KIROKAZE
The Bowery Presents
let's talk about Bridgerton tea, my ask is open
Keni
he wasn't even looking at me and he found me
macklin celebrini has autism
Noah Kahan
Cosimo Galluzzi
h
oozey mess
Jar Jar Binks Fan Club
gracie abrams
occasionally subtle
Kiana Khansmith
NASA
â
Lint Roller? I Barely Know Her
taylor price
Fai_Ryy
seen from Brazil
seen from Brazil
seen from T1
seen from Spain
seen from United States
seen from Ireland
seen from Brazil
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seen from United States
seen from Brazil
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@bashford
âI was aware that I was probably the first person to ever hear these sounds, and that what I was hearing was something musical that had probably never been heard by anyone before â at least, not by anyone on this planet.â John Chowning - The Father of the Digital Synthesizer
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"An AI, and others, would benefit from improved communication skill and infrastructure. Will the AI understand the wave of a police officer, indicating that the officer wants the AI to go through an intersection? Can it express to other vehicles that the reason it is idling in a narrow parking lot is to wait for a car up ahead to pull out? Can it accurately, precisely, and urgently express a sudden observation of dangerous road debris to (AI) drivers behind it? Can it communicate sufficiently with another brand of driver AI to achieve the subtle coordination required to safely convoy in close proximity?" - Open Problems in Cooperative AI
"The most important challenges of cooperation might be the most difficult to benchmark; they involve creatively stepping out of our habitual roles to change the âgameâ itself. Indeed, if we are to take the social nature of intelligence seriously, we need to move from individual objectives to the shared, poorly defined ways humans solve social problems: creating language, norms and institutions." - Cooperative AI: machines must learn to find common ground (Via Matt Jones)
"What's the future of interaction design?" â Chris Downs
"We designed tools and frameworks to help us see the world in new ways, but they also changed how we think. We shaped frameworks, and in turn they shaped us. 20th century approaches like design thinking, human-centered design, and jobs to be done too often look at people solely as individuals. Or, worse yet, only as consumers. They donât consider people in relation to their communities or to wider society. And society itself is ignored by design." Society Centered Design
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"What if new technologies could help us embrace natureâs diversity and complexity, instead of simplifying it? If breeders could unlock the genetic diversity of the 30,000 edible plant species that exist worldwide, they might be able to identify plant species and varieties that would be resilient and productive under the pressure of climate change. If growers could understand how each and every plant on their farm is growing and interacting with its environment, they could reduce the use of fertilizer, chemicals, and precious resources like water, and explore sophisticated growing techniques like intercropping and cover cropping that restore soil fertility and increase productivity." Project Mineral is using breakthroughs in artificial intelligence, sensors, and robotics to find ways to grow more food, more sustainably
âIdeas by definition are always fragile. If they were resolved, they wouldnât be ideas. Theyâd be products ready to ship. Iâve come to learn you have to make an extraordinary effort not to focus on the problems which are implicated with the new idea. These problems are known, they are quantifiable, understood. But you have to focus on the actual idea, which is partial, tentative and unproven. If you donât actively suspend your disbelief, if you donât believe there is a solution to the problems, of course you will lose faith in your ideas. That is why criticism and focusing on the problems can be so damaging, particularly in the absence of a constructive idea. Remember, opinions are not ideas, opinions are not as important as ideas, opinions are just.... opinions.â
Chobaniâs society centred vision of the future is really something I can get behind. More heartfelt and humane than any inadvertently dystopian vision film created by the big tech companies. Lovely.
The TR-808 art is a piece of art. It's engineering art, it's so beautifully made. If you have an idea of what is going on in the inside, if you look at the circuit diagram, and you see how the unknown Roland engineer was making the best out of super limited technology, it's unbelievable. You look at the circuit diagram like you look at an orchestral score, you think, how on earth did they come up with this idea. It's brilliant, it's a masterpiece.
Monolake
I think it's disingenuous for services like Alexa to give the impression of having a coherent, intelligent personality when the thing that talks to you is a patchwork of many complex systems, all running in server farms far away. The device sat in your room is not Alexa - it's the business end of a very large, very complex networked iceberg. I also think that it's a problem that the personality it pretends to have is bland, subservient, coded 'female' - a 1950s secretary in a box. This is why I like to make things that speak with many voices for these devices - a truer reflection of the herd of algorithms running things behind the scenes, and less bound to a particular false personality.
Henry Cooke in prehensile/alexa-sittingroom
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âI am sitting in a Roosevelt different from the one you are in nowâ
I Am Running In The Cloud v0.2 by Henry Cooke
you start with unconscious incompetency, so you donât even know you donât know. The second is conscious incompetency, so you know that you donât know. Third level is conscious competency, so you know youâve learnt something and youâre aware of doing it. Then you have the unconscious competency â which is mastery. When youâre doing it so intuitively you donât even think about it. So whatâs the next stage after? When you want to make something so epic, so next level it takes the world by storm. But to do that? You have to forget everything youâve learnt before.
Nobody Does D&B Like Krust
Maria Teriaeva on Soundcloud
âPlease listen in headphones to experience the spatial componentsâ
Kaitlyn Aurelia Smith plays the Buchla Music Easel
Teenage Engineering OP-1 meets Ciat-Lonbarde Cocoquantus
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Instrument designer Peter Blasser, of Ciat-Lonbarde and Shbobo came to England in March 2013. He delivered a workshop at the University of Huddersfield on his latest instrument, the Shnth, along with it's programming language, SHLISP. The Shnth is an embedded, ARM-based, digital synth, with built-in analog control.
This is the video documentation of D3D4LU5 - a realtime generative software containing two aesthetic and semantic dimensions that subtly interact. In the first, algorithms based on intelligent agents weave diaphanous structures, simultaneously outlining a soundscape characterized by an extremely slow but vibrant polyphonic rhythm, while against the background of this dense, almost particulate action, the artist has attempted to project the legend of Daedalus, in filigree, as it were. The second generative element has as its starting point an adapted version of a phrase pronounced by James Joyce's character Stephen Dedalus: âA software makes no mistakes. Its errors are volitional and are the portals of discovery.â The quote has been changed to make software its subject, then, powered by a lexical database and innervated by computational models, it generates endless variations on the theme.
Alessandro Capozzo , "D3D4LU5", 2016. Software. C++, Openframeworks, and PD. Semantic data generated with RiTa.