By Dulce da Rocha Gonçalves The so-called social winter season, which aligned with solar time (from October to April) rather than with the winter season, was a bustling period of cultural activities in the Netherlands during the first decades of the twentieth century. As the local newspaper Haarlem’s Dagblad reminded its readers at the start of the season of 1925/26: "With the end of daylight saving time, it seems to us as if the door behind the summer is shut with a bang; suddenly, the long evenings begin, seemingly without twilight, and we think again of books and courses, meetings and lectures, concerts, and performances. There are plenty of options, but a choice must be made." Lantern lectures were among the activities organized by the many associations and societies established in Haarlem, an average-sized city situated less than 20 kilometers west of Amsterdam and home to about 75 000 people at this time. To put it in today’s terms, a public lantern lecture could be
By Stephen Cave, Kanta Dihal, Eleanor Drage and Kerry McInerney Women are even less likely to appear as AI scientists in film than in real life – and when they do, they’re low-status and likely to get killed What do the films Metropolis (1927), AI: Artificial Intelligence (2001) and Ex Machina (2014) have in common? They feature male AI scientists in Frankenstein-esque roles, intent on masterminding the creation of new life. In our paper ‘ Who Makes AI? ’, we analyze 100 years’ worth of popular AI films to see who makes AI on screen. The results are striking: only 9 out of 116 (8%) AI professionals in influential films are female. This is even lower than the 22% of female AI professionals in real life. This dearth of women AI scientists on screen, coupled with the way male AI scientists are represented as anti-social geniuses with God complexes, is likely to be discouraging women from entering the profession. AI is one of the most impactful and lucrative technologies of our age. A