James Patten: The best computer interface? Maybe ... your hands | Talk Video | TED.com - 3 views
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"The computer is an incredibly powerful means of creative expression," says designer and TED Fellow James Patten. But right now, we interact with computers, mainly, by typing and tapping. In this nifty talk and demo, Patten imagines a more visceral, physical way to bring your thoughts and ideas to life in the digital world, taking the computer interface off the screen and putting it into your hands.
World101x - 0 views
The Whatever Button Likes It All - 3 views
Ist „Look up" das verlogenste oder das dümmste Video des Jahres? | VICE Deuts... - 1 views
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Die Devise heißt nicht „Look Up“—sondern „Grow Up“. Und für Gary: Shut up.
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"Das Überraschende an diesem Video ist nicht, dass es so offensichtlich verlogen ist. (Es ist dafür gemacht worden, um auf sozialen Netzwerken viral zu gehen, und der Typ hat in der Beschreibung auf YouTube darunter gleich seine persönliche Website und seinen Twitter-Namen angegeben-er hat 2.387 Follower. 2.387 Twitter-Follower sind nicht schlecht für jemanden, der schlechte Gedichte darüber schreibt, wie böse soziale Netzwerke sind.)"
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Good article. It not only points out the irony of a viral video that rails against the effects of the internet, it illustrates well the nostalgia for the "real", "authentic" way of being that digital technologies have supposedly destroyed. As the article points out though, it's also interesting that so many people seem to find the video interesting and worth sharing, despite the fact that its message is cliched and massively sentimental. I actually had to turn the video off before the end because it was annoying me so much.
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Haha, yeah you're right. I've had the same experience and didn't watch it until the end.
Robot 'pals' are invading social media - and it's time to unfriend them - The Week - 2 views
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As I argue in my book, behind socialbots stands a massive, powerful network, one we've been hearing a lot about lately: the network of surveillance, comprised both of global corporations who buy and sell our attention and governments who demand our obedience.
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This article argues that the massive amounts of data that we make available about ourselves online allow bots to become ever more "human" in their self-presenation and interactions. Again referring to Latour: the traceability of so much behavioural data makes the distinction between "social" and "psychological" harder to maintain. At the same time, the availability of data allows machines to parse (and pass) all the more effectively.
Shoshanna Zuboff: Dark Google - 0 views
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Google’s absolutist pursuit of its interests is now regarded by many as responsible for the Web’s fading prospects as an open information platform in which participants can agree on rules, rights, and choice.
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In fact, the firms were developing a wholly new business logic that incorporated elements of the conventional logic of corporate capitalism –especially its adversarialism toward end consumers – along with elements from the new Internet world – especially its intimacy. The outcome was the elaboration of a new commercial logic based on hidden surveillance.
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We often hear that our privacy rights have been eroded and secrecy has grown. But that way of framing things obscures what’s really at stake. Privacy hasn’t been eroded. It’s been expropriated. The difference in framing provides new ways to define the problem and consider solutions.
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Look Up - YouTube - 0 views
Coffitivity - Increase Your Creativity! - 2 views
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It's amazing the amount of sites and digital tools dedicated to productivity, and its interesting to note that they are often directed at trying to combat some of the perceived negative effects of digital technologies themselves. Take this site, for example, it seeks to reintroduce the hubbub of a social environment, like a cafe, into the office.
Who's afraid of a MOOC?: on being education-y and course-ish - Neuroanthropology - 1 views
Email considered harmful - Boing Boing - 0 views
Serious Games | MIT Technology Review - 0 views
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This, in its purest form, is the Second Life that blew the media’s mind: not an escape from or even an imitation of reality but an expansion of it, potentially suitable for almost any human purpose. But as Life 2.0 testifies, the Second Life that blew the media’s mind turns out not to be the Second Life its inhabitants have made. This Second Life—documented in the film’s three in-depth portraits of more or less typical users—is less transcendent but no less profound. And it’s something that can’t really be recognized without understanding Second Life to be precisely what we’ve so often been told it’s not: a game.
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However serious the stakes in these pursuits, there is no escaping the element of play in all of them—of fantasy and make-believe—and the ways in which the dollhouse world of Second Life is uniquely suited to it.
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He could have. But the common thread running through almost any configuration of Second Life stories would have been the same: Dressing up. Flirting. Philandering. Playing records. Playing house. Building castles and curiosities out of endlessly editable virtual objects (“like the building blocks you had as a kid,” one Life 2.0 protagonist tells us). Second Life as it is really lived doesn’t even gesture toward the broad utility its creators aimed for. It’s not the promise of the metaverse. It’s just a lot of people giving rein to one form or another of a basic human impulse: playing.
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Julian Dibbell » A Rape in Cyberspace - 2 views
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here on the brink of a future in which human existence may find itself as tightly enveloped in digital environments as it is today in the architectural kind — demand a clear-eyed, sober, and unmystified consideration. It asks us to shut our ears for the time being to techno- utopian ecstasies and look without illusion upon the present possibilities for building, in the on-line spaces of this world, societies more decent and free than those mapped onto dirt and concrete and capital. It asks us to behold the new bodies awaiting us in virtual space undazzled by their phantom powers, and to get to the crucial work of sorting out the socially meaningful differences between those bodies and our physical ones. And perhaps most challengingly it asks us to wrap our late-modern ontologies, epistemologies, sexual ethics, and common sense around the curious notion of rape by voodoo doll — and to try not to warp them beyond recognition in the process.
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These particulars, as I said, are unambiguous. But they are far from simple, for the simple reason that every set of facts in virtual reality (or VR, as the locals abbreviate it) is shadowed by a second, complicating set: the “real-life” facts. And while a certain tension invariably buzzes in the gap between the hard, prosaic RL facts and their more fluid, dreamy VR counterparts, the dissonance in the Bungle case is striking.
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No hideous clowns or trickster spirits appear in the RL version of the incident, no voodoo dolls or wizard guns, indeed no rape at all as any RL court of law has yet defined it. The actors in the drama were university students for the most part, and they sat rather undramatically before computer screens the entire time, their only actions a spidery flitting of fingers across standard QWERTY keyboards. No bodies touched. Whatever physical interaction occurred consisted of a mingling of electronic signals sent from sites spread out between New York City and Melbourne, Australia. Those signals met in LambdaMOO, certainly, just as the hideous clown and the living room party did, but what was LambdaMOO after all? Not an enchanted mansion or anything of the sort — just a middlingly complex database, maintained for experimental purposes inside a Xerox Corporation research computer in Palo Alto and open to public access via the Internet.
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