sense of purification of the soul. This emotion was the most sought-after feature of classical Greek tragedy, and required great influxes of negative emotion for it to work (hence why most theatre displays incorporated comedic satyrs to break the sheer monotony of depression); maybe we seek this sense of destructive satisfaction in our everyday lives too, revelling in the horror of the world because it makes us, in an almost perverse way, feel better about the world. And hey; I like a good mope now and again as much as the next man.

But to me, this isn’t the real reason, if only because it overlooks the most simple explanation; that bad stuff is interesting because it stands out. Humans are, in a surprising number of ways, like magpies, and we always get drawn to everything outside the norm. If it’s new, it’s unusual, so we find it intriguing and want to hear about it. Nowadays, we live a very sheltered existence in which an awful lot of stuff goes right for us, and the majority of experiences of life and other people fall into the decidedly ‘meh, OK’ category. Rarely are you ecstatic about the friendliness of the staff in your local newsagents, as most such people tend to be not much more than a means to the end; they are efficient and not horrible about allowing you to purchase something, as it should be. This is so commonplace, purely by virtue of being good business practice, that this is considered the norm, and it’s not as if there’s much they can do to elevate the experience and make it particularly enjoyable for you- but it’s far easier for them to be surly and unhelpful, making you note not to visit that shop again. This applies in countless other ways of life; the strictness of our national driving test means that the majority of people on any given road are going to behave in a predictable, safe fashion, meaning the guy who almost kills you pulling out onto the motorway sticks in your mind as an example of how standards are falling everywhere and the roads are hideously unsafe.

To me, the real proof of this theory is that we are capable of focusing on the good things in life too; when they too are somewhat dramatic and unusual. During last summer’s Olympics, an event that is unlikely to occur in Britain again in my lifetime, the news recorded various athletes’ medal success and the general awesomeness of the event every evening and everyone seemed positively taken aback by how great the event was and how much everyone had got behind it; it was genuinely touching to see people enjoying themselves so much. But in our current society, always striving to improve itself, finding examples of things hitting well below par is far easier than finding stuff acting above and beyond the call of awesome.

Although admittedly being happy the whole time would be kinda tiring. And impractical

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The Consolidation of a World Power

I left my last post on the history of music at around 1969, which for many independent commentators marks the end of the era of the birth of rock music. The 60s had been a decade of a hundred stories running alongside one another in the music world, each with their own part to play in the vast tapestry of innovation. Jimi Hendrix had risen from an obscure career playing the blues circuit in New York to being an international star, and one moreover who revolutionised what the music world thought about what a guitar could and should do- even before he became an icon of the psychedelic hippie music world, his hard & heavy guitar leads, in stark contrast to the tones of early Beatles’ and 60s pop music had founded rock music’s harder edge. He in turn had borrowed from earlier pioneers, Jeff Beck, Eric Clapton, The Who (perhaps the first true rock band, given their wild onstage antics and heavy guitar & drumkit-based sound) and Bob Dylan (the godfather of folk rock and the blues-style guitar playing that rock turned into its harder sound), each of whom had their own special stories. However, there was a reason I focused on the story of the hippie movement in my last post- the story of a counter-culture precipitating a musical revolution was only in its first revolution, and would be repeated several times by the end of the century.

To some music nerds however, Henrix’s death aged just 27 (and after just four years of fame) in 1970 thanks to an accidental drug overdose marked the beginning of the end. The god of the guitar was dead, the beautiful voice of Janis Joplin was dead, Syd Barrett had broken up from Pink Floyd, another founding band of the psychedelic rock movement, and was being driven utterly insane by LSD (although he thankfully later managed to pull himself out of the self-destructive cycle and lived until 2006), and Floyd’s American counterparts The Velvet Underground broke up just four years later. Hell, even The Beatles went in 1970.

But that didn’t mean it was the end- far from it. Rock music might have lost some of its guiding lights, but it still carried on regardless- Pink Floyd, The Who, Led Zeppelin and The Rolling Stones, the four biggest British bands of the time, continued to play an active role in the worldwide music scene, Zeppelin and The Who creating a huge fan rivalry. David Bowie was also continuing to show the world the mental ideas hiding beneath his endlessly crisp accent, and the rock world continued to swing along.

However, it was also during this time that a key division began to make itself firmly felt. As rock developed its harder sound during the 1960s, other bands and artists had followed The Beatles’ early direction by playing softer, more lyrical and acoustic sounds, music that was designed to be easy on the ear and played to and for mass appeal. This quickly got itself labelled ‘pop music’ (short for popular), and just as quickly this became something of a term of abuse from serious rock aficionados. Since its conception, pop has always been more the commercial enterprise, motivated less by a sense of artistic expression and experimentation and more by the promise of fame and fortune, which many consider a rather shallow ambition. But, no matter what the age, pop music has always been there, and more often than not has been topping the charts- people often talk about some age in the long distant past as being the ‘best time for music’ before returning to lambast the kind of generic, commercial consumer-generated pop that no self-respecting musician could bring himself to genuinely enjoy and claiming that ‘most music today is rubbish’. They fail to remember, of course, just how much of the same kind of stuff was around in their chosen ‘golden age’, that the world in general has chosen to forget.

Nonetheless, this frustration with generic pop has frequently been a driving force for the generation of new forms of rock, in an attempt to ‘break the mould’. In the early seventies, for example, the rock world was described as tame or sterile, relatively acoustic acts beginning to claim rock status. The Rolling Stones and company weren’t new any more, there was a sense of lacking in innovation, and a sense of musical frustration began to build. This frustration was further fuelled by the ending of the 25-year old post war economic boom, and the result, musically speaking, was punk rock. In the UK, it was The Sex Pistols and The Clash, in the USA The Ramones and similar, most of whom were ‘garage bands’ with little skill (Johnny Rotten, lead singer of The Sex Pistols, has frequently admitted that he couldn’t sing in the slightest, and there was a running joke at the time on the theme of ‘Here’s three chords. Now go start a band’) but the requisite emotion, aggression and fresh thinking to make them a musical revolution. Also developed a few years earlier was heavy metal, perhaps the only rock genre to have never had a clearly defined ‘era’ despite having been there, hiding around the back and on the sidelines somewhere, for the past 40 or so years. Its development was partly fuelled by the same kind of musical frustration that sparked punk, but was also the result of a bizarre industrial accident. Working at a Birmingham metal factory in 1965 when aged 17, Black Sabbath guitarist (although they were then known as The Polka Tulk Blues Band) Tony Iommi lost the the ends of his middle and ring fingers on his right hand. This was a devastating blow for a young guitarist, but Iommi compensated by easing the tension on his strings and developing two thimbles to cover his finger ends. By 1969, his string slackening had lead him to detune his guitar down a minor third from E to C#, and to include slapping the strings with his fingers as part of his performance. This detuning, matched by the band’s bassist Geezer Butler, was combined with the idea formulated whilst watching the queues for horror movie Black Sabbath that ‘if people are prepared to make money to be scared, then why don’t we write scary music?’, to create the incredibly heavy, aggressive, driving and slightly ‘out of tune’ (to conventional ears) sound of heavy metal, which was further popularised by the likes of Judas Priest, Deep Purple and Motley Crue (sorry, I can’t do the umlauts here).

Over the next few years, punk would slowly fall out of fashion, evolving into harder variations such as hardcore (which never penetrated the public consciousness but would make itself felt some years later- read on to find out how) and leaving other bands to develop it into post-punk; a pattern repeated with other genres down the decades. The 1980s was the first decade to see hip hop come to the fore,  partly in response to the newly-arrived MTV signalling the onward march of electronic, manufactured pop. Hip hop was specifically targeted at a more underground, urban circuit to these clean, commercial sounds, music based almost entirely around a beat rather than melody and allowing the songs to be messed around with, looped, scratched and repeated all for the sake of effect and atmosphere building. From hip hop was spawned rap, party, funk, disco, a new definition of the word DJ and, eventually, even dubstep. The decade also saw rock music really start to ‘get large’ with bands such as Queen and U2 filling football stadiums, paving the way for the sheer scale of modern rock acts and music festivals, and culminating, in 1985, with the huge global event that was Live Aid- not only was this a huge musical landmark, but it fundamentally changed what it meant to be a musical celebrity, and greatly influenced western attitudes to the third world.

By the late 80s and early 90s the business of counter-culture was at it again, this time with anger directed at a range of subjects from MTV tones, the boring, amelodic repetition of rap and the controversial policies of the Reagan administration that created a vast American ‘disaffected youth’ culture. This music partly formulated itself into the thoughtful lyrics and iconic sounds of bands such as REM, but in other areas found its expression and anger in the remnants of punk. Kurt Cobain in particular drew heavy inspiration from ‘hardcore’ bands (see, I said they’d show up again) such as Black Cloud, and the huge popularity of Nirvana’s ‘Smells Like Teen Spirit’ thrust grunge, along with many of the other genres blanketed under the title ‘alternative rock’ into the public consciousness (one of my earlier posts dealt with this, in some ways tragic, rise and fall in more detail). Once the grunge craze died down, it was once again left for other bands to formulate a new sound and scene out of the remnants of the genre, Foo Fighters being the most prominent post-grunge band around today. In the UK things went in a little different direction- this time resentment was more reserved to the staged nature of Top of the Pops and the like, The Smiths leading the way into what would soon become indie rock or Britpop. This wave of British bands, such as Oasis, Blur and Suede, pushed back the influx of grunge and developed a prominence for the genre that made the term ‘indie’ seem a bit ironic.

Nowadays, there are so many different great bands, genres and styles pushing at the forefront of the musical world that it is difficult to describe what is the defining genre of our current era. Music is a bigger business than it has ever been before, both in terms of commercial pop sound and the hard rock acts that dominate festivals such as Download and Reading, with every band there is and has ever been forming a part, be it a thread or a whole figure, of the vast musical tapestry that the last century has birthed. It is almost amusing to think that, whilst there is so much that people could and do complain about in our modern world, it’s very hard to take it out on a music world that is so vast and able to cater for every taste. It’s almost hard to see where the next counter-culture will come from, or how their musical preferences will drive the world forward once again. Ah well, we’ll just have to wait and see…

Finding its feet

My last post on the recent history of western music took us up until the Jazz Age, which although it peaked in the 1920s, continued to occupy a position as the defining music genre of its age right up until the early 1950s. Today’s post takes up this tale for another decade and a half, beginning in 1951.

By this time, a few artists (Goree Carter and Jimmy Preston, for example) had experimented with mixing the various ‘black’ music genres (country and western, R&B and a little gospel being the main ones) to create a new, free rocking sound. However, by the 50s radio, which had been another major force for the spread of jazz, had risen to prominence enough to become a true feature of US life, so when Cleveland DJ Alan Freed first started playing R&B intentionally to a multiracial audience even his small listenership were able to make the event a significant one. Not only that, but the adolescents of the 50s were the first generation to have the free time and disposable income to control their own lives, making them a key consumer market and allowing them to latch onto and fund whatever was new and ‘cool’ to them. They were the first teenagers. These humble beginnings, spreading ‘black’ musical experiments to the masses, would later become the genre that Freed himself would coin a name for- rock and roll.

Rock and roll might have originally been named by Freed, and might have found its first star in Bill Haley (the guy wrote ‘Rock Around The Clock’ in 1955), but it became the riotous, unstoppable musical express train that it was thanks to a young man from Memphis, Tennessee, who walked into Sun Records in 1953 to record a song for personal use. His name was Elvis Presley.

’53 might have been Presley’s first recording experience, but his was not a smooth road. In eighth grade music he is reported to have only got a C and be told that he couldn’t sing, a claim that was repeated when he failed an audition for a local vocal quartet in January 1954. However, in June of that year he recorded a 1946 blues hit ‘That’s All Right’, totally altering what had been a lovelorn lament of a song into a riotous celebration. He, Winfield Moore and Bill Black (the guitarist and bassist he was recording with) had created a new, exciting, free-flowing sound based around Presley’s unique singing style. Three days later, the song aired on local radio for the first time and calls flooded in demanding to know who the new singer was. Many were even more surprised when they found out that it was a straight laced white boy playing what was previously thought of as ‘black music’.

Completely unintentionally, Elvis had rewritten the rulebook about modern music- now you didn’t have to be black, you didn’t have to play the seedy venues, you didn’t have to play slow, old, or boring music, you didn’t have to be ‘good’ by classical standards, and, most important, your real skill was your showmanship. Whilst his two co-performers in the early days were both natural showmen, Presley was a nervous performer to start with and his legs would shake during instrumental sections- the sight of a handsome young man wiggling his legs in wide-cut trousers proving somewhat hysterical for female sections of the audience, and worked the crowd into a frenzy that no previous performer had managed.

Elvis’ later career speaks for itself, but he lost his focus on writing music in around 1960 as, along with the death of Buddy Holly, the golden years of rock ‘n’ roll ended. However, the 50s had thrown up another new innovation into the mix- the electric guitar. Presley and his competitors had used them in their later performances, since they were lighter and easier to manoeuvre on stage and produced a better, louder sound for recorded tracks, but they wouldn’t come to their own until ‘the golden age of rock’ hit in the mid 60s.

By then, rock n roll had softened and mellowed, descending into lighter tunes that were the ancestors of modern pop music (something I’m not sure we should be too thankful to Elvis for), and British acts had begun to be the trailblazers. British acts tended towards a harder sound, and Cliff Richard enjoyed a period of tremendous success in the USA, but even then the passage of rock had eased off slightly. It wasn’t new any more, and people were basically content to carry on listening- there wasn’t much consumer demand for a new sound. But then, the baby boomers hit. The post-war goodwill in the late 40s and early 1950s had resulted in a spike in the birth rate of the developed world, and by around 1963 that generation had began to grow up. A second wave of teenagers hit the world, all desperate to escape the dreary boredom of their parents’ existence and form their own culture, with their own clothing, film interests, and, most importantly, music. The stage was set for something new to revolutionise the world of music, and the product that did was made in Britain.

Numerous bands from all over the country made up the British rock scene of the early 1960s, but the most prolific area was Liverpool. There rock and roll once again underwent a fusion with subgenres such as doo wop, and (again) R&B, formulating itself into another new sound, this time centred around a driving, rhythmic beat based upon the electric guitar and drum kit. These beats formed a key part of the catchy, bouncy, memorable melodies that would become the staple of ‘beat’ music. This had taken over the British music scene by 1963, but by 1964 a British song had made number 1 in the US charts. It was called ‘I Want To Hold Your Hand’, and was written by four Liverpudlians who called themselves The Beatles.

To this day, the Beatles are the most successful musicians ever (sorry fellow Queen fans- it’s true). Their first appearance on the Ed Sullivan show in 1964 set a new record for an American TV audience (over 70 million)- a show they only did because Sullivan’s plane had been forced to circle Heathrow Airport in the middle of the night so that this band he’d never heard of could land first and wade their way through their screaming fans. Sullivan decided then and there he wanted to interview them. Along with other British acts such as The Rolling Stones and The Kinks, beat took the US by storm- but they were only the first. The Beatles’ first and greatest legacy was the structure of a rock band; all band members wrote their own songs based on the drums & electric guitar. All that was left was for acts like the Stones to cement singer/lead guitarist/bassist/drummer as the classic combination and the formula was written. The music world was about to explode; again

And this story looks like taking quite a few more posts to tell…

Why do we call a writer a bard, anyway?

In Britain at the moment, there are an awful lot of pessimists. Nothing unusual about this, as it’s hardly atypical human nature and my country has never been noted for its sunny, uplifting outlook on life as a rule anyway. Their pessimism is typically of the sort adopted by people who consider themselves too intelligent (read arrogant) to believe in optimism and nice things anyway, and nowadays tends to focus around Britain’s place in the world. “We have nothing world-class” they tend to say, or “The Olympics are going to be totally rubbish” if they wish to be topical.

However, whilst I could dedicate an entire post to the ramblings of these people, I would probably have to violate my ‘no Views’ clause by the end of it, so will instead focus on one apparent inconsistency in their argument. You see, the kind of people who say this sort of thing also tend to be the kind of people who really, really like the work of William Shakespeare.

There is no denying that the immortal Bard (as he is inexplicably known) is a true giant of literature. He is the only writer of any form to be compulsory reading on the national curriculum and is known of by just about everyone in the world, or at least the English-speaking part. He introduced between 150 and 1500 new words to the English language (depending on who you believe and how stringent you are in your criteria) as well as countless phrases ranging from ‘bug-eyed monster’ (Othello) to ‘a sorry sight’ (Macbeth), wrote nearly 40 plays, innumerable sonnets and poems, and revolutionised theatre of his time. As such he is idolised above all other literary figures, Zeus in the pantheon of the Gods of the written word, even in our modern age. All of which is doubly surprising when you consider how much of what he wrote was… well… crap.

I mean think about it- Romeo and Juliet is about a romance that ends with both lovers committing suicide over someone they’ve only known for three days, whilst Twelfth Night is nothing more than a romcom (in fact the film ‘She’s the Man’ turned it into a modern one), and not a great one at that. Julius Caesar is considered even by fans to be the most boring way to spend a few hours in known human history, the character of Othello is the dopiest human in history and A Midsummer Night’s Dream is about some fairies falling in love with a guy who turns into a donkey. That was considered, by Elizabethans, the very height of comedic expression.

So then, why is he so idolised? The answer is, in fact, remarkably simple: Shakespeare did stuff that was new. During the 16th century theatre hadn’t really evolved from its Greek origins, and as such every play was basically the same. Every tragedy had the exact same formulaic plot line of tragic flaw-catharsis-death, which, whilst a good structure used to great effect by Arthur Miller and the guy who wrote the plot for the first God of War game, does tend to lose interest after 2000 years of ceaseless repetition. Comedies & satyrs had a bit more variety, but were essentially a mixture of stereotypes and pantomime that might have been entertaining had they not been mostly based on tired old stories, philosophy and mythology and been so unfunny that they required a chorus (who were basically a staged audience meant to show how the audience how to react). In any case there was hardly any call for these comedies anyway- they were considered the poorer cousins to the more noble and proper tragedy, amusing sideshows to distract attention from the monotony of the main dish. And then, of course, there were the irreversibly fixed tropes and rules that had to be obeyed- characters were invariably all noble and kingly (in fact it wasn’t until the 1920’s that the idea of a classical tragedy of the common man was entertained at all) and spoke with rigid rhythm, making the whole experience more poetic than imitative of real life. The iambic pentameter was king, the new was non-existent, and there was no concept whatsoever that any of this could change.

Now contrast this with, say, Macbeth. This is (obviously) a tragedy, about a lord who, rather than failing to recognise a tragic flaw in his personality until right at the very end and then holding out for a protracted death scene in which to explain all of it (as in a Greek tragedy), starts off a good and noble man who is sent mental by a trio of witches. Before Shakespeare’s time a playwright could be lynched before he made such insulting suggestions about the noble classes (and it is worth noting that Macbeth wasn’t written until he was firmly established as a playwright), but Shakespeare was one of the first of a more common-born group of playwrights, raised an actor rather than aristocrat. The main characters may be lords & kings it is true (even Shakespeare couldn’t shake off the old tropes entirely, and it would take a long time for that to change), but the driving forces of the plot are all women, three of whom are old hags who speak in an irregular chanting and make up heathen prophecies. Then there is an entire monologue dedicated to an old drunk bloke, speaking just as irregularly, mumbling on about how booze kills a boner, and even the main characters get in on the act, with Macbeth and his lady scrambling structureless phrases as they fairly shit themselves in fear of discovery. Hell, he even managed to slip in an almost comic moment of parody as Macbeth compares his own life to that of a play (which, of course, it is. He pulls a similar trick in As You Like It)

This is just one example- there are countless more. Romeo and Juliet was one of the first examples of romance used as the central driving force of a tragedy, The Tempest was the Elizabethan version of fantasy literature and Henry V deserves a mention for coming up with some of the best inspirational quotes of all time. Unsurprisingly, whilst Shakespeare was able to spark a revolution at home, other countries were rocked by his radicalism- the French especially were sharply divided into two camps, one supporting this theatrical revolution (such as Voltaire) and the other vehemently opposing it. It didn’t do any good- the wheels had been set in motion, and for the next 500 years theatre and literature continued (and continues) to evolve at a previously unprecedented rate. Nowadays, the work of Shakespeare seems to us as much of a relic as the old Greek tragedies must have appeared to him, but as theatre has moved on so too has our expectations of it (such as, for instance, jokes that are actually funny and speech we can understand without a scholar on hand). Shakespeare may not have told the best stories or written the best plays to our ears, but that doesn’t mean he wasn’t the best playwright.

Artificial… what, exactly?

OK, time for part 3 of what I’m pretty sure will finish off as 4 posts on the subject of artificial intelligence. This time, I’m going to branch off-topic very slightly- rather than just focusing on AI itself, I am going to look at a fundamental question that the hunt for it raises: the nature of intelligence itself.

We all know that we are intelligent beings, and thus the search for AI has always been focused on attempting to emulate (or possibly better) the human mind and our human understanding of intelligence. Indeed, when Alan Turing first proposed the Turing test (see Monday’s post for what this entails), he was specifically trying to emulate human conversational and interaction skills. However, as mentioned in my last post, the modern-day approach to creating intelligence is to try and let robots learn for themselves, in order to minimise the amount of programming we have to give them ourselves and thus to come close to artificial, rather than programmed, intelligence. However, this learning process has raised an intriguing question- if we let robots learn for themselves entirely from base principles, could they begin to create entirely new forms of intelligence?

It’s an interesting idea, and one that leads us to question what, on a base level, intelligence is. When one thinks about it, we begin to realise the vast scope of ideas that ‘intelligence’ covers, and this is speaking merely from the human perspective. From emotional intelligence to sporting intelligence, from creative genius to pure mathematical ability (where computers themselves excel far beyond the scope of any human), intelligence is an almost pointlessly broad term.

And then, of course, we can question exactly what we mean by a form of intelligence. Take bees for example- on its own, a bee is a fairly useless creature that is most likely to just buzz around a little. Not only is it useless, but it is also very, very dumb. However, a hive, where bees are not individuals but a collective, is a very different matter- the coordinated movements of hundreds and thousands of bees can not only form huge nests and turn sugar into the liquid deliciousness that is honey, but can also defend the nest from attack, ensure the survival of the queen at all costs, and ensure that there is always someone to deal with the newborns despite the constant activity of the environment surround it. Many corporate or otherwise collective structures can claim to work similarly, but few are as efficient or versatile as a beehive- and more astonishingly, bees can exhibit an extraordinary range of intelligent behaviour as a collective beyond what an individual could even comprehend. Bees are the archetype of a collective, rather than individual, mind, and nobody is entirely sure how such a structure is able to function as it does.

Clearly, then, we cannot hope to pigeonhole or quantify intelligence as a single measurement- people may boast of their IQ scores, but this cannot hope to represent their intelligence across the full spectrum. Now, consider all these different aspects of intelligence, all the myriad of ways that we can be intelligent (or not). And ask yourself- now, have we covered all of them?

It’s another compelling idea- that there are some forms of intelligence out there that our human forms and brains simply can’t envisage, let alone experience. What these may be like… well how the hell should I know, I just said we can’t envisage them. This idea that we simply won’t be able to understand what they could be like if we ever experience can be a tricky one to get past (a similar problem is found in quantum physics, whose violation of common logic takes some getting used to), and it is a real issue that if we do ever encounter these ‘alien’ forms of intelligence, we won’t be able to recognise them for this very reason. However, if we are able to do so, it could fundamentally change our understanding of the world around us.

And, to drag this post kicking and screaming back on topic, our current development of AI could be a mine of potential to do this in (albeit a mine in which we don’t know what we’re going to find, or if there is anything to find at all). We all know that computers are fundamentally different from us in a lot of ways, and in fact it is very easy to argue that trying to force a computer to be intelligent beyond its typical, logical parameters is rather a stupid task, akin to trying to use a hatchback to tow a lorry. In fact, quite a good way to think of computers or robots is like animals, only adapted to a different environment to us- one in which their food comes via a plug and information comes to them via raw data and numbers… but I am wandering off-topic once again. The point is that computers have, for as long as the hunt for AI has gone on, been our vehicle for attempting to reach it- and only now are we beginning to fully understand that they have the potential to do so much more than just copy our minds. By pushing them onward and onward to the point they have currently reached, we are starting to turn them not into an artificial version of ourselves, but into an entirely new concept, an entirely new, man-made being.

To me, this is an example of true ingenuity and skill on behalf of the human race. Copying ourselves is no more inventive, on a base level, than making iPod clones or the like. Inventing a new, artificial species… like it or loath it, that’s amazing.