Deepfakes, Bridgerton, Chopin

Perhaps a great way of getting me to blog more often is to treat it as a personal diary. No need to publicise what I’m writing, but a nice chance for me to put down ‘on paper’, as it were, a record of my day to day.

I’m worried about the impact that deepfake technology is going to have on the political ecosystem, especially where ‘fake news’, conspiracy, and intense hyperbole run amok in the grand echo chamber of social media. If the UK can believe all sorts of noise about bendy bananas and £350m a week when printed crudely on the side of a bus, what hope do we have once deepfake technology has learned not only to mimic the faces of, but also the voices of authority? Nobody fact checks. Nobody can control that content. Nobody can stop it. And I think, combined with social media, it’s the biggest threat to our global political ecosystem that we face.

I started watching Bridgerton today, after finally catching up with Line of Duty from I don’t know how many years ago. It’s jolly good fun, but my word is it gaudy. About as subtle as a brick through the window, it’s gauche, bright, a tad obvious, but lord is it good fun. Another five episodes to watch I think, and whilst it might not be winning any Emmys any time soon (except perhaps for a very highly stylised production or art design gong), if nothing else, what an absolute treat to listen to the vocal talents of Julie Andrews.

From one end of the cultural spectrum to the other, I’ve been learning more Chopin today. I finished, with some pride it must be said, learning the Chopin’s Prelude in E Minor (Op.28 No.4), and have set myself the rather baffling challenge of his Waltz in C Sharp Minor (Op.64 No.2) but runs are proving thus far elusive. But I remember where I was when I started the Mozart Turkish March and I was hopeless and clumsy then, too!

— Thomas

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