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ChatGPT can write verse, but it is no more alive than the Golem of Prague
(JTA) — ChatGPT, an AI (artificial intelligence) chatbot with remarkable abilities to mimic human language, has been making big news. One stunt that’s gotten a lot of attention is ChatGPT’s alleged ability to write poetry. If true, this would mark a major advance. If an AI app can write real poetry, it has acquired a soul.
Have we crossed that threshold now with ChatGPT? The program is fun and swiftly generates remarkably lifelike responses to queries and prompts, in grammatically correct if somewhat dull and stuffy sentences. Still, the responses are often full of excellent information.
We’ve certainly made progress in building machines that think. The chess program Deep Blue can beat any grandmaster. Given a prompt like, “Draw me Donald Duck in the style of Rembrandt surfing on an ocean of macaroni” an art-generating AI like DALL-E can produce remarkable illustrations instantly. “Write me a sonnet about e-bicycles in the style of Shakespeare “— presto, ChatGPT can spit out a sonnet.
For many, the difference between these AI-generated products and the real deal is hard to discern — as it was for the congregants of the New York rabbi who delivered a sermon generated by AI this past Shabbat. If ChatGPT is writing poetry it has passed a most difficult version of the Turing test.
Alan Turing, the early computer scientist who helped crack the Nazis’ Enigma code in World War II, speculated on how to tell if a machine has acquired real intelligence: Can it fool a human being into believing it, too, is human? Imagine yourself exchanging texts with an unseen source hidden behind a screen. If you can’t tell whether you are conversing with a machine or a person, the computer has passed the Turing test.
But I’ve found a loophole. What if the human judge is devolving at the same rate that AI is advancing? Perhaps people are becoming more like computer programs as computer programs become more human. I often hear people say, “I am multitasking,” or “I need to recharge my batteries.” They are emulating machines and even a little proud of it. What if ChatGPT seems to be writing poetry because so many people have become so mechanical in their thinking they can’t recognize the poetry of life?
Out of the wounded vanity of a merely human poet, I asked ChatGPT to “write me a poem about kabbalah in the style of Rodger Kamenetz.” Here are the first four lines:
Kabbalah, the ancient wisdom of the Jews
Enshrined in symbols, stories, and the Tree
Of Life, a map to guide us through our dues
And find the spark of divinity within
To those who know and love poetry this isn’t poetry. It is verse — language written in a rough iambic pentameter that has zero felicity.
The verse offers some good clichés about kabbalah because ChatGPT draws instantly from the whole internet. But ChatGPT has no idea what it is saying. It doesn’t care, or have access, to the kind of truths found in poetry. It just cobbles words and phrases together in a plausible way. Since I asked for a poem, it pours the content into a metrical form. But that doesn’t make it beautiful.
In skillful verse, line breaks and end rhymes create variety and emphasis. But what emphasis is served by rhyming “Jews” and “dues”? What does “dues” even mean in this context — unless it’s a reminder to pay your synagogue dues?
Judging from the response to ChatGPT’s verse, many do think it writes poetry. But that’s where the loophole comes in. The Turing test depends on a human judge. For a judge who has never spent time dwelling on what is beautiful in poetry, ChatGPT has passed the test. But that does not prove that ChatGPT is genuinely creative. It just proves that many people have little interest in poetry, and do not value primary imagination. If I can’t tell whether I am talking to a program or a person, maybe the problem is with me. I pity anyone who can’t distinguish verse written by a bot and a poem by Alicia Ostriker or Gerald Stern.
ChatGPT is no more alive than the legendary golem of Prague.
It is said that the Maharal — the great Rabbi Judah Loew of 16th-century Prague — fashioned a magical creature of river mud in order to (what else?) save the Jews. Using permutations of the names of God, the Maharal brought the golem to life by writing “emet” on the creature’s forehead — Hebrew for “truth.”
The legend is rooted in Talmudic discussions of the mystical Book of Formation (Sefer Yetzirah), and further back to Genesis 2:7 which describes a second version of Adam’s creation:
Then the LORD God formed man of the dust of the ground, and breathed into his nostrils the breath of life; and man became a living soul.
Here we see the original transition from matter to life, from a mere golem — a heap of dirt — to an “adam,” a human being. And according to the 2nd-century translator Onkelos, what marks that transition is the human’s ability to speak poetic language.
When Onkelos translates Genesis 2:7, he renders the Hebrew “nefesh haya” — living soul — as the Aramaic “ruach m’mamila” — a speaking spirit. Poetry is that spirit speaking. Poetry is the utterance of a living soul. And poetry inscribes truth, not on a forehead of mud, but on the human heart.
ChatGPT cannot tell — and doesn’t care — whether what it is writing is true or beautiful. But in the best poetry we hear that strong “speaking spirit” — what Wallace Stevens called “the voice that is great within us.” Poetry rings true — and makes us more beautifully human.
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The Yiddishist Yeshiva is open for registration
ס׳האָט זיך לעצטנס געשאַפֿן אַ נײַער סאָרט לייענקרײַז דורך פֿייסבוק, וווּ מע לערנט תּורה אויף ייִדיש צוזאַמען.
אינעם לייענקרײַז, וואָס הייסט „די ייִדישיסטישע ישיבֿה“, לייענט מען חומש מיט רש״י — סײַ אויפֿן אָריגינעלן לשון־קודש סײַ אויף ייִדיש־טײַטש. „די גרופּע איז אָפֿן פֿאַר אַלע מינים מענטשן,“ האָט דערקלערט דער לינגוויסט און ייִדיש־אַקטיוויסט לייזער בורקאָ, וועלכער האָט אָרגאַניזירט די גרופּע. „פֿרויען און מענער, ייִדן און נישט־ייִדן, געי און ׳גלײַך׳. נײַע תּלמידים דאַרפֿן פֿאַרשטיין ייִדיש גוט, אָבער זיי דאַרפֿן נישט האָבן קיין תּורהדיקן הינטערגרונט.“
די גרופּע טרעפֿט זיך יעדן דינסטיק דורך פֿייסבוק. נאָך מער פּרטים אָדער כּדי זיך צו פֿאַרשרײַבן, שטעלט זיך אין קאָנטאַקט מיט בורקאָ, אויפֿן אַדרעס leyzertag@gmail.com אָדער דורך פֿייסבוק.
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A century-old Jerusalem photo album sparks search for forgotten images of the Western Wall
(JTA) — When David Freedman discovered a long-forgotten photo album in his parents’ Montreal basement last year, he found nearly 100 pages of century-old photographs from his grandfather’s year in British Mandate Palestine, capturing Jerusalem street scenes, market stalls and holy sites.
The photographs were not only century-old and in near-perfect condition, but included figures who would later become central to Jewish medical and political history, among them Israel’s future first president Chaim Weizmann, Jerusalem ophthalmologist Abraham Ticho, malaria researcher Israel Kligler, future British prime minister Winston Churchill and Herbert Samuel, Britain’s first high commissioner for Palestine.
David Freedman said he knew he had “struck gold” when he found the album, which had been untouched for decades. “I realized in disbelief I was looking at extraordinary images of Jerusalem,” he said.
Though Freedman said the album showed his grandfather’s “passion for skillful, impromptu photography,” it was images of a site that epitomizes endurance that are having the broadest impact.
Freedman’s pictures of the Western Wall has inspired a public appeal by the Tower of David Jerusalem Museum, which is asking people to look through old albums and attics for photographs, postcards and other visual material that could help expand the historical record of Judaism’s holiest site.
The request comes ahead of a major exhibition opening in 2027 marking 60 years since the 1967 Six-Day War brought the wall, known in Hebrew as the Kotel, under Jewish control for the first time in nearly two millennia.
Although the Western Wall is now one of the most photographed sites in the world, museum curators say the visual record of earlier decades remains surprisingly fragmented, with many of the most intimate images likely still tucked away in private collections and family albums.
“The Western Wall, the Kotel, in its simplest form, is a structure of ancient stones. Yet its true meaning has never resided in the stones alone — it has been shaped and elevated by the countless individuals who have stood before it over the centuries,” Eilat Lieber, the museum’s director and chief curator, said in a statement.
Next year’s exhibition, titled “Eyes on the Wall” and curated by Shimon Lev and Yael Brandt, will be the first large-scale exhibition dedicated entirely to the Western Wall, the museum said, and will trace its transformation over nearly 2,000 years. It will be one of the major exhibitions staged by the Tower of David Museum since it reopened in 2023 after a $50 million renovation of its ancient citadel complex.
The wall, the exposed section of an ancient retaining wall around the Temple Mount, the site of the biblical Jewish temples, has long been Judaism’s most sacred places of prayer and pilgrimage. From 1948 until the 1967 Six-Day War, when Israel captured the Old City and East Jerusalem from Jordan, Jews were barred from going there.
Among its most iconic images was David Rubinger’s photograph of three Israeli paratroopers standing at the wall shortly after its capture, looking upward in a mixture of awe and disbelief. The picture was taken 59 years ago this week.
Abraham Orkin Freedman, a Canadian physician and Zionist activist, took his photographs before the site was so contested. He arrived in Palestine in July 1920, just as Britain was replacing military rule with a civil administration, and stayed until 1922, serving during that period as managing director of Hadassah Hospital. His grandson David, also a doctor, said the album’s timing gives it much of its historical value, with photographs that capture people in the streets, as well as the terrain and buildings of Jerusalem during the nascent years of the British Mandate.
Among the images Freedman uncovered, the one that struck him most was a photograph of women praying side by side with men at the oldest part of the Western Wall, a scene far removed from the gender-separated prayer sections at the site today. The question of mixed-gender prayer at the Wall remains politically charged, with a recent High Court order to advance the egalitarian section followed by Knesset moves to strengthen Chief Rabbinate control over prayer at the site.
After recognizing the album’s significance, Freedman met with his family who decided collectively to give it to the Tower of David Jerusalem Museum for safekeeping, research and public access. Freedman said the family was proud the album had found “a new home, not many meters from where my grandfather once stood.”
Lev said he hoped the appeal would bring more discoveries like Freedman’s into public view, expanding the visual record of the Western Wall beyond official archives.
“There is something profoundly moving in the moment when an intimate private photograph transcends its original purpose and becomes an important historical testimony,” Lev said.
This article originally appeared on JTA.org.
The post A century-old Jerusalem photo album sparks search for forgotten images of the Western Wall appeared first on The Forward.
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5th man charged in March arson of London’s Hatzola ambulances
(JTA) — Britain’s Crown Prosecution Service announced Tuesday that an 18-year-old man has been charged in connection with the March arson attack that destroyed four ambulances owned by Hatzola, a Jewish volunteer emergency service.
Subhan Ahmed, a British national, was charged on Monday with “assisting an offender” in connection with the arson.
The ambulances were set ablaze in the early morning of March 23 in Golders Green, a heavily Jewish neighborhood in London. The incident spurred increased patrols in Jewish communities.
The charge is the latest development in an investigation being led by the Metropolitan Police’s counter-terrorism unit.
Four others have already been charged in connection with the attack.
Three British nationals — 20-year-old Hamza Iqbal, 19-year-old Rehan Khan and 18-year-old Judex Atshatshi — along with a 17-year-old dual British and Pakistani national were all charged in April with “committing arson, destroying or damaging property, and being reckless as to whether life would be endangered.”
The four have remained in custody ahead of a trial planned for January. Ahmed, meanwhile, was released ahead of a June 16 court date.
The ambulance arsons came at the early edge of a wave of incidents that have put London Jews on edge and induced the city’s police force to step up their presence in Jewish communities. The incidents have included multiple incendiary devices placed near synagogues as well as the stabbing in April of two Jewish men in Golders Green. The Metropolitan Police reported last week that antisemitic hate crimes in the capital rose 72% in May.
Following the announcement of Ahmed’s charge, the Community Security Trust, a Jewish organization, thanked the police and the Crown Prosecution Service “for their ongoing work investigating this attack and other arson incidents targeting the Jewish community.”
It added in a statement, “These are very serious allegations, and it is right that those responsible are being held accountable.”
This article originally appeared on JTA.org.
The post 5th man charged in March arson of London’s Hatzola ambulances appeared first on The Forward.
