terça-feira, maio 10, 2016

fear of content

Genre is central to the self’s authenticity. The self can only be parsed as “authentic” in relation to a legible set of conventions. “It is the perception of repetitions that makes a work of art intelligible,” Sontag writes in “On Style.” When I am trying to be true to myself, I turn “myself” into a genre, with readily recognizable and repeatable tropes. I can never be authentic, only authentically generic. I can create and meet a set of established stereotypes of myself. Being oneself always means being a self-parody, and being a parody of oneself is the process of self-discovery. Self-parody precedes selfhood.


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"Both relativity and quantum mechanics illustrate that you perceive yourself as being “local” even if..."

“Both relativity and quantum mechanics illustrate that you perceive yourself as being “local” even if you aren’t. Although in the external reality of general relativity, you’re an extended braidlike pattern in a static four-dimensional spacetime, you nonetheless perceive yourself as localized at a particular place and time in a three-dimensional world where things happen.”

- Tegmark, Max. Our Mathematical Universe: My Quest for the Ultimate Nature of Reality. London: Penguin Books, 2014. (via carvalhais)
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terça-feira, maio 03, 2016

THE HUMAN FACTOR (G.R.E.C., 2011)In 1914, an engineer sent away...



THE HUMAN FACTOR (G.R.E.C., 2011)

In 1914, an engineer sent away to reorganize a factory exchanges letters with his wife. As he tells her about his experiments in taylorism, she picks up bits and pieces of this method and applies it to her daily tasks at home. While he gets disappointed by the Taylor system, she becomes a true domestic engineer.

Mingling images of American institutional movies to extracts of handbooks on management from the 1900s and 1910s The Human Factor aims at showing the genesis of Taylorism and its main effects upon industrial societies. It is also a love story.


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on archiving movement

quinta-feira, abril 28, 2016

technology and metaphors

quarta-feira, abril 20, 2016

quinta-feira, abril 14, 2016

dirty data

One way to visualize what goes on is to turn the network upside down and ask it to enhance an input image in such a way as to elicit a particular interpretation. Say you want to know what sort of image would result in “Banana.” Start with an image full of random noise, then gradually tweak the image towards what the neural net considers a banana. By itself, that doesn’t work very well, but it does if we impose a prior constraint that the image should have similar statistics to natural images, such as neighboring pixels needing to be correlated. 

in, “Inceptionism: Going Deeper into Neural Networks,” Google Research Blog, June 17, 2015

from Hito Steyerl’s A Sea of Data: Apophenia and Pattern (Mis-)Recognition


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sábado, abril 09, 2016

Warhol’s prediction that everybody would be world-famous for...



Warhol’s prediction that everybody would be world-famous for fifteen minutes had become true long ago. Now many people want the contrary: to be invisible, if only for fifteen minutes. Even fifteen seconds would be great. - Hito Steyerl  / “The Spam of the Earth: Withdrawal from Representation


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quarta-feira, abril 06, 2016

"Photos are less markers of memories than they are Web-browser bookmarks for our lives. And, just as..."

“Photos are less markers of memories than they are Web-browser bookmarks for our lives. And, just as with bookmarks, after a few months it becomes hard to find photos or even to navigate back to the points worth remembering.”

- Om Malik, “In the Future, We Will Photograph Everything and Look at Nothing” (via newyorker)
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