Now that all of us are having to teach and meet over videoconferencing on our laptops, it is useful to get advice from the professionals. Chelsea sent me this link to Ryerson professor Gary Gould’s advince on How to Look and Sound Fabulous on a Webcam. The page covers practical things like lighting, positioning of the camera, backgrounds, framing and audio. I realize I need to rethink just having the laptop on my lap.
“Demoskene is an international community focused on demos, programming, graphics and sound creatively real-time audiovisual performances. [..] Subculture is an empowering and important part of identity for its members.”
The Art of Coding has gotten Demoscene listed by Finland in the National Inventory of Living Heritage, Breakthrough of Digital Culture: Finland accepts the Demoscene on its national UNESCO list of intangible cultural heritage of humanity. This means that Demoscene may be the first form of digital culture put forward to UNESCO as a candidate intangible cultural heritage (ICH).
In a previous blog post I argued that ICH is a form of culture that would be hard to digitize by definition. I could be proved wrong with Demoscene. Or it could be that what makes Demoscene ICH is not the digital demos, but the intangible cultural scene, which is not digital.
Either way, it is interesting to see how digital practices are also becoming intangible culture that could disappear.
You can learn more about Demoscene from these links:
But labor and robotics experts say social-distancing directives, which are likely to continue in some form after the crisis subsides, could prompt more industries to accelerate their use of automation. And long-simmering worries about job losses or a broad unease about having machines control vital aspects of daily life could dissipate as society sees the benefits of restructuring workplaces in ways that minimize close human contact.
The New York Times has a story pointing out that The Robots Welcome to Take Over, as Pandemic Accelerates Automation. While AI may not be that useful in making the crisis decisions, robots (and the AIs that drive them) can take over certain jobs that need doing, but which are dangerous to humans in a time of pandemic. Sorting trash is one example given. Cleaning spaces is another.
We can imagine a dystopia where everything can run just fine with social (physical) distancing. Ultimately humans would only do the creative intellectual work as imagined in Forester’s The Machine Stops (from 1909!) We would entertain each other with solitary interventions, or at least works that can be made with the artists far apart. Perhaps green-screen technology and animation will let us even act alone and be composited together into virtual crowds.
Imagine, if you can, a small room, hexagonal in shape, like the cell of a bee. It is lighted neither by window nor by lamp, yet it is filled with a soft radiance. There are no apertures for ventilation, yet the air is fresh. There are no musical instruments, and yet, at the moment that my meditation opens, this room is throbbing with melodious sounds. An armchair is in the centre, by its side a reading-desk — that is all the furniture. And in the armchair there sits a swaddled lump of flesh — a woman, about five feet high, with a face as white as a fungus. It is to her that the little room belongs.
Like many, I reread E.M. Forester’s The Machine Stops this week while in isolation. This short story was published in 1909 and written as a reaction to The Time Machine by H.G. Wells. (See the full text here (PDF).) In Forester it is the machine that keeps working the utopia of isolated pods; in Wells it is a caste of workers, the Morlochs, who also turn out to eat the leisure class. Forester felt that technology was likely to be the problem, or part of the problem, not class.
In this pandemic we see a bit of both. Following Wells we see a class of gig-economy deliverers who facilitate the isolated life of those of us who do intellectual work. Intellectual work has gone virtual, but we still need a physical layer maintained. (Even the language of a stack of layers comes metaphorically from computing.) But we also see in our virtualized work a dependence on an information machine that lets our bodies sit on the couch in isolation while we listen to throbbing melodies. My body certainly feels like it is settling into a swaddled lump of fungus.
An intriguing aspect of “The Machine Stops” is how Vashti, the mother who loves the life of the machine, measures everything in terms of ideas. She complains that flying to see her son and seeing the earth below gives her no ideas. Ideas don’t come from original experiences but from layers of interpretation. Ideas are the currency of an intellectual life of leisure which loses touch with the “real world.”
At the end, as the machine stops and Kuno, Vashti’s son, comes to his mother in the disaster, they reflect on how a few homeless refugees living on the surface might survive and learn not to trust the machine.
“I have seen them, spoken to them, loved them. They are hiding in the mist and the ferns until our civilization stops. To-day they are the Homeless — to-morrow—”
“Oh, to-morrow — some fool will start the Machine again, to-morrow.”
“Never,” said Kuno, “never. Humanity has learnt its lesson.”
When you go to YouTube now in Canada, a notice from the Public Health Agency of Canada pops up inviting you to Learn More from a reliable source. This strikes me a great way to encourage people to get their information from a reliable source rather than wallow in fake news online. This is particularly true of YouTube that is one of the facilitators of fake news.
More generally it shows an alternative way that social media platforms can fight fake news on key issues. They can work with governments to put appropriate information before people.
Further, the Learn More links to a government site with a wealth of information and links. Had it just been a short feel good message with a bit of advice, the site probably wouldn’t work to distract people towards reliable information. Instead the site has enough depth that one could spend a lot of time and get a satisfying picture. This is what one needs to fight fake news in a time of obsession – plenty of true news for the obsessed.
Scooters have come to Edmonton. Both Bird and Lime dumped hundreds of scooters in my neighbourhood just before the Fringe festival. Users are supposed to use bike lanes and shared-use paths, but of course they tend to use sidewalks. Fortunately most people using them seem to tying them for a lark rather than seriously trying to get somewhere.
I can’t help thinking this business is a bit like the Segway (a company apparently making money now selling the scooters) – a great concept that appeals to venture capital, but not something that will work economically. For example, what will happen in the winter? Will the companies leave them around in the snow or pack them up for the season?
The economic model of these companies is also interesting. They seem to have minimal staff in each city. They pay chargers a to find the scooters and charge them each night. More gig-economy work that may not provide a living! See Bird Scooter Charging Is ‘One Level Up From Collecting Cans’–But These Entrepreneurs Are Making a Lucrative Business of It.
At the end of the day, does anyone make enough to make this viable? One wonders if the scooter companies are selling the data they gather?
Isabelle Van Grimde gave the opening talk at Dyscorpia on her work, including projects like The Body in Question(s). In another project Les Gestes, she collaborated with the McGill IDMIL lab who developed digital musical instruments for the dancers to wear and dance/play.
Van Grimde’s company Corps Secrets has the challenge of creating dances that can travel which means that the technologies/instruments have to . They use intergenerational casts (the elderly or children.) They are now working with sensors more than instruments so the dancers are free of equipment.
There was a striking difference in style — and substance.
Vox has a nice interactive visualization of Every time Ford and Kavanaugh dodged a question, in one chart. The two visualizations, one for Ford and one for Kavanaugh, show at a glance how the latter dodged a lot more questions. You can click on the sections which are marked as dodgy and see the full text. Nice clear use of visualization to tell a larger story and let the user explore.
Autonomous vehicles are here! That’s the message from a panel on AI and Transportation I listened to at the International Symposium on Applications of Artificial Intelligence held here at the University of Alberta.
Waymo, the Google spin-off, is bringing autonomous taxis to Phoenix this fall. Other companies are developing shuttles and other types of pods that work, Self-driving pods are slow, boring, and weird-looking — and that’s a good thing. It seems to me that there hasn’t really been a discussion about what would benefit society. Companies will invest in where they see economic opportunity; but what should we as a society do with such technology? At the moment the technology seems to be used either in luxury cars to provide assistance to the driver or imagined to replace taxi and Uber drivers. What will happen to these drivers?
From Twitter again (channelled from Justin Trudeau) is a story in the Atlantic about the Internet Archive’s early Macintosh emulator, What It’s Like to Use an Original Macintosh in 2017. The emulator comes with a curated set of apps and games, including Dark Castle, which I remember my mother liking. (I was more fond of Déjà Vu.) Here is what MacPaint 2.0 looked like back then.