Kinder verstehen direkt, dass es sich lohnt, Korallenriffe zu erhalten. Plastikmüll in den Meeren gefährdet die Korallenriffe und die bunte Vielfalt an Fischen, die darin leben. Ein kleines Theaterstück dazu von Kathrin Brunner begeistert Kinder, weil es sie erleben lässt, wie einfach Lösungen aussehen können. Den großen Leuten zeigen, wie traurig die Welt aussieht ohne die farbenfrohe Pracht der bunten Fische, wird sie schon zu Veränderungen bringen. Das Theaterstück und Buch dazu wurde am 16.3.2024 im FEZ in Berlin aufgeführt. Das Figurenspiel mit überleitendem Refrain, das vom Publikum gleichsam der Promenade in den „Bildern einer Ausstellung“ (Mussorgsky) mitgesungen haben, bildete jeweils eine gelungene emotionale Überleitung und Aufmerksamkeitspause. Wir wünschen uns noch viele kleine und große Besuchende für diese Aufführungen. Die Kinder werden es uns schon lehren, den blauen Planeten noch zu retten.
It seems like a horrific idea to talk about the need of war. We might have deemed it outdated to read about the terrible love of war or about the strategy of war. However, the time of war is back in Europe and Eastern Europe feels the real threat and Ukraine the bombs hailing from Russia. Why does Putin love war? The love of war is largely driven by domestic issues. Staying in power for unliked authoritarian leaders is easiest if they indulge in external conflicts. Dictators love war because it makes it easier for them to sustain leadership through brutal force within the country due to a proclaimed external threat or even outright engagement in war. Democratically elected leaders know that they will leave office eventually in a peaceful way (exceptions like Trump are rare). Dictators use any force or terror necessary to stay in power. The love of war is part of this.
Hence, the need of war goes without questioning, if a country in decline or at risk of decline tries to uphold an inefficient, belligerent regime. Beyond rational reasons, such regimes will abuse ideation about national pride, the national interest and anything pertaining to some supposed myths of nationhood to justify its need of war. The dictators have all failed eventually as resistance against this need of useless war is found out by enemies either within or externally. But thousands or millions of victims will suffer. The pressure against the need of war has to rise internally from opposition as well as from alliances of democracies that do not need war to motivate their people to achieve the best they are able to deliver.
Therefore, the defence of democratic rule is, at the same time, a fight against the need of war by some doomed regimes. After winning the war comes the difficult task of winning peace. This means to create a state of affairs and a state of mind that can do without the need of war. If the external threat diminishes the internal threats might rise and have to be contained as well. Lots of challenges, even for mature democracies. (Image: Berlin 2022-10)
“People always search for symbols in my works. There are none.” For those familiar with the work of Magritte, they know that he means precisely the opposite of what he is stating there. He applies well-known symbols like the white pigeon representing peace in his paintings to represent and make us think about peace. The image becomes surreal in the sense that we go beyond the real world of violence and war to lift our attention to the other surreal version of the world as it currently appears to us.
In times of war, it is more difficult to image a peaceful world and yet, this is the time we need to believe in the possibility of peace beyond the reality of aggression. In 1966 Magritte has painted “L’oiseau de ciel”, the year the peace movements became more than a surreal dream across the world. It remains a challenge to think beyond the cold war at the time and the hot war initiated by Russia in Ukraine. Surrealism helps us to think beyond the real state of affairs.
In Magritte’s own biography the “dove of peace” occurs towards the end of his own life. Whereas at the onset of his career as painter he dealt with depression and suicide in his family, towards the end of his career he moves beyond the autobiographical topics. Globally valid symbols gain the upper hand. The life course seems to have come full circle.
There is a persistent need to watch carefully whether corruption is involved in political as well as economic deals. Transparency Watch is doing a great job in reporting on corruption cases. In democracy we can talk openly about corruption but in authoritarian regimes it is life-threatening for yourself to talk and report on corruption. The case in Europe around the network of Eva Kaili continues to make headlines due to the ruthless abuse of rules the European Parliament. (Link to Le Soir, image below, 2024) The close monitoring of activities and lobbying of powerful industrial interests targeted on parliamentary candidates and officials will continue to be essential for the survival of democracy. The organization „Abgeordnetenwatch.de“ is doing just this. Investigative journalism needs to complement the work of NGOs in this field. Thanks to these efforts it has become much harder to cover up corruption. Only if the risk to be found out is a credible threat corruption can be contained. Let us watch out carefully and probably with the assistance of AI to uncover early any attempts of corruption.
Die Schachnovelle von Stefan Zweig gehört seit langem zu den Klassikern der deutschsprachigen Literatur. Zuletzt hat Jean-Philippe Toussaint in seinem autobiografischen Roman « L’échiquier » dieses Werk nochmals gewürdigt. Die psychische Belastung der fortgeschritten Schachspielenden macht spannende Lektüre. Bei Stefan Zweig ermöglicht das kognitive Training mittels Schachspielen die Bewahrung vor dem drohenden Wahnsinn durch Isolationsfolter. Gedankliche Fokussierung auf das Schachspiel und Spielen gegen sich selbst im Gedankenexperiment werden Rettung und Flucht in virtuelle Welten. Dennoch hinterlässt die Intensität der Erfahrung Spuren. Absorption ins Game, heute als Gaming meist verharmlost, lässt sich in vielen anderen Lebenssituationen wiederfinden. Es kann zur Sucht werden und Personen komplett absorbieren. Alleine Rauskommen oder vom Trip runter kommen ist schwer. Glück haben diejenigen, die professionelle Hilfe suchen und bekommen können.
The game of chess has been subject of an ever increasing amount of literature. Not only historically the game, where two kings fight against each other, but the queens are the most powerful figures on the chessboard attracted a great deal of attention. We studied chess in books and watched live tournaments between the best players of the world. Most of this has successfully moved online and we have gotten used to losing against computers for almost all human beings some time ago. The internal federation of chess FIDE lists the top players male and female. The calendar of face to face events is still impressive. The federation operates somehow like a platform of players, as well as for players, to organize their lives as chess players. Anther kind of chess literature is the one that is constructed around the lives of chess players. Some characters get really absorbed into the mental or virtual world of the dialogue between 2 or more characters or players. The real world experience and the game on the board become intertwined or entangled. Losing or winning, to win or not to win, may unbalance whole personalities. Beyond the “Schachnovelle” von Stefan Zweig we have a new addition of fictional writing with autobiographical traits by Jean-Philippe Toussaint (2023) on our desks. « L’échiquier » is a story unfolding in 64 chapters just like the 8 x 8 spots on the chessboard. Of course, the story does not unfold in a linear fashion. It seems as if the players or opponents even change as the game unfolds. Maybe there are more than one game in action. Simultaneously as in some chess tournaments. Some games are blitz games taking just a few minutes, others go on beyond a lifetime. The experience of playing chess even against yourself has a psychological and sociological dimension. You can go round in circles for some or you are like “bowling alone” in the individualized society. About time to shed an additional light on the mystery of the chessboard. Self isolation with a chessboard was also a way of coping with the Covid pandemic. Some still suffer from long Covid and cures are not always easy to find.
In most applications of AI there is one system of AI, for example a specialized service, that performs in isolation from other services. More powerful systems, however, allow for the combination of AI services. This may be useful in case of integrating services focusing on specialized sensors to gain a more complete impression of the performance of a system. As soon as two and more AI systems become integrated the risk of unwanted or illegal collusion may occur.
Collusion is defined in the realm of economic theory as the secret, undocumented, often illegal, restriction of competition originating from at least two otherwise rival competitors. In the realm of AI collusion has been defined by Motwani et al. (2024) as “teams of communicating generative AI agents solve joint tasks”. The cooperation of agents as well as the sharing of of previously exclusive information increase the risks of violation of rights of privacy or security. The AI related risks consist also in the dilution of responsibility. It becomes more difficult to identify the origin of fraudulent use of data like personal information or contacts. Just imagine using Alexa and Siri talking to each other to develop another integrated service as a simplified example.
The use of steganography techniques, i.e. the secret embedding of code into an AI system or image distribution, can protect authorship as well as open doors for fraudulent applications. The collusion of AI systems will blur legal borders and create multiple new issues to resolve in the construction and implementation of AI agents. New issues of trust in technologies will arise if no common standards and regulations will be defined. We seem to be just at the entry of the new brave world or 1984 in 2024.
(Image: KI MS-Copilot: Three smartphones in form of different robots stand upright on a desk in a circle. Each displays text on a computer image.)
