“January 26th was an assault on a strong, phenomenal culture — and that is why you shouldn’t…” via @Medium https://medium.com/@amymcquire/january-26th-was-an-assault-on-a-strong-phenomenal-culture-and-that-is-why-you-shouldnt-d29389b0c6f1?source=ifttt————–1
A photo of Other, a other near Jupiter.
Took by New Horizons with LORRI on May 02, 2006 at 04:06:50.
Detail page on OPUS database.
Amsterdam. by (x)99. (via http://flic.kr/p/QrCLDL )
Space Station Moon by europeanspaceagency (via http://flic.kr/p/Rdwaj8 )
Alexander Rose (Zander) by Christopher.Michel (via http://flic.kr/p/Q6MD6U )
no.971 by lee jin woo (Republic of Korea) (via http://flic.kr/p/Q8h6iS )
Abandoned by Claudio Castelli (via http://flic.kr/p/Q83ctL )
Last week Jonathan Albright, an assistant professor of communications at Elon University in North Carolina, published the first detailed research on how rightwing websites had spread their message. “I took a list of these fake news sites that was circulating, I had an initial list of 306 of them and I used a tool – like the one Google uses – to scrape them for links and then I mapped them. So I looked at where the links went – into YouTube and Facebook, and between each other, millions of them… and I just couldn’t believe what I was seeing. “They have created a web that is bleeding through on to our web. This isn’t a conspiracy. There isn’t one person who’s created this. It’s a vast system of hundreds of different sites that are using all the same tricks that all websites use. They’re sending out thousands of links to other sites and together this has created a vast satellite system of rightwing news and propaganda that has completely surrounded the mainstream media system.
It’s hard to spread the word when you don’t even know who your colleagues are. But the couriers have an idea. They open their apps as customers and order food to be delivered to them. As UberEats couriers arrive with pizzas at the place their app has sent them, the strikers tell them about the protest and urge them to join in. Algorithmic management, meet algorithmic rebellion.
Deliveroo’s algorithm monitors couriers closely and sends them personalised monthly “service level assessments” on their average “time to accept orders”, “travel time to restaurant”, “travel time to customer”, “time at customer”, “late orders” and “unassigned orders”. The algorithm compares each courier’s performance to its own estimate of how fast they should have been. An example from one of Kyaw’s assessments: “Your average time to customer was less than our estimate, which means you are meeting this service-level criterion. Your average difference was -3.1 minutes.”
This is the result of an overly sensitive object detection algorithm, it is overwhelmed by everything it sees.
Marinetti’s automobile races on, but now it is Musk’s Tesla, an electric car that runs silently. What Musk lacks in Tsiolkovsky’s cosmic awareness, he makes up for in survival instinct, calculating that humanity has more chance of surviving if it becomes a multiplanetary infection, with Mars as Patient Zero. If Musk’s plans to colonise the red planet sound like science fiction to many people, this is partly because, like all entrepreneurs, creating his own mythology is almost as important as creating his own business. What could be more mythological than conquering the God of War himself, on a planet whose redness signifies the rubedo8Rubedo (“redness” in Latin) is the fourth, final stage in the Great Work of alchemy: the creation of the philosopher’s stone capable of transmuting the elements. of the alchemists’ Chymical Wedding, the point at which we discover our true nature? Yet the possibility of colonising other parts of the solar system is real, and they only sound like science fiction because science fiction was talking about it long before Elon Musk.
The loss of Mark Fisher, aged just 48, has not just left family, friends and colleagues shocked and devastated; it leaves a gaping crater in modern intellectual life. The poet and writer Alex Niven, with whom he worked at Repeater books, described him as “by some distance the best writer in Britain” and, as a flood of tributes on social media have come appended with links to his work, whether on k-punk, his much-read blog, interviews he conducted for The Wire or extracts from his very latest book The Weird And The Eerie, that is a judgment with which it is hard to disagree.
Mark Fisher, blogger, editor, and cultural theorist, Lecturer in Visual Cultures at Goldsmith’s, University of London, and author of Capitalist Realism (2009) died suddenly on 13 January 2017. He was 48 and leaves a wife and young son.
“Live coding” via @Medium https://medium.com/potac/live-coding-1eb06f0ddf26?source=ifttt————–1
4pm, BBC One/ STV
After a long absence, The Twilight Zone returns with one of the most ambitious, expensive and controversial productions in broadcast history. Sci-fi writers have dabbled often with alternative history stories – among the most common is the “What If The Nazis Had Won The Second World War” setting – but this huge interactive virtual reality project, which will unfold on TV, in the press, and on Twitter over the next four years, sets out to build an ongoing alternative present. The story begins in a nightmarish version of 2017 in which huge sections of the US electorate have somehow been duped into voting to make Donald Trump president. It sounds far-fetched, and it is, but as it goes on it becomes more and more chillingly plausible. Today’s feature-length opener concentrates on the gaudy inauguration of President Trump, and the stirrings of protest and despair surrounding the ceremony, while pundits speculate gravely on what lies ahead. It’s a flawed piece, but a disturbing glimpse of the horrors we could stumble into, if we’re not careful.
(via Sunday Herald Scotland )
Spanning the years 1937-2001, the collection should especially appeal to those with an avant-garde or musicological bent. In fact, the original uploader of this archive of experimental sound, Caio Barros, put these tracks online in 2009 while a student of composition at Brazil’s State University of São Paulo. Barrios’ “initiative,” as he writes at Ubuweb, “became some sort of legend” among musicophiles in the know. And yet, Ubuweb reposts this phenomenal collection with a disclaimer: “It’s a clearly flawed selection”
President Obama on Tuesday commuted all but four months of the remaining prison sentence of Chelsea Manning, the Army intelligence analyst convicted of a 2010 leak that revealed American military and diplomatic activities across the world, disrupted Mr. Obama’s administration and brought global prominence to WikiLeaks, the recipient of those disclosures. The decision by Mr. Obama rescued Ms. Manning, who twice tried to kill herself last year, from an uncertain future as a transgender woman incarcerated at the men’s military prison at Fort Leavenworth, Kan. She has been jailed for nearly seven years, and her 35-year sentence was by far the longest punishment ever imposed in the United States for a leak conviction.
“Over time, social, religious, and medical changes made dying and death gradually withdraw from view; by mid twentieth century they became virtually invisible in most large metropolitan centers, especially in America and England. An odd and suggestive aspect of this process is that it roughly coincided with a long increase in depictions of death, some driven by new technologies. Although hard proof is lacking, circumstantial evidence strongly suggests that these two phenomena are related. The diminution of the visible presence of death was not the primary cause of the expansion of depictions, but history and psychology indicate that representation rapidly supplanted actual experience as a new and newly anxious audience sought novel ways to cope with its fears.”
Light Matters. Writings on Photography Vicki Goldberg (vianotesonphotography)
Light Matters. Writings on Photography
James Tylor. Hidden in the shadows 2016, Scratched Daguerreotype, 4x5inches. From the series Karta (The Island of the Dead)
RT @noniq: Recently I built a foldable Dymaxion globe. Here’s how:
*The “adjacent possible” works great until your broken urn spills all its balls #BlackSwan
For hundreds of years the now-extinct turnspit dog, also called Canis Vertigus (“dizzy dog”), vernepator cur, kitchen dog and turn-tyke, was specially bred just to turn a roasting mechanism for meat. And weirdly, this animal was a high-tech fixture for the professional and home cook from the 16th century until the mid-1800s. Turnspit dogs came in a variety of colors and were heavy-set, often with heterochromatic eyes. They were short enough to fit into a wooden wheel contraption that was connected to ropes or chains, which turned the giant turkey or ham on a spit for the master of the house.
“Small corrections to the programmed sequence could be done by patching over portions of the paper tape and re-punching the holes in that section.”
by Victoria lo. Photography (via http://flic.kr/p/pkbg6G )
. by Victoria lo. Photography (via http://flic.kr/p/KoRKdw )
“Welcome to the post-truth world; if you post it, it must be true”
–Someone on the Internet
Check out this stunning drone shot captured by our friend, Micah Marshall. He was flying above the state border at Moyack, North Carolina and Chesapeake, Virginia when he noticed that half of the trees were still green, and the other half had no leaves at all. This view offers a beautiful reminder that there are always new perspectives to discover, even when we don’t expect to find anything at all.
Learn more about our new book here: http://amzn.to/2aND71C
Slopes of a Crater in Terra Cimmeria (Mars), photo by Nasa
“The Portugues Man of War.” The Intellectual observer. Vol. 2.1863.
Gilles Retsin has been experimenting with 3D-printed design concepts, but he’s also been working with computational mereology to engage in large-scale discrete fabrication. Think of it like Tetris or LEGO: a set of prefabbed interlocking parts that can then be assembled by a robot programmed to create a specific shape.
From the course description taught with Manuel Jimenez:
Continuous fabrication processes have intrinsic problems with fundamental issues such as speed, structural performance, multi-materiality and reversibility. Discrete, or “digital” fabrication processes are based on a small number of different parts connecting with only a limited number of connections possibilities. The design possibility, or the way how elements can combine and aggregate is defined by the geometry of the element itself - which leads to a “tool-less” assembly. The geometry of the parts being assembled provides the dimensional constraints required to precisely achieve complex forms. This year’s research will explore fabrication techniques which are digital, rather than analog, discrete rather than continuous and increasingly fast and assemblage-based. Some of the research strands will specifically focus on the bridge between assemblage, voxelprinting and 3Dprinting.
“Science progresses best when observations force us to alter our preconceptions.”
As a galaxy rotates, the stars move around its core. If it’s edge-on to us, then on one side, the galaxy rotates “towards” us, while the other side rotates “away from” us. The faster the galaxy rotates, the faster the “towards” and “away” motions are. If the rotations are fast enough and your instruments are good enough, you can actually measure this effect. This was the incredible possibility that Vera Rubin began investigating. Thanks to advances in spectroscopy — the capability of breaking light up into individual wavelengths, detecting emission and absorption lines — Vera Rubin and Kent Ford started taking measurements of nearby galaxies in an attempt to measure their rotation speeds.
“How many fundamental constants does it take to define our Universe?” via @Medium https://medium.com/starts-with-a-bang/how-many-fundamental-constants-does-it-take-to-define-our-universe-938b28277d30?source=ifttt————–1
“An Expert Called Lindy” via @Medium https://medium.com/incerto/an-expert-called-lindy-fdb30f146eaf?source=ifttt————–1
“Here is how to capsize container ships. Swim along behind it in a train then grip with the teeth and continue to swim as you insert your claspers into the cloaca and pump.”
–Joshua Clover& Juliana Spahr. #MISANTHROPOCENE
“How can we think in times of urgencies without the self-indulgent and self-fulfilling myths of apocalypse, when every fiber of our being is interlaced, even complicit, in the webs of processes that must somehow be engaged and repatterned?”
The fact is that capitalist societies already dedicate a large portion of their economic outputs to paying out money to people who have not worked for it. The UBI does not invent passive income. It merely doles it out evenly to everyone in society, rather than in very concentrated amounts to the richest people in society. The idea of capturing the 30% of national income that flows passively to capital every year and handing it out to everyone in society in equal chunks has been around since at least Oskar Lange wrote about it in the early parts of the last century. This is, to me, the best way to do a UBI, both practically and ideologically. Don’t tax labor to give money out to UBI loafers. Instead, snag society’s capital income, which is already paid out to people without regard to whether they work, and pay it out to everyone.
“Yet tangles remain tangles, even for those inextricably tangled within them, and the greatest tangles of all are still only very partially seen.”
–Nick Land, Templexity
The images and characters of Werner Herzog’s cinema have come to inhabit or possess me deeply, and yet their habitation or possession has occurred so fluidly that I suspect they were inside me all along, requiring only to be articulated in the inimitably concrete and idiosyncratic way they are in Herzog’s films. Few other filmmakers have so silently and gently explored the abysses of ecstasy and darkness; few have observed, from such an inscrutable, Olympian remove, the ludicrous and grotesque minutiae of life. For surely Herzog’s conception of the sublimity and ridiculousness of what is called the human condition brings him as close in spirit to the ancient Greeks as it does to that dark and satirical current of Germanic Romanticism represented by Kleist, Hölderlin, or Büchner, and which remains his indelible cultural heritage. Yet through the eye of Herzog’s lens the world is transfixed, rendered hopelessly, exquisitely weightless, ultimately diffusing beyond grasp the solid structures within which tragedy or satire can take root.
Stevie Wishart was FoAM’s “composer in transience” at the Brussels studio for most of 2015. Her residency emerged as a natural consequence of a long involvement with FoAM spanning several years and numerous projects, including most recently Wheel & Time(less), Candlemas Concerto, FutureFest, Smoke & Vapour, and Inner Garden. When I had the opportunity to talk with her in the spring of 2015 she was deeply immersed in a large composition that would be performed by the Orchestra of the Age of Enlightenment in May. Our discussions therefore gravitated around the particular challenges and musical innovations she was imminently preoccupied with at the time — which made for some fascinating comparisons and contrasts between these and the very different contexts and approaches entailed in working on a musical project at FoAM.
“Serbian society has pioneered a lot of situations that spread elsewhere. Today’s religious wars, economic sanctions, breaking of economic sanctions, financial collapse, ultra rich moguls robbing the middle class, major air powers blowing the daylights out of an unfriendly regime with allegedly precise bombs: daily life in Serbia 1999 is something most everybody understands now. It’s the “Globalization of Balkanization. (…) Serbs are also exceedingly good at dealing with disasters. They complain incessantly in normal daily life, but when ever life gets genuinely hazardous, they scarcely beef at all. Everybody diligently stacks the sandbags, and nobody wrings their hands or slacks off. That’s a difficult virtue to acquire, but it is indeed a virtue.”
Internet Counterevolution doesn’t mean a return to the status quo ante of the world before the Internet. Globalization goes on, it just loses its glamour; where there was spreading prosperity there is offshored exploitation, where there was free-moving discussion there are cyberwar trolls, where there was your happy face in a Facebook there’s in instant police dossier that you foolishly built yourself, where nobody knew you were a dog you are now branded-and-sorted Stack livestock, and so on. Twenty-teens globalization looks less like jet-set free-spending yuppie tourism and more like hordes of illegal Syrians arriving via Facebook support groups. The wanderers are mostly Moslems, because the effect of the digital“Arab Spring” on their somnolent societies was catastrophic. It’s amazing how badly that harmed them, and they show no sign of getting over it; on the contrary. But refugee life is for anybody, now. Rich or poor, they can all be fleeing, at a moment’s notice, if they get a sudden deluge of Greenhouse rain. People everywhere are afraid of immigrants now because they see their own face in that mirror.
Internet Counterevolution doesn’t mean a return to the status quo ante of the world before the Internet. Globalization goes on, it just loses its glamour; where there was spreading prosperity there is offshored exploitation, where there was free-moving discussion there are cyberwar trolls, where there was your happy face in a Facebook there’s in instant police dossier that you foolishly built yourself, where nobody knew you were a dog you are now branded-and-sorted Stack livestock, and so on.
Twenty-teens globalization looks less like jet-set free-spending yuppie tourism and more like hordes of illegal Syrians arriving via Facebook support groups. The wanderers are mostly Moslems, because the effect of the digital“Arab Spring” on their somnolent societies was catastrophic. It’s amazing how badly that harmed them, and they show no sign of getting over it; on the contrary. But refugee life is for anybody, now. Rich or poor, they can all be fleeing, at a moment’s notice, if they get a sudden deluge of Greenhouse rain. People everywhere are afraid of immigrants now because they see their own face in that mirror.”
nik gaffney (via http://flic.kr/p/QUhQVJ )
nik gaffney (via http://flic.kr/p/QUhNFU )
nik gaffney (via http://flic.kr/p/QMeRAp )
nik gaffney (via http://flic.kr/p/QUhBP3 )
nik gaffney (via http://flic.kr/p/QJzb97 )
nik gaffney (via http://flic.kr/p/QUhg6Q )
nik gaffney (via http://flic.kr/p/QJz6zs )
nik gaffney (via http://flic.kr/p/QMe5Mg )
“The only‘realities’ (plural) that we actually experience and can
talk meaningfully about are perceived realities, experienced
realities, existential realities– realities involving ourselves as
editors– and they are all relative to the observer, fluctuating,
evolving, capable of being magnified and enriched, moving from low
resolution to hi-fi, and do not fit together like the pieces of a
jig-saw into one single Reality with a capital R. Rather, they cast
illumination upon one another by contrast, like the paintings in a
large museum, or the different symphonic styles of Haydn, Mozart,
Beethoven, and Mahler.”
–Robert Anton Wilson
Bence Bakonyi - Segue no. 01, 2013
See more Bence Bakonyi posts here.
☾ by EmilyJHansell (via http://flic.kr/p/Qfr2hw )
☾ by EmilyJHansell (via http://flic.kr/p/JWrfxF )
Interstellar filaments in Polaris by europeanspaceagency (via http://flic.kr/p/QSfczr )
Night colors by Claudio Castelli (via http://flic.kr/p/QiLcxL )
X1D3-B0001706 copy by mingthein (via http://flic.kr/p/PFPjVe )
by joseba.eskubi (via http://flic.kr/p/PzBnrY )
by joseba.eskubi (via http://flic.kr/p/QR6B3T )
“No banquet was eternal. Everything had an end. Everything.”
Midwinter sun by deziluzija (via http://flic.kr/p/NQ19U1 )
Electric Storm by Natan Vance (via http://flic.kr/p/Q8CHQf )
Barren luminousity by deziluzija (via http://flic.kr/p/Prm5u9 )
nik gaffney (via http://flic.kr/p/QM7mBF )
His sense of time was very accurate: The tremor came the moment he expected it, a powerful, violent quake that seemed to originate from deep within the earth. The vibrating silver candelabra hummed, and a wisp of dust that had sat on top of the Great Palace for perhaps a thousand years fell down and drifted into the candle flames, where the motes exploded in tiny sparks.
It was puzzling. I remembered the suggestion that they were outsourcing the email responses to call centers in the Philippines, but these emails were coming from someone not only familiar with construction administration, but with this specific project. That meant the only possible explanation was that they had some artificial intelligence software learn the project inside out by reading my email and automatically generating responses.
“We are actively building the tools of our own mystification”
Turbulence, Big Data, AI, Fake News, and Peak Knowledge