5089
Too Many Secrets: Decrypting SNEAKERS
"Sneakers is the creation of Phil Alden Robinson, Lawrence Lasker, and Walter F. Parkes, who sought to make a movie they would want to see. It took 10 years to write, ultimately becoming an excuse for these guys to hang out."

making me want to watch this and Three Days of the Condor again
movie  Sneakers  PriscillaPage  RobertRedford  PhilAldenRobinson  LawrenceLasker  WalterParkes  Superbrown 
3 days ago
my friend pokey - Output Lag
"What’s happening during a Half-Life style “playable cutscene”? The game’s stopped, but it’s still going - the semblance of goals and consequence have been taken away, but the controls still respond the way they always do. In my experience it requires a kind of deliberate effort to pull back and play “in character”, or even just leave the controller or the mouse alone, as opposed to absently bunnyhopping around or grinding the camera viewport against the face of whoever’s talking in the vague hope that this will speed up the narrative somehow. There’s a kind of goofy Wile-E-Coyote-running-off-the-cliff aspect to it, where it just takes a while for the penny to drop. But it’s also a little eerie in the same way: the Brownian motion of the target reticule twitching back and forth under the impact of drives too vague and shortlived to articulate, that kind of frantic, static watchfulness, drops and smears of useless energy action-painting themselves through a controller, onto the screen. I don’t know that this is play, it seems to have very little to do with choice, but it’s familiar from other times I’ve played videogames, or even used a computer, it feels less like a kind of accidental parody of than the natural terrain for all of those activities, as if the foundational experience of playing a videogame is this kind of feedback loop of alienated consciousness - consciousness with a tape delay, recognising itself a second or a millisecond too late, correcting, revising, circling, re-expressing, trying to correct this alien record, creating in the process a perverse catalogue of elision and mistake. Like Twitch Plays Pokemon on a more individuated level. The feedback loop here is one of estrangement and recognition, both omnipresent as sensations but slipping away as soon as they appear within reach, each one turning seamlessly into the other.
Obviously a sensation most specifically present in a small group of reflex-driven action games can’t be extrapolated to the whole format but part of what interests me about it is the feeling that it CAN be extrapolated to computers, to the general state of being on or using a computer, that same dissociated intensity. And of course many of the same ingredients are there: the continual movement towards greater sensitivity of input, less time on an act than on the modification of an act (like the back and forth of typing and checking the autocomplete response to your typing to get the quickest search), the movement towards interfaces that can be “read” as quickly and instinctively as possible to cut down on user-side response lag, that strange sense that results of being outside time, as if what you’re watching is less a linear, sequential flow of inputs and outputs than a blurred, circular admixture of them both. And if it’s familiar from computer usage then it’s necessarily familiar from other computer games too, even the most sedate, if not overtly present then as a certain recurring baseline of intensity which the rest of the experience is implicitly structured around. Videogames remain too close to other forms of computer use to be unaffected by the proximity - it affects not only their production and distribution but also the network of associations about technology, certain forms of input or visual representation or spatial organisation, which we draw upon when playing through the things. And if I’m insistent about connecting this feeling to even the smallest Klik N Play games it’s partly because I think it helps us with a way of thinking about those games in particular that a more orthodox game criticism would seem to lack.
Kero Blaster & The Charged Field
Kero Blaster is a Metroid style game about a frog who jumps around and shoots bugs. The frog has a boss who is a cat that seems to get more frantically depressed between each mission, for reasons which remain mysterious throughout. The scenes with the boss are very brief and make up a small proportion of the game - five or six “cutscenes” of under 30 seconds each, that play when you’re about to start a new level - but tonally they’re a mixture of goofy and plangent enough to stick slightly in the mind, assisted from the break they give from the experience of the levels. These two narratives - frog metroid and depressive cat - are technically connected by the appearance of a kind of plump black insect that appears in each, first as a background feature and eventual enemy / overarching threat in the frog levels, secondly as the boss’s “pet”, which lives in a tank above a file cabinet and seems to grow larger as the boss gets more unhappy. But the problem here is that, as much as the presence of this pet hints at a single overarching master narrative around both types of segment, it remains difficult to construct that narrative in a way which doesn’t diminish or evade our experience of one or the other of the consituent parts. To say the game is about the ominous black bugs that you fight throughout is to take the strangely affecting scenes of cat depression and reframe them through the debateably less relateable lens of being possessed by a malevolent fantasy insect. To say the game is about the unhappiness of the boss character is to draw attention away from the fact that you spend most of the game jumping around and shooting stuff. So while all the pieces are there they remain difficult to join up - as gnomic and short as the game is there’s still something like an excess of meaning that consistently threatens to break out from the framing narratives that we construct. This evasiveness extends to the ending of the game, where the defeat of the bug-possessed boss cat simultaneously completes the frog’s quest and also signifies the catharsis which allows the boss cat to move from neurotic misery back to regular unhappiness - our uncertainty about the priority of the two frames means we view this less as specific resolution to either one than as a kind of magical synchronicity uniting both, where the solution to one problem resolves a totally different one in the manner of those fairy tales where giving a ring to a fish causes the evil baron to fall down a well. The dream here is one of some radical contingency which could cut across the discrete realms.. but a glimpsed dream it remains, one which the game shows no interest of developing into a broader or more stable thesis about the other two parts: after the credits we’re back at the title screen, with the frog once more staring gnomically at the ringing phone that sends it on the missions. Restart Game Y/N.

This is the kind of structure I tend to think of as “the charged field” - where rather than grouping materials by their relevance to some central theme or with reference to some existing set of relationships a work seems to rely on the associations of unity within the concept of an artistic work itself to hold the various components together, as if dropping a picture frame around three random images was enough to, if not relate them all together in a new way, at least prompt the sort of interpretation and attention that notionally could. But what interests me is not the merit of this form or of Kero Blaster specifically so much as the unobtrusiveness of their overlap: the sense that both we and the game remain froggily comfortable in these murky waters, among such diffuse and unclear structural relationships. There’s obviously a link between this tacit acceptance and the fact that such interpretation is outside the strict remit of the “mechanics”, or those set of readings and adjustments necessary to progress through the game, but it’s this very distractedness that the narrative relies on, plays off of - if it’s animated by anything it’s the constant background churn of micro-recognitions, comparisons, correspondances, surgings and leachings of attention and of intent that are thrown up continuously by the barely-registered activity involved in using a computer or a phone, and it’s this churn that allows the narrative level (or condemns it) to operate in odd liminal spaces, shorn of unity or the capability for same, art for a peripheral form of consciousness.
For what it’s worth I’d like to avoid from the start the kind of moralism that sees this formal reliance on distractedness as either a good or bad thing in itself, that would immediately reconfigure it as either some grumpy dad pastiche of postmodernity or as utopian anti-hierarchial space, since I think part of the interest of these videogames for us is the way that, carrying associations from both sides, they must find ways of situating themselves variously between, with or against both at different times, when not trying to escape the bind through new configurations entirely. (I’m tempted to argue that the weird persistence of pastoral imagery in videogames is a side-effect of this process, as a kind of rhetorical counterweight to newness and disorientation). And in general I’d like to suggest that what’s interesting about new cultural forms has more to do with what they complicate or undercut than what they can more straightforwardly enact - desires or fears which remained unarticulated or secondary now pushed into the light, old distinctions suddenly confused, systems of value less reflected in our art then refracted in them, revealing hidden contours. The ability of videogames to unproblematically depict “choice” in effect dooms efforts to thematise “choice” to empty tautology (“Ah, I see… I made a choice…” “Ah, I see… choices have consequences, sometimes, once they remain within the technical and ideological remit of the game systems…”) while supposedly more minor corrollary questions (say, the impact of input and game systems on strategies of visual representation) grow dense, rich and tangled with the effort of reconciling what’s peculiar about the new format with what we know about the old ones.
Questions I Can’t Answer
So all this being said I would like to pick … [more]
Tumblr  game  time 
5 days ago
Wikipedia - Claude Debussy
"Debussy's music is noted for its sensory content and frequent usage of nontraditional tonalities. The prominent French literary style of his period was known as Symbolism, and this movement directly inspired Debussy both as a composer and as an active cultural participant."
ClaudeDebussy  music  Wikipedia 
5 days ago
Wikipedia - Paladin Press
How to Prepare for Bad Times on a Budget
Wikipedia  book  publisher 
10 days ago
An F.B.I. Director Is Terminated, and a Front Page Is Too
"...the front page of Wednesday’s New York Times began its diurnal life as it always does: as a simple hand-drawn pencil sketch, made on lime green paper."

“But then I glanced over to Renee Murawski’s machine” — Ms. Murawski is the content editor for print — “and she showed me the actual letter from the president, which I hadn’t seen yet.”

“Al always used a green pen when he was marking up copy, so that people would recognize the source of his edits,” Mr. Bodkin explained. “I’m guessing that’s where the green pad came about — it was his signature color.”

“I kind of know what this stuff is going to look like,” he said. “I don’t need to see the page in any higher fidelity in order to visualize it. I just need to work out the relative position of elements and scale — and that’s much faster with a pencil.”
NYTimes  FBI  JamesComey  pencil  green  paper  Trump  signature  laptop 
11 days ago
Visible Cloaks: Synthesis and Systems
"An excerpt of Yoshio Ojima’s sound design for the interior of the Spiral Building (1988)"
VisibleCloaks  Ableton  synthesizer  interview  music  SpencerDoran  RyanCarlile  MIDI  Youtube 
12 days ago
Qiong Li on being a human camera
"this impulse, like the feeling of writing your true thoughts down really quickly"

"You have to be social to find work, which can be a problem for me."
TheCreativeIndependent  QiongLi  color  song  music  HappyBirthday  improvisation  NYC 
18 days ago
Wikipedia - MacGuffin
"the object of everybody's search"
Wikipedia  movie  story  book  search 
21 days ago
Wikipedia - Rōnin
"The word rōnin literally means "wave man". It is an idiomatic expression for "vagrant" or "wandering man", someone who is without a home. The term originated in the Nara and Heian periods, when it referred to a serf who had fled or deserted his master's land. It then came to be used for a samurai who had no master. (Hence, the term "wave man" illustrating one who is socially adrift)."
Wikipedia  name  Japan  samurai  drifter 
21 days ago
“You shouldn’t be annoyed” — BUT I AM
"The biggest mistake I made in the last month was not a $200,000+ strategic mistake or a technology meltdown.

It was my damned garbage can.

I’ll tell you how it happened."

from Mika
RamitSethi 
21 days ago
How Three Kids With No Experience Beat Square And Translated Final Fantasy V Into English
"Twenty years later, Myria has gotten used to meeting people who have played through the unauthorized English version of Final Fantasy V."

Final Fantasy (NES) [1987]- released everywhere
Final Fantasy II (NES) [1988] - Japan only
Final Fantasy III (NES) [1990] - Japan only
Final Fantasy IV (SNES) [1991] - released in the U.S. as Final Fantasy II
Final Fantasy V (SNES) [1992] - Japan only
Final Fantasy VI (SNES) [1994] - released in the U.S. as Final Fantasy III
Japanese  English  translation  FinalFantasyV  SNES  NES 
26 days ago
Should we “rewild” our urban bodies with microbes from indigenous peoples?
"Take our land. Kill us off. Send us to residential schools, THEN steal our actual microbes! You guys are fucked." from https://twitter.com/tagaq/status/857211565757661184
26 days ago
Seth Abramson (MEGA-THREAD)
"(MEGA-THREAD) The plot to sell America's foreign policy for foreign oil _and_ steal an election in the bargain began at the Mayflower Hotel."
Twitter  SethAbramson  HuffingtonPost  Trump  oil  MayflowerHotel 
5 weeks ago
Wikipedia - Before Present
"Before Present (BP) years is a time scale used mainly in geology and other scientific disciplines to specify when events occurred in the past. Because the "present" time changes, standard practice is to use 1 January 1950 as commencement date of the age scale, reflecting the fact that radiocarbon dating became practical in the 1950s. The abbreviation "BP", with the same meaning, has also been interpreted as "Before Physics"; that is, before nuclear weapons testing artificially altered the proportion of the carbon isotopes in the atmosphere, making dating after that time likely to be unreliable."
time  Wikipedia  nuclear  weapons  geology 
6 weeks ago
Free On-Line Dictionary of Computing
"FOLDOC is a computing dictionary. It includes definitions of acronyms, jargon, programming languages, tools, architecture, operating systems, networking, theory, standards, mathematics, telecoms, electronics, institutions and companies, projects, history, in fact any of the vocabulary you might expect to find in a computer dictionary."
dictionary  CS  free  acronym  jargon  programming  DenisHowe 
6 weeks ago
Wikipedia - Continuous stationery
"Continuous stationery (UK) or continuous form paper (USA) is paper which is designed for use with dot-matrix and line printers with appropriate paper-feed mechanisms. Other names for continuous stationery include fan-fold paper, sprocket feed paper, burst paper, tractor-feed paper, and pin feed paper. It can be single-ply (usually woodfree uncoated paper) or multi-ply (either with carbon paper between the paper layers, or multiple layers of carbonless copy paper), often described as multipart stationery or forms."
Wikipedia  printer  paper 
6 weeks ago
createwith.ai 人工知能と表現の今
"本サイトは、AI (人工知能)と「表現」、人間の「創造性」の未来を考える上で興味深い「論文」「デモ」「作品」「記事」などを紹介するサイトです. AIによる表現に興味のあるクリエイター、アーティスト、あるいはAI研究者を主な対象とし、今、何が起きているかを毎日少しずつ伝えるリンク集を目指しています.

なぜ「AIと表現」を考えるのか.

もちろんそれはAIによってアーティストの仕事を置き換えようとか、作品を自動生成しようということではありません. AIが人とは違う知能として存在することで、今まで人が考えもつかなかったような気づきを得たり、気づいていても労力と時間の制限からとても試しきれなかったようなアイデアを、AIによって実行に移せるのではないかという大きな期待からです.

クリエイティビティの源泉が、既存のアイデアの新しい組み合わせにあるならば、その結果を自動的に評価できるAIの存在は人間にとって間違いなく福音です. 新しい組み合わせを作り、試し、評価・取捨選択するというサイクルをいままでにないスピードで回せるのですから.

新しい技術とそれがもたらす社会の変化を批評的な目でとらえることは、アート(特にメディアアート)のひとつの役割のはずです. しかしことAIに関して言うと、難解なイメージだけが先行して、実態がつかめないと感じるアーティスト、クリエイターが多いのも事実です. このサイトがすこしでもその心理的な障壁を下げる役割を担えれば幸いです. サイトに上がってくるリンクをなんとなく眺めながら、Deep Learningでこんなことができるんだ (あるいはこんなことしかまだできないんだ)、この辺が研究トピックとして熱いんだなと想像をかきたてるようなサイトになればと思ってます (荒削りな研究論文がもたらす示唆のほうが作品よりもよっぽど刺激的だったりします). こういった情報に触発されて生まれた作品がAIと人間の関係に新しい視野をもたらし、AI技術の研究開発そのものにもよい影響を与えるのでは… そんなことを願っています.

本サイトは即時性とカバーするトピックの広さを重視し、個々の論文や研究について、深く掘り下げて伝えることは目指していません。あくまで入口を提供する場であり、詳細は論文を読んでくださいというスタンスです。AIの研究分野ににうとい方でも内容をなんとなく想像できるように、なるべく平易な日本語で書くことを心がけようと思います。また、AIとは何かという議論にもここでは踏み込まないでおきます. ここでは進化の結果生まれた自然の知能を、人工的に実現する仕組みとしておきましょう. Deep Learningを中心に、この定義に当てはまる幅広い技術トピックを取り上げる予定です.

「AIと表現」というとなにか特殊な狭い領域のように思うかもしれません.それは、1995年頃にインターネット上のあるいはインターネットが可能にする新しい表現について考えましょうと言っているのと同じなのではないかと思います. そういえばあの頃そんなサイトがあったな、とあとで振り返って笑えたら幸せです.

2017.3.24 徳井直生 @naotokui"
AI  Flickr  NaoTokui 
7 weeks ago
Internet Noise
"On March 28th congress passed a law that makes it legal for your Internet Service Providers (ISP) to track and sell your personal activity online. This means that things you search for, buy, read, and say can be collected by corporations and used against you.

Click this button, and your browser will start passively loading random sites in browser tabs. Leave it running to fill their databases with noise. Just quit your browser when you're done."
Internet  noise  Google  search  random 
7 weeks ago
Lisping at JPL
interchangeable components, training
LISP  JPL  Google  Assembly 
7 weeks ago
Cargo Handbook
"The world's largest cargo transport guidelines website"
cargo  world  shipping  product  guidelines 
7 weeks ago
arguman.org
an argument analysis platform
argument  lanuage  design  English 
7 weeks ago
Wikipedia - Curtis Roads
saw him play with Tom Moody at Issue Project Room
Wikipedia  CurtisRoads  music  synthesis  granular  grain  sound  sample 
8 weeks ago
The Problem With Facts
want to check out his books ... from Mika's dad
TimHarford  Trump 
8 weeks ago
the metaphorical use of; “shit.”
"There’s a lot of different beliefs people use to navigate their relationship with the planet, a few minutes ago I was thinking about these, so, for entertainment, im going to use the metaphor of shit to suss it out."
Wordpress  shit  blog  2012  Superbrown  metaphor 
8 weeks ago
You can now draw with marker pens made from Asia’s air pollution
""Pollution is nothing but the resources we are not harvesting," the architect, inventor, and philosopher Buckminster Fuller once said. "We allow them to disperse because we’ve been ignorant of their value.""
marker  pollution  BuckminsterFuller 
9 weeks ago
Story Corps. - Edwin Lanier, Jr. and David Wright
from his obituary: "Edwin “Eddie” S. Lanier, Jr. 68, passed away peacefully in to the Kingdom of Heaven on Tuesday October 14, 2014. He was born in Durham NC, March 5, 1946, the son of the late Edwin S. Lanier Sr. and Nancy Herndon Lanier. He is survived by his sister Nancy Lanier Griffin, nephew Richard Griffin and grandnephew Michael Griffin. He will be missed by the many lives he has touched by his wisdom and recordings.

His early years were in Chapel Hill as the son of the UNC-CH financial aid director and town Mayor. His High School years were in Raleigh graduating in 1964. He then attended Holden Technical Institute (Wake Technical Institute) and then worked for Troxler Electronic Laboratories. He later took a position with the NC Department of Labor.

Some of the events in Eddie’s life are documented in the StoryCorps recordings archived in the Library of Congress and broadcast on NPR first in 2006 and published in the first StoryCorps book “Listening Is an Act of Love” 2007. Links to these stories are at www.edwinslanier.com

He will be remembered as a friend, a man of wisdom and discipline who freely shared his life experiences with all who would listen."
NPR  DavidWright  EdwinLanierJr.  story  interview  audio 
10 weeks ago
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