Home Technology The Shock Is Coming

The Shock Is Coming

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Intro by DM

AI “AI expert Mo Gawdat returns to The Diary of a CEO with a stark warning: the AI revolution isn’t coming — it’s already here.”

The former Google X executive argues that AGI has effectively arrived. In his view, the public debate is years behind the technology itself. While politicians and regulators speak as though AGI is a future event, he believes the world has already crossed the threshold and is only beginning to grasp the implications.

The consequences, he says, will be profound. Gawdat predicts that up to 30% of existing jobs could disappear by 2027, as increasingly capable AI systems replace not only repetitive manual work, but white-collar professions once considered untouchable. Lawyers, accountants, coders, designers, analysts and customer service workers are all facing unprecedented disruption. Previous industrial revolutions automated muscle; this one automates aspects of the mind. The transition may generate extraordinary wealth and productivity, but it also risks widening inequality and social instability if societies fail to adapt quickly enough.

His message is clear: our future will depend less on what AI becomes, and more on who we choose to be.

14 COMMENTS

  1. I have never relied on AI so I just ASKED KAREN GIGGLE :
    Question:
    On the first dinner date with a darling Karen who pays?
    So for AI🙈
    Useless!
    437.

  5. “The callous massacres and the gruesome work of cutting up and destroying the bodies [of the Romanov family and friends] which I have described are terrible almost beyond imagination, but even they pale before the story of the Crime of Alapayevsk. In describing the fate of the other Royal captives, therefore, I shall try to be more merciful than the Bolsheviks were, and give only a short summary of the facts, for they are too terrible to dwell upon in detail.

    The Grand Dukes Sergius, Ivan, Constantine and Igor, the Grand Duchess Elisabeth and Prince Vladimir Paley were kept under guard in a school building at Alapayevsk. With them was Romez, Secretary to the Grand Duke Sergius, and a nun, Barbara Yakovleva, who had come from the Moscow convent of SS. Martha and Mary to join the Grand Duchess Elisabeth, its founder. Both Yakovleva and Romez stood by the Royal captives until the end and shared their fate.

    On the night of the 17th July, 1918, that is to say about twenty-four hours after the Ekaterinburg tragedy, the captives were taken outside the town to an abandoned mine and thrown down the pit-shaft-alive. The Grand Duke Sergius alone died before his body touched the bottom of the pit, because at the last moment he had gripped one of the murderers by the throat, and a bullet through his head saved him from the more terrible fate. The others were pushed over the edge alive and survived the fall. The murderers then threw hand-grenades at the martyrs, but Romez alone was killed in this way, his body being terribly burnt in the explosion. The others survived only to die a more lingering death of starvation, exposure and injuries. The Grand Duchess Elisabeth had apparently used her handkerchief to bandage the Grand Duke Ivan’s head, which was bruised in the fall, and a witness – a muzhik who was hiding in the bushes near the mine – heard them sing “The Cherubim Hymn”.

    When the martyrs’ bodies were found by the Whites, a “post mortem” revealed the presence of earth in the mouth and stomach of the Grand Duke Constantine. Needless to say, it is possible for earth to find its way into a dead man’s mouth, but only a living person could swallow it. It can be assumed, therefore, that the Grand Duke was alive for at least three days, because at least that period of starvation is required to make a man eat earth to appease the pangs of hunger.

    The Whites buried the bodies in the crypt of Perm Cathedral, but even here they found no peace: before long the Reds advanced again towards Perm and they had to be removed. Father Seraphim, the Superior of the Monastery of St. Seraphim of Sarov, which was founded in the year of the Tsarevich Alexis’s birth, obtained special permission from Admiral Kolchak and General Dieterichs to exhume the bodies, and they were buried in a convent at Chita.”

    • Paul Bulygin in “The Murder Of The Romanovs – The Road to the Tragedy”

    • Pyotr Ilyich Tchaikovsky – Hymn of the Cherubim
    https://www.youtube.com/watch?v=OPlK5HwFxcw

    • Elisabeth Feodorovna – A Noble Heart
    https://www.youtube.com/watch?v=0Edio0q3I2Q

  6. Caltrop: Are We On The Cusp Of Moving From Capitalism To Socialism?
    https://gumshoenews.com/calls-for-disclosure-of-non-human-sentient-biologics/#comment-203552

    Fascinating …

    How ironic is it that a Dean of the School of Marxism should be writing about “bringing hope for the future of humankind” when it is Marxism that is at the heart and centre of all matters of cultural degeneracy and all of the conflicts that he mentions in this opening paragraph

    As much as I am a positive proponent of the concept of ‘Socialism with Chinese Characteristics’, this is disturbing.

    Or
    Define ‘capitalism’ – is this earning a subsistence wage or salary, or is it floating a non-value-adding [AI] bubble on the stock exchange and becoming the world’s first Trillionaire?

    Define loan capitalism [usury] versus labour capitalism

    Define ‘communism … “Communism was not created by the masses to overthrow the Bankers; Communism was created by the Bankers to overthrow and enslave the masses”

    Define Socialism – is this Marxist/communist socialism or is it National Soclaism as advocated by the likes of Gaddafi [see ‘The Green Book’] and Hitler [see ‘Mein Kampf’] or even the Kim dynasty of the DPRK [see ‘Understanding Korea’]

    Define Fascism – not the ‘mainstream definition that defines its own Marxist-based ideology and then falsely labels it as fascism’ [see Sir Oswald Mosley]

    Cynthia Hodges has a good segment on Marxism. Here is one paragraph where she is describing the impact of Marxism on Music and Art …

    “The subversive process [in music] is particularly evident in the deliberate rejection of musical craftmanship in favour of dissonance, abstraction and an assault on aesthetic tradition. Melody and harmony are sacrificed for discord and provocation [Stravinsky comes to mind], reinforcing an ideological message of destabilisation and cultural decay. The popular music industry, once a realm of genuine artistic innovation, is co-opted as a vehicle for Marxist agitation, embedding radical political messages within entertainment to manipulate public consciousness subtly yet effectively.”

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