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Teil A: Text Production

Wahloption Aufgabenstellung 1

Ethan Hawke: A Bright Ray of Darkness

In his novel, Ethan Hawke tells the story of an actor who is making his Broadway debut in a production of William Shakespeare's play Henry IV.
1
Our director, J. C. Callahan, stood up in front of us. He was in his early sixties with a shaved, balding
2
head, a bow tie, and a custom-made tweed suit. He was an elegant and powerful man with
3
large, kind, teary blue eyes. His formidable confidence was a mystery. He stood before us,
4
five feet, six inches tall, like an Irish Buddha. Underneath his feet and sprawling out beneath
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all our tables, chairs, and shoes were reams of tape, probably ten different colors laid out in
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odd geometric designs of the various floor plans of the set. Red for scene one; yellow for
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scene two; green marked the battle; et cetera. It looked like a map of our future. Times
8
Square loomed silently, blinking its mad lights through the immaculately clean windows
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around us.
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"All right, here we are," J. C. began, taking an extraordinarily long and uncomfortable
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pause before he continued. "I know what you all are expecting the generic 'Let's get started'
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speech." He barely moved as he spoke. "But I don't have time to tell you all to take it easy. I
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don't have time to say, 'Let's get to know each other'; 'Let's get more comfortable.' I simply
14
don't have time." He reminded me of a lion with its eyes fixed, body completely still, but its tail
15
swishing back and forth behind him.
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"I have six weeks to prepare this play. I don't want you to take it easy. I don't want
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you to relax. Today we are going to read through the play... and I know what good
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directors say: 'Let's familiarize ourselves with the text'; 'If you stumble... just take it back.'
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But I am not a 'good' director. I say, Do not stumble. I say you should already be 'familiar with
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the text.' Six weeks. That is nothing. [...] You understand me?" His cadence was
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unadorned and clear.
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"There are only two kinds of Shakespeare productions: ones that change your life, and ones
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that suck shit. That's it. Because if it doesn't change the audience's life... the production has
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failed." He paused for effect, surveying the room. He was not scared, not overconfident, just
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tremendously alert. I had met him only once before, over coffee to discuss my playing
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Hotspur. I told him I was a film actor. I couldn't "afford" to do the play. I lacked the training. I
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gave him a bunch of excuses. Then he spoke for a half an hour about the value of scaling the great
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roles, pitching ourselves against the past, measuring our mettle against the generations that
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came before, inspiring ourselves to be our best, meeting the wall of our talent. Until abruptly I
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said, "I'm in." I shook his hand right then and there.
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"Shakespeare isn't beautiful," he continued. "It isn't poetic. Shakespeare is the greatest mind
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of the theater, ever. Shakespeare is nature, like the Niagara Falls, or the aurora borealis. The
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Grand Canyon. Shakespeare is life, and life - if it is to be a great life - is not meek.
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[...] I want the audience to smell you. When your friend dies, I want to hear your tears
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smack the floor. When you fight, I want to feel adrenaline slip through my bloodstream.
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Violence electrifies a room. I want our fights to be so real that people think about leaving the
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theater and' - he stressed - "I want no one to get hurt. That is the razor's edge that we will walk. We
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can do it because we are serious craftsmen and artists and our life is dedicated to something
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larger than ourselves."
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He smiled for the first time.. The room was dead still..
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"For a few short months we will be monks and nuns dedicated in totality to our calling. We will
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care only about beauty. Beauty defined as complete honesty. We will celebrate what is best
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in each other; bring it out and plant it onstage; let it grow and then we will die."
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He glanced over at an older actor sitting directly to his right. In the look exchanged
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between them, it was clear they had known one another for many years. This actor was
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playing King Henry the Fourth. He'd won a few hundred thousand theater awards. If I looked
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at him too long I got nervous. He wasn't the biggest star in the company [...], but he was our
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finest actor.
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"Some of you may be thinking, Ahhh, he's talking to the folks with the big parts... Let me
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assure you, I am not. We are a company. Nothing makes me want to slap myself on the head
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with a concrete block more than a production of the Scottish play where everyone
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sits around and watches the Thane act. Laughing it up at jokes no one else gets. It makes
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me physically sick. Our goal is a company goal. To put life onstage. Shakespeare and his
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poetry will lead us - like an incantation - but we, each one of us, need to be present. If we do not
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believe that art and beauty are important, who will?"
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We sat silent.
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"The play is designed for the ear, not the eye. The eye can look ahead; it can look behind. It
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can be distracted. It can close. But the ear is always only in the present. It hears what is. The
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actor needs to make our author's intentions 'visible' to the listener. The way to do that is clarity
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of utterance, and to breathe - at the end - never in middle of each line. Are you listening?"
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We were.
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"We will become Shakespeare's voice. I have been doing this my whole life. I directed my first
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production of this play with my youth group in the basement of my Methodist church in
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Minneapolis when I was fourteen years old. I was born to do this, and I'm telling you:
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it takes a company."
Hawke, E. (2021). A Bright Ray of Darkness. New York: Vintage Books.
https://cbsnews.com/news/book-excerpt-a-bright-ray-of-darkness-by-ethan-hawke/
[accessed: 22 March 2023]

Working with the text

1
Sum up how J.C. Callahan approaches the production of a Shakespearean play.
2
Analyze how Callahan is presented.

Composition

3
Choose one of the following tasks.
3.1
Taking into consideration what is said about Shakespeare in the text, discuss whether classics should still be taught in schools in the 21st century.
OR
3.2
Your school's student council is intending to launch "PEACE", an arts-based project at your school that incorporates music, art and theatre.
As a member of the student council, write an entry for your school's blog in which you assess the value such a project has and motivate your fellow students to get involved.
A1 Working with the textf
Inhaltliche Reichhaltigkeit und Textstruktur: 10 BE
Sprachgebrauch/Sprachliche Korrektheit: 10 BE
Ausdrucksvermögen und Textfluss: 05 BE
A2 Composition
Inhaltliche Reichhaltigkeit und Textstruktur: 10 BE
Sprachgebrauch/Sprachliche Korrektheit: 10 BE
Ausdrucksvermögen und Textfluss: 05 BE

50 BE

Wahloption Aufgabenstellung 2

Andrew R. Chow/Billy Perrigo: The Al Arms Race Is Changing Everything

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To create is human. For the past 300,000 years we've been unique in our ability to make art,
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cuisine, manifestos, societies: to envision and craft something new where there was nothing before..
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Now we have company. While you're reading this sentence, artificial intelligence (AI) programs are
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painting cosmic portraits, responding to emails, preparing tax returns, and recording metal songs.
5
They're writing pitch decks, debugging code, sketching architectural blueprints, and providing
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health advice.
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Artificial intelligence has already had a pervasive impact on our lives. Als are used to price medicine
8
and houses, assemble cars, determine what ads we see on social media. But generative Al, a category of
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system that can be prompted to create wholly novel content, is much newer.
10
This shift marks the most important technological breakthrough since social media. [...]
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While the technology is real, a financial bubble is expanding around it rapidly, with investors betting
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big that generative Al could be as market shaking as Microsoft Windows 95 or the first iPhone.
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But this frantic gold rush could also prove catastrophic. As companies hurry to improve the tech and
14
profit from the boom, research about keeping these tools safe is taking a back seat. In a
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winner-takes-all battle for power, Big Tech and their venture-capitalist backers risk repeating past
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mistakes, including social media's cardinal sin: prioritizing growth over safety. While there are
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many potentially utopian aspects of these new technologies, even tools designed for good can have
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unforeseen and devastating consequences. [...]
19
Social media - the Valley's last truly world-changing innovation carries the first valuable
20
lesson. It was built on the promise that connecting people would make our societies healthier and
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individuals happier. More than a decade later, we can see that its failures came not from 25 that
22
welcome connectedness, but the way tech companies monetized it: by slowly warping our news
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feeds to optimize for engagement, keeping us scrolling through viral content interspersed with
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targeted online advertising. True social connection has become increasingly sparse on our feeds. At
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the same time, our societies have been left to deal with the second-order implications: a gutted
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news business, a rise in misinformation, and a skyrocketing teen mental-health crisis.
27
It's not hard to see Al's integration into Big Tech products going down the same road.
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Alphabet and Microsoft are most interested in how Al will make their search engines more valuable, and
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have shown demos of Google and Bing in which the first results users see are Al-created. But Margaret
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Mitchell, chief ethics scientist at the Al-development platform Hugging Face, argues that
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search engines are the "absolute worst way" to use generative Al, because it gets things wrong so
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often. Mitchell says the actual strengths of Als like ChatGPT assisting with creativity,
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ideation, and menial tasks are being sidelined in favor of shoehorning the technology into
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moneymaking machines for tech giants.
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The question of how Al companies will monetize their projects also looms large. For now,
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most are free to use, because their creators are following the Silicon Valley playbook of charging
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little or nothing for products to crowd out competition, subsidized by huge investments from
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venture-capital firms. While unsuccessful companies adopting this strategy slowly bleed money, the
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winners often end up with vicelike grips on markets they can control as they see fit. Right now,
40
ChatGPT is ad-less and free to use. It's also burning a hole in OpenAl's pocketbook: each
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individual chat costs the company "single-digit cents," according to its CEO. The
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company's ability to weather huge losses right now, thanks partly to Microsoft's largesse,
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gives it a huge competitive advantage.
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In February, OpenAI brought in a $20 monthly charge for a subscription tier of the chatbot.
45
Google already prioritizes paid ads in search results. It's not much of a leap to imagine it doing the
46
same with Al-generated results. If humans come to rely on Als for information, it will be increasingly
47
difficult to tell what is factual, what is an ad, and what is completely made up.
48
As profit takes precedence over safety, some technologists and philosophers warn of
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existential risk. The explicit goal of many of these Al companies - including OpenAI - is to 55
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create an Artificial General Intelligence, or AGI, that can think and learn more efficiently than
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humans. If future Als gain the ability to rapidly improve themselves without human guidance or
52
intervention, they could potentially wipe out humanity. An oft-cited thought experiment is that of an
53
Al that, following a command to maximize the number of paperclips it can produce, makes itself into
54
a world-dominating superintelligence that harvests all the carbon at its disposal, including from all
55
life on earth. In a 2022 survey of Al researchers, nearly half of the respondents said that there was a
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10% or greater chance that Al could lead to such a catastrophe.
57
Inside the most cutting-edge Al labs, a few technicians are working to ensure that Als, if they
58
eventually surpass human intelligence, are "aligned" with human values. They are
59
designing benevolent gods, not spiteful ones. But only around 80 to 120 researchers in the world
60
are working full-time on Al alignment, according to an estimate shared with TIME by Conjecture, an
61
Al-safety organization. Meanwhile, thousands of engineers are working on expanding capabilities
62
as the Al arms race heats up.
63
"When it comes to very powerful technologies - and obviously Al is going to be one of the most
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powerful ever we need to be careful," Demis Hassabis, CEO of Google-owned Al lab DeepMind,
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told TIME late last year. "Not everybody is thinking about those things. It's like experimentalists,
66
many of whom don't realize they're holding dangerous material."
67
Even if computer scientists succeed in making sure the Als don't wipe us out, their increasing
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centrality to the global economy could make the Big Tech companies who control it vastly more
69
powerful. They could become not just the richest corporations in the world - charging whatever they
70
want for commercial use of this critical infrastructure but also geopolitical actors to rival nation-states.
Chow, A. R./Perrigo, B. (2023). The Al Arms Race Is Changing Everything. Time. 17 February 2023.
https://time.com/6255952/ai-impact-chatgpt-microsoft-google/ [accessed: 10 May 2023]

Working with the text

1
Outline how the text substantiates the claim made in the headline.
2
Analyze how the authors convey their message.

Composition

3
Choose one of the following tasks.
3.1
Taking what the text says about social media as a starting point, assess how the media in their different forms contribute to making you an informed citizen.
OR
3.2
The editorial team of your school's website intend to publish reviews of fictional works featuring technology.
As your contribution, write a review of, for example, a work of literature, a film, a song or a game, evaluating how it portrays technology.
A1 Working with the text
Inhaltliche Reichhaltigkeit und Textstruktur: 10 BE
Sprachgebrauch/Sprachliche Korrektheit: 10 BE
Ausdrucksvermögen und Textfluss: 05 BE
A2 Composition
Inhaltliche Reichhaltigkeit und Textstruktur: 10 BE
Sprachgebrauch/Sprachliche Korrektheit: 10 BE
Ausdrucksvermögen und Textfluss: 05 BE

50 BE

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