Alex Gibney’s ZERO DAYS is a documentary thriller about warfare in a world without rules— the world of cyberwar. The film tells the story of Stuxnet, self-replicating computer malware (known as a “worm” for its ability to burrow from computer to computer on its own) that the U.S. and Israel unleashed to destroy a key part of an Iranian nuclear facility, and which ultimately spread beyond its intended target. It’s the most comprehensive accounting to date of how a clandestine mission hatched by two allies with clashing agendas opened forever the Pandora’s Box of cyberwarfare.
Hyper-Reality presents a provocative and kaleidoscopic new vision of the future, where physical and virtual realities have merged, and the city is saturated in media. If you are interested in supporting the project, sponsoring the next work or would like to find out more, please send a hello to info@km.cx
by Keiichi Matsuda | http://km.cx more at http://hyper-reality.co
The remix method of copying, transforming and combining is definitely used in The Force Awakens, as well as the other works of JJ Abrams. Is remixing a weak point in The Force Awakens? Is the remix method growing stale? Have we reached the limits of remixing?
Hypertext: an Educational Experiment in English and Computer Science at Brown University is a documentary film from 1976 made by Brown University computer scientist Andries "Andy" van Dam.
The film was funded by a 1974 grant provided by the National Endowment for the Humanities to support "an experimental program to teach a college-level English poetry course, utilizing a new form of computer based 'manuscript,' called a hypertext." More information about the grant is available on the NEH website. To read the story behind how this film was re-discovered in 2016,see this article on the NEH website. To read more about Andy van Dam's classroom experiment with hypertext, check out van Dam's final grant report, as well as this journal article "Poetry and Computers: Experimenting with the Communal Text" written by James Catano, one of the graduate students who worked in the class (note -- article behind a paywall).
The Hypertext system used in the film is called FRESS and was developed by Andy van Dam, Carol Chomsky, Richard Harrington, and others based on the hypertext idea developed by Theodor Nelson.
The Hypertext poetry class described in the film was conducted by Jim Catano, Carol Chomsky, Nancy Comley, and Robert Scholes.
Film production was done by Michael Silverman, Bill Gallery, and Peter O'Neill.
From an experiment at the Financial Times Robot Week:
Quoting the Journalist involved:
One day last week at 9.29am I hunched nervously over my keyboard and prepared to do battle with an entity called Emma. We were each primed to write about the official UK employment data at 9.30am and file our stories to my editor. I was sure Emma would be quicker than me, but I really hoped I would be better.
Li o novo do Julian Barnes, "The Noise Of Time", cuja personagem central é Dmitri Dmitriyevich Shostakovich, o compositor. Aconselho vivamente: a personagem, o contexto histórico, a arte, a música, tudo é interessante. E a escrita de Barnes faz a tudo grande justiça.
Ratliff propõe que, num momento da história em que temos (quase) toda a música digital e instantaneamente disponível para nossa audição, isso muda radicalmente a nossa maneira de ouvir e que não vale a pena ficarmo-nos por categorias como género, período histórico, compositor, intérprete, história. Vale a pena procurar categorias novas para explorar esta paisagem musical.
Não sei se as categorias são assim tão novas mas isso nem interessa muito. A verdade é que a maneira como ouvimos música mudou e continua a mudar. Notem-se estas notícias de Janeiro que apontam para que a música em catálogo, a música antiga, já editada, vendeu mais que a música nova, editada em 2015, pela primeira vez na história do registo destas vendas. Digo sempre nas minhas aulas como o catálogo é importante na indústria de conteúdos. Hoje, como nunca antes, a história (a da música, pelo menos) está de facto na ponta dos nossos dedos. O que me leva sempre a Laurie Anderson e à sua pergunta em "Same Time Tomorrow", is time long or is it wide?
Note-se também, neste artigo do New York Times, que, se a música nunca foi apenas música mas parte de um contexto, neste momento, com uma paisagem digital instantânea e omnívora, é cada vez mais coisas, de maneiras diferentes, envolvendo-nos, penetrando-nos, devorando-nos. E para onde nos conduz o seu futuro? Neste caso, falamos sobre música popular, claro.
Ben Ratliff, no entanto, sem fronteiras, no seu capítulo sobre a lentidão, menciona Shostakovich e o seu último quarteto para cordas, o quarteto n. 15. Abaixo do vídeo abaixo está um pequeno guia de audição em inglês que o acompanha, para quem tiver a paciência (qualidade essencial para a lentidão) de lá chegar. Gostava, contudo, de deixar já duas notas. Todos os seis movimentos estão marcados como Adagio, no que diz respeito ao tempo. E em relação ao primeiro movimento, Shostakovich terá dito "Play the first movement so that flies drop dead in mid-air and the audience leaves the hall out of sheer boredom", com sentido de humor, piscadela de olho e tudo (o Barnes também fala disso). Mas ora, toda a música revolucionária está cheia de gente que deixa as salas a meio ou provoca motins.
Última nota antes de vos deixa com a música. A banda inglesa The 1975 (que estará em Portugal em Julho) chegou esta semana ao número 1 do top 100 da Billboard com o seu álbum "I Like It When You Sleep, For You Are So Beautiful Yet So Unaware of It" que, ao fazê-lo, bateu o recorde de título de álbum mais longo a chegar a tal lugar. Ah, a maravilha dos recordes.
E agora, o Quarteto para Cordas No. 15 em Mi bemol menor, op. 144, escrito em 1974 (belo ano) de Dmitri Dmitriyevich Shostakovich tocado pelo Emerson String Quartet.
- Composer: Dmitri Dmitriyevich Shostakovich (25 September 1906 -- 9 August 1975) - Performers: Emerson String Quartet - Year of recording: 1994 (Live at Harris Concert Hall, Aspen, Colorado, USA)
String Quartet No. 15 in E flat minor, Op. 144, written in 1974.
00:00 - I. Elegy: Adagio 12:42 - II. Serenade: Adagio 18:28 - III. Intermezzo: Adagio 20:07 - IV. Nocturne: Adagio 24:38 - V. Funeral March: Adagio molto 29:14 - VI. Epilogue: Adagio
This was Shostakovich’s last string quartet, and one of the most moving of all his compositions. Like most of the composer’s late works, it is an introspective meditation on mortality, and it is arguably the most intimate and cryptic quartet in the cycle. The profound melancholy of the music is akin to a requiem. His concern with death is clearer here than in any other chamber work. The composition was started in February 1974 and completed three months later in a Moscow hospital on 17th May 1974. The quartet is written in the mysterious but traditionally morbid key of E flat minor and bears no dedication. It was premiered in Leningrad by the Taneiev Quartet on 15 November 1974 (one of only two Shostakovich quartets not premiered by the Beethoven Quartet).
- "Play the first movement so that flies drop dead in mid-air and the audience leaves the hall out of sheer boredom"...were Shostakovich’s strange instructions for its performance, but his advice can be understood when the movement is heard. The elegy is sombre, unhurried and peaceful. It starts with a fugue, but this quickly ceases after all four voices have been heard. The second theme is in C major and suggests the innocence of the first quartet. But the music seems not to progress. It seems that time has ceased; that we are in a platonic world of perfection and beauty, where change is impossible; an incorruptible world of motionless eternity. - The opening of the next movement, the serenade, remains indelibly in the memory. The motionless world of the elegy is scattered by four sets of three searing cries that break out one after another from the first and second violin and the viola. The first is in B flat and refers back to the 13th Quartet which ended on a similarly sustained pitch. Each, equal in duration, start ppp and expand to sffff. Are they screams of anguish? Their significance is not revealed but their effect is to introduce change and motion; time is moving again. These cries recur during the movement, before a tortured waltz appears. - Then the next movement begins, an intermezzo, introduced through a deep pedal, and a dramatic solo violin cadenza occurs before... - the nocturne emerges. A simple march rhythm becomes apparent which leads to... - the funeral march. Slowly, however, the passion subsides and... - the final movement, the epilogue, begins. This movement based on the final eight bars of the first recalls its sense of timelessness although without making reference to its fugue. The music, depleted of energy, culminates in a fateful and bleak viola solo only to terminate in a despairing morendo.
Approximately 35 minutes in length, the work is unforgettably death-bonded. We sense that these are the composer’s final words and that the whole cycle of quartets has terminated. We have traveled from the innocence of the first quartet into a world full of memories, pain, resignation, peace and death. Significantly too, but only to be expected from this composer, we know that with the key signature of six flats we cannot travel any further: we are now at the greatest tonal distant from the C major of the first quartet; the journey took 36 years.
Behind the scenes of The Chemical Brothers ‘Wide Open’ music video directed by Dom&Nic, featuring professional dancer Sonoya Mizuno. Learn more on our behind the scenes blog: http://bit.ly/BTSChBr Watch the full film: https://vimeo.com/152996218
Legendary master filmmaker Werner Herzog (Grizzly Man, Cave of Forgotten Dreams) examines the past, present and constantly evolving future of the internet in LO AND BEHOLD: REVERIES OF THE CONNECTED WORLD. A provocative and illuminating documentary produced by NETSCOUT, a world leader in real-time service assurance and cyber security, LO AND BEHOLD traces what Herzog describes as "one of the biggest revolutions we as humans are experiencing," from its most elevating accomplishments to its darkest corners. Featuring original interviews with cyberspace pioneers and prophets such as Elon Musk, Bob Kahn, and world-famous hacker Kevin Mitnick, the film travels through a series of interconnected episodes that reveal the ways in which the online world has transformed how virtually everything in the real world works, from business to education, space travel to healthcare, and the very heart of how we conduct our personal relationships.
China has gamified being an obedient citizen with the creation of Sesame Credit. The game links to your social network and gives you a score for doing things that the government approves of, but it also reduces that score for doing things the government disapproves of. Even your friends' scores affect your own, and being friends with people who have a low score will drag your score down as well. This insidious system applies social pressure on people to ostracize their friends with lower scores, either forcing those friends to change their ways or effectively quarantining their rebellious ideas. While many sci-fi visions of a dystopian future have centered around a bleak government that controls through fear, Sesame Credit shows us that a government can use gamification and positive reinforcement to be just as controlling. And it's real. While currently the system is opt-in, the government plans to make it mandatory in 2020. Once mandatory, it may give rewards for good scores or penalties for bad ones. And in the meantime, making it opt-in has already set the tone for the game: people participate willingly, so they find it fun, and they set a very high standard for what the "average" score should be. Already people have begun sharing their scores on social media.
