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Steve Bosserman

There is no difference between computer art and human art | Aeon Ideas - 0 views

  • In industry, there is blunt-force algorithmic tension – ‘Efficiency, capitalism, commerce!’ versus ‘Robots are stealing our jobs!’ But for algorithmic art, the tension is subtler. Only 4 per cent of the work done in the United States economy requires ‘creativity at a median human level’, according to the consulting firm McKinsey and Company. So for computer art – which tries explicitly to zoom into this small piece of that vocational pie – it’s a question not of efficiency or equity, but of trust. Art requires emotional and phrenic investments, with the promised return of a shared slice of the human experience. When we view computer art, the pestering, creepy worry is: who’s on the other end of the line? Is it human? We might, then, worry that it’s not art at all.
  • But the honest-to-God truth, at the end of all of this, is that this whole notion is in some way a put-on: a distinction without a difference. ‘Computer art’ doesn’t really exist in an any more provocative sense than ‘paint art’ or ‘piano art’ does. The algorithmic software was written by a human, after all, using theories thought up by a human, using a computer built by a human, using specs written by a human, using materials gathered by a human, at a company staffed by humans, using tools built by a human, and so on. Computer art is human art – a subset rather than a distinction. It’s safe to release the tension.
Bill Fulkerson

Anatomy of an AI System - 1 views

shared by Bill Fulkerson on 14 Sep 18 - No Cached
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    "With each interaction, Alexa is training to hear better, to interpret more precisely, to trigger actions that map to the user's commands more accurately, and to build a more complete model of their preferences, habits and desires. What is required to make this possible? Put simply: each small moment of convenience - be it answering a question, turning on a light, or playing a song - requires a vast planetary network, fueled by the extraction of non-renewable materials, labor, and data. The scale of resources required is many magnitudes greater than the energy and labor it would take a human to operate a household appliance or flick a switch. A full accounting for these costs is almost impossible, but it is increasingly important that we grasp the scale and scope if we are to understand and govern the technical infrastructures that thread through our lives. III The Salar, the world's largest flat surface, is located in southwest Bolivia at an altitude of 3,656 meters above sea level. It is a high plateau, covered by a few meters of salt crust which are exceptionally rich in lithium, containing 50% to 70% of the world's lithium reserves. 4 The Salar, alongside the neighboring Atacama regions in Chile and Argentina, are major sites for lithium extraction. This soft, silvery metal is currently used to power mobile connected devices, as a crucial material used for the production of lithium-Ion batteries. It is known as 'grey gold.' Smartphone batteries, for example, usually have less than eight grams of this material. 5 Each Tesla car needs approximately seven kilograms of lithium for its battery pack. 6 All these batteries have a limited lifespan, and once consumed they are thrown away as waste. Amazon reminds users that they cannot open up and repair their Echo, because this will void the warranty. The Amazon Echo is wall-powered, and also has a mobile battery base. This also has a limited lifespan and then must be thrown away as waste. According to the Ay
Bill Fulkerson

Why a 400-Year Program of Modernist Thinking is Exploding | naked capitalism - 0 views

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    " Fearless commentary on finance, economics, politics and power Follow yvessmith on Twitter Feedburner RSS Feed RSS Feed for Comments Subscribe via Email SUBSCRIBE Recent Items Links 3/11/17 - 03/11/2017 - Yves Smith Deutsche Bank Tries to Stay Alive - 03/11/2017 - Yves Smith John Helmer: Australian Government Trips Up Ukrainian Court Claim of MH17 as Terrorism - 03/11/2017 - Yves Smith 2:00PM Water Cooler 3/10/2017 - 03/10/2017 - Lambert Strether Why a 400-Year Program of Modernist Thinking is Exploding - 03/10/2017 - Yves Smith Links 3/10/17 - 03/10/2017 - Yves Smith Why It Will Take a Lot More Than a Smartphone to Get the Sharing Economy Started - 03/10/2017 - Yves Smith CalPERS' General Counsel Railroads Board on Fiduciary Counsel Selection - 03/10/2017 - Yves Smith Another Somalian Famine - 03/10/2017 - Yves Smith Trade now with TradeStation - Highest rated for frequent traders Why a 400-Year Program of Modernist Thinking is Exploding Posted on March 10, 2017 by Yves Smith By Lynn Parramore, Senior Research Analyst at the Institute for New Economic Thinking. Originally published at the Institute for New Economic Thinking website Across the globe, a collective freak-out spanning the whole political system is picking up steam with every new "surprise" election, rush of tormented souls across borders, and tweet from the star of America's great unreality show, Donald Trump. But what exactly is the force that seems to be pushing us towards Armageddon? Is it capitalism gone wild? Globalization? Political corruption? Techno-nightmares? Rajani Kanth, a political economist, social thinker, and poet, goes beyond any of these explanations for the answer. In his view, what's throwing most of us off kilter - whether we think of ourselves as on the left or right, capitalist or socialist -was birthed 400 years ago during the period of the Enlightenment. It's a set of assumptions, a particular way of looking at the world that pushed out previous modes o
Steve Bosserman

How Artists Are Bringing Blockchain to Their Neck of the Woods - 0 views

  • It’s also a process that upends our deeply rooted legal norms that attach ownership to people. If we have historically tied ownership to the concept of natural or legal persons, what then happens, asks Kolling, if a non-human agent, whether a natural entity or a computer program, gains the ability to own? “Wouldn’t this ability come along with some kind of personhood?”
  • Kolling and his terra0 co-founders are part of a broader wave that’s ushering blockchain into the art world. Some are merely using the technology to verify the authenticity of particular works, but many artists want to go further. “Every system which plainly reproduces the old one is quite boring,” says Seidler, 29, who’s a head shorter than the lanky Kolling. “What interests me is using distributed ledgers as experimental systems where issues of autonomy, value and cooperation can be renegotiated.”
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