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Monthly Archives: April 2017
Pondering artificial intelligence: Are we losing control? | Guest … – The Intelligencer
Posted: April 10, 2017 at 2:48 am
Artificial intelligence (AI) did not write this article, but it might have. AI has been doing more and more, and AI needs less and less of us to do it.
AI has quietly slipped into our lives without much fanfare. It can do the most complex things better than humans can. It is wonderful; it is helpful; it can be scary. And it may be impossible to stop.
AI is a catchall phrase for all the things that have made our lives easier. Science fiction writers described it years ago. The computer has made it possible.
Who would have guessed that the invention of a tiny computer chip would turn our world upside down? The chip had humble beginnings, more amusing than useful. At most, it added and subtracted numbers and stored bits of data. Scientists made the chips do more, and chips got bigger and better and faster. Data storage devices and software programs made computers easier to use, and we welcomed them into our homes, cars, offices and factories.
Modern computers hungered for data, and humans complied. They fed the chips all sorts of information and, in return, the chips gave humans a better life, so the humans fed them more. AI was born, and AI has become addictive.
AI is a synonym for the thinking computer. AI has been solving problems in science, finance, medicine and education. AI is helping human capability to do more, faster. It is changing everything.
Consider the driverless car, which will soon be in your garage. Imagine the ramifications of a driverless car. The driverless car will not need a steering wheel, gas or brake pedals, horn, mirrors, windshield, wipers, headlights or brake lights, turn signals, speedometer, or a GPS. If the car is involved in an accident, who is responsible if no one is driving? Will we need insurance? What will happen with road rage, and passing lanes, and stop lights? Will a stolen car find its way home?
What will happen with all the workers who make the stuff that cars wont need? All the truck drivers? Cab drivers? Bus drivers? Traffic cops? Crossing guards? Sign makers? Line painters? Toll takers? ... oops, they are already gone.
Computers are becoming smarter and humans less so. We forget so much but computers remember everything everything stored by giant computers better known as clouds. Computers thirst to know everything about us humans, and humans want to tell all.
Facebook, Twitter, Fitbit, dating sites, on line this and that. Computers know how much we weigh, how much we eat, how much we lose. The cloud remembers where we shop, whom we love and whom we hate. The computer recognizes us with and without clothes. It makes note of everything written and most of what is said.
Computers keep helping us help them. Think about all the devices that record all the things we do. Security cameras record who comes into our homes and when they do. The GPS records everywhere we drive. Cellphones know where we walk and shop. Scanners can recognize our irises, cellphones our fingerprints, and facial recognition can pick us out of a crowd.
The cloud remembers our medical problems and the medicines we take. It is privy to our bank accounts. It knows it knows.
There is a fine line between computers helping us and computers controlling us. As the old saying goes, Knowledge is power, and we are only too happy to make computers all knowing.
You would think that at some point the advance of the computers will slow because all the clouds will be full and the vast memory storage will collapse under its own weight. Dont hold your breath. New technologies are being developed that could use the spin of an atoms electrons and even human DNA to store data.
Will computers become more human? Or will computers just eliminate the need for humans like the parts makers, truck drivers and traffic cops? Can a computer one day diagnose our illness? Can a computer make decisions with compassion and human values?
Are we losing control? Will computers master AI to the point where we will be convinced to do things we may not want to do? Will we be masters, or will we be slaves? Are we selling our souls?
Will computers, someday, cross the Rubicon?
Leonard Franckowiak, Newtown Township, is a retired business executive.
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The Shining and the immortality of evil – Den of Geek UK
Posted: at 2:47 am
Few horror films have been as closely studied and intimately dissected as Stanley Kubrick's The Shining. The simple story of a family ripped apart by the effects of a remote, haunted hotel, Kubrick's film has only grown in mystique since its release in 1980. Clearly, there's far more going on below the surface, but what does Kubrick's imagery and symbolism - much of it unique to the film, and absent from Stephen King's source novel - actually mean?
Rodney Ascher's superb 2012 documentary Room 237 pulled together some of the more outlandish theories about The Shining. It's Kubrick's veiled confession that he helped NASA fake the 1969 Moon landings, goes one line of thinking. No, it's an allusion to the horrors of World War II and the holocaust, says a different theorist. Wrong again, another voice suggests: it's a retelling of the Minotaur myth. Often, these theories are based on incidental background details - a home-knit Apollo 11 jumper, the specific make of a typewriter, a tin of baking powder, a poster that looks a bit like a mythical beast if you squint hard enough.
There's a richness and attention to detail and ambiguity in Stanley Kubrick's movies that invites this kind of close study, though few films in his career have sparked quite so many varied readings as The Shining. To an already crowded list, we offer an additional theory: The Shining's about the immortality of evil.
Kubrick embarked on The Shining in the wake of 1975's Barry Lyndon, his glacial period film which, despite its reputation today, was a critical and financial failure at the time. The director therefore threw himself into a more commercial project: an adaptation of The Shining. Stephen King's novels had made him phenomenally popular in the late 1970s, and King was among a generation of storytellers who took horror out of the castles and capes of Dracula and Frankenstein and into the modern era.
King's novels Carrie (1974) and 'Salem's Lot (1975) took paranormal powers and vampirism into the 20th century, just as such hit films as Rosemary's Baby (based on the novel by Ira Levin) and The Exorcist (adapted by William Peter Blatty from his own book) had introduced a classier, more contemporary brand of horror in cinemas.
When Kubrick took on The Shining, he was therefore following a fashionable trend among respected filmmakers. Roman Polanski, William Friedkin and Nicolas Roeg had all crafted deeply individual horror films in the 60s and 70s; the decade also introduced such wayward talents as Wes Craven (Last House On The Left, The Hills Have Eyes), Tobe Hooper (The Texas Chain Saw Massacre) and David Cronenberg (Shivers, Rabid).
When Kubrick started work on The Shining, he showed off the work of another upcoming filmmaker he greatly admired: Eraserhead, the surreal, immensely disturbing debut by David Lynch. The Shining would, of course, wind up being wildly different from Eraserhead's monochrome hellscape, yet Kubrick evidently appreciated how Lynch used sound and imagery to create an oppressive atmosphere of dread.
To Stephen King's later chagrin, Kubrick wasn't particularly interested in adapting The Shining beat for beat; for one thing, the filmmaker didn't have much time for stories of ghosts and the afterlife - something Kubrick told King in no uncertain terms one day in the late 70s.
As King recalled in one hilarious anecdote, Kubrick called King up at 7.00am one morning - completely out of the blue - and said, "Hi. Stanley Kubrick here. I actually think stories of the supernatural are optimistic, don't you?"
King, hung over, covered in shaving cream, two kids screaming in the background, gripped the telephone and murmured, "I don't exactly know what you mean by that."
"Well," Kubrick replied, "supernatural stories all posit the basic suggestion that we survive death. If we survive death, that's optimistic, isn't it?"
King asked, "Well, what about hell?"
There was a long, ominous pause, like the silence after a thunderclap.
"I don't believe in hell," Kubrick said, and hung up.
Kubrick therefore set about reworking his own vision of The Shining with screenwriter Diane Johnson, using only the basic framework of King's story. A husband, Jack Torrance (Jack Nicholson), wife Wendy (Shelley Duvall) and their young son Danny (Danny Lloyd), who has telepathic powers, spend the winter at the Overlook, a hotel located in the mountains of Colorado. The husband, Jack intends to use the weeks of seclusion to write a novel; the malevolent spirits in the hotel, on the other hand, have other ideas. As strange apparitions manifest themselves to both son and father, Jack's already threadbare sanity begins to unravel...
The shoot of Kubrick's The Shining was legendarily difficult, as the filmmaker's exacting methods took their toll. Nicholson and Duvall were required to provide take after take - a pivotal stairway confrontation between the pair was shot anywhere from 45 to 125 times depending on whose account you believe. Scatman Crothers, who plays the hotel chef Dick Hallorann, spent so long reciting his lines in front of the camera that he eventually lost his temper with Kubrick.
By the time filming had concluded in 1979, Kubrick had spent about a year at Elstree Studios, obsessing over individual scenes and tiny details. As cast and crew began to crack under the pressure of all the script rewrites and long work days, it must have felt at times as though the production itself was descending into madness.
If critics struggled with The Shining when it finally emerged in 1980, then maybe that's because it didn't adhere to the conventions of a typical horror movie. The Overlook's supernatural threat - if it exists at all in the movie - is kept ambiguous. Its pace is slow and deliberate; and unlike the Jack Torrance in King's book, who's initially presented as a flawed yet likeable character before the ghosts get to him, Jack Nicholson's protagonist is fairly cold and sinister before he even sets foot in the Overlook.
This latter point is surely deliberate, however. Kubrick's implication is that, far from being corrupted by the evil presence in the Overlook, Jack Torrance is simply given licence by it. The evil's already present in Jack - it merely takes a few nudges from the Overlook's remote location and ghostly echoes to bring it out into the open.
The Shining's opening credit sequence could be read as the first hint at this. As Wendy Carlos' doom-laden electronic music plays in the background, a helicopter shot follows the Torrance family's journey through the Colorado countryside in their car. The camera becomes a detached, floating spirit, hovering over or just behind the central characters - much as it does through the rest of the film in those celebrated Steadicam shots Kubrick so insistently employs. Evil is following.
In King's novel, there's the suggestion that the Overlook has somehow sucked up the evil things that have taken place within its walls. Kubrick goes a step further, with a character's line that the hotel was built on an old Indian burial ground implying that the presence may be older than the structure itself. And if we follow the theory that The Shining isn't about ghosts, but about evil, then this certainly makes sense. Evil doesn't inhabit buildings; it inhabits human beings - even ordinary, unremarkable ones, like Jack Torrance.
There's plenty of support from Kubrick to support this reading of the film; in Paul Duncan's Stanley Kubrick: The Complete Films, the filmmaker is quoted as saying:
"There's something inherently wrong with the human personality. There's an evil side to it. One of the things that horror stories can do is to show us the archetypes of the unconscious; we can see the dark side without having to confront it directly."
Stephen King was certainly confronting his own demons when he wrote his novel. The inspiration from The Shining came to him during a stay at The Stanley Hotel in Colorado, where King fused a stay in the real room 217 - supposedly haunted - with the difficulties he was having as a father of two young children.
"Sometimes you confess," King said in The Stephen King Companion, published in 1989. "You always hide what you're confessing to. That's one of the reasons why you make up the story. When I wrote The Shining for instance, the protagonist [...] is a man who's broken his son's arm, who has a history of child beating, who is beaten himself. And as a young father with two children, I was horrified by my occasional feelings of real antagonism toward my children..."
The Shining therefore de-emphasises the moving topiary animals and ghosts of the novel and focuses the story more squarely on Jack Torrance's growing capacity for violence. The Overlook becomes a place where, away from the gaze of society, moral laws are suspended, and Jack is given licence to do all the things he's long fantasised about.
As Jack drunkenly confesses to Joe Turkel's impassive barman, Lloyd, he'd already subjected his young son to violent abuse before he even set foot in the Overlook:
"For as long as I live, she'll never let me forget what happened. I did hurt him once, okay? But it was an accident. Completely unintentional [...] a momentary loss of muscular coordination."
The Shining then ties the evil of domestic violence to evil in a more general sense. Evil doesn' t just reside in Jack; it's everywhere. As the sinister Delbert Grady (Philip Stone) tells Jack, "You've always been the caretaker. I've always been here."
The references to the genocide of Native Americans, as picked up by other theorists, could tie into The Shining's theme of evil presenting itself in different ways; the lift doors opening, the blood gushing up, seemingly from the foundations of the Overlook itself, could be a symbol of the hotel's grim past - and the country as a whole.
In the same scene with Jack quoted above, Delbert Grady uses a racial slur to describe Dick Halloran that strikes out of the film like an ice pick; an example of another kind of evil that sticks to our species like a leech. Perhaps this is what Jack means by the odd, apparently throwaway line: "White man's burden." If we don't feel guilty about the skeletons in our species' closet, then maybe we should.
Away from The Shining, Kubrick's films frequently explored the darker continents of human nature - particularly the destruction wrought by flawed men. His adaptation of Nabokov's Lolita was about the horrors wrought by a sexual predator. At its heart, Dr Strangelove was about how a world led by neurotic, sexually repressed men might be obliterated by nuclear weapons. A Clockwork Orange and Full Metal Jacket both dealt explicitly with violence and dehumanisation.
The Shining could therefore be seen as a continuation of those themes: a continuation of the things "inherently wrong with the human personality", but in a horror context. It's not the ghosts in haunted houses we should be afraid of, Kubrick seems to suggest, but the demons that lurk within ourselves.
Time and again, the director returns to the symbol of the maze: the hedge maze in the Overlook garden, the incomprehensible network of corridors in the building itself. This is The Shining's lasting, chilling implication: the blacker sides of human nature are hardwired into our DNA. Inextricable. Inescapable.
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The quest for immortality … an an exotic beast: reviews of Girl In The Machine and Dr Stirlingshire’s Discovery – Herald Scotland
Posted: at 2:47 am
Girl In The Machine
Traverse Theatre,
Edinburgh
Until April 22
Dr Stirlingshire's Discovery
Edinburgh Zoo
Ends today
Reviewed by Mark Brown
THERE'S an elephant in the room when it comes to public discussion of theatre in Scotland. The unveiling of a new play (Girl In The Machine by Stef Smith) in the main performance space at the Traverse Theatre is as good a time as any to point it out.
New writing is the most essential, and the most difficult, element in any theatre culture; this is particularly true of Scotland, which, thanks to the proscriptions of our Calvinist Reformation, has little by way of a theatre tradition. Now, in the second decade of the new millennium, new theatre writing in Scotland is not good enough often enough. We need to examine our national theatre strategy and the place of the Trav, which self-declares as "Scotland's new writing theatre", within it.
I don't say this because Girl In The Machine (which is directed by the Traverse's artistic director Orla O'Loughlin) is a bad play; it's actually a reasonable drama, albeit one that never really threatens to set the heather alight. I say it, rather, because the staging of Smith's piece reminds one, yet again, that we need a national conversation about the role of the Traverse.
I've never enjoyed fence-sitting, so allow me to declare my hand. I don't think there is enough good, new theatre writing in Scotland to justify the Traverse's dedication to world premieres. In fact, this was true even in the 1990s, the decade of Scottish theatre's golden generation of playwrights: David Greig, Zinnie Harris, David Harrower and Anthony Neilson.
The Trav would, in my opinion, be better widening its remit to include established modern classics, both Scottish and international; the highly successful staging of Edward Albee's The Goat, by O'Loughlin's predecessor Dominic Hill, in 2010 remains a high point in the theatre's recent history. Rather than simply nurturing writing talent, the Trav's new writing remit also puts undue pressure on writers, new and established, to come up with the goods.
There is, in my experience, considerable private agreement on these issues within the Scottish theatre community, and yet we plough on, as if the Trav's self-imposed brief was some kind of sacred cow. The questions I raise here are not only for O'Loughlin and her team at the Traverse, but for the whole of the Scottish theatre community, including funding body Creative Scotland, writers' development organisation the Playwrights' Studio and, of course, audiences themselves.
Which brings me back to Girl In The Machine. Although its subject (the fatal digitisation of humanity in a dystopian near future) is ambitious, it feels like a modest studio play which has been given a main stage billing it can't quite carry off (indeed O'Loughlin has, not for the first time, reconfigured the seating in Traverse 1 to reduce its capacity and increase its intimacy).
The play takes place in an Orwellian society in which people have "citizen chips" embedded in their arms; these personal data banks are regularly updated by the state. Polly (a woman in her 30s who works in the hi-tech industry) receives Black Box, a supposed, computerised relaxation tool, from her husband Owen (who's a nurse). The machine (a digital headband) updates itself with increasingly sophisticated, and intrusive, software, until, all over the world, it is able to ask its wearers the sinister question: "Do you want to live forever? Yes or no?"
As Black Box works its way into Polly's psyche, playing on her burgeoning despondency about the future of humanity, the battle between human and machine turns into a popular uprising on the streets.
Powerful though this premise is, and despite strong performances from Rosalind Sydney and Michael Dylan, both play and production underwhelm. Smith's script does have occasional poetic flourishes, but, for the most part, the dialogue is so prosaic and the future-gazing so predictable that the piece resembles a sci-fi soap opera.
None of this is assisted by O'Loughlin's directing, which swings irritatingly between a boring physical stasis and pointless running about (inserted, no doubt, by choreographers White and Givan). There is, without question, something genuinely chilling in this play, but, like too much of the Traverse's output, it fails to fulfil its promise.
Head west from the Traverse to Edinburgh Zoo and you will find another, entirely different piece of new Scottish theatre. Dr Stirlingshire's Discovery, by Morna Pearson, takes us on a wild goose chase for The Something Or Other, a newly discovered, large mammal which has escaped, leaving only huge dollops of purple poo around the Zoo as evidence of its existence.
Performed in the Zoo after closing time (when, be warned, most of the animals are in their beds), the piece brings together site-specific theatre company Grid Iron and Lung Ha, Scotland's leading theatre company for people with learning disabilities. The play is a family drama in which the Zoo's manager Henry Stirlingshire (played with hilarious haughtiness by Antony Strachan) invites his sister, "cryptozoologist" Dr Vivienne Stirlingshire (the unerringly eccentric Nicola Tuxworth), to exhibit her latest finding; he does so in the hope and belief that the unveiling will be a humiliating failure.
As we join the hunt for the missing beast, the Lung Ha chorus offer us an array of humorous characters, from parading penguins to scatter-brained zookeepers. Like a cross between Dr Seuss and Monty Python, the show is great fun, especially for young theatregoers.
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Brains on ice: The Aussie man planning to live forever – Northern Star
Posted: at 2:47 am
When Philip Rhoades' parents died he put their brains on ice. Journalist SHERELE MOODY finds out what he plans to do with his own body after death.
IN an ideal world, Philip Rhoades will die peacefully and pain-free, his body will be put on ice and he will be brought back to life in a time when illness does not exist and people live forever.
And when he does come back, the cryonics expert will have his deceased mum and dad for company.
After Gerald and Dorothy Rhoades died in May of 2016, Philip placed their brains in a commercial cryogenic facility - the kind that stores animal semen for artificial insemination and human eggs for IVF.
Philip froze his parents' brains because it only costs about $35,000 to keep each organ for perpetuity compared to $200,000 each to have their bodies frozen, transported and stored in cryonics facilities overseas.
"The key thing is being able to download the information in the brain," Philip said of keeping his mum and dad's neurological remains on ice.
"In the case of a neural archive, we're not concerned about reviving the body's cells, we're concerned with the neural architecture that has the information in it.
"It's likely that we will be able to in the next 10 or 20 years be able to extract that information with high-resolution brain scans.
"We'd then dump the information into a super computer."
When a cryonics candidate dies, a team of medical experts prepares them for transport to a storage facility by stabilising their body, packing it with ice, lacing the blood with an anti-coagulant and feeding oxygen to the brain.
When the body arrives at its final destination the blood is drained and the water in the cells is replaced by a liquid "anti-freeze" that ensures the organs and tissues do not shatter when ice crystals form during the freezing process.
The body is then cooled by dry ice to minus 130 degrees before being placed in a protective body bag and lowered, head first, into a metal tank filled with liquid nitrogen that is kept at minus 196 degrees.
Bodies are stored upside down to ensure the brains are the last thing to thaw if the tank leaks.
While Philip could only afford to freeze his parents' brains, he hopes to have his entire body put on ice for re-animation "as soon as possible" but he acknowledged he could be waiting around for quite a while.
"Trying to revive a whole human being is a difficult operation," he said of the process that some scientists say won't work because of the damage extreme temperatures cause to human cells.
"If you're getting a cryonic suspension then the intention is that modern scientific technology will allow the body to be thawed out, completely revived and rejuvenated so you look like you're 25 and you feel like you're 25 again.
"Life is too short - it shouldn't be three score and 10 years, it should be thousands of years."
Philip hopes he does not get Alzheimer's disease like his father had in the years before he died.
If he does end up with the same illness, Philip is considering what he calls "pre-mortal suspension" before the dementia renders him unable to make his own decisions.
His plan is to end his own life while connected to machinery that will prepare his body for the cryonics process.
Philip is currently working on a way to remove the need for human intervention when he dies and the process of initiating the cryonic state because of the potential legal implications for anyone seen to be assisting in his death.
"It will involve technology that will drain my blood, undertake the automatic perfusion and all of that," Philip said.
- ARM NEWSDESK
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Brains on ice: The Aussie man planning to live forever - Northern Star
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John Gray: Dear Google, please solve death – New Statesman
Posted: at 2:47 am
Dead of the world, unite! Appearing in a manifesto published in Petrograd in 1920, this arresting slogan encapsulated the philosophy of cosmism, which promoted interplanetary exploration as a path to immortality. Mixing scientific futurism with ideas derived from the 19th-century Russian Orthodox mystic Nikolai Fedorov, cosmism was summed up by the rocket engineer Konstantin Tsiolkovsky (1857-1935) as the perfection of man and the liquidation of all imperfect forms of life. Liberated from the Earth, human beings would become pure ether, bodiless and undying. The belief that death could be conquered by science was embraced by a renegade section of the Bolshevik intelligentsia, including Maxim Gorky, and informed the decision to immortalise Lenins cadaver first by refrigeration, in an early experiment in what would later be called cryonic suspension, and then by embalming when freezing failed. Cosmist thinking went on to find a home in the Soviet space programme and continues to influence Russian science to this day.
Nearly a century after the cosmist manifesto, a group of transhumanists gathered outside Googles corporate headquarters in Mountain View, California, carrying placards reading Immortality now! and Google, please, solve death. Death could be solved, the group believed, by the development of cyber-consciousness a task requiring new technologies for uploading the contents of the human brain into cyberspace, which the group called on the tech company to fund. Google was already investing substantial resources in life-extension techniques and, in 2012, the companyhired Ray Kurzweil, long associated with programmes aiming to achieve immortality through cryonic suspension, artificial intelligence and mind uploading, as its director of engineering.
History continues by being forgotten. Mark OConnell, in recalling the February 2014 demonstration outside Google HQ, reported as the first ever transhumanist street action in the US, says little about the longer antecedents of contemporary transhumanism in his engaging and at times very funny book. This is an exploration of our time, conducted by an observer who is very much of our time. OConnell presents the reader with a gallery of diverting characters, including an Oxford-educated extropian philosopher who goes by the name of Max More, who aims to achieve more life, more intelligence, more freedom by replacing the human body with a robot controlled by an uploaded mind, and Zoltan Istvan, the transhumanist candidate for the US presidency in 2016, who conducted his campaign from an immortality bus decked out as a coffin.
The weird mixture of science and religion that typifies much of contemporary culture is illustrated in questing, faintly sad figures who blend transhumanist anti-deathism with Buddhism, Mormonism, Wicca or the UFO cult Ralism, whose members believe the human species was created by aliens. We learn of the LSD guru Timothy Learys late-life engagement with transhumanism, which included membership of the cryonic suspension organisation Alcor, and that when the time came for him to have his body frozen, he opted instead to have his cremated ashes shot into space from a cannon. OConnell reports that Learys last act is still a sore point within the cryonics community, which views his capitulation to deathism as a significant tragedy.
OConnells impressions of the lost souls who have drifted into transhumanism arevivid and memorable. Yet he sees them from a distance that is never explained. Like many of the people he interviews, he seems to think that a report of his feelings is all that is needed to validate his beliefs and hisdoubts. He cites transhumanists expressing disgust with the process of ageing, in themselves and in others, and he tells usthat he is not a transhumanist. But he never gives any reasons why he rejects their attitudes, nor does he offer an alternative view of his own.
The book is a succession of vignettes in which fundamental questions about the transhumanist enterprise are not explored. If the bodies of the followers of the cult are retrieved from their icy tombs, will the dead be reborn, or will what emerges be clones of human beings who had died for ever? Is information uploaded from the brain into cyberspace the essence of the human mind, or only a dim ghost of a mind that no longer exists? Is being embodied an accidental feature of the mind, or an integral part of what it means to be human?
Discussing A Letter to Mother Nature, a transhumanist manifesto in which Max More sets out his proposals for amending the human species, OConnell summarises the authors proposals:
We would no longer consent to live under the tyranny of ageing and death, but would use the tools of biotechnology to endow ourselves with enduring vitality and remove our expiration date. We would augment our powers of perception and cognition through technological enhancements of our sense organs and our neural capacities. We would no longer submit to being the products of blind evolution . . . And we would no longer be content to limit our physical, intellectual and emotional capacities by remaining confined to carbon-based biological forms.
OConnell writes that the letter captured something crucial about what made the movement so strange and compelling to me it was direct, and audacious, and it pushed the project of Enlightenment humanism to such radical extremes . . . There was, I felt, a whiff of madness about the whole enterprise, but it was a madness that revealed something fundamental about what we thought of as reason.
As a description of the simple-minded devotion of transhumanists to an unexamined idea of reason, this is well observed. But what is the something fundamental that the author has learned? He considers the possibility that transhumanism is a displaced passion for miracle and mystery, citing D H Lawrence: Today man gets his sense of the miraculous from science and machinery, radio, airplanes, vast ships, zeppelins, poison gas, artificial silk: these things nourish mans sense of the miraculous as magic did in the past. But if Lawrences observation is well founded (as I think), what follows for the idea that human beings are or could ever be rational animals? These are questions that OConnell does not ask, or leaves hanging in the air.
Read as a kind of travelogue, To Be a Machine contains much that is interesting and entertaining. OConnell perceptively observes how transhumanism fits with Silicon Valleys world-view. He describes a conference at Google HQ, attended by the billionaire entrepreneurs Peter Thiel and Elon Musk, which brought together those who want to liberate themselves from death and exponents of effective altruism, who aim to improve the world by using reason. There are some intriguing crossovers between the two movements.
Philosophically speaking, effective altruism is not much more than a reheated version of Jeremy Benthams utilitarianism. The early-19th-century thinker wanted to supplant ethical reasoning as it had been practised in the past with what he called moral arithmetic a type of calculation aiming at maximising pleasure, happiness or want-satisfaction (there are many variations). Implying that every moral quandary has a rational solution, this is a project that fits well with the transhumanist belief thatthe evils of human life are, in essence, technical difficulties.
The idea that moral reasoning should be a type of calculation seems to have influenced Thiel and Musk when they donated to research on the risks of artificial intelligence. Some of those who attended the conference (including the Swedish philosopher Nick Bostrom, a former transhumanist who has become critical of the movement) believed that AI could even pose a risk to human survival. A super-intelligent machine could be programmed to serve human beings. But, as Bostrom, Stephen Hawking and others have pointed out, such a machine might slip free from its programming and begin topursue ends of its own that have nothing to do with human well-being.
Such an artificial super-intelligence need not be hostile to humans; it could simply be indifferent to whether humankind survives or not. Investing large sums into research that might prevent the disappearance of humankind might seem the most rational way of allocating resources more so than spending money helping people deal with disability, for instance. But why is reducing a hypothetical risk to the species more rational than increasing the happiness of living human beings? Utilitarian moral arithmetic prompts this question along with many others in ethics.
Both transhumanism and effective altruism claim to be rationalist philosophies and the two movements have offices in the same building in Oxford. But, like effective altruism, transhumanism is not as rational as it seems. Transhumanists believe that we are in essence sparks of consciousness which can escape mortality by detaching themselves from the decaying flesh in which they happen to be embodied. Deriving from mystical philosophies such as Platonism and gnosticism, it is an idea at odds with scientific materialism.
For a genuine materialist say, the ancient Roman poet-philosopher Lucretius there can be no question of the human mind severing its linkage with the material world. The mind is material and dies when the body dies. Transhumanists will reply that technologies not available in Lucretiuss time will allow the mind to be uploaded into cyberspace. Yet it is unclear whether what will be uploaded will be a conscious mind, or just a spectral app spun off from the contents of the brain.
Even if consciousness can be detached from the human body, the mind will still require a substratum of matter. The rejuvenated cadavers that emerge from cryonic suspension will be physical things, as will the cyborgs to which some transhumanists imagine their minds being transferred. Minds floating in cyberspace would not escape this dependency. Cyberspace is an artefact of physical objects computers and the networked facilities they need not an ontologically separate reality. If the material basis of cyberspace were destroyed or severely disrupted, any minds that had been uploaded would be snuffed out.
Every technology requires a physical infrastructure in order to operate. But this infrastructure depends on social institutions, which are frequently subject to breakdown. I made this point when I bumped into some ardent advocates of cryonic suspension in California in the 1980s. How long would it take to develop the technologies that were needed to resurrect frozen cadavers as living organisms, I wondered. Not much more than a century, I was told. I asked these techno-futurists to consider the events of the past hundred years or so a devastating civil war and two world wars, a ruinous stock-market crash and the Great Depression, for example. Given this history, how could they be confident that their refrigerated cadavers would remain intact for anothercentury? The companies that stored them would surely go bust, wars and civil disturbances would lead to power failures, and the legal system that protected the cadavers could disappear. The United States might no longer exist in a recognisable form.The cryonicists looked at me blankly. These were scenarios that they hadnot considered and could not process. Such upheavals might have happened in the past,but the future was going to be quite different. For these believers in technological resurrection, American society was already immortal.
At bottom, the transhumanist movement is a modern variant of the mystical dream of transcending contingency the vulnerability that comes with being subject to accident and the power of events that possessed many in ancient times. These mystics wanted to be absorbed in a timeless, impersonal absolute, a refuge from the ugly conflicts of the human world. They understood that this refuge could only be entered if they shed their individuality and practised asceticism and contemplation in an effort to erase their personal identity and desires. Less intelligent than their ancient precursors, contemporary transhumanists imagine that they can become immortal on terms of their own choosing.
Pondering a conversation he had with one of the techno-mystics, OConnell worries that only the extremely wealthy could afford to be uploaded to a virtual world. The rest of us would have to struggle on, bombarded by messages from cyberspace trying to sell us some product for which we have become targets through our use of the internet. But, to my mind, the super-wealthy few would not be much better off.
The greatest problem with everlasting lifein cyberspace is the prospect that it would have to be spent in the company of other cyber-immortals. As Max More and some of his fellow transhumanists have envisioned, each of these disembodied minds might design its virtual body and environments as it pleased. But might not these virtual environments somehow overlap or collide? Cyberspace is a projection of the human world, not a way out of it. What if the few who had escaped their ageing flesh found themselves side by side with an immortalised Donald Trump, his orange hair undyingly abundant, presiding over a never-ending Mar-a-Lago? It is not for nothing that the gods in some Greek myths regarded immortality as a curse.
Mark OConnell appears at the Cambridge Literary Festival on 23 April, 7pm (see left)
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Tom Price’s Other Failure: Snake Oil Supplements – Daily Beast
Posted: at 2:46 am
While much of the focus for HHS Secretary Tom Price has been on the fate of Obamacare or his stock dealings, Price doesnt seem eager to take on one of the more troubling industries under his purview.
On January 18, 2017, then Congressman Tom Price (R, Georgia) testified before the Senate Health, Education, Labor and Pensions Committee. Price was Donald Trumps pick to serve as Secretary of the Department of Health and Human Services. Not surprisingly, most of the questionsand most of the medias attentioncentered on Prices views on the Affordable Care Act. One question and answer, however, went entirely unnoticed.
One of the essential duties of the HHS Secretary is to be diligent and thoughtful when considering if federal regulation is necessary, said Orrin Hatch (R, Utah). Do you recognize dietary supplements in helping reach and maintain healthy lifestyles? Price answered without hesitation. Absolutely, he said.
In the early 1990s, David Kessler, the director of the Food and Drug Administration (FDA), wanted to regulate dietary supplements. Kessler worried that salespeople in health food stores were giving advice on how supplements could treat high blood pressure, enlarged prostates, joint pain, high cholesterol, and the common cold. Unsubstantiated claims are becoming more exaggerated, said Kessler. We are back at the turn of the century, when snake oil salesmen could hawk their potions with promises that couldnt be kept. If you walk into a health food store, you have to recognize that we have not approved the safety of these products nor substantiated their claims.
In 1991, in an attempt to hold the dietary supplement industry to a higher standard, Henry Waxman (D, California) introduced the Food, Drug, Cosmetic, and Device Enforcement Act. Orrin Hatch opposed it. At the time, four of the dietary supplement industrys top 30 manufacturers were located in Utah. In fact, Utah was the only state that had its own supplement trade association.
With the considerable resources of the dietary supplement industry behind him, Orrin Hatch led a successful effort to defeat Henry Waxmans bill. Later, again with the help of Hatch, the supplement industry introduced a bill of its own the Dietary Supplement and Health Education Act (DSHEA). On May 11, 1994, DSHEA became law. The FDA was now specifically prohibited from regulating dietary supplements, which were defined as, A product intended to supplement the diet that bears or contains one or more of the following ingredients: a vitamin, a mineral, an herb or other botanical, or an amino acid. The New York Times called it the Snake Oil Protection Act. Consumers were now on their own, forced to trust a profitable, unregulated industry that directly impacted their health.
Recently, DSHEA has been weakened by laws that allow the FDA to hold dietary supplements to a labeling and manufacturing standard. Unfortunately, given the number of supplement manufacturers, the number of dietary supplements on the market (about 85,000), and the lack of FDA manpower, FDA oversight, for all practical purposes, doesnt exist. Further, the FDA has no authority to compel supplement manufacturers to prove that their products are safe or effective before selling them. The agency can only react when something goes wrongwhen its too late. For example:
In 2004, the FDA recalled dietary supplements containing the stimulant and weight-loss product, Ephedra, which had been shown to cause hundreds of cases of psychosis, hallucinations, paranoia, depression, irregular heartbeats, strokes, heart attacks and at least 15 deaths. One man, after taking Ephedra for ten days, jumped out of a second-story window to escape imagined attackers. Another, Baltimore Orioles pitcher Steve Bechler, died of a heart attack within 24 hours of taking the drug.
In February 2013, a study published in the Journal of the American Medical Association showed that vitamin D supplements contained anywhere from 9 percent to 146 percent of the amount listed on the package label. The FDA requires pharmaceutical products to be within 10 percent of the listed quantity.
In July 2013, the FDA recalled vitamin C and vitamin B preparations made by the ironically named Purity First company when these products were found to contain methasterone, an anabolic steroid. The FDA acted when it found that the vitamin preparations had caused masculinizing symptoms in at least 29 people in the Northeast.
In October 2013, the FDA withdrew a weight loss product called OxyElite Pro when it was found to cause 56 cases of acute liver failure or acute hepatitis. One person died and three others required life-saving liver transplants.
In December 2013, seven children between 6 months and 4 years of age were admitted to the hospital with severe vitamin D intoxication when the fish oil supplement they had been given contained 4,000 times the quantity of vitamin D listed on the label. The ingestion of massive quantities of vitamin D had caused these children to suffer dangerously high concentrations of calcium in the their bloodstreams, which can cause fatal heart dysrythmias.
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In February 2014, the FDA recalled L-citrulline, an amino acid used to treat children with certain genetic or metabolic disorders. The product actually contained N-acetyl leucine, a different amino acid.
In September 2014, an herbal cough-and-cold remedy called Bo-Ying was found to contain dangerously high levels of lead. The product, which the manufacturer recommended for children between 1 and 10 years of age, caused lead intoxication in at least one 18-month old child in New York City.
In October 2014, an 8-day-old premature infant died in Connecticuts Yale-New Haven Hospital after ingesting a probiotic called ABC Dophilus Powder, which unknown to the manufacturer who made it or the doctors who prescribed it, contained a mold called Rhizopus oryzae. This mold, which is typically found in decaying vegetable matter, was also found in the childs bloodstream at the time of death. Later, the FDA found the same mold in several unopened bottles of the powder.
During the past few years, weight loss products containing sibutramine and potency products containing sildenafil (Viagra) have been pulled from the shelves on an almost weekly basis. These potent pharmaceutical products were never listed on the package labels. Sibutramine, which has been banned from the United States as well as 40 other countries, has been associated with heart attacks and strokes.
Supporters of the dietary supplement industry argue that pharmaceutical products can also have severe side effects. For example, antibiotics can cause severe and rarely fatal allergic reactions and chemotherapeutic drugs can suppress the immune system, leading to fatal bacterial, viral or fungal infections. The difference, however, is that the consumer can learn about the side effects of pharmaceutical products by reading package inserts. For dietary supplements, package inserts dont exist. What most people dont realize is that side effects from dietary supplements are due to the poor quality of the product, not inherent problems with the supplement itself. Consumers treating their childrens ear infections with amoxicillin, for example, can be reassured that the product actually is amoxicillin, and not Viagra; that the product contains 100 milligrams of amoxicillin and not 400,000 or 0 milligrams; that the product isnt contaminated with a mold; and that the product doesnt also contain dangerous quantities of lead or other heavy metals.
Most people assume that when it comes to dietary supplements, someone is watching. But theyre not. And until the FDA regulates this industry, people purchasing dietary supplements from a health food store are doing so at their own risk.
Tom Price, the new Secretary of Health and Human Services, which includes the FDA, could do something about this if he chooses. Unfortunately, given his response to Orrin Hatchs question during his confirmation hearing, it doesnt sound like hes interested.
Paul A. Offit, MD, is a professor of pediatrics at the Perelman School of Medicine at the University of Pennsylvania and the author of Pandoras Lab: Seven Stories of Science Gone Wrong (National Geographic Press, April 2017)
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The Second-Generation Soul Of Zeshan Bagewadi : NPR – NPR
Posted: at 2:45 am
Zeshan Bagewadi's new album combines American funk and soul with Punjabi lyrics. Courtesy of the artist hide caption
Zeshan Bagewadi's new album combines American funk and soul with Punjabi lyrics.
Zeshan Bagewadi's new album, Vetted, sounds a lot like classic American funk and soul from the 1960s and '70s. The difference? He sometimes sings in Punjabi. Bagewadi was born in Chicago to parents who were Indian Muslim immigrants, and he learned about soul, funk and blues from his father's music collection.
"Through his work as a journalist, [my father] covered concerts," Bagewadi explains to NPR's Scott Simon. "He also did profiles on certain movements here in America literary movements, and did some work on the civil rights movement as well. And that very much informed his taste in music and aesthetics and style.
"My father was enamored of the music that he grew up around in 1960s, 1970s India, and the music of Pakistan. But in addition to that, through his work as a journalist he was given insight into soul music here in America, and he had a collection of records of Otis Redding, of James Brown, Marvin Gaye. ... And I guess the byproduct of that is me," he says.
For Bagewadi, soul isn't just a specific genre it's a feeling that pervades American and Indo-Pakistani music alike.
"There is soul music of India-Pakistan; it speaks of urban despair, of poverty, of unrequited love, of being down and out," he says. "And that was the plight of my parents, that was the plight of my grandparents. That's why they've decided to come here in search of something better. That zeitgeist is present in the music. And we know how to get down, we've got soul. We've got soul it's in our food, it's in our music and I feel very lucky to be a part of that."
Hear the rest of Bagewadi's conversation with NPR's Scott Simon at the audio link.
Web intern Jake Witz and web editor Rachel Horn contributed to this story.
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Michael Douglas Shares Secrets of His Long Career, From ‘Cuckoo’s Nest’ to ‘Wall Street’ – Variety
Posted: at 2:45 am
Oscar-winner Michael Douglas revealed the ups and downs in his film career during a live conversation with Ben Mankiewicz at the eighth annual TCM Classic Film Festival on Saturday. Held at Hollywoodshistoric Montalban Theatre, the two-hour discussion covered everything from Douglass early television roles to his work on Marvels upcoming Ant-Man and the Wasp. Here are some of the surprising highlights.
Hairy Beginnings
In 1969, Douglas made his feature debut in Hail, Hero! an obscure anti-war drama about a college student who joins the army during the Vietnam war. Arthur Kennedy played my father, and in the movie he takes my long hair and he chops it all off, Douglas said. So Im showing it to my dad (Kirk Douglas) and he said You should go to my barber. Theres a way to do that so it looks halfway decent, so you wont look like a total dork. Things didnt go quite that smoothly, however. For continuity, I had to wear a wig, a longhair wig, throughout the movie, Douglas said. So I go to put my hippie wig on and I look like Veronica Lake. Despite his shaggy appearance, the role earned him a Golden Globe nomination as most promising male newcomer.
Filling the Nest
Casting was crucial, Douglas said about his Oscar-winning adaptation of Ken Keseys novel One Flew Over the Cuckoos Nest. Douglas, who produced the film, worked closely with director Milos Forman to fill the fictional Oregon mental institution with the perfect rogues gallery of patients and staff. Several stars were approached to play the lead, including Gene Hackman and Marlon Brando, both who turned the part down. According to Douglas, Forman lobbied hard to cast Burt Reynolds in the role because he had what the director described as cheap charisma. Casting Nurse Ratched proved equally difficult. With all due respect to the ladies out there, Douglas said, the womans movement at that particular time said that a woman could not play the bad guy. Jane Fonda and Angela Lansbury passed on the role before Louise Fletcher was eventually cast.
Silent Meltdown
Douglas learned a valuable lesson about sound (or the lack thereof) while producing his next hit, The China Syndrome. The film depicts a series of accidents at a fictional nuclear power plant, culminating in a tense near-meltdown sequence. Yet in the editing room, something just didnt feel right to Douglas. We were doing our final mix, putting things together, and I was really impressed with our sound editors in terms of all these unique sounds they found for the control room, Douglas said. The problem came with the addition of music. Were doing the final mix and we had music by a very good guy, and this weird thing happened, Douglas said. All of a sudden we add the music and it became melodramatic. It lost its vitality. The risky solution was to remove the entire score. Without the music, it became taut, Douglas said.
Tragic Jewel
That was the lowest point in my producing career, Douglas said, referring to The Jewel of the Nile, the trouble-plagued followup to his blockbuster hit Romancing the Stone. The films difficult production was marked with repeated tragedy, including a plane crash in Morocco that killed six production team members, as well as the death of 39-year old screenwriter Diane Thomas, who wrote Romancing the Stone and consulted on the sequel. To thank Thomas for her contributions to the film, Douglas asked her what type of car she liked. She said a Porsche, and so I got her a Porsche, Douglas said. The last time I saw her was when she took me out to the parking lot to show me the Porsche. And then she got killed in a car accident in it two weeks later.
Stones Gambit
Douglas earned an Oscar for Best Actor in Oliver Stones 1987 financial drama Wall Street, in large part thanks to Stones psychological method of direction. Two weeks into shooting, Stone came to Douglass trailer with a serious problem. He said, Michael are you doing drugs? Because you look like youve never acted before in your life. Douglas, though concerned, had no idea what Stone was talking about. I never look at dailies, Douglas said, So I assumed Id better go take a look. And he said yeah, youd better. Not surprisingly, what he saw looked pretty good. The confrontation was a ruse on Stones part. Oliver wanted just a little bit more anger, Douglas said. He was willing to forgo our relationship to get that performance, and I went to town and worked my ass off after that conversation. According to Douglas, Stones Vietnam mentality is what made all the difference. He wants you in the trench with him.
Courting Controversy
The gritty 1993 thriller Falling Down gave Douglas one of his most memorable roles. It hit on the zeitgeist, Douglas said. Its a picture thats constantly brought up as one that people genuinely like. Thats not to say it wasnt without controversy, however. The films edgy violence and dark subject matter drew complaints from some ethnic groups. I remember for instance, there was a Korean grocers scene where I go in and go ballistic, Douglas said. Soon after the picture was released, I got a call from Warner Brothers, saying, Mike can you come down here? Wed like you to meet the head of the Korean grocers association. The group objected to the sequence, which they felt portrayed Koreans in a negative light. Douglas did his best to address their concerns. I tried to explain that theres a reason why the writer took the scene and made it what it is, Douglas said. And as a result of that meeting the Korean grocers association put those smile buttons on everyones shirts.
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Michael Douglas Shares Secrets of His Long Career, From 'Cuckoo's Nest' to 'Wall Street' - Variety
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Summer of Love celebration brings peace, love and a whole lotta fun to San Francisco – Roanoke Times
Posted: at 2:45 am
Fifty years ago, an estimated 100,00 people traveled to San Francisco to change their lives. They wound up changing the world.
Now this Pacific Coast city is celebrating the 50th anniversary of the Summer of Love, and everyones invited to the bountiful events that offer more reasons than ever to journey west.
Back in that time of peace, love and tie-dye, the Haight-Ashbury neighborhood drew hordes seeking alternative lifestyles, largely due to the presence of bands like the Grateful Dead, experimental artists, poets, social activists and the attention they garnered.
The scene seemed like a fantasy, and indeed mind-altering substances were involved. Free concerts filled streets and parks with fresh takes on folk, rock and jazz music. Pop art dazzled the eye and mind, notably in concert and be-in posters distributed free on the streets back then, and now preserved in museums. Paisley halter tops to flamboyantly flared bellbottoms brightened streetscapes. Revolutions in social norms tied to hair length, recreational drugs and free love fomented, and greater expression of fellowship, equality and tolerance flourished.
The historic convergence also stoked environmental concerns, goodwill that led to the first free health clinic, and outside-the-box thinking that led to Rolling Stone magazine, the Whole Earth Catalog and even Apple computers.
Here are some best bets for experiencing Summer of Love-related sensory pleasures. No mind-altering substances needed; just pack your grooviest clothes and be sure to wear some flowers in your hair.
n The Summer of Love Experience: Art, Fashion, and Rock & Roll, a new exhibition at the de Young Museum running to August 20, is a mind-blowing history lesson. Witness the Trips Festival of January 1966 through a multimedia extravaganza of liquid light and slide shows, film projections and electronic sounds. Marvel at rock posters by talents like Stanley Mouse that popularized new art forms. Get glimpses of legendary concerts, the Human Be-In and free-flowing fashions. The museums in Golden Gate Park. http://deyoung.famsf.org
n Hippie Modernism: The Struggle for Utopia, at the Berkeley Art Museum & Pacific Film Archive through May 21, explores the lasting impact of 1960s counterculture on global art, architecture and design. Experimental furniture, underground publications and films capture the higher-conscience zeitgeist. http://www.bampfa.berkeley.edu
n On the Road to the Summer of Love, running May 12 through September 10 at the California Historical Society, highlights counterculture events leading up to the Summer of Love. Approximately 150 photos and artifacts represent milestones such as the Beat movement, the experimental art scene, protests and two June 1967 events: the Monterey Pop Festival and the Mt. Tam Fantasy Fair which Adam Hirschfeld, the societys Director of Strategic Initiatives, called the worlds first major outdoor rock festival. Drawing 36,000 fans, this event boosted bands such as Jefferson Airplane, the Fifth Dimension and The Doors to global fame. It also provided a forum for former Harvard psychology professor Timothy Leary to tout hallucinogenic drugs, primarily LSD. http://www.californiahistoricalsociety.org
The Magic Bus, painted in peace and love motifs, doubles as a roving movie theater with its sound system and roll-down film screens. Starting in Union Square, the fun two-hour tour visits bustling Chinatown, the fabled Fillmore concert halls old home, Haight-Ashbury, North Beach and civil rights sites. http://www.magicbussf.com
The Beat Museum salutes the generation that gave rise to the Flower Power movement. The Beats, whose moniker refers to beatific, were a collective of writers, artists and thinkers who congregated here in the 1950s. Independently owned, this museum archives original manuscripts, letters and cultural objects. Its in North Beach, the Beats home base. http://www.kerouac.com
This is a city easily sight-seen on foot. Guided tours include Wild SF Walking Tours. Its new pay-whatever Free Love Free Tour leads you through the Haight-Ashbury epicenter of Free Love movement. An expert guitar-toting guide shares tales and songs of Janis Joplin, the Grateful Dead and other luminaries. The 1.75-hour adventure passes the Deads longtime psychedelic house, Joplins apartment, tie-dyed street art, Charles Mansons macabre mansion and Panhandle Park. Reservations required. http://wildsftours.com
San Francisco Museum of Modern Art reopened last year with a 10-story expansion inspired by the bay and fog. Pop art is well-represented. http://www.sfmoma.org
Dining choices include Sparrow Bar and Kitchen, located in Haight-Ashbury. Pair Haight Cuisine super-salads, sandwiches and quinoa cakes with local craft beers. http://www.sparrowbarandkitchen.com. Wild nettles? Broccoli hummus? Del Popolo is a favorite for small plates and wod-fired pizza made with exquisite local-grown ingredients. http://www.delpopolosf.com. Rambler serves flaky housemade biscuits and hearty mains morning to late night. Lovely regional wines, too. http://www.ramblersf.com
At Golden Gate Park, stroll a Pacific Coast haven that has drawn world travelers for decades. Keep your ears open for a locals tradition: the drum circle on Hippie Hill.
Roberta Soslow, an award-winning writer/photographer who lives in the South, can be reached at robsoslow@gmail.com.
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Summer of Love celebration brings peace, love and a whole lotta fun to San Francisco - Roanoke Times
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Califonria Lawmakers approve billion dollar gas tax | KBAK – Bakersfield Now
Posted: at 2:44 am
This November, California drivers can expect to see an increase at the pump.
The gas tax bill SB-1, will raise the gas tax by 12 cents.
Increased gas and diesel tax will increase the cost to transport foods, meaning you can expect t pay more at the grocery store.
Beatriz Sanders with the Kern County Farm Bureau tells me the Ag Industry will feel the hit.
"This tax is a direct target to middle-income earners, low-income earners, because they spend more of their income at the grocery store," says Sanders.
While grocery shoppers will also be paying more for their food, Nick Ortez with the Bakersfield Chamber of Commerce says consumers will also see an increase across several industries.
"For an economy like Kern County that is a resource-based economy, where you have Ag, oil, logistics, and call centers, these places are not always next to where people live," says Ortez.
Brent Woods is a full-time student at Bakersfield College who travels daily. He says knowing he will be paying more at the pump is terrifying.
"I do way too much driving, and I am not looking forward to 12 cents a gallon being added on to my gasoline," explains Woods.
Fees will act to fund road repairs across the state by raising an estimated $52 billion.
Several democrats voted for the bill but many lawmakers, including senator Jean Fuller, disagreed with the plan.
"Kern is a rural county and driving is an essential part in my county, and it is not a luxury but a necessity," says Senator Fuller.
The gas tax is set to take affect starting November 1st.
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Califonria Lawmakers approve billion dollar gas tax | KBAK - Bakersfield Now
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