Tamara

In 1949, as Nabokov was working on “Lolita,” he published a short story in The New Yorker called “Tamara.” As in the novel that followed, the narrator is a middle-aged European, and the title character a young girl—fifteen, in this case—who is recalled as a formative object of desire during his adolescence. (Both stories also begin with a pointed focus on the female character’s name.) Like in “Lolita,” time and circumstance block the protagonist’s pursuit of the young girl, and the story evolves into an exploration, in part, of memory, mood, and perspective. The New Yorker

buona lettura di mezz'estate!

Keeping a diary

By 1600 or so in England there’s a play written, Volpone by Ben Jonson, in which two of the characters talk about diaries, and one of them reads the other’s diary out loud on stage. You have that horrible emotionally naked feeling of having your feelings displayed in public, awful, by 1600, and it’s happening on stage. So, by then everyone knows what a diary is in England, but absolutely not the case in Europe. It spreads over the following century or so. John Dickerson, Slate

recensione al libro di Roland Allen, The Notebook: A History of Thinking on Paper (Faber) che racconta la storia dei diari e di come siano passati a essere semplicemente degli elenchi al diventare racconti di storie personali.

Paris ’44

This enthralling, cinematic study of the occupation and recapture of the French capital reads like an epic thriller. Andrew Martin, The Guardian

si parla di Paris ’44: The Shame and the Glory di Patrick Bishop (Penguin/Viking)

Mechanical Intelligence

Before miniaturization made them all but disappear, computers were experienced as physical things. [...] But their magic had its limits because they didn’t work very well. Any illusion of spiritual embodiment was shattered when you had to clear up a jammed paper tape. If you were on a first-name basis with the mechanic who oiled the gears and adjusted the set screws, you were unlikely to attribute transcendent qualities to the machine even on the days when it worked perfectly.

But people were beginning to converse with computers without seeing them, and it turned out that even the flimsiest screen—between Dorothy the user and Oz the computer—seduced people into regarding the machine as human, or even wizardly.

ELIZA was the original chatbot, created by MIT’s Joseph Weizenbaum in the mid-1960s. Named after the reprogrammed flower girl of George Bernard Shaw’s Pygmalion. Harry R. Lewi, Harvard Magazine

breve storia dell'intelligenza artificiale