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    Cai Guo-Qiang: A.I. Will Revolutionize How We See the World

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    Artificial intelligence, though shrouded in risk, promises a revolution in how we see the world.This personal reflection is part of a series called Turning Points, in which writers explore what critical moments from this year might mean for the year ahead. You can read more by visiting the Turning Points series page.The following is an artist’s interpretation of the year — how it was or how it might be, through the lens of art.An Eiffel Tower hangs upside-down in a mirrored sky, like salvation from heaven — a convergence of sadness and joy. This gunpowder painting on glass and mirror, and another similar one on canvas, draws inspiration from a scene in a proposal I developed in collaboration with the Pompidou Center for the 2024 Paris Olympics.Lasting for about six minutes, and accompanied by the final movement of Gustav Mahler’s “Symphony No. 2 in C minor,” the sky painting “Resurrection” would have used around 3,000 drones equipped with small colored firework nozzles to paint the sky alongside daytime fireworks from the Eiffel Tower. The magnificent scene would have created growing flowers, the cosmic sky, white wings and a white flag beneath the Olympic rings.Cai Guo-Qiang (b. 1957, Quanzhou, China), “Resurrection: Proposal for the 2024 Paris Olympics,” 2024. Gunpowder on canvas, 183 cm x 152.5 cm.Photo by Mengjia Zhao, courtesy Cai StudioWhen I conceived the project in 2022, the world was slowly emerging from the Covid-19 pandemic, gradually finding its footing after two years of disorder. It was also the beginning of the Russia-Ukraine war. The project’s tone took in both of those realities. It was one of regeneration and rebirth, echoing the peaceful, antiwar and unified spirit of the Olympics.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Real-Life Goosebumps: What Scares R.L. Stine, a Master of Fear?

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      This essay is part of a series called The Big Ideas, in which writers respond to a single question: What do we fear? You can read more by visiting The Big Ideas series page.It’s not common for someone’s career goals to include conjuring fear. But you could say that the definition of my life’s work as a writer of scary books has been to bring more fear into the world. I must admit I’m proud of the generations of people I’ve managed to frighten, providing a shiver, a chill, or perhaps a disturbing nightmare.As a result, people constantly ask me: What scares you? What are you afraid of?I don’t often talk about what scares me. But I’m going to tell you the two scariest moments of my life. (These are actual events, not fantasies from my “Goosebumps” series.)The first terrifying moment involves my son, Matt. When he was a little guy, maybe 4 or 5, I took him to the New York International Auto Show at the Javits Convention Center. There were thousands of people and hundreds of cars.And I lost him.I froze. Matt had vanished. I still remember my intense panic — something I’d never experienced. I spun around, staring from aisle to aisle. Finally, I spotted him standing beside a car. My heart pounding, I ran over to him. I shouted, “Matt! Matt! Are you OK?”And he said, “Where were you, Dad? I was about to call the manager!”I’d forgotten he was a New York City kid. I didn’t have to worry about him. If he had a problem, he’d call the manager.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Art and the Power to Heal

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      Artists and community organizations around the world are increasingly turning to art to create positive social change.Using her arms as a makeshift clapboard, a Sudanese woman in a black hijab and black-and-white caftan clapped her hands together, signaling the beginning of the rehearsal. The other amateur Thespians, wearing comic stick-on mustaches, moved to their marks, improvising a scene in a women’s beauty salon where one patron’s hair is accidentally dyed blue.As the scene ended, all the women were in hysterics, ribbing each other over how they could better play their parts next time. Scenes like this are common at the Kuluhenna Creative Workshop, which is held at a community clubhouse on the outskirts of this Yorkshire city. The workshop is open to all local women, but with a focus on immigrant communities, including refugees and asylum seekers.The 90-minute class, which the Mafwa Theater has held since 2019, is a happy space. Each week, some 15 women gather to tell stories, dance, act and gossip. They are provided with bus passes, a play area for their young children and an on-site health worker in case any of the women want to talk.Eman Elsayed, a mother of three originally from Egypt, said before she joined the workshop in 2020, she was “depressed, isolated and fed up” with her life in Leeds. But eventually, especially after joining Mafwa Theater’s associate artists program in 2021, she felt her life change.“Art, it’s a magic wand,” said Elsayed, who now has a paid job doing community outreach for the program. “But you need to believe, and you need to take the time to see what it will do.”Mafwa’s project is just one example of a larger trend — as more and more groups and individuals worldwide are using the arts to empower, unite and even help heal people who have suffered trauma, from war and natural disaster, or discrimination, poverty and displacement.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More