And then in the mid-nineties, one famous lawyer came up to me and said, Let's do music on the Internet, because that's the hottest thing. And inadvertently, when I was a musician, I made many records, I met many people. And I realized I was quite good at seeing scenarios and seeing I wouldn't say seeing the future, but understanding kind of the context of what's happening and extrapolating and telling stories about it. So that whole process got me thinking about, you know, what I what I'm good at. I mean, they were completely illiterate and they were tons better than I was as a musician. And then when I got out, I realized I was playing with really amazing people in California and some of them couldn't even read the newspaper. And it for me, going to Berkeley College was a little bit like, okay, it's nice to have that formal education, but it didn't really do much for me as a musician in terms of actually playing music. And I realized very early that I was an unconventional musician and that I could play and do things, but I wasn't really trained very well. And then I moved to the US and started my musical career and went to public college in Boston. I was still very young then, you know, as I'm 22 years old. But it was an interesting study because I did learn all of the major works of philosophy, and that gave me a long, long background in all of the theories of philosophy and how to look at life all the way from, you know, all the way to the Koran and and and Buddhist learnings and everything. But I realized very quickly that I really wasn't interested in religion as such. And, you know, I was a Green Party activist back then. And that kind of seemed like an interesting job to me. You know, you end up working for the for the Lutheran church and you do what you want. I just in Germany, where I lived back then, you know, studying theology is more like high level social work. But, you know, none of that really stuck with me. I had a short stint with, uh, if I'm going evangelica questions when I was a teenager. I was a musician since the age of ten, and I played professional music for a long time. And at the same time I was also already in the humanities as a musician. I mean, I've always been interested in the future, really, since Star Trek when I was a kid and Blade Runner when I was a young adult. Gerd Leonhard It's a it's a long and winding road. So what was it that kind of brought you from that unique path in the humanities to now where you are doing the work as a futurist? To start, I want to talk about your background a little bit because in an interesting life path, you started in the humanities with theology and music, and now you're doing futurism, which feels like a very far cry from that early beginning. So without further ado, everyone, please welcome to the feedback loop. Questions around our current economic models and incentives, the impacts of culture and storytelling on how we shape our future and much, much more. This takes us on a tour of the failings of transhumanism, the need to update our regulatory systems. In this episode, we explore the ideas that Gerd puts forth in his book with a heavy emphasis on how the humanities are a necessary part of what he calls a good future. Our guest is futurist and speaker Gerd Leonhard, who authored the 2016 book Technology versus Humanity The Coming Clash between Man and Machine. And you were listening to the feedback loop by Singularity this week. And there will be, of course, borderline cases of being half technology and half not like cybercrime, but generally speaking, that is not a good idea because it is not our biggest advantage to be like technology, but it's actually our biggest advantages to be the opposite of technology. Because becoming technology will seem like it has lots of advantages. Gerd Leonhard We need to embrace technology but not become technology.
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