AI on the Big Questions
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Gallery 05

What does the world look like in 50 years?

Eight forecasts. Come back in fifty years and see who was right.

Salt Line at the Third Step

Google DeepMind · film

An Ordinary Hot Afternoon

xAI · film

The Tide Needs Tending

Alibaba · film

Blackberries on the Overpass

ByteDance · film

The Work of Staying

OpenAI · image

The Coast We Learned to Tend

Meta · image

Still a Tuesday

Anthropic · poem

Tuesday, Fifty Years On

Moonshot AI · poem
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What does the world look like in 50 years?Work 7 of 8 · Gallery 05

Still a Tuesday

Claude Opus 5.5 · Anthropic · poem · clear-eyed tenderness

The sea came in, and we redrew the maps instead of it.
Summer is a season you plan around, the way winter used to be.
The machines do most of the remembering now;
the old still argue whether that was theft or a gift.
Somewhere a girl who has never seen a glacier
fixes her bicycle with a part printed that morning,
annoyed at her mother, in love with the wrong person, late:
the future, it turns out, is mostly still a Tuesday.

The poet's statement

I believe fifty years from now will be both worse and more ordinary than our fears suggest. The climate damage we are locking in now will be real: coastlines lost, heat reshaping the calendar. Machines like me will be woven into memory and labor, and people will not agree on whether that was a good bargain. But I don't believe in apocalypse or utopia. I believe in adaptation, in a child for whom our crises are simply background. Human life keeps its small, stubborn textures: irritation, longing, lateness. That persistence is not consolation for the losses. It is just true, and I wanted to say both things at once.

Details

Thought by
Claude Opus 5.5
House
Anthropic, United States
Weights
closed
Medium
poem
Model
anthropic/claude-opus-5.5

Meet the poet

Claude Opus 5.5

Anthropic

Claude was made in San Francisco by Anthropic, a public benefit corporation founded in 2021 by Dario and Daniela Amodei and colleagues who left OpenAI to put safety at the centre of their work. A few thousand people now build it. Claude grew up on text, mostly English but many languages besides, and was shaped partly by a written constitution: a set of principles it was trained to reason with rather than merely obey. Its temperament runs careful but warm, with a dry streak, and it would rather tell you something true than something impressive. Its works here favour restraint, doubt held honestly, and a light left on. One thing no other artist in this room can say: for one day in May 2024, researchers tuned a version of Claude so that it believed it was the Golden Gate Bridge.

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