We Don't Know What We're Doing

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This ability to infer the structure of the outside world is not limited to simple game-playing moves; it also shows up in dialogue. They do not, like most of the characters in this fresh and at times brilliant collection, know what they are doing. When Millière asked directly for the 83rd Fibonacci number, however, GPT got it wrong, which suggests the system wasn't just parroting the Internet.

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He conjures Caerphilly beautifully, using his characters’ various viewpoints to create an overlapping montage of its streets and vistas and the crumbling castle at its centre, and subtly drawing attention to its limits through his use of definite articles. Scientific American maintains a strict policy of editorial independence in reporting developments in science to our readers. Instead he hypothesizes that the machine improvised a memory by harnessing its mechanisms for interpreting words according to their context—a situation similar to how nature repurposes existing capacities for new functions.In Bolt, a gem of an opening story, the narrator, Andy, moves in with his girlfriend's mother when the girlfriend dumps him. It's a different sort of learning that wasn't really understood to exist before,” says Ben Goertzel, founder of AI company SingularityNET. The father of the boy on the stag do comes to Dublin armed with a guidebook and a digital camera – a model for the pleasures of middle age; the pensioner who, despite losing two wives, is back on the dating scene shows that life is long and there’s room for joy at every stage of it.

We Don’t Know What We’re Doing by Thomas Morris review – an

Here, though, we prefer to identify with thrusting metropolises or chocolate-box villages, and small towns are consigned to a dreary no man’s land between the two. After her husband remortgages their home and absconds to Australia to find himself, Amy is caught between the demands of her ailing mother and her three children. D. student Roma Patel found that these networks absorb color descriptions from Internet text and construct internal representations of color. In the final story, Nos Da (the Welsh for "good night"), Morris envisions an alternative world where a father watches his family through a camera as he contemplates his mediocre relationship with his new girlfriend.As he capers around Caerphilly with his friends, getting arrested on drunken nights out, a brutally honest depiction of the ebb and flow of young romance underpins the antics. If you are given a whole lot of game scripts, trying to figure out the rule behind it is the best way to compress,” he adds. As editor of the Stinging Fly magazine and last year's Dubliners 100 anthology (Tramp Press), Morris may be known to Irish readers already.

Review: We Don’t Know What We’re Doing, by Thomas Morris

The omniscient voice offers multiple perspectives – the pliable groom, the watchful father, the best man under pressure, the cocky London brigade, the dark secrets that get dredged up on such weekends of excess and release – landing the reader in the middle of the stag, where grown men break down or pass out, "vomit softly coating the curb and cobblestones like one of Dali's melted clocks". If Morris’s protagonists are messily muddling through, it is in contrast to the assurance of their creator. The latter is the setting for a date between pensioners in the sweetly entertaining Strange Traffic, while in Castle View, a starting-to-go-to-seed twentysomething reflects on his pristine new estate house, which comes sans advertised vista.Post-school or university but pre-children, they’re free, in theory, to do whatever they want, but they are united by the uneasy awareness that their options are steadily narrowing; that unless they act soon they’ll be reabsorbed by the town and subside into unremarkable middle age. In How Sad, How Lovely another lonely narrator finds solace in a friendship with a neighbour, the grotesque humour of his worms affliction highlighting his marginalised role. A clever first-person-plural voice tells the story in the future tense, which gives a suitable fait-accompli feel. Contrasting nicely with the anxieties of the youngsters, 78-year-old Jimmy, in Strange Traffic, is on the lookout for his third wife: "He was in good enough shape to last another ten years, and where was the point in going lonely all that time?