Media Arts Watch Lab - www.arts-numeriques.info - laboratoire de veille Arts Numériques - twitter @arts_numeriques - @processing_org - @DigitalArt_be - by @jacquesurbanska @_Transcultures
For decades, futurists and science fiction writers predicted that smart machines would someday rival the intelligence of humans. Now, their forecasts seem to be coming true. Artificial intelligence, or AI, already exceeds human capability in certain fields. Machines can send and receive signals and analyze vast quantities of data faster than humans. They have learned to drive cars, manage stock portfolios and, through personal assistants such as Siri and Alexa, talk to us. In the not-so-distant future, AI may even augment our own brain functions. But as with all revolutions, the potential of AI raises concerns. Among the biggest: Some worry that that its growing capability may trigger the largest labor displacement since the Great Depression. This panel will explore the many ways artificial intelligence will shape our workforce, culture and institutions in the years to come.
Moderator: James Cham, Partner, Bloomberg Beta / Speakers: Pascale Fung, Professor, Department of Electronic and Computer Engineering, Hong Kong University of Science and Technology ; Ben Goertzel, Chief Scientist, Hanson Robotics; Chief Scientist, Aidyia Ltd ; Hsiao-Wuen Hon, Corporate Vice President, Microsoft Corp.; Chairman, Asia-Pacific R&D Group, Microsoft
You start by picking up the knife, or reaching for the neck of a broken-off bottle. Then comes the lunge and wrestle, the physical strain as your victim fights back, the desire to overpower him. You feel the density of his body against yours, the warmth of his blood. Now the victim is looking up at you, making eye contact in his final moments.
Science-fiction writers have fantasised about virtual reality (VR) for decades. Now it is here—and with it, perhaps, the possibility of the complete physical experience of killing someone, without harming a soul. As well as Facebook’s ongoing efforts with Oculus Rift, Google recently bought the eye-tracking start-up Eyefluence to boost its progress towards creating more immersive virtual worlds. The director Alejandro G Iñárritu and the cinematographer Emmanuel Lubezki, both famous for Birdman (2014) and TheRevenant (2015), have announced that their next project will be a short VR film.
Mehdi Medjaoui fait partie d’une espèce peu commune : l’entrepreneur normal. Sa startup, OAuth.io, tourne bien sans scaler ni couler. APIDays, la conférence sur les API qu’il a créée en 2012, rencontre un succès soutenu en restant à taille humaine. Il aime le sport, la politique et les bouquins de philo. Mais ne nous y trompons pas, s’il s’y connaît sacrément en matière d’API sans pour autant revendiquer l’AOP “expert”, Mehdi possède une qualité rare : sa vision de l’entrepreneuriat, des API et de la tech est d’abord politique. Flanqué de son baluchon et de son meilleur dictaphone, KMF a passé quelques heures en sa compagnie pour comprendre pourquoi diable les API sont tout sauf une affaire de techno.
In the 1980s, Joi Ito traded in library tables at the University of Chicago for turntables at Chicago’s Smart Bar. But his attempt to evade academia wouldn’t stick.
The two-time college dropout became director of the MIT Media Lab in 2011, making the 50-year-old an academic administrator at one of the most renowned universities in the world. Before that, he was an entrepreneur who started a number of his own companies and invested in the likes of Flickr, Twitter and Kickstarter.
A proud supporter of “responsible disobedience” — the lab is awarding its first $250,000 Disobedience Award this July — Ito is in Chicago Wednesday as a Chicago Ideas speaker. He will appear with IDEO Chicago Executive Portfolio Director Neil Stevenson at an event to discuss Chicago’s role in “embracing culture, art and experimentation.”
Blue Sky talked to Ito — whose interdisciplinary media lab focuses on the creative use of digital technology, sciences, arts and design — about the disobedience mindset....
A partir du printemps 2013, Edward Snowden, ex-analyste contractuel de la CIA et de la NSA, a commencé à révéler l’invraisemblable ampleur des programmes de surveillance de l'agence de renseignement américaine. Sous le nom le code « CITIZENFOUR », il contacte la documentariste américaine Laura Poitras, elle-même surveillée et bloquée à de nombreuses reprises dans les aéroports depuis son documentaire My Country, My Country sur l'occupation américaine de l'Irak.
Poitras part rejoindre Snowden à Hong Kong avec le journaliste du Guardian, Glenn Greenwald, et réalise en temps réel CITIZENFOUR, un document historique unique et un portrait intime d’Edward Snowden, retranché dans sa chambre d'hôtel, alors qu'il s’apprête à remettre les documents secrets et à sacrifier sa vie personnelle pour défendre ce qu’il considère comme le pilier central des démocraties : le droit à la vie privée des citoyens.
Passionnant documentaire à la limite du film d’espionnage et du thriller, CITIZENFOUR a reçu l'Oscar du meilleur film documentaire en 2015.
Visiter la chambre de Julian Assange, appeler des agents du renseignement, mais aussi danser toute la nuit au son de l'électro féminine des pays arabes : du 11 au 29 janvier, la Gaîté Lyrique donne la parole aux héros modernes que sont les Lanceurs d'alerte.
Dans le cyberespace, personne ne vous entendra aimer… Rien de plus faux, avec l’adultère en ligne permis par la réalité virtuelle.
Juin 2015 pourrait bien devenir le mois où l’infidélité en ligne a été révélée publiquement. Cette date coïncide en effet avec l’un des plus énormes et significatifs piratages de l’histoire, quand la base de données Ashley Madison a été victime d’une effraction et mise en ligne.
Ashley Madison, un site de rencontres ciblé sur les gens mariés ou en couple, comptait plus de 36 millions d’abonnés, dont 86 % d’hommes. Moins d’un an plus tard, les technologies d’immersion comme la réalité virtuelle (RV) et la réalité augmentée (RA) se généralisaient. Alors, que se passe-t-il lorsque l’infidélité en ligne télescope la réalité virtuelle ?
Avatars, Eternal Life, New Worlds, and the Dawn of the Virtual Revolution...
“Enough with speculation about our digital future. Infinite Reality is the straight dope on what is and isn’t happening to us right now, from two of the only scientists working on the boundaries between real life and its virtual extensions.” —Douglas Rushkoff, author of Program or Be Programmed
How achievable are the virtual experiences seen in The Matrix, Tron, and James Cameron’s Avatar? Do our brains know where “reality” ends and “virtual” begins? In Infinite Reality, Jim Blascovich and Jeremy Bailenson, two pioneering experts in the field of virtual reality, reveal how the human brain behaves in virtual environments and examine where radical new developments in digital technology will lead us in five, fifty, and five hundred years.
Les nouvelles technologies, en dématérialisant les activités humaines, permettraient de réduire l’impact de la croissance sur la biosphère, voire, pour les plus enthousiastes, pourraient résoudre la crise environnementale.
Si le monde numérique semble virtuel, les nuisances, elles, sont pourtant bien réelles : que ce soit sur le plan énergétique (la consommation des centres de données dépasse celle du trafic aérien, une recherche sur Google produit autant de CO2 que de porter à ébullition de l’eau avec une bouilloire électrique, etc.), par l’utilisation d’une quantité considérable de matières premières pour la fabrication des appareils électroniques, notamment des minerais précieux dont l’extraction provoque des conflits armés, ou encore par l’accroissement permanent de la masse de déchets d’équipements électroniques particulièrement polluants.
Dans ce travail précis et informé, les auteurs montrent l’impact environnemental réel du numérique en s’appuyant sur de nombreuses études. Ils démontent de manière implacable le mythe d’une nouvelle économie propre et écologique.
How Google used artificial intelligence to transform Google Translate, one of its more popular services — and how machine learning is poised to reinvent computing itself.
Late one Friday night in early November, Jun Rekimoto, a distinguished professor of human-computer interaction at the University of Tokyo, was online preparing for a lecture when he began to notice some peculiar posts rolling in on social media. Apparently Google Translate, the company’s popular machine-translation service, had suddenly and almost immeasurably improved. Rekimoto visited Translate himself and began to experiment with it. He was astonished. He had to go to sleep, but Translate refused to relax its grip on his imagination.
Rekimoto wrote up his initial findings in a blog post. First, he compared a few sentences from two published versions of “The Great Gatsby,” Takashi Nozaki’s 1957 translation and Haruki Murakami’s more recent iteration, with what this new Google Translate was able to produce. Murakami’s translation is written “in very polished Japanese,” Rekimoto explained to me later via email, but the prose is distinctively “Murakami-style.” By contrast, Google’s translation — despite some “small unnaturalness” — reads to him as “more transparent.”
The second half of Rekimoto’s post examined the service in the other direction, from Japanese to English. He dashed off his own Japanese interpretation of the opening to Hemingway’s “The Snows of Kilimanjaro,” then ran that passage back through Google into English. He published this version alongside Hemingway’s original, and proceeded to invite his readers to guess which was the work of a machine. ...
All right, don’t panic, but computers have created their own secret language and are probably talking about us right now. Well, that’s kind of an oversimplification, and the last part is just plain untrue. But there is a fascinating and existentially challenging development that Google’s AI researchers recently happened across.
Following on this success, GNMT’s creators were curious about something. If you teach the translation system to translate English to Korean and vice versa, and also English to Japanese and vice versa… could it translate Korean to Japanese, without resorting to English as a bridge between them? ...
The 'Technology Is Not Neutral' project was inspired by the desire to counteract the frequent under-representation of the achievements of women in the field of digital art. Whereas the touring exhibition showcases the quality and diversity of the work of female digital artists, this symposium addresses the causes and effects of the problem, and opens up a space for challenging the status quo and the presumptions on which the history of digital art is written.
Many of the causes of the current situation are not specific to the area of female digital art, but are also linked to the wider socio-political effects of technology, and technology, as the project title declares, is not neutral. The speakers, all female, will include curators, digital artists, media activists, academics, and feminists, and will therefore offer a variety of perspectives relevant to the central issue.
Watermans is the major arts centre in West London. We are an independent cinema, theatre with a year-round programme for children, a new media art gallery and a creative space for the community.
Today I’m announcing a $100M commitment to Kernel in an effort to enhance human intelligence and reimagine our future. Unlocking our brain is the most significant and consequential opportunity in history — and it’s time sensitive.
We’re starting to identify the mechanisms underlying neural code and make them programmable. Our biology and genetics have become increasingly programmable; our neural code is next in line. Programming our neural code will enable us to author ourselves and our existence in ways that were previously unimaginable
I started Kernel in 2016 (read more at the Washington Post) to build the world’s first neural prosthetic for human intelligence enhancement. The investment I’m making in Kernel today will expedite the development of this prosthetic and similarly transformative neurotechnologies. Why now?
Depuis les années 80, l’activité humaine poursuit sa métamorphose « digital » passant d’îlots automatisés à une numérisation globale de la société, toujours plus hybridée à notre travail, notre créativité et notre intimité. LES ARTS CODÉS est un lieu de recherche, de création et de production partagé par plusieurs partenaires qui investissent la conjugaison des savoir-faire traditionnels et de la programmation, vers un possible entre artisanat et micro-industrie numériques. Notre collaboration est riche à la fois d’exigences nouvelles par rapport au travail mais aussi d’expériences concrètes qui permettent de toucher du doigt des façons originales de produire, d’innover, de collaborer, de concevoir...
Home button, camera, front camera, click; it takes four actions and less than five seconds to capture a selfie on a standard iPhone. Perhaps then it is no surprise that we take an estimated one million a day, often risking our careers as well as our lives and the lives of those around us in order to get the perfect self-portrait.
But is this ubiquitous action merely an inane form of self-promotion or are selfies in fact a modern medium of visual expression and communication that should be taken seriously? ...
As the consumer-oriented liberalism of Bill Gates and Steve Jobs gave way to the technological authoritarianism of Elon Musk and Peter Thiel, this strange foundation paved the way for “neoreaction,” or, in a distorted echo of Eliezer Yudkowsky’s rationalist vision, the “Dark Enlightenment.
Science fiction tells us that a change in a past event, caused by the intervention of a time traveler, will open up a parallel timeline that leads to an alternate present. The example that comes to mind, for some reason, is Back to the Future, Part II. After an unexpected disturbance in the spacetime continuum, Marty McFly visits a world in which Biff Tannen, his father’s high school bully, has gone from unscrupulous small-time businessman to a replica of our current president. ...
From June 26th - July 2nd 2017 Frankfurt will turn into a vibrant hub for open exchange, hands-on experiments and reflection combining creative coding workshops, AV performances, laboratories, artist talks, engaging debates and an exhibition.
With the leitmotif ‘Designing Hope’ NODE will discuss an intangible yet powerful motor that drives ideas of a better future.
The program will analyse the role of technology in the creation and manipulation of these collective imaginaries. How do today’s communication infrastructures determine the formation of public opinion? Are we living in a global village that is accessible for everyone or in secluded, exclusive bubbles? What do we expect from creative technologists who dedicate themselves to developing the next life-improving or life-extending tools? Are critical creative practices able to shape responsible design?
Que pèse le respect de la vie privée au regard des stratégies technologiques et commerciales mises en place par ces géants de l’Internet ayant pour nom Google, Facebook et autre Apple ?
Le journaliste américain Michael Keller, spécialiste des nouveaux médias, et l’auteur de bande dessinée Josh Neufeld ont enquêté dans les méandres du big data, ces données personnelles que recueillent en nombre phénoménal un petit nombre d’entreprises privées ayant pignon sur le Web.
Ils ont interviewé des chercheurs, des universitaires, des hommes politiques pour les besoins d’une plongée documentée, non dénuée d’humour, au cœur de ces pratiques qui n’en finissent pas de poser question. Leur album sortira le 14 mars aux éditions Çà et Là. Nous vous proposons d’en lire en exclusivité les 30 premières pages.
Have you heard people talking about machine learning but only have a fuzzy idea of what that means? Are you tired of nodding your way through conversations with co-workers? Let’s change that!
This guide is for anyone who is curious about machine learning but has no idea where to start. I imagine there are a lot of people who tried reading the wikipedia article, got frustrated and gave up wishing someone would just give them a high-level explanation. That’s what this is.
The goal is be accessible to anyone — which means that there’s a lot of generalizations. But who cares? If this gets anyone more interested in ML, then mission accomplished.
What is machine learning?
Machine learning is the idea that there are generic algorithms that can tell you something interesting about a set of data without you having to write any custom code specific to the problem. Instead of writing code, you feed data to the generic algorithm and it builds its own logic based on the data.
For example, one kind of algorithm is a classification algorithm. It can put data into different groups. The same classification algorithm used to recognize handwritten numbers could also be used to classify emails into spam and not-spam without changing a line of code. It’s the same algorithm but it’s fed different training data so it comes up with different classification logic...
If you find your partner having a virtual relationship with someone else – or with a computer-generated individual – is that the same as adultery?
July 2015 might well be known as the month online infidelity went public. This date coincided with one of the biggest and most revealing hacks in history when the Ashley Madison database was compromised and made available online.
Ashley Madison, a dating website targeted at people already married or in relationships, had more than 36 million subscribers, 86% of whom were men.
Just over one year later, and immersive technologies like virtual reality (VR) and augmented reality (AR) are on course to become mainstream. But what happens when online infidelity and virtual reality collide?
Désormais présents dans la plupart des établissements, ils doivent concevoir et réaliser des modules de formation, et aider les enseignants à développer leurs compétences.
Essor des MOOC, boom du multimédia et de l’enseignement à distance, nouvelles méthodes de formation… Avec le renouveau de la pédagogie dans l’enseignement supérieur, le métier d’ingénieur pédagogique connaît un développement rapide. « Dans les pays anglo-saxons, la profession existe depuis longtemps, indique Stéphanie Conrad, en poste à l’Institut de pédagogie avancée (IPA) de l’Ecole supérieure des sciences commerciales d’Angers (Essca). Mais l’irruption des nouvelles technologies dans l’éducation a favorisé son expansion récente en France. »
Aujourd’hui, la plupart des établissements disposent d’équipes, plus ou moins étoffées, d’ingénieurs pédagogiques. Leur mission est d’abord de concevoir et de produire des modules d’enseignement, en puisant notamment dans les possibilités qu’offrent le numérique, Internet ou la vidéo. « La technologie ne doit être présente que si elle facilite l’apprentissage. Dans le cas contraire, il est préférable d’en rester au face à face classique avec le professeur », souligne Stéphane Justeau, directeur de l’IPA à l’Essca...
Now in its second edition, Digital Contagions is the first book to offer a comprehensive and critical analysis of the culture and history of the computer virus.
At a time when our networks arguably feel more insecure than ever, the book provides an overview of how our fears about networks are part of a more complex story of the development of digital culture. It writes a media archaeology of computer and network accidents that are endemic to the computational media ecology. Viruses, worms, and other software objects are not seen merely from the perspective of anti-virus research or practical security concerns, but as cultural and historical expressions that traverse a non-linear field from fiction to technical media, from net art to politics of software.
Mapping the anomalies of network culture from the angles of security concerns, the biopolitics of computer systems, and the aspirations for artificial life in software, this second edition also pays attention to the emergence of recent issues of cybersecurity and new forms of digital insecurity. A new preface by Sean Cubitt is also provided.
It’s lunchtime in Diego Garcia and still dark in the Mid-Atlantic, but the first light of day is reflecting hard white off the former Google facility in Hamina, Finland. The cameras on BLIX and RITTER, the twin UNDATA satellites I'm flying over Europe’s Eastern border, trigger automatically.
My shift’s first images appear on the monitor, overlays shimmering to life atop the decommissioned data center, outlining stacks of disassembled routers and cooling vents. The progress bar on the ops room’s jumbotron starts to fill. All green so far. The threat graph is bottomed-out today; the Finns have tightened up border security following several incursions by FSB and Spetssvyaz looters. But everything that was there yesterday is still there today. I take a moment to examine the traffic: dumper trucks heading towards Russia and the M10, the usual overnight flights nosing down from North America, the expected chatter in the ionosphere. Nothing to see here. The overview moves toward the Baltic States before swinging back up again, towards Sweden and the old Facebook plant.
...
Personal data is anything but personal. Our phones and televisions listen in on us; the most powerful corporations in the world trade in consumer tics, browsing histories, and demographic identities. James Bridle is an artist and technologist whose work addresses issues of privacy, surveillance, and security; he coined the term "New Aesthetic" to describe the way the visual language of technology has begun to seep into the physical world. This is his first work of fiction. -The Eds
The field of design has radically expanded. As a practice, design is no longer limited to the world of material objects, but rather extends from carefully crafted individual looks and online identities, to the surrounding galaxies of personal devices, new materials, interfaces, networks, systems, infrastructures, data, chemicals, organisms, and genetic codes, as Beatriz Colomina and Mark Wigley, curators of the 3rd Istanbul Design Biennial, put it in their manifesto (→).
Our response to the Biennial’s theme—Are We Human?—draws from “The Obligation to Self-Design” (e-flux Journal 0, →), a text by Boris Groys in which a genealogy of design is traced from the design of the soul and the design of the self to "the design of life as a whole." Superhumanity seeks to explore and challenge our understanding of “design” by engaging with and departing from the concept of the “self.” Superhumanity aims to probe the idea that we are and always have been continuously reshaped by the artifacts we shape, to which we ask: who designed the lives we live today? What are the forms of life we inhabit, and what new forms are currently being designed? Where are the sites, and what are the techniques, to design others?
Over fifty writers, scientists, artists, architects, designers, philosophers, historians, archeologists and anthropologists will bring new insight to these and related questions over the coming four months. Contributions will be published both on the e-flux website and dispatched as emails.
To join the Superhumanitymailing list, please subscribe to e-flux Architecture here.
In addition to online publication, a Superhumanity reading room will be exhibited from October 22 to November 20 at DEPO (Tütün Deposu Lüleci Hendek Caddesi No.12, Tophane 34425 İstanbul) as a part of the 3rd Istanbul Design Biennial.
Editors Beatriz Colomina - Nikolaus Hirsch - Anton Vidokle - Mark Wigley
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