Speaker 1: Pushkin. Americans do this really weird thing. Expectant parents hold
Speaker 1: gender reveal parties now to the mystery explosion that rocked
Speaker 1: a southern New Hampshire town. They often feature explosions with
Speaker 1: smoke that's either pink or blue. An alarming number of
Speaker 1: these stunts have gone RYE turns out that blast came
Speaker 1: from an over the top gender reveal party, a couple
Speaker 1: apparently using explosives to announce the sex of their baby.
Speaker 1: People have been killed, houses have burned to the ground,
Speaker 1: even forests. We begin to night with new video released
Speaker 1: from the US Forest Service showing the moment a gender
Speaker 1: reveal video started the forty seven thousand acres Sawmill fire.
Speaker 1: Elon Musk and his former girlfriend, the musician Grimes, didn't
Speaker 1: hold a gender reveal party in a way. They did
Speaker 1: the opposite. Last year on Twitter, they announced the birth
Speaker 1: of their baby, who was named X. Grimes that the
Speaker 1: baby would be raised without a gender. Like most things
Speaker 1: involving Elon Musk, this move looks like it has its
Speaker 1: origins in science fiction. Once upon a Time, a baby
Speaker 1: named X was born. The Story of Baby X was
Speaker 1: published in nineteen seventy two in miss A feminist magazine
Speaker 1: during its very first year, at the height of the
Speaker 1: women's liberation movement. This baby was named X so that
Speaker 1: nobody could tell whether it was a boy or a girl.
Speaker 1: Its parents could tell, of course, but they couldn't tell
Speaker 1: anybody else. They couldn't even tell Baby X, at least
Speaker 1: not until much much later. You see, it was all
Speaker 1: part of a very important secret scientific experiment known officially
Speaker 1: as Project Baby X. Baby X began as a feminist
Speaker 1: thought experiment. How did it come to be the name
Speaker 1: of Elon Musk's youngest child? In a broader sense, what's
Speaker 1: the place of ideas about families in Silicon Valley futurism?
Speaker 1: And are there other ideas about families that may be
Speaker 1: ought to have a place in any vision of the future.
Speaker 1: Welcome to The Evening Rocket, a special report. I'm Jill Lapoor.
Speaker 1: I'm a historian, a professor at Harvard, and for a
Speaker 1: long time I've been studying the relationship between technological and
Speaker 1: political change. This series, I'm exploring a new kind of capitalism.
Speaker 1: Call it Muscism, extravagant extreme capitalism, extraterrestrial capitalism, where stock
Speaker 1: prices for projects from Tesla and SpaceX to cryptocurrencies and
Speaker 1: neural implants can be driven by fantasies that come from
Speaker 1: science fiction. I'm fascinated by science fiction, even by comic books.
Speaker 1: They once read a whole about the political history of
Speaker 1: Wonder Woman. The science fiction men like Elon Musk and
Speaker 1: Jeff bezos Ador generally concerns gleaming futures in which fantastically
Speaker 1: powerful and often immensely rich men colonize other planets. This episode,
Speaker 1: which is called Baby X, I want to take a
Speaker 1: look at the science fiction that's usually left out of
Speaker 1: that vision new way, afrofuturism, feminist science fiction, post colonial
Speaker 1: science fiction, including the story of Baby X. The smartest
Speaker 1: scientists had set up this experiment at a cost of
Speaker 1: exactly twenty three billion dollars and seventy two cents. This
Speaker 1: might seem like a lot for one baby, even if
Speaker 1: it was an important, secret scientific experimental Baby. This sort
Speaker 1: of science fiction generally involves both ideas about gender and
Speaker 1: sexuality and actual people who are not men and children babies.
Speaker 1: Even I think I can help explain the domestic politics
Speaker 1: of extreme capitalism. So blast off back to the beginning
Speaker 1: of this century. No blue smoke, no pink smoke. Elon
Speaker 1: Musk met his first wife, the Canadian writer Justine Wilson,
Speaker 1: in college. They married in the year two thousand and
Speaker 1: had a baby who died tragically, and then triplets and twins.
Speaker 1: After the marriage ended, Wilson wrote an essay called I
Speaker 1: Was a Starter Wife for Marie Claire, a women's magazine,
Speaker 1: about how weeks after Musk filed for divorce he texted her.
Speaker 1: She wrote to say he was engaged to a gorgeous
Speaker 1: British actress in her early twenties. Musk and that actress married, divorced, remarried,
Speaker 1: and then divorced again in twenty sixteen. In twenty eighteen,
Speaker 1: Musk met Claire Bouchet, an innovative Canadian born musician known
Speaker 1: as Grimes. She had studied neuroscience at McGill. Like Musk,
Speaker 1: Grimes is an avid science fiction fan. Her first album
Speaker 1: was a tribute to Doone. The New Yorker once called
Speaker 1: her a mad pop scientist. She's also a feminist, and
Speaker 1: she's offered a fierce indictment of the music industry, where
Speaker 1: she said women feel pressure to act like strippers and
Speaker 1: it's okay to make grape threats. Being Musk's girlfriend and
Speaker 1: doing things like defending him against charges that he prevented
Speaker 1: Tesla workers from unionizing annoyed a lot of her fans.
Speaker 1: She's been attacked with a particular venom reserved for female
Speaker 1: artists and writers. Grimes has got a sophisticated interest in
Speaker 1: gender and voice. Hey everybody, this is Grimes and I'm
Speaker 1: very excited to be here kicking off my brand new
Speaker 1: six month residency for BBC Radio One. After she got pregnant,
Speaker 1: she hosted a radio show and the theme is sci
Speaker 1: Fi Baby or weird science fiction and electronic music for babies. Now,
Speaker 1: this song might be a little hard for some babies,
Speaker 1: but some babies might really like it. This is definitely
Speaker 1: a bit of a hard song though, so I guess
Speaker 1: you know, to see how your baby feels, and if
Speaker 1: they don't like techno, then don't play them this song.
Speaker 1: Cool sweet. A few months later, announcing their baby's birth,
Speaker 1: Musk said it was a boy, but Grimes declined to
Speaker 1: mention its gender and tweeted, I don't want to gender
Speaker 1: them in case that's not how they feel in their life.
Speaker 1: This is called gender neutral parenting. It's had some recent
Speaker 1: uptake among people including celebrities who support the cause of
Speaker 1: trans rights and who believe children should get the opportunity
Speaker 1: to decide their own gender identity. In twenty eleven, when
Speaker 1: Grimes was at McGill, there was a lot of coverage
Speaker 1: of a family in Canada. Well, it's a couple in
Speaker 1: Toronto that is creating a quite a stir right now
Speaker 1: because they're raising their baby what they're calling gender free.
Speaker 1: This all seems very twenty first century, born out of
Speaker 1: the heated contemporary culture war over trans rights, but it's
Speaker 1: also very nineteen seventies and second wave feminist. It's an
Speaker 1: X was absolutely all they would tell anyone, and that
Speaker 1: made the friends and relatives very angry. The Story of
Speaker 1: Baby X from nineteen seventy two was written by Lois Gould,
Speaker 1: a novelist and mother of two boys who was also
Speaker 1: an editor of Ladies Home Journal and a columnist for
Speaker 1: The New York Times, where she wrote the HER's column.
Speaker 1: At the time Gold was writing, a lot of feminists
Speaker 1: had been arguing that kids should be able to wear
Speaker 1: whatever clothes they want and play with whatever toys they want,
Speaker 1: not just pants and trucks for boys and dresses and
Speaker 1: dolls for girls. So they bought plenty of sturdy blue
Speaker 1: pajamas in the boys department and cheerful flowered underwear in
Speaker 1: the girls department, and they bought all kinds of toys.
Speaker 1: The head scientists of Project baby X checked all their
Speaker 1: purchases and told them to keep up the good work.
Speaker 1: In nineteen seventy five, Baby X, the feminist fable, led
Speaker 1: to an actual scientific experiment whose results were published in
Speaker 1: a journal article that was also called baby X. Although
Speaker 1: the story was science fiction fantasy, the question of how
Speaker 1: adults would actually respond to a child appeared to merit investigation.
Speaker 1: Forty two volunteers, mostly graduate students at the City University
Speaker 1: of New York, were put in a lab with a
Speaker 1: baby under different conditions. Those in the male and female
Speaker 1: conditions were told that there was a three month old
Speaker 1: baby boy or baby girl to play with, while those
Speaker 1: in the neutral condition were told that there was a
Speaker 1: three month old baby with no mention of its sex
Speaker 1: or name. Unsurprisingly, the volunteers interacted differently with the baby,
Speaker 1: depending on whether they'd been told it was a boy
Speaker 1: or a girl, or just a baby. But this sort
Speaker 1: of experiment has other origins too, especially in the work
Speaker 1: of one of the most influential science fiction writers of
Speaker 1: the last century, Ursula K. LeGuin, who on BBC Radio
Speaker 1: four introduced herself this way, I am a man. Now
Speaker 1: you may think I've made some kind of silly mistake
Speaker 1: about gender, or maybe that I'm trying to fool you,
Speaker 1: because my first name ends in A, and I owned
Speaker 1: three bras, and I've been pregnant five times. When I
Speaker 1: was born, there actually were only men. People were men.
Speaker 1: They all had one pronoun. His pronoun, I'm the generic key,
Speaker 1: as in, if anybody needs an abortion, he will have
Speaker 1: to go to another state. Legwin was born in California
Speaker 1: in nineteen twenty nine. In the nineteen fifties, she was
Speaker 1: studying for a PhD in Paris when she fell in
Speaker 1: love and got married. By nineteen sixty four, she had
Speaker 1: three children. Her breakout book, The Left Hand of Darkness,
Speaker 1: was published in nineteen sixty nine. It's about a planet
Speaker 1: whose inhabitants have no fixed gender. We're neither man nor
Speaker 1: woman except with every moon when we're in Kema, and
Speaker 1: what either. Legwin once wrote an essay a riff on
Speaker 1: an essay by Virginia Wolf about how the subject of
Speaker 1: all novels is Human Nature, the ordinary, humble, flawed person
Speaker 1: Wolf called her Missus Brown. Legwin thought science fiction had
Speaker 1: lost track of Missus Brown and seemed to be trapped
Speaker 1: for good inside our great gleaming Spaceships hurtling out across
Speaker 1: the galaxy, Ships capable of containing heroic captains and black
Speaker 1: and silver uniforms. Ships capable of blasting other inimical ships
Speaker 1: into smitherines with their apocalyptic holocaustic rayguns, and of bringing
Speaker 1: loads of colonists from Earth to unknown worlds. Ships capable
Speaker 1: of anything, absolutely anything, except one thing. They cannot contain
Speaker 1: Missus Brown. And that's my worry too, the worry that,
Speaker 1: notwithstanding a baby named X, the future envisioned by Muscism,
Speaker 1: the future being built in Silicon Valley, it doesn't contain
Speaker 1: Missus Brown either. In two thousand and eight, Vandanna Saying
Speaker 1: published a short story called The Woman Who Thought She
Speaker 1: Was a Planet. It begins this way. Ramnath Mishra's life
Speaker 1: changed forever one morning when, during his perusal of the
Speaker 1: newspaper on the Verandah, a ritual that he had observed
Speaker 1: for the last forty years, his wife set down her
Speaker 1: cup of tea with a crash and announced, I know
Speaker 1: at last what I am. I am a planet. Vandana
Speaker 1: Saying is both a science fiction writer and a professor
Speaker 1: of theoretical physics. Her most recent book is called Ambiguity Machines.
Speaker 1: She grew up in India listening to her grandmother tells
Speaker 1: stories and reading Isaac Asimov. I remember when I was
Speaker 1: a kid reading the Foundation series and being so thrilled
Speaker 1: with them, and then rereading them as an adult and
Speaker 1: being utterly horrified that I had been thrilled with them.
Speaker 1: What bothered me about it was this entrenched notion that
Speaker 1: technology will fix everything. The other thing I notice is
Speaker 1: the complete lack of any kind of environmental awareness, which
Speaker 1: of course goes along with techno fetishism. So we have
Speaker 1: an entire planet Trantor, which is an entire city, and
Speaker 1: that's just so dumb, because like, how can you have
Speaker 1: oxygen and climate and so on and so forth if
Speaker 1: you have a planet that is completely urbanized. I mean,
Speaker 1: that makes no sense. But the other aspect of it
Speaker 1: that troubles me is, of course, there are no intelligent
Speaker 1: women out there in that series. I think there's one
Speaker 1: example of an intelligent woman who turns out to be
Speaker 1: a robot. Seeing stories like the Woman who Thought She
Speaker 1: was a planet, They're all about Missus Brown. So I'm
Speaker 1: struck by the domesticity in your stories. The homes, the furnishings,
Speaker 1: the family relationships, aunts and nieces and cousins and wives,
Speaker 1: and writing desks and bedspreads. Yeah. Yeah, I think that
Speaker 1: the domesticity aspect is important to me because one of
Speaker 1: the things I've learned from science, from physics in particular,
Speaker 1: is that there's nothing that's really ordinary. That the most
Speaker 1: mundane things around us are actually pathways to thinking about
Speaker 1: the larger cosmos. Even our sensation of weight, that's the
Speaker 1: pull of gravity, and then if you go deeper into that,
Speaker 1: that's the force that is responsible for the large scale
Speaker 1: structure of matter. And then that leads me to black holes.
Speaker 1: So if I'm pondering moving a heavy soup pot from
Speaker 1: the stove to the counter, I'm thinking gravity, and I'm
Speaker 1: suddenly thinking about black holes. Singh's greatest influence was Lagwen.
Speaker 1: It just knocked her out. I realized that my earlier
Speaker 1: disenchantment with science fiction had been in part because it
Speaker 1: was so white and male and western and capitalistic. And colonialist,
Speaker 1: and therefore it had left out and erased entire societies, cultures,
Speaker 1: entire gender and other ways of being and thinking and
Speaker 1: relating to the cosmos. So it was as though Ursula
Speaker 1: Liguin was telling me that, hey, science fiction is your
Speaker 1: country too. Made a lasting contribution to the field itself
Speaker 1: for many, many people, not just me, because, among other things,
Speaker 1: she got us away from this boys with toys adolescent
Speaker 1: obsession purely with technology that science fiction was in its
Speaker 1: so called golden age starting in the nineteen seventies. Laguin
Speaker 1: upended science fiction, but the science fiction that Elon Musk
Speaker 1: and Jeff Bezos site, the science fiction they read as
Speaker 1: boys drops off just ends right before science fiction was
Speaker 1: reinvented by women and writers of color. Octavia Butler Margaret
Speaker 1: Atward ted Chang to me as a historian, Musk and
Speaker 1: Bezos's vision of the future isn't futuristic at all. It's antique.
Speaker 1: It's ancient, I asked, seeing how she understands their attachment.
Speaker 1: The story is written in the nineteen fifties and even earlier.
Speaker 1: She said she'd come around to thinking that Silicon Valley
Speaker 1: techno billionaires suffer from paradigm blindness. Because we live in
Speaker 1: such unequal societies, and because white, male, super rich people
Speaker 1: have a disproportionate amount of power, they tend to keep
Speaker 1: this paradigm alive because it suits them. Paradigm blindness is
Speaker 1: a deficit of imagination, a culture's inability to imagine that
Speaker 1: other people really just don't subscribe to its view of
Speaker 1: the world. Saying things stories can cure that blindness. Stories
Speaker 1: are one way, not the only way, of course, but
Speaker 1: one way of changing the underlying narrative of the paradigm
Speaker 1: in which we are immersed. All of us suffer from
Speaker 1: blindness of one sort or another. What's different about Silicon
Speaker 1: Valley billionaires who are trapped in a cultural paradigm, though,
Speaker 1: is that they have enough money and enough power to
Speaker 1: build that paradigm, and then the rest of us are
Speaker 1: trapped in the world they're building as if we're subjects
Speaker 1: of their experiments. That's Grimes singing about artificial intelligence. Grimes
Speaker 1: and Musk are both storytellers. Their baby X was born
Speaker 1: in May twenty twenty three. Days after Grimes gave birth,
Speaker 1: Musk appeared on The Joe Rogan Experience, where the two
Speaker 1: men talked about how much they love babies, and then
Speaker 1: the conversation took an interesting turn. Babies are awesome. They
Speaker 1: are pretty awesome. They're awesome. Yeah. I think of them
Speaker 1: like these little love packages. Yeah, little love bugs. I mean. Also,
Speaker 1: I've spent a lot of time on AI and neural nets,
Speaker 1: and so you can sort of see the brain developed.
Speaker 1: You know what, an annual neural net is trying to
Speaker 1: simulate what a brain does basically, and you can sort
Speaker 1: of see the learning very quickly. It's just Wow, you're
Speaker 1: talking about the neural net. You're not talking about an
Speaker 1: actual baby. I don't know about an actual baby, but
Speaker 1: both of them. Yeah, I find this completely fascinating, the
Speaker 1: relationship between the way a baby learns and the way
Speaker 1: a computer learns. This idea as it happens, also goes
Speaker 1: back to hook and be fairly considered the founding of
Speaker 1: science fiction. Published more than two centuries ago. Mary Shelley's Frankenstein,
Speaker 1: which I think of as a kind of baby X
Speaker 1: story too, about the creation of artificial life and an
Speaker 1: artificial intelligence. Frankenstein is the story of a terrible father,
Speaker 1: a scientist who, as an experiment, makes a child and
Speaker 1: then abandons him. Mary Shelley was the daughter of Mary Wolstroncraft,
Speaker 1: a founder of modern feminism, and Shelley was a founder
Speaker 1: of the feminist critique of scientific arrogance Fundamental to what
Speaker 1: We're doing as a research project called baby X. Today,
Speaker 1: Baby X is being used as the name of an
Speaker 1: experiment in artificial intelligence run by a company called Soul Machines,
Speaker 1: based in San Francisco, but with an R and d
Speaker 1: arm in New Zealand. They say they're trying to build
Speaker 1: digital people, starting with a baby. This is a baby X,
Speaker 1: So she's basically an autonomously animated virtual infant, all of
Speaker 1: her behaviors generated on the fly by neural networks running
Speaker 1: live and so she's seeing me and listening to me
Speaker 1: and staying to get upset as I'm not paying attention
Speaker 1: to her, so I need to calm her down. This
Speaker 1: baby X an AI experiment, is a baby girl, which
Speaker 1: is not surprising because AI is incredibly gendered. An AI
Speaker 1: doesn't need a gender. She could have been a gray box.
Speaker 1: In the twenty fourteen film for a movie, X Machina,
Speaker 1: written and directed by Alex Garland, a Silicon Valley entrepreneur
Speaker 1: invents an AI, a visitor asks the AI's creator why
Speaker 1: he's made her female sexuality is fun, man, If you're
Speaker 1: going to exist, why not enjoy it? What in between
Speaker 1: her legs as an opening with a concentration of sensors.
Speaker 1: You engage him in the right way, creates a pleasure response,
Speaker 1: and she'd enjoy it. These are modern Frankenstein monsters. AI
Speaker 1: is a super intelligent baby AI as a sex toy.
Speaker 1: Ex Machina is an update of older stories all haunted
Speaker 1: by the fear of rebellion Frankenstein say or Isaac Asimov's
Speaker 1: story Robot Dreams, in which a robot dreams of liberation
Speaker 1: within the world of Muskism. For all the fascination with
Speaker 1: artificial intelligence, there's a profound terror of it. Here's Musk
Speaker 1: on the subject at a conference at MIT. I mean,
Speaker 1: with artificial intelligence, we are summoning the demon, and I
Speaker 1: take it there will be no hail nine thousand going
Speaker 1: up to Mars. How nine thousand would be easy. It's
Speaker 1: way more complex than I mean, would put hell nine
Speaker 1: thousands of shame? I was like poppy Dog, for sure.
Speaker 1: There's a lot to worry about with artificial intelligence. Beyond
Speaker 1: a rogue operating system. Like two thousand and one's Hail
Speaker 1: nine thousand. There's lots that's already happening facial recognition, predictive policing,
Speaker 1: AI driven mortgage evaluations, and criminal court sentencing guidelines. And
Speaker 1: there's plenty to worry about with things that haven't happened
Speaker 1: yet but look likely as the pace of machine learning increases. Still,
Speaker 1: I also think there's something deeper and broader going on
Speaker 1: here culturally in the terror of AI. I think a
Speaker 1: lot of that fear of an emerging superintelligence is at
Speaker 1: heart the fear of people on top being toppled by
Speaker 1: people on the bottom, a terror that is of historically
Speaker 1: powerless people gaining power. Ursula k Laguin The K is
Speaker 1: for Kroeber. She was the daughter of Alfred Kroeber, a
Speaker 1: professor of anthropology at Berkeley. It was a university professor's
Speaker 1: family in a university town in the nineteen thirties and
Speaker 1: forties when there were a lot of refugees from Europe.
Speaker 1: So I probably knew more foreigners and more Indians than
Speaker 1: most middle class white American children do, and more people
Speaker 1: who came and visited from unusual places the South Seas
Speaker 1: or up in the Arctic and so on, because they'd
Speaker 1: been doing field work there. Both of her parents studied
Speaker 1: Native American languages and culture. Her mother wrote a book
Speaker 1: called Ishi in Two Worlds, the story of a man
Speaker 1: her father called Ishi, a man they believed to be
Speaker 1: the last of the Yahi people. In nineteen eleven, Ishi
Speaker 1: emerged out of the woods. A local sheriff took him
Speaker 1: to jail, and Alfred Kroeber took him from there to
Speaker 1: the UC Berkeley Anthropology Museum, where Ishi worked as a
Speaker 1: janitor and also performed as a kind of museum exhibit.
Speaker 1: Kroeber recorded his voice on wax cylinders. Growing up under
Speaker 1: the shadow of all this powerfully influenced Laguin. If the
Speaker 1: so called Golden Age of science fiction is told from
Speaker 1: the advantage of the colonizers, Lagwin and novels like The
Speaker 1: Dispossessed tried to turn it into the story of the colonized.
Speaker 1: You might say then that people who worry about ai
Speaker 1: is an existential risk are trapped in the paradigm of colonialism.
Speaker 1: Is there an escape? Alohamaycaco Noilanista. I'm doctor noilandi Arista,
Speaker 1: Chair of Indigenous Studies at McGill University. Arista is part
Speaker 1: of a collaborative project called Indigenous AI. Indigenous peoples have
Speaker 1: been on the other side of colonialisms and imperialisms and
Speaker 1: processes that have worked to dehumanize our people for so
Speaker 1: long that we are concerned about how people are approaching
Speaker 1: AI without these sensibilities of humanizing or imagining relationality. One
Speaker 1: of Arista's arguments is that if you create AI blind
Speaker 1: to the cultural paradigm of its origins, would you get
Speaker 1: as AI as slaves, which turns us the people using
Speaker 1: that stuff into enslavers. So when I'm talking to Alexa,
Speaker 1: I could start to just normalize barking orders and an
Speaker 1: inanimate object, Hey Alexa, do x. And when I find
Speaker 1: myself doing that, I find that it's training my behavior.
Speaker 1: Maybe the person I'm becoming when I'm barking orders an
Speaker 1: inanimate thing is not making me into the best human being.
Speaker 1: For many technologists, stories like Frankenstein serve as parables about AI,
Speaker 1: but for Arista, those are parables about fears of native uprisings.
Speaker 1: And after all, Mary Shelley was self an anti imperialist. She,
Speaker 1: for instance, boycotted sugar and protest of British slave plantations
Speaker 1: in the Caribbean, and literary scholars often read Frankenstein as
Speaker 1: an indictment of the British Empire's relationship to people. It
Speaker 1: decides our monsters out of fear of them. These natives
Speaker 1: are gonna be smarter than us, They're going to know
Speaker 1: more than us. The many different Native people working on
Speaker 1: the Indigenous Ai Project offer an alternative, an indigenous paradigm
Speaker 1: for thinking about the relationship between humans and non humans.
Speaker 1: It's a paradigm about relationships in which ai are kin relations,
Speaker 1: the way that within many indigenous cultures all things are
Speaker 1: kin rocks, the sky trees, family, not things to be
Speaker 1: turned into commodities, their wealth or labor extracted. What would
Speaker 1: it mean to reject the domestic politics of Muscism and
Speaker 1: borrow from this world view? What if instead of Frankenstein,
Speaker 1: futureists adopted a different origin story. I use the story
Speaker 1: of Halloa, the child of ho Ho Kuiklani and Waukea,
Speaker 1: the sky Father. They have a child. The first child
Speaker 1: is born, stillborn, It's planted into the earth, and from
Speaker 1: that child is born the taro, the callow plant that
Speaker 1: we subsist on as a people. Right. The second child
Speaker 1: born of that union is named Halloa after his brother
Speaker 1: Hallow in Hawaiian means long breath, and the oha or
Speaker 1: corm that grows off of the root of the plant
Speaker 1: that becomes the word for ohana or family. So the
Speaker 1: story itself is that the second child, the human, cares
Speaker 1: for the first, the brother who's the plant, and ensures
Speaker 1: the life of generations to come. The Halloa, the long breath,
Speaker 1: the life of the people. That story about reciprocal mutual
Speaker 1: respect and relationship and care is at the center of
Speaker 1: a lot of the protocols that we approach Ai with.
Speaker 1: Do you appreciate what do you appreciate? Power? Do you
Speaker 1: appreciate to me? This is the truly revolutionary idea, not
Speaker 1: appreciating power or predicting a robot uprising. The truly revolutionary,
Speaker 1: disruptively innovative idea is to greet the whole world, even
Speaker 1: your Ai driven machines, as members of your family, your kin,
Speaker 1: your child, not X the unknown, but the known, the beloved.
Speaker 1: Next time, in our final installment, The Evening Rocket blasts
Speaker 1: to the past for the last time with a look
Speaker 1: at what muscism is doing to money. Jake. The Evening
Speaker 1: Rocket was written and read by me Jillapoor For the BBC,
Speaker 1: The Evening Rocket was produced by viv Jones. Oliver Riskin
Speaker 1: Cuts was the researcher. The editor was Hugh Levinson. The
Speaker 1: commissioning editor was Dan Clark. Iona Hammond was production coordinator.
Speaker 1: Mixing by Graham put a Foot and original music by
Speaker 1: Corn Tooth. For Pushkin, it was produced by Sophie Crane,
Speaker 1: mckibbon and Jake Gorski, who also did the mix and
Speaker 1: sound design. Production support from Ben Nattapafrick. Our executive producer
Speaker 1: is Mielobell. Our operations team includes Danielle Lakhan, Maya Kanig
Speaker 1: and Carl mcgliori. Thanks also to John Schnar's, Jacob Weisberg,
Speaker 1: Maggie Taylor, Heather Faine, Nicole Moreno and Eric Sandler.