James "New Aesthetic" Bridle writes, "I wrote an SF short story about satellites, space weapons, UN inspectors, and the end of personal data! I hope you like it."
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James "New Aesthetic" Bridle writes, "I wrote an SF short story about satellites, space weapons, UN inspectors, and the end of personal data! I hope you like it." Read the rest
Todd W. Schneider analyzed 1.1 Billion NYC taxi and Uber trips "with a Vengeance", teasing straightfoward visualizations from an absolutely enormous dataset.
Taken as a whole, the detailed trip-level data is more than just a vast list of taxi pickup and drop off coordinates: it’s a story of New York. How bad is the rush hour traffic from Midtown to JFK? Where does the Bridge and Tunnel crowd hang out on Saturday nights? What time do investment bankers get to work? How has Uber changed the landscape for taxis? And could Bruce Willis and Samuel L. Jackson have made it from 72nd and Broadway to Wall Street in less than 30 minutes? The dataset addresses all of these questions and many more.
Remember the scene from Die Hard: With a Vengeance where Bruce Willis is given 30 minutes to drive from the Upper West Side to Wall Street to prevent a bombing? The writer knew New York very well, it turns out. The median journey time for that trip is 29.8 minutes.
Traveler protip: don't take a car to JFK on weekday afternoons. Just never do that.
Researchers are warning that ads could play coded sounds outside the range of human hearing to secretly communicate with other gadgets within earshot.
The technique, which several companies are reportedly working on, would allow marketers to associate devices with one another and paint a privacy-cracking picture of the owner's interests and behaviors.
Dan Goodin reports that cross-device tracking is already in use:
Cross-device tracking raises important privacy concerns, the Center for Democracy and Technology wrote in recently filed comments to the Federal Trade Commission. The FTC has scheduled a workshop on Monday to discuss the technology. Often, people use as many as five connected devices throughout a given day—a phone, computer, tablet, wearable health device, and an RFID-enabled access fob. Until now, there hasn't been an easy way to track activity on one and tie it to another.
"As a person goes about her business, her activity on each device generates different data streams about her preferences and behavior that are siloed in these devices and services that mediate them," CDT officials wrote. "Cross-device tracking allows marketers to combine these streams by linking them to the same individual, enhancing the granularity of what they know about that person."
The trick hasn't been seen in the wild, but all the pieces are in place: we all know our smartphones and laptops might end up under someone else's control, but did you know television sets now default to collecting and sending data on what you watch? [via The New Aesthetic] Read the rest
She broke the silence, “Jared went in last week.”
“Where?” I knew, but I was being difficult.
“You know where: the clinic.”
Our living room was always small, but today it felt particularly cramped. We sat on opposite sides of the white microfiber couch. I stared at the TV.
“Is he good?” I asked.
“Yup. Got the dose yesterday. He’s recovering at home.”
When we got tested, I watched them take her blood. She was calm; I was a fucking wreck. The one thing our species wants and it comes down to a genetic lottery: if your mitochondria objects, get in line for the grave; if not, you’ve got a lot of living to do. Read the rest
Maciej Cegłowski's Webstock 2014 talk is called OUR COMRADE THE ELECTRON, and it's an inspired rant about the relationship of technology to power and coercion. It asserts that the decentralizing of power attended by the growth of technology in the 1990s was a blip, and that the trend of technology will be to further centralization.
I disagree. I think that Cegłowski has conflated "technology" with "technology under neoliberalism" -- that the concentration of technology since the 1990s coincides with the creation of like the WTO and the abolition of things like the Glass–Steagall Act, and the overall concentration of wealth and power into fewer hands. Technology is related to centralized power, but it is not entirely the cause of it -- rather it is in a feedback loop with it, and the two fuel each other.
For me, the interesting question isn't "does technology centralize or doesn't it?" We've seen technology do both. For me, the interesting question is, "How can we make technology into a force for decentralization?"
There's a long-held view of the world that breaks it into "artsies and techies" -- the two cultures. From where I sit, though, the two cultures are "people who believe in finance" and "people who think finance is a corrupt and corrupting force in the world." All the interesting nerds I know make art, and all the interesting artists I know nerd out on technology. But the one thing that seems to separate us into two camps is whether we think the world of finance is a giant con game or a legit enterprise. Read the rest
I relied on Crawferd to deliver an out-there networked-matter pitch to my potential investors. He was great at this, since he was imaginative, inventive, fearless, tireless, and he had no formal education. Crawferd wore unlaced Converse shoes and a lot of Armani. He had all the bumbling sincerity of a Twitter Arab Spring.
You don't play the ANS synthesizer with a keyboard. Instead you etch images onto glass sheets covered in black putty and feed them into a machine that shines light through the etchings, trigging a wide range of tones. Etchings made low on the sheets make low tones. High etchings make high tones. The sound is generated in real-time and the tempo depends on how fast you insert the sheets.
This isn't a new Dorkbot or Maker Faire oddity. It's a nearly forgotten Russian synthesizer designed by Evgeny Murzin in 1938. The synth was named after and dedicated to the Russian experimental composer and occultist Alexander Nikolayevich Scriabin (1872–1915). The name might not mean much to you, but it illuminates a long running connection between electronic music and the occult. Read the rest
Bruce Sterling gave a speech at the North American Summer School in Logic, Language, and Information (NASSLLI) on the eve of the Alan Turing Centenary, and delivered a provocative, witty and important talk on the Turing Test, gender and machine intelligence, Turing's life and death, and art criticism.
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If you study his biography, the emotional vacuum in the guy’s life was quite frightening. His parents are absent on another continent, he’s in boarding schools, in academia, in the intelligence services, in the closet of the mid-20th-century gay life. Although Turing was a bright, physically strong guy capable of tremendous hard work, he never got much credit for his efforts during his lifetime.
How strange was Alan Turing? Was Alan Turing a weird, scary guy? Let’s try a thought experiment, because I’m a science fiction writer and we’re into those counterfactual approaches.
So let’s just suppose that Alan Turing is just the same personally: he’s a mathematician, an early computer scientist, a metaphysician, a war hero — but he’s German. He’s not British. Instead of being the Bletchley Park code breaker, he’s the German code maker. He’s Alan Turingstein, and he realizes the Enigma Machine has a flaw. So, he imagines, designs and builds a digital communication code system for the Nazis. He defeats the British code breakers. In fact, he’s so brilliant that he breaks some of the British codes instead. Therefore, the second World War lasts until the Americans drop their nuclear bomb on Europe.
I think you’ll agree this counter-history is plausible, because so many of Turing’s science problems were German — the famous “ending problem” of computability was German.
David Cox interviews Bruce Sterling about the significance, lifecycle and future of the New Aesthetic movement:
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First to the issue of “is the New Aesthetic really new?” I’d say those images are “new’” pretty much by definition. Aesthetics obviously is very old. James Bridle doing a project called the “New Aesthetic Tumblr” is over, and receding into the past. But machine-generated imagery that is unlike previous forms of imagery is all over the place. So, yes it is new, for any reasonable definition of novelty.
As for whether James Bridle’s image collection had any analytical rigor, I’m inclined to think he had more analysis going on there than he liked to let on; but I rather think James prefers writing, journalism and publishing to the trying role of a public New Aesthetic visionary. When you have a breakout viral hit on the Net nowadays, the opportunity-cost can be pretty stiff.
On the issue as to what a New Aesthetic ought to do, what the “strategy” is, well, that’s unsettled, but I think that James’s year-long intervention there has raised the morale of tech-art people quite a lot. It’s legitimated their practice in their own eyes, and helped to free them from their traditional hangups on specific pieces of hardware. At least it’s possible to imagine a strategy now — instead of merely saying, I’m an artist, but I do digital electronics, you can re-frame your efforts as something like “a new aesthetic of processual vital beauty,” and you’re not so handcuffed to the soldering irons.
A New Aesthetic eruption I caught yesterday off Brick Lane in east London: this LCD adverscreen displaying rotating, chiding public safety messages beneath a CCTV camera, nestled among the graffiti-daubed old buildings above the cobbled and thronged street.
Bruce Sterling responds to Marius Watz's take on Sterling's manifesto about the "New Aesthetic" movement. Sterling is enthusiastic about Watz's views, and begins to move the discussion of "New Aesthetics" from total abstractions to slightly more concrete abstractions. If Sterling's earlier, dense missive left you somewhat mystified, this one might help you unpack things somewhat.
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So let’s consider “bad tech-art.” What does it look like? Well, it is, commonly, some poorly-designed, haywire, deeply private, almost chaotic device and/or installation — accompanied by a long, vague exegesis about its huge significance. This artwork barely fun ctions, communicates badly to people, is opaque to interpretation, breaks down frequently, and is generally accompanied by a tortured justification direct from the artist himself.
That is the melancholy spectacle of an art-hacker isolated by his hardware. He has never been able to mentally place his artwork within a context of similar creative activity. He or she is a one-person artistic Long-Tail.
His artwork has failed to get social traction, because, although it’s plenty weird, this creative is poorly-socialized. He’s a pioneer, not a native. He’s a Robinson Crusoe in goatskins, and despite the fact that his IQ is high enough to boil lead, he’s easily classifiable as a weirdly ingenious derelict marooned on some tiny island.
That island that consist of his hard-won private expertise in, for instance, building drawing-machines out of British ex-military gunsights. This hacker-artist-crackpot-inventor is hung-up on the bit-twiddling hack minutiae — most of which he had to invent, all by himself, in a splendid isolation.