1 00:00:00,000 --> 00:00:04,800 Breath of the Club è scel mattino presto e quindi vi immagino con una tazza in mano. 2 00:00:04,800 --> 00:00:10,240 Magari proprio come me in questo momento, o in mano la mia tazza di te, è un test 3 00:00:10,240 --> 00:00:15,000 pecciale arriva dal bellissimo negozio di Londra, Fortune e in Meson. 4 00:00:15,000 --> 00:00:20,040 Probabilmente una delle motivazioni per cui vado con piacere al bet, una delle fiere più 5 00:00:20,040 --> 00:00:24,320 importante al mondo sulle duchesce in la tecnologia, è quello di ritali a un breve 6 00:00:24,320 --> 00:00:27,840 momento per fare un giro nei negozi di Fortune e in Meson. 7 00:00:27,840 --> 00:00:31,400 In cui negozi potrete trovare te di ogni tipo. 8 00:00:31,400 --> 00:00:38,080 I miei preferiti, quelli che prendo sempre sono il te, nero alla minta del marocco, 9 00:00:38,080 --> 00:00:43,800 il grande classico, le olgrei, mentre quello che sto bevendo ora mentre sto scrivendo 10 00:00:43,800 --> 00:00:49,520 in una sera di un'iniziale autunno, è il cosiddetto te, blue, chiamato o lock. 11 00:00:49,520 --> 00:00:53,120 Cosa c'entra tutto questo colorobotica e Breath of the Club? 12 00:00:53,120 --> 00:00:55,400 Lo scoprirete, dopo la sigla. 13 00:00:57,040 --> 00:01:01,640 Io sono i manoi e i miei chieli, lavoro per scola di robotica da più di 20 anni e questo 14 00:01:01,640 --> 00:01:07,640 è Breath of the Club, un podcast per chi insegna in forma educa. 15 00:01:07,640 --> 00:01:13,520 Per chi ogni mattina entra in una ola, sapendo che i ragazzi che ad avanti stanno già vivendo 16 00:01:13,520 --> 00:01:18,280 in un mondo che al resto degli adulti stanno ancora cercando di capire. 17 00:01:18,280 --> 00:01:24,240 Voi siete le uniche persone che ogni giorno devono rispondere una domanda che nessun altro 18 00:01:24,240 --> 00:01:25,880 osan' ancora farsi. 19 00:01:25,880 --> 00:01:31,040 Come si prepara qualcuno per un futuro che non sappiamo descrivere? 20 00:01:31,040 --> 00:01:38,200 Ogni settimana partiamo da un film, un libro, una canzone e arriviamo dentro la scuola, 21 00:01:38,200 --> 00:01:45,280 perché la tecnologia non è mai solo tecnica, è sempre prima di tutto una storia umana. 22 00:01:45,280 --> 00:01:50,040 Repare il caffè, metiti in ascolto, benvenuto al Breath of the Club. 23 00:01:54,880 --> 00:02:00,800 Immaginate un universo alternativo in cui non esistono parole specifici per indicare diversi 24 00:02:00,800 --> 00:02:05,120 mezzi di trasporto, ma soltanto il termine generico veicolo. 25 00:02:05,120 --> 00:02:10,200 Si usa questa parola per i ferissimi adultomobili, autobus biciclete, veicoli spaziali a tutti 26 00:02:10,200 --> 00:02:13,400 gli altri mezzi per spostarsi dal punto A al punto B. 27 00:02:13,400 --> 00:02:19,000 Inevitabilmente, in un mondo del genere, regna una totale confusione nelle conversazioni, 28 00:02:19,000 --> 00:02:24,560 si discute animatamente sul fatto che i veicoli siano ecologici o meno, anche se nessuno si 29 00:02:24,560 --> 00:02:29,240 rende conto che uno dei due interlocutori parla di biciclete e l'altro di camion. 30 00:02:29,240 --> 00:02:33,800 C'è una suvolta nel campo della misilistica, ma i media si concentrano su come i veicoli siano 31 00:02:33,800 --> 00:02:38,240 diventati più veloci, le persone chiamano quindi loro concessionare dei automobili, scusate 32 00:02:38,240 --> 00:02:42,320 di veicoli, per chiedere quando sono disponibili modelli più veloci. 33 00:02:42,320 --> 00:02:46,840 Nel frattempo i truffatori approfittano del fatto che i consumatori non sanno a cosa credere 34 00:02:46,840 --> 00:02:51,480 quando si tratta ai tecnologia dei veicoli, quindi le truffe nel settore automobilistico 35 00:02:51,480 --> 00:02:59,080 di lagano. Adesso sostituite la parola veicolo con intelligenza artificiale o terrete una descrizione 36 00:02:59,080 --> 00:03:02,040 più tostocurata del mondo in cui viviamo. 37 00:03:02,040 --> 00:03:07,560 Questo era l'introduzione a un libro molto interessante e gli autoriano due nomi molto 38 00:03:07,560 --> 00:03:12,760 difficili per me da pronunciare Arvin Narajanan e Sayash Kapoor. 39 00:03:12,760 --> 00:03:19,200 Il libro si chiama AI Snake Oil. Sottotitoro, miti e realtà dell'intelligenza artificiale, un 40 00:03:19,200 --> 00:03:25,200 libro riuscito da poco e che ci aiuta a capire come la parola intelligenza artificiale 41 00:03:25,200 --> 00:03:30,200 oggi si associata un sacco di cose che non centra una con l'altra che quindi cercare 42 00:03:30,200 --> 00:03:36,440 di legarle una con l'altra sia praticamente una missione impossibile dove grandi truffatori 43 00:03:36,440 --> 00:03:39,360 si trovano molto, molto bene. 44 00:03:39,360 --> 00:03:45,040 Ora per rimanere sempre all'importanza del significato delle parole è con bellissimo film. 45 00:03:45,040 --> 00:03:51,040 Si chiama After Yang è stato premiato e presentato in numerosi festival farà cui una 46 00:03:51,040 --> 00:03:56,880 dei miei preferiti Sand and Fin Festival e parla di un robot da compagnia che si rompe. 47 00:03:56,880 --> 00:04:01,640 In questo film c'è una scena che ci consente di legarci all'inizio di questa puntata. 48 00:04:01,640 --> 00:04:03,920 Al tè è l'importanza delle parole. 49 00:04:03,920 --> 00:04:10,320 Il padrone di Yang è il gestore di un negozio di tè e prova la contare cosa sia il tè 50 00:04:10,320 --> 00:04:11,320 al robot. 51 00:04:11,320 --> 00:04:16,240 Per farlo cita un documentario di vero rezzo che per inciso uno dei documentaristi e registri 52 00:04:16,240 --> 00:04:17,480 tra i miei preferiti. 53 00:04:17,480 --> 00:04:21,160 Lo fa proprio initando il suo fantastico accentotetesco. 54 00:04:21,160 --> 00:04:26,240 Sentiamo le in inglese, poi ve lo ripropongo in italiano almeno in parte ci provo. 55 00:04:26,240 --> 00:04:31,120 "Why it's so difficult for him to describe the taste of tea he says there's no language for it 56 00:04:31,120 --> 00:04:34,960 and there are no words to adequately express the mysterious nature of tea. 57 00:04:34,960 --> 00:04:39,520 And his German friend who's just standing right beside him with a cup of tea says yes, 58 00:04:39,520 --> 00:04:46,840 but I imagine things like you are walking through a forest and there are leaves on the ground 59 00:04:46,840 --> 00:04:54,840 and it just had rained and the rain has stopped and it's damp and you walk and somehow 60 00:04:54,840 --> 00:04:57,800 that is all in this tea." 61 00:04:57,800 --> 00:05:01,600 I love that so much. 62 00:05:01,600 --> 00:05:03,440 I would like to watch this movie. 63 00:05:03,440 --> 00:05:05,040 Maybe we can do it together. 64 00:05:05,040 --> 00:05:07,800 Yes, now it'd be nice. 65 00:05:07,800 --> 00:05:12,800 I'll go ahead and ask you if you have the scene of the tea in the movie, let's see, 66 00:05:12,800 --> 00:05:16,440 it's that of the erdo's document that inspires her. 67 00:05:16,440 --> 00:05:19,560 Let's start with the translation of After Young. 68 00:05:19,560 --> 00:05:21,960 The protagonist speaks robot. 69 00:05:21,960 --> 00:05:25,520 There is no language to describe it, the flavor of the tea. 70 00:05:25,520 --> 00:05:30,320 There are no words to express the nature of the tea. 71 00:05:30,320 --> 00:05:35,480 And then, as a protagonist, he says, "And his friend who's just standing beside him with a cup of tea 72 00:05:35,480 --> 00:05:40,960 responds, yes, but I imagine things like walking in a forest with leaves on the ground 73 00:05:40,960 --> 00:05:46,960 after just had the most excessed rain, rain and humidity and your paths and in any way 74 00:05:46,960 --> 00:05:50,040 all this was closed in this tea. 75 00:05:50,040 --> 00:05:51,040 We continue. 76 00:05:51,040 --> 00:05:57,520 I really like that so much, in any way, it's all in this tea. 77 00:05:57,520 --> 00:06:02,480 The movie has been more and more times and the robots say I would like to see this movie. 78 00:06:02,480 --> 00:06:06,960 Well, let's talk about the protagonist, maybe we can look it together and the robot responds. 79 00:06:06,960 --> 00:06:08,560 Yes, it would be nice. 80 00:06:08,560 --> 00:06:15,200 This dialogue between the young and the robot's padron is just the meaning of the tea. 81 00:06:15,200 --> 00:06:21,520 This piece of the film has inspired you, as I said, the erdo's document, which is called 82 00:06:21,520 --> 00:06:23,640 All is in TST. 83 00:06:23,640 --> 00:06:30,080 And here is the quote, a little more precise, because obviously that was done in After Young's film 84 00:06:30,080 --> 00:06:31,760 is not very precise. 85 00:06:31,760 --> 00:06:35,040 You don't drink it, you just have to feel the smell. 86 00:06:35,040 --> 00:06:36,560 Oh, is it sensational? 87 00:06:36,560 --> 00:06:37,880 Yes, yes, it is not here. 88 00:06:37,880 --> 00:06:40,280 For how long does it leave you in an illusion? 89 00:06:40,280 --> 00:06:42,080 Still a minute closer. 90 00:06:42,080 --> 00:06:47,880 You know, there are qualities that are not familiar and we don't have a vocabulary to describe 91 00:06:47,880 --> 00:06:48,880 things. 92 00:06:48,880 --> 00:06:52,360 That's why I don't know, but I can describe the flavor of your tea. 93 00:06:52,360 --> 00:06:55,920 I know when I like it, but I can't say that it's flavor. 94 00:06:55,920 --> 00:07:00,920 Yes, but I imagine it and here if you remember the story of the movie is almost precise. 95 00:07:00,920 --> 00:07:06,440 Yes, but I imagine things like a伸 in a forest with the leaves on the ground as soon as 96 00:07:06,440 --> 00:07:11,280 it has been, the most finished, the abandoned land and your path in a few ways, all this 97 00:07:11,280 --> 00:07:12,280 was closed in time. 98 00:07:12,280 --> 00:07:17,200 You have seen in the dialogue, Erzo, he says that we don't have a vocabulary to describe 99 00:07:17,200 --> 00:07:18,200 things. 100 00:07:18,200 --> 00:07:21,640 And it is just where we don't have a vocabulary that the artificial intelligence 101 00:07:21,640 --> 00:07:28,080 generatives steal and where we don't have a vocabulary that we can define, use, 102 00:07:28,080 --> 00:07:30,720 artificial intelligence or robots. 103 00:07:30,720 --> 00:07:35,840 In After Young, we find ourselves in the memory of the domestic robot Young, which was 104 00:07:35,840 --> 00:07:38,960 the company robot of the protagonist's daughter. 105 00:07:38,960 --> 00:07:44,840 Imagine if a family had access to all your social accounts, to your dialogues with 106 00:07:44,840 --> 00:07:48,120 Leia, I repeat, to your dialogues with Leia. 107 00:07:48,120 --> 00:07:52,640 In the rest of the content, could you discover your stories? 108 00:07:52,640 --> 00:07:57,480 To all those who think that the private is a role in society, which that society 109 00:07:57,480 --> 00:08:02,000 wants to hide their own mistakes, does not come to think that someone can understand 110 00:08:02,000 --> 00:08:07,840 the more hidden ideas of the intimate, maybe those linked to a moment of 111 00:08:07,840 --> 00:08:11,400 own fragility and maybe play them more against. 112 00:08:11,400 --> 00:08:16,200 I obviously have a humanoid with us, who lives with us, we come to mind that 113 00:08:16,200 --> 00:08:20,440 everything is being recorded, what we say and we do is to end all this 114 00:08:20,440 --> 00:08:21,440 room. 115 00:08:21,440 --> 00:08:25,080 Already with the digital devices and the artificial intelligence generatives, 116 00:08:25,080 --> 00:08:28,360 because they come from the few governments, they collect our 117 00:08:28,360 --> 00:08:33,720 most common ideas, our fragility, where we ask for advice and where we 118 00:08:33,720 --> 00:08:34,720 feel strong. 119 00:08:34,720 --> 00:08:36,720 What are our fragility? 120 00:08:36,720 --> 00:08:40,000 And Leia knows, who are digital devices, knows them one day, could 121 00:08:40,000 --> 00:08:44,960 come back to us, could be played against us if the private is not 122 00:08:44,960 --> 00:08:45,960 kept. 123 00:08:45,960 --> 00:08:50,000 So, here I am looking for, as always, to put the pieces together, 124 00:08:50,000 --> 00:08:57,000 if you are happy to give yourself to artificial agents, your natural behaviors, 125 00:08:57,000 --> 00:08:58,320 where you are at night. 126 00:08:58,320 --> 00:09:02,600 For us, it is quite understandable that a robot cannot understand the meaning of 127 00:09:02,600 --> 00:09:07,120 some concepts, just like the one of you and of your taste. 128 00:09:07,120 --> 00:09:12,600 But perhaps we should do peace with ourselves, because for example, we do not 129 00:09:12,600 --> 00:09:21,840 constantly understand the codes of the cars, the robots, even if we have created 130 00:09:21,840 --> 00:09:26,600 ourselves and understand that those codes will never understand the taste of 131 00:09:26,600 --> 00:09:27,600 you. 132 00:09:27,600 --> 00:09:32,600 I know I used to understand it 18 times, but I hope you can understand it. 133 00:09:32,600 --> 00:09:34,600 The taste of you is our robot. 134 00:09:34,600 --> 00:09:39,200 And then why do we try to solve our things with the cars? 135 00:09:39,200 --> 00:09:44,200 Why do we talk about education, feelings, emotions to cars? 136 00:09:44,200 --> 00:09:46,200 To your hand, who never gets it, it's G.P.T. 137 00:09:46,200 --> 00:09:49,200 Look at it, I know it was not in the background. 138 00:09:49,200 --> 00:09:53,200 In After Yang, we understand that the presence of a gem in us, 139 00:09:53,200 --> 00:09:57,200 there is a human robot, a human being, in fact, in our house, we could talk 140 00:09:57,200 --> 00:10:01,200 a lot about us, we could know a lot about us, because we would observe 141 00:10:01,200 --> 00:10:04,200 from the close to our family and our effects, our behaviors, 142 00:10:04,200 --> 00:10:11,200 we try to find the scene in which dance together with the daughter and two parents, 143 00:10:11,200 --> 00:10:15,200 beautiful, but we understand that it is living in the most intimate moments of that family. 144 00:10:15,200 --> 00:10:19,200 And obviously, the human being is a presence, we know that we see it, 145 00:10:19,200 --> 00:10:24,200 and in some way we know that it is recording what you see, 146 00:10:24,200 --> 00:10:28,200 what you feel, but you think about the digital, that leaves us out of it, 147 00:10:28,200 --> 00:10:33,200 and that is why we trust each other so much, even when we would not have a sense of the digital. 148 00:10:33,200 --> 00:10:36,200 And we trust each other if we agree with all our own things, 149 00:10:36,200 --> 00:10:39,200 maybe we will not do that with the human being, who knows. 150 00:10:39,200 --> 00:10:44,200 And just like the head of Ezrog and the concept of words within the book and Isaac, 151 00:10:44,200 --> 00:10:48,200 we find ourselves in a way where the linguistic language, 152 00:10:48,200 --> 00:10:52,200 the formal language, is accompanied by the reality of every day. 153 00:10:52,200 --> 00:10:56,200 The artificial intelligence are much more degenerative, 154 00:10:56,200 --> 00:11:00,200 you put it in mind that the one that is the one that is the most degenerative 155 00:11:00,200 --> 00:11:04,200 is only a small piece, perhaps what is deservedly added more success 156 00:11:04,200 --> 00:11:07,200 only for the fact that it is not related to the matter, 157 00:11:07,200 --> 00:11:10,200 even if then with the matter that we are new and in our environment, 158 00:11:10,200 --> 00:11:14,200 that the robot is so deeply connected that it is changing. 159 00:11:14,200 --> 00:11:19,200 And then we are going to read a piece of human-humanity, 160 00:11:19,200 --> 00:11:23,200 the ill-created letter on the cost of human person in the time of artificial intelligence, 161 00:11:23,200 --> 00:11:27,200 written by the father Leon 14. 162 00:11:27,200 --> 00:11:32,200 In a time in which the truth is often linked to the interests of the communicative strategy, 163 00:11:32,200 --> 00:11:35,200 in the world of education, it is a decisive relief. 164 00:11:35,200 --> 00:11:37,200 But the rapid technological transformations, 165 00:11:37,200 --> 00:11:41,200 put in light how much we are prepared on the educational plan. 166 00:11:41,200 --> 00:11:45,200 The pervasiveness of digital media generates a culture of the immediateness 167 00:11:45,200 --> 00:11:49,200 and of the hyper-simulation that feeds the stanchilla, 168 00:11:49,200 --> 00:11:54,200 the oil and the appetite of the necessary fatigue to look for truth. 169 00:11:54,200 --> 00:12:00,200 This was the 140th page, the 139th article. 170 00:12:00,200 --> 00:12:05,200 To look for the truth, these machines, these are the human-humanity, 171 00:12:05,200 --> 00:12:09,200 they will be useful, and then to conclude, 172 00:12:09,200 --> 00:12:12,200 I will read you a piece from an article on Andark, 173 00:12:12,200 --> 00:12:15,200 which is a magazine online, a very, very nice American, 174 00:12:15,200 --> 00:12:18,200 just number that I managed to now, 175 00:12:18,200 --> 00:12:22,200 in the number, let's say, from October of 2026. 176 00:12:22,200 --> 00:12:25,200 I read it, because it is very interesting. 177 00:12:25,200 --> 00:12:29,200 It is a definition of Emilie Bender, 178 00:12:29,200 --> 00:12:33,200 professor of linguistics at the University of Washington. 179 00:12:33,200 --> 00:12:35,200 Putting aside the term "indefined" 180 00:12:35,200 --> 00:12:37,200 IA, a term of marketing, 181 00:12:37,200 --> 00:12:40,200 not a joint technology, 182 00:12:40,200 --> 00:12:44,200 and intelligent, a genetic and classify the people, 183 00:12:44,200 --> 00:12:48,200 we could never create artificial systems in order to assume 184 00:12:48,200 --> 00:12:52,200 cognitive tools or experience similar to the people, 185 00:12:52,200 --> 00:12:56,200 probably not, and surely not through the translation of the language, 186 00:12:56,200 --> 00:12:58,200 like the LLF. 187 00:12:58,200 --> 00:13:01,200 The only proof we have of the fact that the large language model 188 00:13:01,200 --> 00:13:05,200 can think of, comes from our capacity, 189 00:13:05,200 --> 00:13:08,200 to give a sense of synthetic text that they generate. 190 00:13:08,200 --> 00:13:10,200 The linguist, the studio, 191 00:13:10,200 --> 00:13:14,200 of how the language works and how we interact with the language, 192 00:13:14,200 --> 00:13:17,200 provides two fundamental intuitions in this context. 193 00:13:17,200 --> 00:13:21,200 The first is that the languages are the sign systems that copy the form, 194 00:13:21,200 --> 00:13:23,200 the orthography, the pronunciation of a word, 195 00:13:23,200 --> 00:13:26,200 to the meaning, which means the word in general, 196 00:13:26,200 --> 00:13:28,200 which is to be heard when it is used. 197 00:13:28,200 --> 00:13:31,200 The linguistic models manipulate the form, 198 00:13:31,200 --> 00:13:35,200 but without doing anything else to the meaning. 199 00:13:35,200 --> 00:13:38,200 The second intuition continues to the professor of Sabender, 200 00:13:38,200 --> 00:13:41,200 looks at the way we interpret the language. 201 00:13:41,200 --> 00:13:44,200 The language of limiting it is to simply decipher the word 202 00:13:44,200 --> 00:13:48,200 and we consider, instead, everything we believe 203 00:13:48,200 --> 00:13:50,200 is the state of the author's soul. 204 00:13:50,200 --> 00:13:53,200 There are our common points with him and his conventions 205 00:13:53,200 --> 00:13:55,200 look at the state of the soul of his audience, 206 00:13:55,200 --> 00:13:57,200 which is the way we talk. 207 00:13:57,200 --> 00:14:00,200 In such context we ask, "What is trying to communicate the author 208 00:14:00,200 --> 00:14:02,200 using the words in that way?" 209 00:14:02,200 --> 00:14:05,200 And then, what will happen, and what will the author 210 00:14:05,200 --> 00:14:06,200 speak about? 211 00:14:06,200 --> 00:14:09,200 When the artificial intelligence based on the LLM, 212 00:14:09,200 --> 00:14:11,200 so the generative, a deletant, 213 00:14:11,200 --> 00:14:15,200 not the only one that reminds you of the problem of the snake oil, 214 00:14:15,200 --> 00:14:18,200 they will manage the dialogues of humanoids. 215 00:14:18,200 --> 00:14:20,200 We already do it, and we also do it 216 00:14:20,200 --> 00:14:22,200 and we also have humanoids, which are the states 217 00:14:22,200 --> 00:14:24,200 of generative eagings. 218 00:14:24,200 --> 00:14:27,200 How much will this mean, at the moment in which 219 00:14:27,200 --> 00:14:30,200 the eA will have a body, physical eA? 220 00:14:30,200 --> 00:14:32,200 Or, since it will say a humanoid, 221 00:14:32,200 --> 00:14:35,200 we will pretend more and we will not believe it, 222 00:14:35,200 --> 00:14:37,200 we will see it in the next months. 223 00:14:37,200 --> 00:14:39,200 Where, as a robot school, 224 00:14:39,200 --> 00:14:41,200 with two different projects, 225 00:14:41,200 --> 00:14:44,200 if you will take care of robots like humanoids. 226 00:14:44,200 --> 00:14:46,200 One, thanks to Europeans, 227 00:14:46,200 --> 00:14:49,200 and another, thanks to the community of Genoa, 228 00:14:49,200 --> 00:14:51,200 with the title "Small Wonder", 229 00:14:51,200 --> 00:14:55,200 a theater where humanoids will interact with the human beings. 230 00:14:55,200 --> 00:14:57,200 For this answer, I ask you to wait, 231 00:14:57,200 --> 00:14:59,200 and we will build it together in the next episodes. 232 00:14:59,200 --> 00:15:00,200 I am the campaigner. 233 00:15:00,200 --> 00:15:02,200 Even today, I am happy to touch you. 234 00:15:02,200 --> 00:15:03,200 Good luck to everyone! 235 00:15:03,200 --> 00:15:07,200 Breakfast Club is a product from the Robotics School. 236 00:15:07,200 --> 00:15:09,200 The script is a product from me and the mechanics. 237 00:15:09,200 --> 00:15:12,200 The technical of the sound and the montage, 238 00:15:12,200 --> 00:15:13,200 the camera. 239 00:15:13,200 --> 00:15:15,200 You can find all the links, 240 00:15:15,200 --> 00:15:16,200 where to listen to them, 241 00:15:16,200 --> 00:15:17,200 how to follow them, 242 00:15:17,200 --> 00:15:18,200 how to write them, 243 00:15:18,200 --> 00:15:20,200 in the description of this episode. 244 00:15:20,200 --> 00:15:22,200 If this episode has been pointed out, 245 00:15:22,200 --> 00:15:24,200 I have made you come to make a more simple class 246 00:15:24,200 --> 00:15:25,200 in order to make a more simple class 247 00:15:25,200 --> 00:15:27,200 and to think about it, 248 00:15:27,200 --> 00:15:31,200 leave a review on your preferred platform. 249 00:15:31,200 --> 00:15:33,200 We will help you grow 250 00:15:33,200 --> 00:15:36,200 and understand how to produce the next ones. 251 00:15:36,200 --> 00:15:38,200 le prossime puntate. 252 00:15:38,200 --> 00:15:40,200 Una prossima!