“it’s increasingly difficult to defend a movement that decries what it argues is censorship, and then organizes co-ordinated strikes to silence those calling loudest for fairness and equality in our video games.” — The Verge
The critics all agree — ‘Fight’, episode 3 of the second season of ‘Masters of Sex‘ was a master-class of what television is capable of achieving in the art of storytelling.
Exquisitely paced, delicately told, and played with a tough vulnerability by Michael Sheen and Lizzy Caplain, it was a dance around the ring between their characters, while telling a bigger story about masculinity, respect and gender relations. Playing out in a single hotel room over an hour, the episode was riveting, symbolic and heart-rending for any watcher of the show.
The teaser below doesn’t begin to show what it was about.
Welcome, Robot Overlords. Please Don’t Fire Us? — Mother Jones
This is probably the best summary of the state of AI (exponential growth is not as slow as we think) and its future impact (the Luddites were 200 years too early).
A must-read article. A lot of this replacing-humans-with-machines is already happening, and jobs are disappearing. The Challenge is how we can re-organise society and money, in a new age when few people need to actually work, and machines can do everything better.
(Keep in mind the video shows the actual game in action, during play.)
This is quite possibly the most astonishing entertainment product ever achieved. What started in 1997 as a naughty game about stealing cars and driving badly, has become in 2013 an open-ended, free flowing, satirical interactive game about…well, life.
For many people, looking for alternate realities more comfortable than the offline life, this could be the future of entertainment. Start making money IN the game, and you have a closed loop – the future of an entire lifestyle.
Digital photography gives additional dominance to the remembering self. At his birthday party on the beach, my son almost leapfrogged over his realtime experience. He was no longer imagining what he looked like on that surf board. He was looking at what he looked like. The wave of emotions, senses and reactions that made up his initial experience were swept away by the undertow of a single sense: what his eyes saw on a two inch viewfinder.
That’s the core and urgent message of Pratap Bhanu Mehta’s brilliant op-ed in the Indian Express on the unacknowledged root of our present-day ills. It’s not lack of governance, development per se, or even corruption. Its a poverty of self knowledge.
“Indian society, with all its changes, is fast becoming a tale of misalignment: its self-understanding and its realities pulling in different directions. The social self-knowledge, the process by which society acquires an insight into its own workings and acts on it, lags behind its material capabilities,” writes Pratap Bhanu Mehta.
We are unable to speak or think about our nation, our politics or our problems in constructive, creative and imaginative ways. And nowhere is this more apparent, according to Mehta, than in the debate over the tradeoff between development and the environment.
Really interesting quote from a Vanity Fair write-up of the ‘New Aesthetic’ – a British ‘Art Movement-but-its-ridiculous-to-call-anything-that-these-days’. The idea is quite pertinent given the headlines these days. Its core artistic symbol is the unmanned robotic Drone.
“We always think that, as Orwell said, Fascism cannot succeed in Britain because it would be laughed at. I think that what terrifies us about some of the technological implications is that a machine can’t be laughed at. You can’t satirize Google. That’s what spawns new expressions like some of James’s work. It is a very particularly British reaction to the new American century of technology”: technology is something Americans do to us.
What the New Aesthetic is —
“It’s just me, looking at this stuff, and going, ‘Have you seen this [the new networked society and technologies]? Have you actually seen it? Have you really paid attention and thought this stuff through? Because I’m trying to, and it’s amazing!’” — James Bridle