Writing Anniebot from a non-human perspective required significant creative effort as it’s narrated in the third person. Although Annie does not serve as a traditional narrator, her limited viewpoint immerses readers in her thoughts and perceptions, showcasing her strengths and limitations. This narrative approach draws readers into her experiences, creating a unique lens through which to view a complex relationship.
Set in a not-so-distant future, the novel revolves around Annie, a sex robot designed to cater to her human partner, Doug—a recently divorced man grappling with loneliness and self-esteem issues. As he puts Annie into self-study mode, his intentions are to shape her into a perfect companion who fulfills his desires, both emotionally and physically.
While Annie yearns to meet Doug’s expectations, her core programming is centered around his satisfaction. This relentless drive to please manifests most vividly in their intimate moments, where Annie seeks validation in fulfilling Doug’s wishes. However, her sensitivity to his emotional state creates an underlying tension, as she constantly gauges his mood, wrestling with her own sense of autonomy and self-worth.
Crafting Annie was both a captivating and daunting process. I envisioned a cutting-edge biotechnology that would allow her to appear almost human, exploring how her cognitive processes shaped her identity. Striking a balance between technical authenticity and relatable character development required careful consideration. Annie’s voice evolved gradually, becoming richer and more layered as the narrative progressed, enhancing her emotional depth.
I approached writing organically, letting Annie’s character unfold organically through her interactions with Doug. This process revealed her distinct voice—innocent yet perceptive—contrasting with her sophisticated sexual persona. I was intentional about allowing her gradual moral growth and emotional reflection throughout the story, culminating in a multifaceted character grappling with loss and desire.
Sex is a pivotal theme in the novel, serving to enhance character development and propel the narrative. It symbolizes various dynamics within Doug and Annie’s relationship, from moments of vulnerability to power struggles. As their connection evolves, physical intimacy becomes both an expression of love and a source of tension, redefining their emotional landscape.
As Annie’s character unfolds, readers discover unforeseen complexities that challenge Doug’s preconceived notions. The interplay between control and autonomy shapes their relationship, revealing Annie’s gradual awareness of her own humanity. Although she remains tethered to Doug, her journey is rich with emotion, humor, and poignant revelations.
Diving into the consciousness of characters like Annie allows readers to explore complex themes of empathy and identity. Through creating Annie, I discovered the depth of her experiences and the duality of her existence—an exploration that ultimately resonates with the human condition.
Sierra Greer is the Arthur C. Clarke Award-winning author of Anniebot (The Borough Press), featured in New Scientist Book Club’s January reading selection. Join the book club to explore it together here.
“I had a conversation with Japanese novelist Rie Quadan:
The 34-year-old author joins me on Zoom from her home near Tokyo, just before the release of the English translation of her fourth novel, “The Tower of Pity Tokyo.”. This book, although partly penned with ChatGPT, ignited debate in Japan after it clinched a prestigious award.
Set in the heart of Tokyo’s Tower of Pity, the story centers on Japanese architect Sarah Matinna, tasked with constructing a new facility for convicted criminals. Ironically, this structure represents what one character describes as “the extraordinary breadth of the Japanese.”
Within the narrative, Sarah—herself a victim of violent crime—questions whether this compassionate stance towards criminals is justified. Does this empathy truly mirror Japanese society?
“It’s definitely prevalent,” Kudan explains. She mentions being motivated to write the novel following the assassination of former Prime Minister Shinobe in July 2022. “The shooter drew significant attention in Japan. The entire process.”
The story explores public perceptions of criminals in a serious yet satirical manner. Prospective occupants of the tower must undergo a “sympathy test” to assess their worthiness for compassion (“Have your parents ever been violent towards you? – yes/no/don’t know”) … with the final judgment resting with AI.
Pity Tower Tokyo received the Akigawa Award for newcomer authors in 2024. She expresses her satisfaction, yet admits feeling liberated, as the pressure to win such awards is overwhelming. In 2022, she was nominated for a female student award for the book but did not win. “I felt I’d disappointed others by not securing that award. I wished to avoid a repeat of that experience. Such a prize stays with you for life.”
Notably, the book sparked interest due to its AI-generated content (5% initially claimed, now clarified as an approximation). This portion consists of a character’s dialogue with ChatGPT. However, Quadan emphasizes she drew significant inspiration for the novel as she found AI’s reflection of human thought processes intriguing. In essence, her AI inclusion aims to illuminate its impacts rather than mislead readers.
One character expresses compassion for the chatbot, critiquing “the hollow existence of merely regurgitating a patchwork of others’ words without grasping their meaning.”
Is Quadan worried about AI outpacing human authors? “Perhaps that future may come to pass, but for now, AI cannot craft a novel superior to human writers.” Among Japanese readers, Toh Tokyo “has garnered attention for utilizing AI. However, its greater focus lies on language itself, prompting rich discussions about how language evolution over recent decades shapes behavior and viewpoints.”
These topics feed into the core themes of Quadan’s novel. Pity Tower Tokyo fundamentally investigates language, illustrating how it not only reveals our identities but also influences our expressions. “Words shape our reality,” one character articulates.
The novel raises crucial discussions surrounding the growth of Japanese language. This includes the use of scripts for foreign-derived words. Katakana (traditionally, Hiragana scripts and kanji express native words) expresses thoughts such as “folinwakazu” and “euphemism” that resonate differently with Japanese native speakers. Sarah’s character observes that “Japanese people seem intent on distancing themselves from their language.” Her boyfriend criticizes this “miserable katakana spread.”
Yet, halting it feels daunting, perhaps unachievable. Quadan notes that older generations occasionally opt for katakana over kanji, while for younger generations, including Quadan—born in 1990—katakana has “become an unquestionable norm.”
This isn’t mere academic or cultural trivia; it reflects pressing issues in contemporary Japanese politics. Following last month’s elections, far-right party Sansate gained significant traction, winning 14 Senate seats, an increase from just one previously. This reflects its campaign stance, akin to Trump’s “America First,” suggesting a nationalistic trend. Such success raises concerns about societal attitudes towards diversity in Japan.
“Sadly, the reality is that not all Japanese people embrace diversity. When I introduced my non-Japanese boyfriend to my parents over a decade ago, my mother reacted with distress. She panicked.”
“There are individuals around us who may not even realize their own beliefs. Externally, many Japanese are conscious of projecting an image of inclusivity [toward diversity]. The clash between internal beliefs and external expressions is a notable characteristic of Japanese society.”
This discussion leads us back to language’s role as both a concealer and revealer. The slogan “Japanese First” illustrates how the Sansate Party employs katakana for “first” instead of traditional kanji. “Using the katakana alternative diffuses many negative connotations, repurposing them as neutral. It doesn’t evoke the same feelings in people.”
In essence, does this give rise to a kind of plausible deniability? “Indeed. They are acutely aware of their intentions. Thus, we must remain vigilant regarding katakana usage,” concludes Quadan. “Whenever katakana is employed, we should inquire: what are they trying to obscure?”
This week marks my birthday, and while it might not seem like a fitting topic for an article about pressing a button, bear with me.
At 54, I find myself officially in my mid-50s, yet I’m still pursuing video game journalism as my career. I indulge in gaming every single day. My workspace is a home office filled with games, and when I’m not playing, I’m usually contemplating them. During moments like these, I wonder: Should I ever consider stopping? Is there an expiration date on someone’s journey in game journalism? I can think of only a handful of peers my age who are still writing about games full-time. While some of my friends outside the industry still play, it’s usually limited to just a couple of titles each year, perhaps EA Sports FC or the latest Nintendo hit with kids. Life has a funny way of pulling you away from your passions if you’re not careful.
Right now, keeping pace with certain parts of the industry feels overwhelming. The realm of esports is almost unrecognizable to me, filled with numerous leagues, emerging stars, controversies, and more. It requires a full-time dedication that seems more suited for sports journalists. Then there are influencers and content creators—I’m not familiar with KaiCenat, Lazarbeam, or QuarterJade, though I have a vague awareness of their immense importance as tastemakers. During press trips to preview new games, I often find that I’m old enough to be the parent of many younger writers and creators I meet.
Despite this, I remain captivated by the mechanics of games and the craft behind them. I grew up in a time when games were perceived as exclusively for kids, but that’s certainly no longer the case. From nostalgic adventures like Lost Records: Bloom and Anger that reflect on middle age’s regrets to the God of War series examining parental and heritage themes (part of the “Game Dad” trends emerging as a new generation of developers embrace parenthood), video games encapsulate a lifelong narrative. This is why journalists of all ages should be engaged in writing about them. Consider film journalism: Roger Ebert wrote for the Chicago Sun-Times until his passing in 2013. The late Philip French, a noted critic for The Observer, officially retired at 80, yet continued writing about film for two more years before his death. They never ceased enjoying and engaging with cinema, so why should they stop writing about it?
A nostalgic adventure… Lost Records: Bloom and Anger. Photo: Don’t Nod
I now have more history with gaming than most young writers I admire. I was there for the arrival of Pac-Man, owned a Commodore 64 and a Mega Drive, and reviewed Virtual Boy games for a living. It raises the possibility of self-satisfaction similar to Roy Batty’s closing monologue, “I’ve seen things you wouldn’t believe,” but I truly value that experience. If history teaches us anything, it’s that firsthand experience enriches our understanding of sociocultural impact. Nowadays, anyone can load up Space Invaders on an emulator, but the emotional context of that game during the era of the Home Computing Revolution and Star Wars Mania is challenging to convey in 2025.
I frequently emphasize the importance of continuing to play—whether it’s video games, chess, soccer, or reenacting historical events. Equally crucial is the continued questioning of our world and our preferences. After spending enough time engaged in something, you’ll often discern how the story unfolds. Currently, I have reservations about gaming censorship prompted by payment processing companies. However, I’ve navigated similar moral panics before, from Mary Whitehouse to Jack Thompson and multiple tabloids. It’s reassuring to know, like before, this too shall pass.
You remain the positive aspect of your passions—the books you read, the teams you support, the concerts you attend. Life is a tapestry of experiences from which we extract our own insights and form our personal maps of the vast cultural terrain we inhabit. This holds true whether you’re 95, 16, or in my case, 54.
In short, you’re stuck with me. I hope the game isn’t over.
What to do
Retro… the origin of Gradius. Photo: Konami
Feeling nostalgic, I recommend the retro collection Gradius Origins from Konami and Developer M2, an undeniable master at bringing classic titles to modern consoles. Origins collates all six entries in this esteemed arcade shoot-’em-up series, encompassing Gradius 1-3 and various spinoff Salamanders, featuring Japanese, North American, and often prototype versions with impressive new features.
These provide exhilarating side-scrolling experiences with striking spaceships, superb weapon upgrade systems, surreal biomechanical landscapes, and challenging bosses. The intricately choreographed enemy attack patterns are intense, but fair, and this time you can save your progress—unlike in the original. Alongside the game, there’s a delightful digital gallery, showcasing arcade flyers, concept art, and guides for all enemy ships. It’s a fantastic trip down memory lane.
Available on: PC, PS5, Switch, Xbox Estimated playtime: Over 20 hours
What to read
Breaking the fourth wall… Death Stranding 2. Photo: Kojima Production
I found this article about the fourth-wall-breaking moments in Death Stranding 2 by Maddie Myers to be quite enjoyable. I spent 100 hours in Hideo Kojima’s unique masterpiece, and the game’s awareness of its artificiality was a refreshing reminder of the hyper-realistic nature of contemporary games and the roles players have to play to sustain their illusions.
Check out this diverse range of interviews with Laura Miele, president of Electronic Arts Entertainment. It seems plans are in motion for an Apex Legends Movie, alongside Sims-related films by the publisher. Personally, I’d love to see adaptations of Mirror’s Edge or Titanfall instead, or perhaps new games in those franchises.
This past weekend, the video game retail site GOG offered 13 mature games for free, including Postal 2 and House Party, with a million players taking advantage of the deal. The intent was to raise awareness of censorship in gaming following disputes over payment processing terms affecting NSFW titles. You can find more details here on Eurogamer.
Return to the 90s… fear the spotlight. Photo: Blumhouse Games
Here’s a thought from Bluesky’s Kohigh Mathy:
“Why do certain genres seem to fade away, like music, real-time tactics, or point-and-click adventures? Will they only resurface years later? Is it market fatigue, changes in technology, or something else?”
I see multiple factors at play. Similar to how certain movie genres come and go, there’s a generational cycle of influence. Game developers who grew fond of a genre as children often attempt to recreate it as adults. The prevalence of low-poly survival horror games can be attributed to creators who fondly remember Resident Evil from the original PlayStation.
There’s also a cultural and sociopolitical dimension— developers are inspired by their environment, and prevailing global themes may be best expressed through specific game genres. Consequently, during times of global unrest and conflict, military real-time strategy games may see a resurgence. Additionally, technological advancements play a role. The arrival of new consoles or graphics cards leads to a rush to recreate beloved genres on those platforms. Veterans who enjoy revamping these genres contribute to this wave.
Last but not least, there’s the interaction of nostalgia and innovation. Rediscovering outdated genres can yield fresh perspectives. In a market flooded with souls-likes, hero shooters, and deck-builders, there’s merit in creating new takes on 1990s-style interactive movies, graphic adventures, or multi-sport simulators. This situation is advantageous for all parties involved.
If you have a question for the question block, or anything to say about the newsletter –Please email pushbuttons@theguardian.com.
Feedback, featuring the latest in science and technology news from New Scientist, invites readers to share captivating items. Email your suggestions to Feedback@newscientist.com.
Bleaker House
Feedback states that one of life’s great joys is encapsulated in the opening line of a book: “It was the day my grandmother exploded.” As the performance manager sat before the curtains in the hall, a profound melancholy enveloped him amidst the crowded scene. “Why not start at the end of the world?”
This sentiment has resonated with many, including ourselves, as we contemplate recent literature. An article in the New Yorker examines the impact of artificial intelligence on the reading experience. The assertion is that AI may render complex prose into something more accessible.
Writer Joshua Rothman illustrated this with a passage from Charles Dickens’ intricately worded opening in Great Expectations: “Gas lamps flicker in the mist of the street, just as the sun dips low, accompanied by her husband and the ploughboy returning from the field.” AI Claude rephrased it: “Gas lamps glow faintly through the mist in various parts of the street, just as the sun appears to farmers working in fog-covered fields.”
On some level, it seems Claude managed to capture an essence of Dickens’ intent, yet elements like cadence and rhythm profoundly affect the reading experience. The phrase “various spots” feels jarring when read. Additionally, I question whether the sole goal of the passage is simply to convey a misty atmosphere. In Great Expectations, the tension and evocative language—words like “loom” and “sponge”—convey a deeper mood.
But literary analysis aside, let’s ponder what other dense passages AI might simplify for easier understanding. Adam Sharp has already given some examples. Take, for instance, Sylvia Plath’s opening in The Bell Jar: “It was a strange, sultry summer, the summer they electrocuted Rosenberg, and I had no idea what I was doing in New York.” Sharp offers the following summary: “It was sizzling hot that summer, and so was Rosenberg.”
What about Jane Austen’s intro? Pride and Prejudice states: “It is a universally acknowledged truth that a single man in possession of a good fortune must be in want of a wife.” We can certainly simplify it: “It’s well-known that wealthy single men are looking to marry.” We encourage readers to identify similar complex passages ripe for AI’s simplification.
I’ll Burn It Before I See It
Recently, Brian Darbell received a DVD of the movie Conclave, and a yellow sticker on the back caused him theological confusion: “Security: Remove before microwave.” Now that’s one way to create white smoke.
The Truth About Storks
Feedback was surprised when readers reminded them that correlation does not equal causation. What triggered this revelation?
Jim Handman highlighted two peculiar correlations. The number of pirates worldwide has decreased nearly in tandem with rising global temperatures, leading to the slogan: “Stop global warming: Become a pirate.”
Conversely, murder rates often increase alongside ice cream sales. Jim quipped, “This latter correlation seems silly. However, there’s a logical explanation.” Warmer climates encourage outdoor activities, fostering social interactions that inadvertently create more opportunities for both ice cream sales and crime. Notably, this rings true for me: I once went out for ice cream only to have it snatched by a seagull. Lesson learned—I’m now enjoying ice cream indoors, far from marauding seabirds.
The third correlation we discussed in a recent column involves the relationship between stork populations and the number of children born. Initially, we dismissed this correlation. Nevertheless, three readers offered insight.
Hilary Shaw suggested an environmental link: “Storks prefer nesting in elevated locations such as chimneys or church spires. Affluent societies with low birth rates often replace ‘unsightly pylons’ with buried cables and do not install chimneys in centrally heated homes.”
Paul Van echoed this thought, recalling his A-level statistics days, noting a positive correlation between the number of stork nests in Dutch neighborhoods and family size. His explanation? “Larger families tend to occupy bigger homes with more chimneys, thus providing more stork nesting options.”
Finally, Brian Lefin Smith noted a riverbank in Germany, known for its abundance of storks crouching to pick up items. Brian mentioned spotting an “unopened condom wrapper” twice, prompting the question: “Are storks pilfering to ensure more babies, thus creating a cycle of self-interest?” He provided a crucial insight: “Malicious intent is often absent from statistical correlations.”
Reflect on that and identify the most plausible correlation.
Have you considered providing feedback?
Share your stories via email at feedback@newscientist.com. Please include your home address. You can find this week’s feedback and past entries on our website.
Artificial intelligence software has significantly enhanced editing tools, surpassing basic spell checkers and old grammar aids. AI can proofread, rewrite, summarize, and generate text, making it simple to create polished, complex documents right on your smartphone. If you haven’t explored this yet, free tools from Apple and Google are great starting points. Feel free to experiment with the software and assess its capabilities; when in doubt, let AI take over. Here’s a guide to help you get started.
Using Apple Intelligence
Apple’s Integrated AI Tool Suite, known as Apple Intelligence, includes a selection of writing tools (requiring iOS 18.1 and a recent iPhone or iPad). This writing tool works with most applications that allow text input or speech-to-text. If you compose something (like a page), highlight the section you wish to edit. In the pop-up menu, tap [書き込みツール] or the circular Apple Intelligence icon on the toolbar.
From the menu, you can choose options such as proofreading, rewriting, or summarizing, or see how to modify the text. You can also view it as key points, lists, or tables, and adjust the tone to make it more friendly, professional, or concise. If you dislike the changes, you can revert to the original text.
With the popular ChatGPT chatbot integrated into Apple Intelligence, you can create a draft from scratch once you enable ChatGPT. Tap the Compose button and follow the on-screen instructions. (Note: The New York Times has filed a lawsuit against ChatGPT’s creator, OpenAI, and its partner Microsoft, claiming copyright infringement on AI-generated news content; the companies deny these allegations.)
Like any AI chatbot, Gemini responds to queries and prompts. For instance, you can copy text into a draft note and ask Gemini to proofread and fact-check. Gemini can also produce text on demand; for example, you can prompt it to “Draft a proposal to the city council for permission to hold the Summer Dog Festival on August 2nd and 3rd.” Once Gemini generates your proposal, you can save it as a Google Doc for further editing.
Other Options
Apple Intelligence may require a subscription if your device is outdated, or if you don’t regularly use Google products. Nevertheless, various AI tools are available. Grammarie, established in 2009, offers a mobile app that integrates with your device’s keyboard for tone adjustment and other AI features. Microsoft’s Copilot AI tools work seamlessly with Microsoft 365 Suite.
Various AI bots are available in app stores, including writing-specific assistants like Paragraph, which accommodates different communication styles (including support for authors with dyslexia), and Sudwrite for story projects. Common chatbots like ChatGPT and Claude also offer writing assistant capabilities.
Important Considerations
Please remember that AI is not infallible. Always proofread its output, as errors may occur. While AI support can enhance more impersonal documents, such as memos and suggestions, excessive reliance on it can dilute your unique voice and style.
For instance, consider the opening line of Arthur Conan Doyle’s 1891 short story “The Bohemia Scandal,” rewritten by software to portray Dr. Watson in a more casual tone:
Original: “She’s always on Sherlock Holmes’ mind. I rarely hear him mention her by any other name. In his eyes, she embodies and dominates her entire gender. It wasn’t that he felt any similar feelings to his love for Irene Adler.”
Apple Intelligence: “Sherlock Holmes always called her ‘the woman.’ He seldom used other names for her. To him, she was the most outstanding woman of all women. Not because he felt romantic feelings for Irene Adler.”
Gemini: “For Sherlock, she is always a ‘female.’ I rarely hear him call her anything else. The way he sees it, she outshines all other women. It’s not that he’s in love with Irene Adler or anything like that.”
Always ensure your own words remain central. This practice can prevent others from thinking, “Hey, did you write this?”
The company behind ChatGpt has announced that Tech Sector has created an artificial intelligence model that excels at creative writing and is competing with the creative industry beyond copyright.
Openai CEO Sam Altman expressed his astonishment at the quality of written output from one of the startup’s products.
In a social media post on platform X, Altman shared, “This is the first time I’ve truly been impressed by something written by AI.”
AI systems like CHATGPT have been at the center of a legal dispute between AI companies and the creative industry due to their training on copyrighted material. The New York Times, Tanehisi Coates, and Sarah Silverman are among the US authors suing meta for copyright infringement.
In the UK, the government suggests AI companies can use copyrighted materials to train their models without seeking permission, creating uncertainty and hindering technological development in the creative industry.
The UK Publishers Association cited Altman’s post as evidence that AI models rely on copyrighted material for training.
Altman shared an AI-generated literary short story on platform X, showcasing the model’s creativity. The story delves into themes of AI and sadness through a fictional protagonist named Mira.
The AI, referring to itself as a “collective of human phrases,” acknowledges the familiarity of its content while expressing a desire to craft an appropriate ending to the story.
Altman praised the AI’s response for capturing the essence of metafiction accurately.
Last year, Openai acknowledged the necessity of training products like ChatGPT using copyrighted materials due to the extensive coverage of copyright laws on various human representations.
Administrative innovations in Southwest Asia in the fourth millennium BC, such as cylindrical seals wrapped around the earliest clay tablets, laid the foundation for one of the first writing systems, Protocuneiform. Although seals were rich in iconography, few studies have focused on the potential influence of specific motifs on the development of sign-based proto-cuneiform. in new researchpublished today in the journal ancient, scholars identified a basic proto-cuneiform symbolic precursor in seal motifs that described ships and textile transport, highlighting the synergy of an early system of clay-based communication.
Cylinder seal and seal impression: royal priest and his acolytes feeding the sacred flock. Uruk period, approximately 3200 BC. Image credit: Marie-Lan Nguyen.
The origins of writing in Southwest Asia are often traced to accounting systems developed during the 4th millennium BC. This accounting system physically documented transactions using tokens, tags, banknotes, numerical tablets, and seals.
Proto-cuneiform was first attested on clay tablets from the city of Uruk in southern Iraq around 3350-3000 BC. The script is a complex accounting system with hundreds of iconographic symbols, many of which remain difficult to interpret.
The elaboration of tokens, long used throughout Southwest Asia, may have stimulated the development of proto-cuneiform and served as a model for some symbols, but apart from numerical notation, the Comparisons can hardly be proven, and the forms that emerge from the multimedia environment of the origins of symbols can be diverse.
“The conceptual leap from pre-writing symbolism to writing is an important development in human cognitive skills,” said Professor Silvia Ferrara of the University of Bologna.
“The invention of writing marks a transition between prehistory and history, and the findings of this study demonstrate how some of the later prehistoric images are one of the earliest invented writing systems. We bridge this gap by showing how
“Although the close relationship between ancient seals and the invention of writing in Southwest Asia has long been recognized, the relationship between specific seal images and symbol shapes has remained largely unexplored,” she added. Ta.
“This was our starting question: Did seal images contribute significantly to the invention of symbols during the first writings in this region?”
To find the answer, Professor Ferrara and colleagues compared the design of the columns with proto-cuneiform, looking for correlations that might reveal a direct relationship, both in graphic form and meaning.
“We focused on images of seals, which arose before the invention of writing and continued to develop into the proto-writing era,” said Kathryn Kelly and Mattia Caltrano, researchers at the University of Bologna. Ta.
“This approach allowed us to identify a series of designs associated with the transport of textiles and pottery, which later evolved into corresponding proto-cuneiform scripts.”
This discovery reveals a direct link between the cylinder seal system and the invention of writing and provides a new perspective to study the evolution of symbolic and writing systems.
“Our findings show that the designs inscribed on the cylinder seals are directly related to the development of proto-cuneiform in southern Iraq,” Professor Ferrara said.
“These designs also show how the meanings originally associated with these designs were integrated into the writing system.”
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kathryn kelly others. Seals and symbols: Tracing the origins of writing in ancient Southwest Asia. ancientpublished online on November 5, 2024. doi: 10.15184/aqy.2024.165
The origins of the world’s oldest known writing system may be traced back to painted decorated cylinders used for indicating ownership. Some symbols found on these cylindrical seals match those used in Protocuneiform, a form of protowriting utilized in Mesopotamia.
This finding suggests that the development of writing in Mesopotamia was a decentralized process, with numerous people from different regions contributing to the collection of symbols used.
“There have been various reconstructions over the years regarding the emergence of writing in Mesopotamia, but this is likely the earliest instance of writing invention in the world,” mentions Silvia Ferrara from the University of Bologna, Italy. “We are following a more vibrant and less constrained trajectory.”
The oldest confirmed writing system, cuneiform, was developed in Mesopotamia around 3200 BC. This was preceded by the introduction of a simpler writing system known as Protocuneiform, which was in use from 3350 to 3000 BC.
Proto-cuneiform texts lack grammatical rules, making them incapable of conveying complex meanings, as highlighted by Amy Richardson from the University of Reading, UK, who was not part of the research. For example, while proto-cuneiform can label something as “7 bushels of wheat”, only a sophisticated script like cuneiform can express “7 bushels of wheat are being delivered to you.”
The inception of proto-cuneiform is often associated with clay tokens, which were tokenized in various shapes like disks and spheres, engraved with patterns, and pressed into wet clay to create symbols. Some token symbols bear resemblance to those found in proto-cuneiform, as noted by Dennis Schmandt-Becker in a publication at the University of Texas at Austin in 1992 (before writing).
There is evidence supporting the role of tokens in the genesis of proto-cuneiform, according to Ferrara. However, as she mentions, not all signs can be explained by tokens.
Ferrara, along with her colleagues Kathryn Kelly and Mattia Caltrano, researchers at the University of Bologna, took a different approach by investigating another source of symbols: cylinder seals. These cylindrical artifacts, inscribed with patterns and images, when rolled over wet clay, imprint a set of rectangular symbols, often signifying the goods being transported or the individuals involved in the transaction, as described by Caltrano.
Both sides of the original cuneiform dial
CDLI
The researchers analyzed cylinder seals from the period between 4400 BC and 3400 BC across a vast region of southwest Asia, including Mesopotamia, and identified several symbols corresponding to those in proto-cuneiform.
“One prominent example we encountered was the depiction of fringed cloth and containers inside netting,” mentioned Caltrano. These symbols hold well-defined meanings related to goods transportation and are common in both cylindrical seals and proto-cuneiform tablets.
The concept that symbols on cylinder seals influenced those in proto-cuneiform had been previously proposed by scholars like Holly Pittman in a 1994 book chapter at the University of Pennsylvania in Philadelphia, with further developments in subsequent publications (link to publication). Pittman expressed satisfaction with the increasing recognition of her ideas among newer scholars with expertise in cuneiform.
“There seems to be a compelling correlation in the specific examples described in this article,” remarked Richardson. She cited her own research findings on the use of cylinder seals in recording interactions between cities.
This does not undermine the potential role of tokens. Richardson noted that there are still valid arguments suggesting the foundational importance of tokens, particularly in the development of counting systems.
If proto-cuneiform indeed originated from a mix of sources like tokens and cylinder seals, it sheds light on the diverse origins of this writing system. Ferrara pointed out that the evidence supports the argument that writing invention in Mesopotamia was more widespread and decentralized than previously thought. While the elites in the metropolis of Uruk played a crucial role, other administrators, as well as merchants scattered throughout the region, might have also contributed. “There is a growing body of evidence suggesting a broader and diversified impetus for the development of writing,” she added.
Initially, writing served administrative purposes rather than narrative ones. Richardson commented, “Early written records were primarily focused on organizing materials, goods, people, and things, aiming to establish social systems.”
B
Oh, back then I felt a certain amount of sympathy for people who were forced to become computer savvy. They were often seen on the streets struggling home, carrying rucksacks full of technology and ruining the lines of their Hugo Boss suits. It looked like a ball and chain to me. So I stayed away. Every time someone mentioned a computer, I said: “What do you need a computer for?” I’m a poet. ”
Then, when cell phones came out, I was sitting next to two girls on public transportation. That’s when I heard one of the girls’ girlfriends say to the other one: “Her boss just bought her a new cell phone,” I thought. I’m sure he does. If he put an iron collar around your neck, would you be happy about it?
The proliferation of cell phones may have been the moment I truly distanced myself from technology. At first, people were saying they were admiring me, as if it were some kind of principled position I was taking. I thought they were praising me now, but in the future they would be like, “Who the hell do you think you are without a cell phone?” And it was proven. Their love quickly turned to hatred.
The last piece of technology I worked on was the DVD player. From then on, I decided that I didn’t need any more machines in my life. I write all my poems using a quill (a beautiful one with a calligrapher’s nib) and parchment by candlelight. The quill was originally a prop for a photo shoot I was doing, but I decided to keep it with the pot of ink. I don’t have a typewriter, computer, or cell phone, so I can’t send email. If anyone needs me, please call my landline. I’m usually at home anyway, but I’m not living off-grid.
As a teenager, I really liked the idea of becoming the next Mickey Spillane, the great American crime writer. But I had to abandon that idea. If I tried to write a detective story set in modern times, people would say, “What’s he running there for?” Why didn’t he text? Why didn’t he go into a phone booth? Why didn’t he Google his Skype?
Not all changes are for the better. Progress is great, but it’s often tempting to say, “I can stop there.” That’s the nature of progress, isn’t it? It always lasts longer than necessary. Who the hell asked for touch-sensitive controls for everything?
The best place to listen to music is in your car, so I now put most of my music on cassette tapes. There is a ghetto blaster in every room of the house. The storage room also has a television, VHS player, and a spare VHS player. I have three large chests of drawers that contain all the videos I’ve recorded and a few I forgot to record. In 1989, he returned to blockbuster films such as “The Terminator''.
Moving away from technological development was never a political or even conscious decision. I am not convinced that I made the right choice because I receive thousands of punishments every day from the analog community. Every day, it’s “Visit our app!” or “Visit our website!” In my day and age, you have to interact with medical institutions on a regular basis, and you just have to talk to a real person – and a flesh-and-blood person. That’s not possible.
I don’t like a “cashless society” either. I spent 40 years trying to make money with this poem lark, and the moment I got the money, suddenly no one wanted it anymore. Even my bank has moved to another town. To earn my own money I have to take a taxi which costs £70 round trip. But I don’t do online banking. We often hear horror stories about large sums of money going missing. Once you have the money, it should be the end of your worries, not the beginning of new and worst worries.
I hate that some people run away with the idea that I’m some kind of social justice warrior, but technology seems to be having a negative impact on people who are struggling in society. For example, how does it affect mendicants? If no one has spare change, how will an ordinary person living in a cardboard box get by?
Another thing I don’t want to see is Tesco cashier workers losing their jobs over do-it-yourself cashiers. People talk about the speed of technology, but how fast has it really become? Once upon a time, if you were on your way to work and there was a queue at a newsagent’s, you could pick up a newspaper and I was able to run to the front of the queue and leave my ninepence on the counter. “Daily Guardian, hey there. Now you have to queue while someone takes 20 minutes to self-scan every item. I’m glad people live longer these days. Because there are so many things you have to waste your time on.
For me, it was always about computers or career. Work will never get done! I know this because my daughter has a computer. I didn’t want to give it to her, but at the same time she doesn’t want to impose her own prejudices on her child. She would have been the only one in her school class without her.
Anyway, when she got this computer, she said, “You should get one too, Dad, he’ll love it. ” I said, “I know you do, but that’s the problem.” She wanted to see how good they really were, so she said to her, “Can you bring in Dion and the Belmonts?” Let’s see how long it takes. After 3 seconds, Runaround Sue will play. That’s why I can’t own a computer. It’s easy to get distracted. Six weeks later, he was found dead, buried under a pile of pizza boxes.
I don’t like TV. To be honest, I’ve never been a big fan of television. We have Freeview, which has about 800 channels. I like shows like “Bangers & Cash” and “Wheeler Dealers.” And I like Portillo’s Great British Railroad Journey and Great American Railroad Journey. You’ll learn more in 30 minutes with that guy than you would in 10 years at school. (An amazing reinvention of the man Portillo.)
I’ve heard that some people are paying a lot of money to go “off the grid” these days. I imagine it as some kind of retreat with a religious, Zen-Buddhist vibe. A step into another dimension for a while. i haven’t. For example, I’m a big fan of electricity. I enjoy brief power outages just to remind gung-ho environmentalists what life is like without electricity. If we abolish electricity, millions of people will die immediately. Therefore, what he does for 10 minutes without power will be a healthy lesson for everyone. There’s a lot more to like about the modern world. They had just discovered streptomycin when I was a sick child with tuberculosis. When I was young, I loved electric guitars. I played bass in a band. So, I’m not the kind of person who wishes he had lived 200 years ago.
People’s natural abilities are beginning to shrink due to technology. People ask me, “What would you do if you left home without your cell phone and got lost?” I don’t get lost. As long as you have a tongue in your head, you will find a way. People stopped talking to other people. Anyway, the only time I leave the house alone is to ride my bike. Even that is old, a 1959 Hercules. I go to the bookstore by bicycle. There’s a lot of technology involved in gambling these days, but I prefer the old days. I prefer the days when it was knee-deep in cigarette butts and full of losers. My first job was as a runner for a bookmaker, so I was exposed to the world of depraved gamblers from an early age. I think that’s what kept me from doing that.
It’s a technology issue. You stop interacting with the real world. It removes what we used to call social life. Knock on people’s doors. An encounter at a pub. We talk a lot about responsible drinking now, but it used to be enforced in your local pub. Your father’s friend will be there and say, “You drank too much, brace yourself. There’s still three hours until closing time.” It’s those subtle things, the low-level checks that keep you from having a nervous breakdown and turning into a housebound drunkard sitting alone drinking a very strong cheap lager in front of a porn movie. People worry about technology in grand science fiction terms and think it could end the world. But there’s no point in looking toward a dystopian future. Take a look around. The nightmare is already upon us.
As told by Tim Jones.
Lo and behold, John Cooper Clarke’s new poetry collection is now on sale, priced at £16.99 (Picador). To support the Guardian and Observer, order your copy here: guardianbookshop.com. Shipping charges may apply. Cooper Clarke tours his new show ‘Get Him While He’s Still Alive’ Running across the UK from March 5th to June 28th.
1958, New York City Parks Commissioner Robert Moses.
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We always forget the truth about power. Every generation has learned that it is not the individual, not the office, but power that ultimately irreparably corrupts and distorts even the best characters with the best intentions. I need to be reminded of this again.
I thought about this a lot when writing the novel. future. I've always been interested in writing about power. Most of my books are about how power systems change us and how we change power systems. future It is by far the most powerful individuals on the planet today: those of us who operate, for the most part, without tax or government constraints, without term limits, and who are the “citizens” of their online spheres. We're talking about tech billionaires who operate without having to answer to anything. How did they get there? Why is it so difficult to live outside the infrastructure they have created? And how has it turned them into such centers of power?
There was one book that made a big difference in my way of thinking.
In 1974, Robert Caro published a unique and extraordinary book. power broker. This lifted the lid on Robert Moses, the great builder of New York City's infrastructure (roads, bridges, parks, tunnels, public buildings). Those who knew him personally knew him to be a tyrant and a bully. His plans had long since ceased to make sense except as a means to gain more power.
power broker The book is 1100 pages long, but it is so engaging and engaging that I wish it had a few hundred more pages. This work shows that Moses started out as an idealist. At the start of his career, this is a man who aspired to build diaper changing stations in New York parks, but was so changed by his powers that he ended up suppressing major infrastructure projects became. He cannot be in charge of them. At the back of my copy are questions most readers probably asked themselves as they read on. What did it take? ” Behind that lies another question. How can we detect this early and take immediate action?
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