艺术与芯片时代

S. Osterlind
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引用次数: 0

摘要

这一章为本书的论点提供了顶点,即人类已经将量化作为一种世界观。它描述了量化如何渗透到我们的生活中,远远超出了学术公式,进入了所有领域,无论是数学还是其他领域。首先从达·芬奇绘画中数学与艺术的交集中给出例子。接下来,数学和音乐之间的联系,通过讨论巴赫的《良律钢琴曲集》和音乐理论的五度圈。然后,本章用贝叶斯逻辑对人工智能(俗称AI)进行了初步解释,并讨论了尼克·博斯特罗姆(Nick Bostrom)的观点,即计算机拥有“超级智能”的可能性对人类构成了极大的威胁。此外,本章还描述了马克斯·泰格马克在天体物理学方面的创新工作,以及他相信一个完全数学化的宇宙是一个更大的四系统多元宇宙的一部分。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Arts and the Age of the Chip
This chapter provides the capstone to this book’s argument that humankind has adopted quantification as a worldview. It describes how quantification has permeated our lives, far beyond just academic formulas to all domains, whether mathematical or otherwise. Examples are given first from the intersection of mathematics and art in da Vinci’s drawings. Next, the connection between mathematics and music is made, with a discussion of J. S. Bach’s The Well-Tempered Clavier and music theory’s circle of fifths. The chapter then provides an elementary explanation of artificial intelligence (or AI, as it is commonly known) with Bayesian logic, and a discussion of Nick Bostrom’s idea’s that the possibility of a computer having “superintelligence” poses a supreme danger to humanity. In addition, the chapter describes Max Tegmark’s innovative work in astrophysics and his belief in a wholly mathematical universe as part of a larger four-system multiverse.
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