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Category: flaneur

1972

A passage from Philip K. Dick’s “The Android and the Human”, written in 1972, in which he is prophesying the appearance of the hacker subculture. This was at a time before personal computers, when phone-phreaking was only getting started:

If, as it seems, we are in the process of becoming a totalitarian society in which the state apparatus is all-powerful, the ethics most important for the survival of the true, human individual would be: cheat, lie, evade, fake it, be elsewhere, forge documents, build improved electronic gadgets in your garage that’ll outwit the gadgets used by the authorities. If the television screen is going to watch you, rewire it late at night when you’re permitted to turn it off…

Shiro Nishiguchi, magazine illus., 1983-84
Shiro Nishiguchi, magazine illus., 1983-84

A humachine standoff

Pete-Something-or-Other

Someday a human being, named perhaps Fred White, may shoot a robot named Pete Something-or-Other, and to his surprise see it weep and bleed. And the dying robot may shoot back and, to its surprise, see a wisp of gray smoke arise from the electric pump that it supposed was Mr. White’s beating heart. It would be rather a great moment of truth for both of them.

Philip K. Dick, “The Android and the Human” (1972)

On hyperinflation in Diablo 3

The Mises Institute has a great article by Pete Earle analyzing the reasons behind the hyperinflationary collapse in Diablo 3. Key bit – this:

Considering the level of planning that goes into designing and maintaining virtual gaming environments, if a small, straightforward economy generating detailed, timely economic data for its managers can careen so completely aslant in a matter of months, should anyone be surprised when the performance of central banks consistently breeds results which are either ineffective or destabilizing?

Machine desire

How strange when sci-fi shorts made by artists non-aligned with any studio have higher production quality than legacy industry content produced at orders of magnitude the cost. How strange when creativity, production quality, and distribution are less and less associated with vertical organizations from the legacy industry, but are instead distributed often in the unlikeliest of places. Two examples. The Gift is a sci-fi short shot in Russia and directed by Carl E. Rinsch. It blends a gray dystopian future with  the modern-day streets of Moscow [I love the militsia Ladas chasing an android on a futuristic bike], and manages to tell more in five minutes than Oblivion in one hour. A lasting image I keep returning to is the unicorn, which we never see, but know that it is desired by humans and robots alike. What could be desired equally by humans and machines at the cost of their lives?

 The second short, Rosa is a haunting animation created by comic-artist Jesús Orellana. It reminds me, in spirit if not in realization, of some of the Animatrix shorts – the post-apocalyptic landscape inhabited by cyborg-like creatures, the interface through which the cyborgs interact with reality, and of course the style of the battles. The protagonist and her enemies seem to be of the same species, but while Rosa brings life her enemies are trying to extinguish it. The film is quite poetic in that life is started by a machine, and the place where the machine goes to die is a garden [in the ruins of a Gothic cathedral]. Natura ex machina?

True Skin

True Skin is an amazing and plausibly dystopian short inspired by body augmentation and, arguably, Google Glass. Shooting on the streets of Bangkok gives it a wonderfully gritty cyberpunk texture. Love it.

Snapshots

Here’s a list:

Summer. Climbing Cradle Mountain under a roof of clouds. Fivefinger barefoot shoes and sharp rocks do not go so well together.

Unpacking an Arduino starter kit for a project involving a tweeting door. But this is already autumn.

Summer. Away from internet, sociability, strangers asking ‘how are you today’, institutions, serious faces and comic intrigues, all the petty drama of bureaucracy. Instead, books.

Books as an intoxicating pleasure. Drinking in one go Jesse Bullington’s The Folly of the World [not so good, now only faint traces of the epic Brothers Grossbart remain], and Hugh Howey’s Wool [brilliant, delicious, exciting, best scifi cocktail in years]. Then at a leisurely pace Gwendolyn Leick’s Mesopotamia [intended as an overview on Sumerian/Babylonian city life it went sour somehow and now tastes as a textbook], to be followed by a deep breath and Robert Massie’s Peter the Great [fantastic book about a flaneur of singular proportions, to be consumed in large gulps, standing solidly and staring at the moon]. Then as a dessert, even slower, and with a lot of succulent side-reading, Nassim Taleb’s Antifragile [probabilistic theory as philosophy of life, served in a wonderfully the-bar-is-closing sort of way].  Taleb brings closure and understanding. For the strong of spirit however, he could be followed by Ludwig von Mises’ original 1912 edition of  Theory of Money and Credit, to be consumed very slowly, preferably before sleeping, with one eye on the eternal.

Autumn. Meetings. Early meetings, late meetings, postponed meetings, important meetings. Workshops too. And seminars. And workshops about grants, the purpose of which is explained in seminars, invitations to which are given at meetings.

Being invited to a meeting by omission. How is that even possible. The institution thinks someone else is doing what they’ve been paying you to be doing all along, and invites that person for a meeting, but then the person tells them that it is you who in fact is doing that, so they then invite you too but during the meeting keep showing ignorance of what is it that you are in fact doing. Invitation by omission.

Bumping into a colleague who complains of divergence. No focus. Must converge.

Teaching convergence to the generation born in the air of excitement surrounding Netscape Navigator. Fun, actually.

Unpacking a hexapod with proximity sensors for eyes. The orange blue-tooth monster. Is his name Randall?

Teaching game cultures to the post-post-console generation. Fun, actually.

Twitter. Relentless. And lectures.

Thinking of objects as data. Objects transitioning from a primary reality to liquid assemblages of data in algorithmic space. The tweeting, relentlessly sociable door. Sociable objects.

Where is that von Mises book?