More hacking schadenfreude, but with an added GDPR element this time.
First, the hapless Tories.
Facebook says at least 50 million users affected by security breach Facebook said the FBI is now investigating. Because users in Europe are also affected, the company said it has informed data protection authorities in Ireland — where the company’s European headquarters are located. The Irish Data Protection Commission has asked Facebook to clarify the breach “urgently.” If Facebook is found to have breached European data protection rules — the newly implemented General Data Protection Regulation (GDPR) — the company can face fines of up to four percent of its global revenue.
Facebook hack: Here’s what you need to do to secure your account Critically, for European users, Facebook has been in touch with the Data Protection Commissioner in Ireland – where it is registered – to inform it of the breach. This will be the first data protection incident from one of the major tech companies since the enforcement of Europe’s General Data Protection Regulation (GDPR) in May. GDPR gives regulators the power to issue huge fines but this is yet to be tested. In a statement the Irish Data Protection Commission said Facebook hasn’t given it many details yet. It is “concerned” that despite Facebook discovering the breach on Tuesday, it hasn’t been able to “clarify the nature of the breach and the risk for users at this point”.
What can one do with a 10 metre high brutalist concrete speaker on a Taiwanese island that was used to blare out propaganda across the sea to China? Use it as the venue for “Sonic Territories”, of course.
Beishan Broadcast Wall: Taiwan’s eerie sonic weapon
It is the Beishan Broadcast Wall on one of Taiwan’s Kinmen Islands, just 2km (1.2 miles) away from China’s Xiamen city. Built in 1967, the broadcast wall used to be a strategic military stronghold that played a key role in sonic warfare across the straits, blasting out anti-communist propaganda. Nearly three decades after the tower stopped functioning, a group of artists based in Berlin and Taiwan are turning the forgotten historical site into an experimental art stage that investigates the idea of ‘territories’ beyond the conventional definition.
Such a strange place. It’s difficult to imagine what life must have been like to live there during that time.
The interaction with the local people during the performance, however, can only faintly bridge the gap between young Taiwanese and history. “To me Kinmen is an insane place. We visit the islands as if they were a history museum or a cabinet of curiosity. People there still live in another era, and young Taiwanese cannot imagine how they felt living under the terror of dictatorship,” Chang says.
ArtAsiaPacific: Sonic Territories Performance Recap
Berlin-based French artist Augustin Maurs’ segment reflected on the opposition between sound and silence in relation to trauma. His sound piece, played via the wall of speakers, comprised incantations of statements about that duality—sound and silence—including a translated, Mandarin version of a gut-wrenching speech made in opposition to gun violence by 16-year-old Emma Gonzalez in the wake of Florida’s Marjory Stoneman Douglas High School shooting earlier this year. In explaining his work, Maurs told ArtAsiaPacific: “It is about silence and the act of choosing when to speak, even when one does not necessarily wish to do so.”
Aural exhibition inspired by Kinmen’s Beishan Broadcast Wall bound for Berlin
Yang said instead of focusing on the pain caused by war, the exhibition emphasizes blessings, peace and the need to cloak the former battlefield with a sense of spiritual calm. It is also an attempt to heighten international awareness of Kinmen’s complicated history and the development of democracy in Taiwan, she added. […]
According to Yang, recordings of Kinmen residents detailing life on the island, as well as the sounds of the waves, wind and other signature aspects of the local soundscape, will take center stage at the Berlin leg of the exhibition. These are to be complemented by an atmospheric video capturing the visual contrast between Beishan and the nearby shoreline.
You can see that shoreline with Google Maps, as well as get a sense of the distances these broadcasts were originally travelling, across to China.
Beishan Broadcasting Wall: Classic Kinmen Travel
Situated on the cliff on Beishan, the Broadcasting Wall was built to protect speakers in the broadcasting station, and has a square shape formed with 48 speakers. From the exterior, it looks like a hive, and the sound can travel as far as 25 kilometers… And is the only tourist site all over the country where visitors can announce and spread propaganda mimicking a psychological warfare.
A review from TLS of what looks to be a fascinating book.
Pass the tortoise shell: Eve Houghton explores reading and writing across time and space
The history of the book does not always involve the study of either history or books. As James Raven shows in this slim, engaging volume, the question of what sort of object might count as a book remains very much up for debate. The history of the book in the Western world has traditionally made “book” synonymous with “codex” – gatherings of leaves folded or stitched together – but in Professor Raven’s geographically and chronologically wide-ranging account, it takes a variety of material forms: Chinese tortoise shells inscribed 3,000 years ago; Sumerian clay tablets impressed with cuneiform scripts; knotted string records, or khipus, used for record-keeping by South American Incan officials. The boundaries of the book seem even less clearly defined in the era of the blog post and Kindle.
I’ve mentioned khipus here before. It’s so odd to think of a bundle of knotty string as a book. But of course books aren’t just written, using knots or otherwise — they’re read too, a trickier research topic.
The book also gestures towards emerging areas of scholarship, particularly in an illuminating chapter on the history of reading. Raven writes that reading is “the most significant and challenging dimension of the history of books”. Because it leaves few material records, reading remains one of the most elusive practices to capture in historical terms. For example, it is not always a silent, solitary activity. As Paul Saenger and other scholars have shown, there is significant evidence that many people in pre-modern Europe heard books more than they read them. But how can historians and literary critics account for a form of engagement with books that, more often than not, left no trace behind?
I was going to make a comment about the rich, varied and global history of the book standing in contrast to its bland, flat future, if Amazon has its way, but that could be a little hypocritical as I’ll probably read this on my Kindle, like everyone else.
Conserve the sound
»Conserve the sound« is an online museum for vanishing and endangered sounds. The sound of a dial telephone, a walkman, a analog typewriter, a pay phone, a 56k modem, a nuclear power plant or even a cell phone keypad are partially already gone or are about to disappear from our daily life.
Ok, not so much ‘through the ages’, as ‘since 1995’, but you get the idea. This online museum is the brainchild of Petr Kovář, a user experience designer from the Czech Republic.
Web Design Museum At present, Internet Archive keeps the visual form of over 327 billion websites, the oldest of which date back to 1996. This service is undoubtedly a great aid to anyone who would like to look at the internet past. Unfortunately, it does not enable to follow past trends in web design or to go through websites originating only in a certain period. The thing is that Internet Archive is not a museum with carefully sorted exhibits that would give visitors a comprehensive picture of the web design past with the use of selected examples. It is more like a full archive of the internet.
Therefore, Web Design Museum sets the main objective to trace the past web design trends, and to give general public the full picture of the web design past with the use of selected exhibits. At the same time, it seeks to use selected websites to outline the development of websites from the most distant past until present.
Take a look at how our tastes have shifted over the years. It’s strange to think that, however old-fashioned they appear now, all of these designs would have been thought of as bang up-to-date, cutting-edge even, at the time.
It’s nice to see the wonderful k10k again, though. That still looks great.
“Ew,” “yowza,” and “OK” are now fair to play in Scrabble “Ew,” for instance, is a newly added word and an example of what lexicographer Peter Sokolowski, editor at large at Merriam-Webster, calls “transcribed speech.” This refers to expressions, such as “mm-hmm” (not playable) that are colloquial and used frequently online. Sokolowski told the Associated Press: “Traditionally, they were not in the dictionary but because so much of our communication is texting and social media that is written language, we are finding more transcribed speech and getting a new group of spellings for the dictionary.”
Tower Block Game, playful take on a not so playful architecture This game I’ve made is a playful tribute to a not so playful reality of monotonous and bleak cityscapes built out of same prefabricated concrete blocks. Very specific for Eastern-Europe but evident everywhere else too. These relic tower blocks usually mark failed social programmes and neighbourhoods planned as clumsy as some failed building block game…
After finding those, I trawled through my bookmarks on the hunt for more games-related stories. These few caught my eye, about Magic: The Gathering. My son plays this and has tried to explain it to me a number of times — I remain clueless.
Why Magic: The Gathering beats Poker or Chess any day The strategy paid off, helping to foster a group of professional Magic players like Jon Finkel and David Williams who grew up in the spotlight and were accustomed to high-stakes card games. Having mastered the fiendishly complex rules of Magic, they found it relatively easy to compete in a much simpler game like poker.
The twenty-five-year journey of Magic: The Gathering To change more rules, you needed to buy more cards. Many of the most powerful cards were rarely printed, which drove fans to crack open even more packs. By November of 1993, under the headline “Professor’s Game Casts Magic Spell on Players,” the Seattle Times reported that ten million cards had been sold in a few months. “I’ve wasted—no not wasted—I’ve used all my money just buying Magic cards,” an eleven-year-old boy named Jake told the Washington Post. He carried his deck around with him everywhere he went in case a game broke out. By 1997, Magic: The Gathering was so successful that Wizards of the Coast acquired Dungeons & Dragons. Newsweek noted that Wizards had sold two billion cards. A game like Magic, Garfield told the reporter, could “take over your personal operating system, like a virus.”
Whoops, it’s 2016 and I just got obsessed with Magic: The Gathering It’s one in the morning, and things aren’t going well. I’ve lost my first few matches; my virtual card decks have fallen apart. I think I have an idea, though. I frantically sort my cards, switching one color in my deck for another, the air caught in my lungs. With over 16,000 different cards available, Magic: the Gathering’s greatest barrier to entry is its sheer breadth. The number of strategic options potentially available to any player at any time is massive. If other games are a lake, Magic is an ocean.
As intriguing as it is, I still don’t really get MTG. Is it like D&D, with all the dice?
Critical Hit D20 waffle maker Certain foods just fall into alignments. Pancakes and waffles? Good, obviously. But while waffles are Lawful Good, pancakes are Chaotic Good. The syrup goes all over the place and there’s the dreaded butter well. Waffles follow rules. Pancakes break ’em.
Medieval fantasy city generator This application generates a random medieval city layout of a requested size. The generation method is rather arbitrary, the goal is to produce a nice looking map, not an accurate model of a city. Maybe in the future I’ll use its code as a basis for some game or maybe not.
Not a clue. I have fond memories of these games, however.
Dare YOU face the orcs? 80s game books Fighting Fantasy return Ian Livingstone calls it the “five-fingered bookmark”: that grip known to children of the 80s and 90s. You’d insert a finger into various sections of your Fighting Fantasy adventure game book in order to be able to return if, say, your choice to drink the “sparkling red liquid” and turn to section 98 turned out to be a bad one, or if attacking the Mirror Demon “from another dimensional plane” proved fatal.
These maps reveal the hidden structures of ‘Choose Your Own Adventure’ books There are also structures that loop readers through the story in unique ways. Mystery of the Maya, for example, has time travel, and keeps sending the reader back to the same page and place in time. (“Almost as if it were the temporal junction point for the entire space-time continuum,” as Doc Brown would say. If you think that’s what it is, click here. If you decide it’s just an “amazing coincidence,” click here.)
Sometimes the old board and card games are the best.
Solitaire as symbol and synecdoche Solitaire, a game mixing skill and chance, also provides what psychologists call “intermittent reinforcement.” Every time a card is revealed, there is, for the player, the possibility of a reward. The suspense, and the yearning, is what makes the game so compelling, even addictive. “Basically,” wrote Griffiths, “people keep playing in the absence of a reward hoping that another reward is just around the corner.” Turning over an ace in solitaire is really no different from getting a like on Facebook or a retweet on Twitter. We crave such symbolic tokens of accomplishment, such sweet nothings.
But even these games are being brought up-to-date.
Donald Rumsfeld releases solitaire app Rumsfeld presents himself as in over his head when it came to actually creating the game, which was made in partnership with WSC Solitaire. “I’ve reviewed wire frames and branding guides. I’ve spent countless hours on beta releases. I’ve signed off on something they call ‘UX’.”
Video games looked very different in my day, of course.
Some very entertaining plastic, emulated at the Archive Introducing the Handheld History Collection. This collection of emulated handheld games, tabletop machines, and even board games stretch from the 1970s well into the 1990s. They are attempts to make portable, digital versions of the LCD, VFD and LED-based machines that sold, often cheaply, at toy stores and booths over the decades.
The legend of Nintendo Next year, Nintendo will turn 130 years old. Once again, the outside world is wondering how a company periodically left for dead keeps revitalizing itself. But seesawing is nothing new for Nintendo. It has long alternated between fallow periods, in which the media churns out reports of pending doom, and boom times, during which Nintendo Mania is cast as an unstoppable force. What remains constant is the company’s understated and zealously guarded culture—the system at the root of its unusual ability to recalibrate, with some regularity, to humanity’s ever-evolving sense of play.
Play The Hitchhiker’s Guide to the Galaxy video game free online, designed by Douglas Adams in 1984 Back in 1985, Douglas Adams teamed up with Infocom’s Steve Meretzky to create an interactive fiction video game based on The Hitchhiker’s Guide to the Galaxy. Designed before graphic-intensive video games really hit their stride, the original Hitchhiker’s Guide game was played with text commands on the Apple II, Macintosh, Commodore 64, CP/M, DOS, Amiga, Atari 8-bit and Atari ST platforms. And it found instant success.
The cyberspace we forgot – Neuromancer As a game, Neuromancer is dated and unforgiving, with progress mostly coming from clunky and tedious trial and error. Its story is borderline fanfiction, as you name a character who just happens to resemble the novel’s down on his luck hacker anti-hero, and unravel a mystery that leads you to confront the titular AI. But in its portrayal of cyberspace—shortly before the world wide web was invented, and long before it became a household service—it remains intriguing. It’s a window into an era when the impact of computers on the world had not yet been fully realised, and when their potential seemed infinite. The Amigas, Apple IIs and Commodore 64s that ran Neuromancer wouldn’t have been able to read this. But the game showed their owners a world where computers could do so much more.
Behind a pizza-slice smile: the dark side of Pac-Man “He is the pure consumer,” wrote Poole in Trigger Happy. “With his obsessively gaping maw, he clearly only wants one thing: to feel whole, at peace with himself. He perhaps surmises that if he eats enough, in other words buys enough industrially produced goods – he will attain … perfect roundness. But it can never happen.”
The thrill of cleaning in video games “In a way, what I’m doing is cleaning. It’s the same urge that makes one suddenly decide to organize, to vacuum, as if gaining control over the space around you will offer some psychic relief, or will constitute, to you, some sense of progress. The pleasure in many games comes from putting things in order”
As well as looking very different nowadays, video games are being used very differently too.
‘We give access to a lost world’: Assassin’s Creed’s new life as a virtual museum The Discovery update, as it’s called, removes all combat, missions and story from Assassin’s Creed Origins, leaving you free to explore its detailed recreation of ancient Egypt at leisure. It also adds in 75 interactive tours, written in collaboration with Egyptologists from around Europe, which teach you about everything from mummification to the city of Alexandria. It’s like one of those audio guides that you can pick up at museums. The difference between Assassin’s Creed Origins and a museum, though, is that you are immersed, walking the streets of a village as an Egyptian child or riding a horse in the shadow of the great pyramids.
The Twitch streamers who spend years broadcasting to no one While there are tools to find lesser-known streamers, most people starting out without built-in audiences from other platforms or supportive friends and family end up staring at a big, fat zero on their viewership counter. This lonely live stream purgatory can last anywhere from a few days, weeks, months, sometimes even years, depending on your luck. According to people who have gone through it, lacking an audience is one of the most demoralizing things you can experience online.
That sounds terrible. Step away from the computer!
Pencil and Paper Games Pencil and Paper Games is devoted to games you can play with nothing more than a pencil and a piece of paper. These games are ideal for entertaining children and adults on rainy days or dark evenings, at home or on holiday.
A couple of videos via Aeon that caught me eye recently. Are science and religion two sides of the same coin? I guess it depends on your point of view, everything’s relative.
This clever and stylish 1960 film is the most fun you’ll ever have at a physics lecture Directed by the pioneering UK documentarian Richard Leacock, Frames of Reference is a slick and surreal dive into physics fundamentals and, in particular, why everything is indeed relative. Produced for high-school physics classes, the 1960 film features the physics professors Patterson Hume and Donald Ivey of the University of Toronto explaining, through an intertwined series of lectures and clever demonstrations, how frames of reference shape perspective. Using rotating sets, camera tricks and a visual style that suggests the film noir of Alfred Hitchcock, this is perhaps the most peculiarly entertaining half-hour physics lecture you’ll ever have.
Honk for Amen: worship meets convenience at the Daytona Beach Drive-In Christian Church The Daytona Beach Drive-In Christian Church has been offering worshippers in Florida Sunday services in the convenience of their cars for more than 60 years. Operating much like a drive-in movie theatre, the congregation parks and tunes in on the radio for Bible readings and sermons from the presiding minister in the altar building. Even pre-packaged consecrated wine and communion wafers are provided. Respectfully filmed yet imbued with dry humour, the US director Lauren DeFilippo’s observational short documentary Clean Hands guides us through a regular Sunday service here, prompting the viewer to ask: does Christian communion lose its meaning when shared from the comfort of a parked car?
The lunar gateway: a shortcut to Mars? “The moon has lain virtually undisturbed for the last 4.5bn years,” says Parker. “It is a museum of the history of our solar system. And yes, we visited it when we briefly landed Apollo spacecraft there. However, that was the equivalent of going to a museum, heading straight to the gift shop and then leaving. It is the dusty corners of a museum where you find the really interesting stuff – and that is where we are going to go with Gateway.”
And our boy’s keen to go, too, on his way to Mars. That may take some time, though.
How far is it to Mars? If the Earth were 100 pixels wide, the moon would be 3000 pixels away. Mars, at its closest, would be 428,000 pixels away.
And who knows what else is out there.
The unending hunt for Planet Nine, our solar system’s hidden world Astronomers are deeply divided, but intent on finding the truth. They’re using the world’s largest telescopes and most powerful supercomputers, and enlisting the help of thousands of amateurs like Forbes, who plays her part in this epic, astronomical search in between episodes of Love Island. Together, they will either pinpoint the location of this mysterious world and give the solar system a ninth planet, or rule out its existence once and for all.
* Being deceitful, that is. Or maybe just willfully ambiguous?
Let’s start with Alex Hayman from Which? University.
Students need clarity when choosing a university
It has been almost a year since the Advertising Standards Authority upheld a number of complaints about misleading information in HE. Despite the clear warnings, we’ve investigated and found at least six universities included examples of unsubstantiated or unverifiable claims about their standing on their websites, in likely breach of advertising standards. This just isn’t good enough.
Various examples are listed. This is an interesting line from The Guardian.
Hmm. But, of course, it’s not just the universities that are happy to stretch the truth.
Essay mills: ‘One in seven’ paying for university essays
More students than ever are paying someone else to write assignments for them via “essay mills”, a Swansea University study has revealed. The survey of more than 50,000 students, found 15.7% admitted to cheating since 2014 – up from an average of 3.5% over the last 40 years. […]
It showed the amount of students admitting to contract cheating, when students pass off a custom-made essay as their own, has increased over time. But Prof Newton, director of learning and teaching at Swansea Medical School, suggested the number could be much higher, as students who have paid for essays to be written are far less likely to volunteer to take part in surveys on cheating.
Indeed. But what if you want to exaggerate how much work you’ve done, but are a little short on funds? Free fonts!
Times Newer Roman
Introducing Times Newer Roman, a font that kinda looks like Times New Roman, except each character is 5-10% wider. Fulfill lengthy page requirements with hacked margins, adjusted punctuation sizing, and now, Times Newer Roman!
Of course, it’s the digital age, so there are some downsides: Times Newer Roman will only work for assignments you have to submit by hand or in a PDF. If you’re sending in a Word document using a custom font that professors almost certainly don’t have installed won’t help. Similarly, Times Newer Roman is only useful for hitting larger page counts; if you have a strict word count limit, you’re out of luck.
Tosca review, Opera North, Grand Theatre Leeds: a brutal, thumping success
The closest opera has yet come to the world-view of the action movie, Tosca hits hard, below the belt.There is no subtlety to mine here (though I toy with a fancy that Tosca might secretly be quite excited by Scarpia’s sexual offer) and no time to waste: from the violent opening explosion to the heroine’s final defiant death leap, Puccini has no higher aim than that of gripping an audience by its vitals.
Tosca review – contemporary take on Puccini is compelling and creepy
Edward Dick’s provocative, if quirky new production of Tosca for Opera North relocates Puccini’s political thriller from Rome during the Napoleonic wars to an unnamed present-day country in which church and state collude as forces of reaction. Dick is acutely aware that the opera maps on to the concerns of our own times – the printed programme contains photographs of a Five Star Movement rally in Rome and Donald Trump standing, head bowed, in front of a wooden cross. The staging alludes, too, both to the emergence of the new far right and the abusive sexuality that has resulted in #MeToo.
Tosca, Opera North review – exciting update, strong on sonic thrills
Puccini’s Tosca isn’t a subtle work, and this, Opera North’s fourth production since the company’s founding in 1978, is occasionally too loud and crude. But it’s undeniably powerful. Edward Dick’s 2017 Hansel and Gretel left me a little nonplussed, but this Tosca is miles better, a colourful update which manages to juggle plenty of schlock with sound artistic nous. He’s helped by conductor Antony Hermus, making his Opera North debut and securing some terrific, full-throated orchestral playing, much of it at the upper end of the dynamic scale.
In preparation, I’ve been listening to this Callas recording — it’s all pretty thunderous stuff!
I’ve not really been following the Kavanaugh’s nomination story — he sounds just as horrible as the rest of them — but I was really struck by the photo the New Yorker had on this article.
What would a serious investigation of Brett Kavanaugh look like?
There should be little doubt that a credible allegation of sexual assault is relevant to evaluating a Supreme Court nominee’s qualifications. Supreme Court Justices are the ultimate arbiters of the law, and that law determines how we deal with wrongdoing. But, as Hill noted in the Times this week, “the Senate Judiciary Committee still lacks a protocol for vetting sexual harassment and assault claims that surface during a confirmation hearing.”
I’ve always liked photos that show the photography process at work. They remind us not to take an image solely at face value. Behind every image is an image maker, and every image has been selected or manufactured for a reason.
That last article I linked to yesterday about children’s art leads on nicely to this one. Anne Quito from Quartz takes a look at Stick Figures: Drawing as a Human Practice, the new book by design historian D.B. Dowd.
According to Dowd, we’ve been misunderstanding the significance of drawing for too long. It’s not about performance, something left only to the “artists”, but about process, a way of observing and learning.
The observation that’s necessary for drawing is also enriching. “Drawing makes us slow down, be patient, pay attention,” he says. “Observation itself is respectful, above all else.”
In the closing chapter of Stick Figures, Dowd argues that drawing can even make us better citizens, in the sense that it trains us to wrestle with evidence and challenge assumptions. “It might seem sort of nutty, but I do think that drawing can be a form of citizenship,” he says. “Observation, inquiry, and steady effort are good for us.”
It’s a really interesting viewpoint. Looking back, all my posts about drawing have been more about the finished product than the process. Even the dancing one, the wind one and the one about the inflatable ball — all heavily process-driven — are artist-led, with an end product in mind.
I’ve just found a new (to me) corner of the web, full of interesting things to read.
Object Lessons is an essay and book series published by The Atlantic and Bloomsbury about the hidden lives of ordinary things, from sardines to silence, juniper berries to jumper cables.
Each Object Lessons project will start from a specific inspiration: an anthropological query, ecological matter, archeological discovery, historical event, literary passage, personal narrative, philosophical speculation, technological innovation—and from there develop original insights around and novel lessons about the object in question.
I love that domain name. Some of the essays I’ve bookmarked to catch up on later include:
Why it’s okay to throw your children’s art away
There’s a moment when a child first presents you with her art, holding it out with the last split second of attention she can muster after completing it. That moment contains a burst of pride on both your parts, and a frisson of mutual love. But in the end, your pride lasts longer than the child’s does. Eventually, and soon, it must move on to another venture. Theirs always does, but yours lingers, heartstrings tugged.
It’s the wish to prolong this moment artificially, I think, that motivates the urge to keep and curate your children’s art for posterity. You convince yourself there’s some future where your child will want to return to that moment of pride and love through the act of witnessing the thing she made so long ago.
Don’t fall for it. You’re only trying to make yourself feel better. You’ll never quite be able to tell which moment your children will remember, and it’s not as if you can regulate that memory on their behalf anyway. And besides, childhood is made from a thousand moments just like this. There’s no way to hold on to all of them.
I’m embarrassed to admit this is the first I’ve heard of this remarkable piece of video art. Christian Marclay’s The Clock, from 2010, is at Tate Modern till January.
The Clock review – ‘The longer you watch it, the more addictive it becomes’ When the screen says 8.23, I check my phone and find it’s telling the same time. A gaggle of clips from the 1950s and 60s signals that it’s time for the first cigarette of the day. Ashtrays full from the previous night are getting fresh ash tapped into them. Meanwhile, in a clip from the 1993 film Falling Down, Michael Douglas is in his car in a traffic jam, face tense and twitchy as he heads for a crazed rampage. And Richard Burton as a cockney gangster serves his mum breakfast in bed in a clip from – I think – the 1971 film Villain.
All these moments contain clocks – digital clocks, grandfather clocks, watches, alarm clocks or just the time on a TV newsflash – and that time is the same as the time your watch says. The Clock is a highly reliable clock. I am sure there is an art collector somewhere who owns a copy and projects it in the kitchen on a permanent loop to tell the time.
That last line reminded me of Raymond Dufayel from Amelie, aiming his video camera at the clock on the street outside, so that he doesn’t have to wind his own clocks. I’m sure that clip will be in there somewhere.
I wonder how many people have watched the whole of Marclay’s video. Is it really 24 hours long? Does it really not have any repeated clips in it? Quite remarkable.
‘It’s impossible!’ – Christian Marclay and the 24-hour clock made of movie clips It is a staggering, almost superhuman feat of research that has gained a cult following ever since it was unveiled at the White Cube gallery in London in 2010. The Clock’s easy-to-grasp governing principle coexists with the almost ungraspable fact that its creator, Christian Marclay, really has pulled it off, beguilingly combining the utter randomness of each individual clip with the strict form of his overarching idea, allowing everyone to meditate on time, how we’re obsessed with it, how there’s never enough of it.
Wanting a copy of the full video? Don’t hold your breath for a DVD release, it might be a little… costly.
The Clock (2010 film): Release Marclay made six editions of The Clock, plus two artist’s proofs. Five copies were designated to be sold to institutions for US$467,500 each under the condition that The Clock can’t be played in more than one location at the same time. The last copy was sold to hedge fund manager Steven A. Cohen for an undisclosed amount. Within a day of premiering The Clock, White Cube received a host of offers from museums, some of which purchased copies jointly. The sale became one of the largest purchases of video art and one of the highest purchases to happen on the primary market.
Another great find from the Futility Closet — an incredible book, hiding within an ordinary one.
To create his 1970 novel A Humument, British artist Tom Phillips began with W.H. Mallock’s forgotten 1892 novel A Human Document and drew, painted, and collaged over the pages, leaving a few words showing to tell a new, hitherto unrevealed story. For instance, the title arises from Phillips’ deletion of two central syllables in Mallock’s title, and the protagonist, Bill Toge, can appear only when the word “together” or “altogether” arises in Mallock’s original text.
The article points us to this amazing gallery of pages from the book. All I knew of Tom Phillips before reading this was that he collaborated with Peter Greenaway on A TV Dante, and you can certainly see some of that shared aesthetic here.
We’re also pointed to this review from the London Review of Books, for a more in-depth look at the ‘author’ and his ‘book’.
Double Act: Adam Smyth reviews ‘A Humument’ by Tom Phillips
He treats each page of Mallock’s novel in this way, effacing most of the text, generally by painting, occasionally by cutting, slicing, or even in one instance burning the page, to leave an alternative narrative. Phillips’s revealed story was in one sense always there in Mallock, just lost amid the torrent of other text. This is authorship as pruning, a process of erasure or cutting away that finds in the buttoned-up A Human Document a teeming world of humour, sex, sadness and art that would have baffled and shocked the conservative Mallock …
Phillips is a lover of games and chance and rules. With Brian Eno – his pupil at Ipswich Art School in the early 1960s – he invented ‘sound tennis’, striking a ball against five pianos with their workings exposed, and scoring according to the sounds produced. In A Humument, Phillips deploys what he calls ‘invited accident’: in the 1987 edition, coin tosses dictated which words should be struck out on page 99 of Mallock, until there were only two left standing: ‘something already’ …
The reeling comic voice that Phillips finds buried inside Mallock – ‘on the philosophy mattress to-night My sister is going to attempt to join the morning after and Aristotle’s Ethics’ – frequently recalls other masters of strange, urgent sentences: Monty Python; Samuel Beckett; Chris Morris in Blue Jam; and perhaps most vividly of all, Vivian Stanshall in Sir Henry at Rawlinson End. In fact, A Humument is a novel of quotation: not only in the sense that all of its words were written first by Mallock (although not, as Eric Morecambe said of the notes in his piano playing, necessarily in the right order); but also because Phillips pieces together Mallock’s words to produce other writers’ lines. So there is Donne and Shakespeare, but also lines from books that in 1892 had not yet been written. Versions of E.M. Forster’s ‘only connect’ (Howards End, 1910) pop up throughout: ‘merely connect’; ‘closely connect’; ‘oddly connect’; ‘My little muse was connect connect.’ Molly Bloom’s closing words in Ulysses (1922) fill A Humument’s penultimate page (‘And I said yes – yes, I will yes’); and Ezra Pound’s Make It New (1935) is in there too. Beckett is a constant near presence, including a version of the most famous lines from Worstward Ho (1983): ‘as years went on, you began to fail better.’ The temporality of the quotation is complex: Mallock (1892) is being made to quote Beckett (1983) by Phillips (in a 2012 edition of a book he began in 1966).
OK I’m getting dizzy now.
Can we call what Phillips is doing ‘writing’, or would some other term be better? What version of authorship or creativity is at work here? A Humument is a reminder that books are inevitably intertextual – they grow out of older texts – and that all writing involves selecting words from a finite pool: what appears to be a constraint, having to work within the walls of an existing novel, in fact dramatises a condition of literature.
I’m hearing more and more about data ethics. It wasn’t ‘a thing’ before, was it? But it certainly is now. Here’s a very interesting take on it: flow.
The ethics of data flow In Privacy in Context, Helen Nissenbaum connects data’s mobility to privacy and ethics. For Nissenbaum, the important issue isn’t what data should be private or public, but how data and information flow: what happens to your data, and how it is used. Information flows are central to our expectations of privacy, and respecting those expectations is at the heart of data ethics.
It’s not what they’ve got, but what they do with it that matters.
The infamous Target case, in which Target outed a pregnant teenager by sending ad circulars to her home, is a great example. We all buy things, and when we buy things, we know that data is used—to send bills and to manage inventory, if nothing else. In this case, the surprise was that Target used this customer’s purchase history to identify her as pregnant, and send circulars advertising products for pregnant women and new mothers to her house. The problem isn’t the collection of data, or even its use; the problem is that the advertising comes from, and produces, a different and unexpected data flow. The data that’s flowing isn’t just the feed to the marketing contractor. That ad circular, pushed into a mailbox (and read by the girl’s father) is another data flow, and one that’s not expected.
Everyone who works with data knows that data becomes much more powerful when it is combined with data from other sources. Data that seems innocuous, like a grocery store purchase history, can be combined with geographic data, medical data, and other kinds of data to characterize users and their behavior with great precision. Knowing whether a person purchases cigarettes can be of great interest to an insurance company, as can knowing whether a cardiac patient is buying bacon.
The article is written by and for data developers, primarily, and poses more questions than it can answer, especially around the thorny concept of data deletion. It’s an interesting read, but it left me wondering if those GDPR data protection principles will ever be fully put into practice.
The portrait in its gilt frame depicts a portly gentleman, possibly French and — to judge by his dark frockcoat and plain white collar — a man of the church. The work appears unfinished: the facial features are somewhat indistinct and there are blank areas of canvas. Oddly, the whole composition is displaced slightly to the north-west. A label on the wall states that the sitter is a man named Edmond Belamy, but the giveaway clue as to the origins of the work is the artist’s signature at the bottom right. In cursive Gallic script it reads:
This portrait, however, is not the product of a human mind. It was created by an artificial intelligence, an algorithm defined by that algebraic formula with its many parentheses.
It’s certainly a very interesting image — it reminds me a little of Francis Bacon’s popes — but the pedant in me would rather they stick with “created by an algorithm”, rather than generated by an artificial intelligence. We’re not there yet. It was the “product of a human mind”, albeit indirectly. Take that signature, for example. I refuse to believe that this artificial intelligence decided for itself to sign its work that way. Declaring the AI to be the artist, as opposed to the medium, is like saying Excel is the artist in this case:
Tatsuo Horiuchi, the 73-year old Excel spreadsheet artist
“I never used Excel at work but I saw other people making pretty graphs and thought, ‘I could probably draw with that,’” says 73-year old Tatsuo Horiuchi. About 13 years ago, shortly before retiring, Horiuchi decide he needed a new challenge in his life. So he bought a computer and began experimenting with Excel. “Graphics software is expensive but Excel comes pre-installed in most computers,” explained Horiuchi. “And it has more functions and is easier to use than [Microsoft] Paint.”
This AI is bad at drawing but will try anyways
This bird is less, um, recognizable. When the GAN has to draw *anything* I ask for, there’s just too much to keep track of – the problem’s too broad, and the algorithm spreads itself too thin. It doesn’t just have trouble with birds. A GAN that’s been trained just on celebrity faces will tend to produce photorealistic portraits. But this one, however…
In fact, it does a horrifying job with humans because it can never quite seem to get the number of orifices correct.
But it seems the human artists can still surprise us, so all’s well.
Holed up: man falls into art installation of 8ft hole painted black
If there were any doubt at all that Anish Kapoor’s work Descent into Limbo is a big hole with a 2.5-metre drop, and not a black circle painted on the floor, then it has been settled. An unnamed Italian man has discovered to his cost that the work is definitely a hole after apparently falling in it.
Brad Grissom from REgarding 365 sets out to untangle the various workflow and collaboration apps available within Office 365.
Where work gets done
By adding a couple of layers to the inner/outer loop analogy, I think we get a fuller picture of all the interactions that an individual may have within and outside of an organization. This model doesn’t capture all the apps in the Office 365 toolkit, but it should provide a fair representation. It also doesn’t perfectly provide a clear-cut answer to the question of what to use when. That’s okay in my book (or blog, as the case may be).
Buffalo Bill Gates makes celebrity portraits like you’ve never seen
Buffalo Bill Gates, aka Swedish artist Kalle Mattsson, a creator whose work is very much perfect for the part of the web made up of memes, idol irreverence and anarchic art. His weirdo celebrity portraits mash up famous faces with other celebrity identities or even fictional entities to create offbeat hybrid personalities like Putintin featured here.
As well as being really funny, I love how perfectly these faces line up. It must have taken ages to find photos with just the right angle.
Here’s an interesting take on productivity and efficiency from Nikhil Sonnad at Quartz.
Forget easy-to-use design. Choose something hard instead The new cult of simple software is making us less productive. Simple tools get in the way of our thinking by making assumptions about what we want to do, and by putting the ease of getting going ahead of optimizing productivity. By contrast, using a tool like Vim makes me more expressive. It reduces the friction between what’s in my head and what I can make happen on the computer. […]
It is time to embrace the difficult tool. No more accepting Excel when learning R or Python would let us do better work; no more out-of-the-box flashcards instead of customized software like Anki. Let’s stop expecting software to do everything for us, and put our minds to work.
Yes, sometimes less is more. But sometimes more is more, too. I’ll pass over Vim, I think, but I’m very tempted to head back over to Udemy and give those Python courses another go.