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You Asked About CES 2018. We Answered. - The New York Times - 0 views

  • You Asked About CES 2018. We Answered. By BRIAN X. CHEN At the International Consumer Electronics Show this week in Las Vegas, thousands of tech companies showcased some of the hottest new innovations: artificial intelligence, self-driving car tech, the smart home, voice-controlled accessories, fifth-generation cellular connectivity and more.Curious about the new products and how they will affect your personal technology? Readers asked Brian X. Chen, our lead consumer technology writer who is attending the trade show, their questions about wireless, TV and the Internet of Things. 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  • At the International Consumer Electronics Show this week in Las Vegas, thousands of tech companies showcased some of the hottest new innovations: artificial intelligence, self-driving car tech, the smart home, voice-controlled accessories, fifth-generation cellular connectivity and more.
  • Curious about the new products and how they will affect your personal technology? Readers asked Brian X. Chen, our lead consumer technology writer who attended the trade show, their questions about wireless, TV and the Internet of Things. (In addition,
Javier E

Are the New 'Golden Age' TV Shows the New Novels? - NYTimes.com - 0 views

  • it’s become common to hear variations on the idea that quality cable TV shows are the new novels.
  • Thomas Doherty, writing in The Chronicle of Higher Education, called the new genre “Arc TV” — because its stories follow long, complex arcs of development — and insisted that “at its best, the world of Arc TV is as exquisitely calibrated as the social matrix of a Henry James novel.”
  • Mixed feelings about literature — the desire to annex its virtues while simultaneously belittling them — are typical of our culture today, which doesn’t know quite how to deal with an art form, like the novel, that is both democratic and demanding.
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  • comparing even the best TV shows with Dickens, or Henry James, also suggests how much the novel can achieve that TV doesn’t even attempt.
  • Television gives us something that looks like a small world, made by a group of people who are themselves a small world. The novel gives us sounds pinned down by hieroglyphs, refracted flickerings inside an individual.
  • Spectacle and melodrama remain at the heart of TV, as they do with all arts that must reach a large audience in order to be economically viable. But it is voice, tone, the sense of the author’s mind at work, that are the essence of literature, and they exist in language, not in images.
  • At this point in our technological evolution, to read a novel is to engage in probably the second-largest single act of pleasure-based data transfer that can take place between two human beings, exceeded only by sex. Novels are characterized by their intimacy, which is extreme, by their scale, which is vast, and by their form, which is linguistic and synesthetic. The novel is a kinky beast.
  • Televised evil, for instance, almost always takes melodramatic form: Our anti-heroes are mobsters, meth dealers or terrorists. But this has nothing to do with the way we encounter evil in real life, which is why a character like Gilbert Osmond, in “The Portrait of a Lady,” is more chilling in his bullying egotism than Tony Soprano
  • television and the novel travel in opposite directions.
jmfinizio

Transparent screens are the cool new tech trend - CNN - 0 views

  • you can also see right through them.
  • LG (LPL) unveiled a transparent TV with a screen you can see through when on or off.
  • While 8k TVs may be the next true big bump in screen resolution, many TV manufacturers use CES as a testing ground to tease new innovations.
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  • In August, Xiaomi started selling a 55-inch transparent TV with a mighty high $7,200 price tag.
  • Although transparent TVs seem like a cool-but-unnecessary technology, industry experts say they are something we could see more in public spaces soon.
  • "The major use case is going to be commercial for now,"
  • It's not unusual for companies to release technologies without a clear market for them
  • . Doing so is a way to gauge people's initial response and interest
  • LG's move to hide a transparent TV in a bed for its promotional video shows how the technology could find a home beyond public places
  • it can be placed like a space divider or against a large glass window, which will only look like glass when it is not in us
Javier E

My dad predicted Trump in 1985 - it's not Orwell, he warned, it's Brave New World | Med... - 2 views

  • But an image? One never says a picture is true or false. It either captures your attention or it doesn’t. The more TV we watched, the more we expected – and with our finger on the remote, the more we demanded – that not just our sitcoms and cop procedurals and other “junk TV” be entertaining but also our news and other issues of import.
  • This was, in spirit, the vision that Huxley predicted way back in 1931, the dystopia my father believed we should have been watching out for. He wrote:
  • What Orwell feared were those who would ban books. What Huxley feared was that there would be no reason to ban a book, for there would be no one who wanted to read one. Orwell feared those who would deprive us of information. Huxley feared those who would give us so much that we would be reduced to passivity and egoism. Orwell feared that the truth would be concealed from us. Huxley feared the truth would be drowned in a sea of irrelevance. Orwell feared we would become a captive culture. Huxley feared we would become a trivial culture.
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  • Today, the average weekly screen time for an American adult – brace yourself; this is not a typo – is 74 hours (and still going up)
  • The soundbite has been replaced by virality, meme, hot take, tweet. Can serious national issues really be explored in any coherent, meaningful way in such a fragmented, attention-challenged environment?
  • how engaged can any populace be when the most we’re asked to do is to like or not like a particular post, or “sign” an online petition?
  • How seriously should anyone take us, or should we take ourselves, when the “optics” of an address or campaign speech – raucousness, maybe actual violence, childishly attention-craving gestures or facial expressions – rather than the content of the speech determines how much “airtime” it gets, and how often people watch, share and favorite it?
  • Our public discourse has become so trivialized, it’s astounding that we still cling to the word “debates” for what our presidential candidates do onstage when facing each other.
  • Who can be shocked by the rise of a reality TV star, a man given to loud, inflammatory statements, many of which are spectacularly untrue but virtually all of which make for what used to be called “good television”?
  • Who can be appalled when the coin of the realm in public discourse is not experience, thoughtfulness or diplomacy but the ability to amuse – no matter how maddening or revolting the amusement?
  • “Television is a speed-of-light medium, a present-centered medium,” my father wrote. “Its grammar, so to say, permits no access to the past … history can play no significant role in image politics. For history is of value only to someone who takes seriously the notion that there are patterns in the past which may provide the present with nourishing traditions.”
  • Later in that passage, Czesław Miłosz, winner of the Nobel prize for literature, is cited for remarking in his 1980 acceptance speech that that era was notable for “a refusal to remember”; my father notes Miłosz referencing “the shattering fact that there are now more than one hundred books in print that deny that the Holocaust ever took place”.
  • “An Orwellian world is much easier to recognize, and to oppose, than a Huxleyan,” my father wrote. “Everything in our background has prepared us to know and resist a prison when the gates begin to close around us … [but] who is prepared to take arms against a sea of amusements?”
  • I wish I could tell you that, for all his prescience, my father also supplied a solution. He did no
  • First: treat false allegations as an opportunity. Seek information as close to the source as possible.
  • Second: don’t expect “the media” to do this job for you. Some of its practitioners do, brilliantly and at times heroically. But most of the media exists to sell you things.
  • Finally, and most importantly, it should be the responsibility of schools to make children aware of our information environments, which in many instances have become our entertainment environments
  • We must teach our children, from a very young age, to be skeptics, to listen carefully, to assume everyone is lying about everything. (Well, maybe not everyone.)
  • “what is required of us now is a new era of responsibility … giving our all to a difficult task. This is the price and the promise of citizenship.”
  • we need more than just hope for a way out. We need a strategy, or at least some tactics.
Javier E

Heady Stakes for 'Black-ish' on ABC - NYTimes.com - 0 views

  • hovering above all that is a more subtle — and quietly clever — narrative arc, involving the gap between parents and children and how each generation has a different awareness of what it means to be black in 2014.
  • I want it to succeed because the show arrives when black characters on mainstream broadcast networks who directly deal with issues like race are incredibly rare.
  • so far, his approach seems to be a hit. The premiere resonated with critics and attracted a robust 11 million viewers, besides generating a lot of positive reactions and discussions on social media. In a vote of confidence, ABC has given the show a full-season order.
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  • it seems as if networks think that post-racial story lines are the only acceptable ways of showcasing black characters on television.
  • TV is resplendent with ethnically diverse casts, from procedurals like “Law & Order: SVU” and “NCIS: Los Angeles” to hits like “Scandal” and “Elementary” to sitcoms like “New Girl” and “Brooklyn Nine-Nine.”  But the characters on those series don’t often deal directly with racial issues in everyday life and, by not doing so, perpetuate another kind of colorblindness, one that homogenizes characters and treats race as inconsequential, when it is anything but.
  • “The PC way of handling culture has been to not talk about it,” Kenya Barris, the show’s creator, said in an interview. “But we should be talking about it.”
  • What black viewers are left with instead, said Dayna Chatman, a media researcher at the Annenberg School for Communication and Journalism at the University of Southern California, is a dynamic that “makes whiteness the norm.”
  • reality television often showcases African-Americans, but since that genre is often about over-the-top performances, she said, it isn’t “particularly representative or flattering.”
  • “The business explanation is always that this isn’t what the marketplace is asking for,”
  • The lack of texture and diversity on television is harder to ignore amid the rise of streaming and online series (say, Netflix’s “Orange Is the New Black” or Issa Rae’s “The Misadventures of Awkward Black Girl”) as well as social media like Instagram and Vine (see King Bach’s account). They offer a welcome and much more nuanced window into black humor and culture.
  • there’s no middle ground: Either race is largely absent or exaggerated to the point of caricature.
  • He said ABC and cable networks pursued him and the “Black-ish” pilot “very aggressively.” Contrary to popular belief, networks “are looking for something that deals with diversity,” he said. “The problem has been timing and having the right package behind it.”
  • “This is the first time in American history where the most famous people in America are black,” he said, naming the Obama family and the musicians Kanye West and Beyoncé. “But there’s still a really obvious invisibility on television.”
  • Mr. Barris said he was determined to do more than create a successor to “The Cosby Show,” although “Black-ish” draws from its legacy. But while the popularity of the Huxtable family centered on its warmth and relatability, it was, Mr. Barris said, “about a family that happened to be black.” He added that he wanted his show to be much more cognizant of modern racial identity, and to reflect the class and racial dynamics of being black in America.
  • “We are hyperaware of how people and the media perceive us,” she said. “And who gets it and who doesn’t get it.”
  • In 2005, Mr. Chappelle walked away from his lucrative show on Comedy Central after expressing discomfort that the line between his social commentary and racial satire had grown too thin.
  • Today, there are a few other shows operating in the space left behind by Mr. Chappelle, including “Key & Peele” on Comedy Central and “Black Jesus” on Adult Swim. But those are cable outlets with smaller audiences, whereas “Black-ish” is on a mainstream network.
summertyler

TV VIEW - When Reality Begins to Look a Little Unreal - 0 views

  • When Reality Begins to Look a Little Unreal
  • Television's reality formats include everything from the nightly news to talk shows to ''based on fact'' movies to the Summer Olympics to Phil, Oprah and Geraldo. The only productions definitely not admitted under the reality umbrella are sitcoms and action-adventures.
  • Fox Broadcasting, already happy about its ''America's Most Wanted,'' a package that adds up to an excuse for the detailed re-creation of violent crimes, is now pushing ''Beyond Tomorrow,'' a magazine about technology developments. The premiere featured a reporter in a sushi restaurant in Japan ''accidentally'' spilling sauce on his $35 polo shirt, which was then cleaned to spotless perfection by high-frequency sound waves.
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  • How much of this kind of reality can the public take? Producers clearly see no end in sight, and the results are increasingly becoming more questionable.
  • This is what's called a ''reality-based'' series, a label that has less to do with reality than comforting formula. The cameras do not go to a real hospital. But three real doctors are on the production staff.
  • ''What you are about to see is real,'' we were told once again.
  • His life shattered, he now has the dubious pleasure of knowing that, for some 20 minutes, he was the star of a television reality entertainment.
  • ''On Trial'' opens with an announcer exclaiming that viewers are about to see ''Real people! Real Cases! Real Life!'' Mr. Clooney, a distinguished-looking fellow, fills in the pertinent facts.
  • Everything is designed, they say, to ''give the show its docudrama look.'' The show's regular staff of three doctors are depicted by actors.
  • Needless to say, medical problems and crises have long been popular on television, especially on soap operas. ''Family Medical Center'' merely dispenses with extraneous plot and character developments and goes right to the medical core. A press release is candid about the show's interpretation of reality: ''It will have suspense, conflict and a resolution, which in almost all cases will be a happy one.''
  • The show looks as real as television entertainment can possibly make it. Alert viewers, however, will note whizzing by in the final credits the following advisory: '' 'Family Medical Center' is a dramatization. The characters are fictional and bear no resemblance to persons living or dead.''
  • Television reality wears many masks. A key to the overall picture was provided by one of those actors who deceived Oprah Winfrey and Geraldo Rivera with false impersonations on air. Why not, he shrugged, it's all entertainment. Frightening but not beyond comprehension.
  •  
    How can you know if a show that is called reality, is actually reality, or if it is just "reality"?
katrinaskibicki

TV is killing off so many characters that death is losing its punch - Vox - 0 views

  • TV is drowning in cheap, sloppily executed deaths
  • The spring of 2016 has been marked by death after death after death on TV. Some have proved controversial. Some have passed without commentary. A couple have been largely applauded.
  • But the fact remains: TV is killing major characters at an astonishing rate.
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  • That's the allure of a TV death in a nutshell. It's why everybody in the industry keeps chasing it. It raises the show's dramatic stakes. It almost automatically creates lots of conversation. And when done well, it can take your show to another level.
  • The problem with most TV deaths is pretty simple: They're frequently devoid of meaning, inserted into the plot only to create shock and boost a show's profile on Twitter.
  • Since it's hard to simply force audiences to care about the deaths of extreme supporting characters, both The Walking Dead and Game of Thrones have increasingly turned toward sensationalizing the deaths that do occur, making them bigger and bloodier, with mixed results.
  • The problem only compounds itself if you survey television as a whole. In isolation, a death that is adequate, though not particularly stirring, becomes harder to take when there's a whole wave of mediocre deaths around the programming grid. It gives off the appearance of a medium that's turning, increasingly, toward desperation.
Javier E

How YouTube Drives People to the Internet's Darkest Corners - WSJ - 0 views

  • YouTube is the new television, with more than 1.5 billion users, and videos the site recommends have the power to influence viewpoints around the world.
  • Those recommendations often present divisive, misleading or false content despite changes the site has recently made to highlight more-neutral fare, a Wall Street Journal investigation found.
  • Behind that growth is an algorithm that creates personalized playlists. YouTube says these recommendations drive more than 70% of its viewing time, making the algorithm among the single biggest deciders of what people watch.
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  • People cumulatively watch more than a billion YouTube hours daily world-wide, a 10-fold increase from 2012
  • After the Journal this week provided examples of how the site still promotes deceptive and divisive videos, YouTube executives said the recommendations were a problem.
  • When users show a political bias in what they choose to view, YouTube typically recommends videos that echo those biases, often with more-extreme viewpoints.
  • Such recommendations play into concerns about how social-media sites can amplify extremist voices, sow misinformation and isolate users in “filter bubbles”
  • Unlike Facebook Inc. and Twitter Inc. sites, where users see content from accounts they choose to follow, YouTube takes an active role in pushing information to users they likely wouldn’t have otherwise seen.
  • “The editorial policy of these new platforms is to essentially not have one,”
  • “That sounded great when it was all about free speech and ‘in the marketplace of ideas, only the best ones win.’ But we’re seeing again and again that that’s not what happens. What’s happening instead is the systems are being gamed and people are being gamed.”
  • YouTube has been tweaking its algorithm since last autumn to surface what its executives call “more authoritative” news source
  • YouTube last week said it is considering a design change to promote relevant information from credible news sources alongside videos that push conspiracy theories.
  • The Journal investigation found YouTube’s recommendations often lead users to channels that feature conspiracy theories, partisan viewpoints and misleading videos, even when those users haven’t shown interest in such content.
  • YouTube engineered its algorithm several years ago to make the site “sticky”—to recommend videos that keep users staying to watch still more, said current and former YouTube engineers who helped build it. The site earns money selling ads that run before and during videos.
  • YouTube’s algorithm tweaks don’t appear to have changed how YouTube recommends videos on its home page. On the home page, the algorithm provides a personalized feed for each logged-in user largely based on what the user has watched.
  • There is another way to calculate recommendations, demonstrated by YouTube’s parent, Alphabet Inc.’s Google. It has designed its search-engine algorithms to recommend sources that are authoritative, not just popular.
  • Google spokeswoman Crystal Dahlen said that Google improved its algorithm last year “to surface more authoritative content, to help prevent the spread of blatantly misleading, low-quality, offensive or downright false information,” adding that it is “working with the YouTube team to help share learnings.”
  • In recent weeks, it has expanded that change to other news-related queries. Since then, the Journal’s tests show, news searches in YouTube return fewer videos from highly partisan channels.
  • YouTube’s recommendations became even more effective at keeping people on the site in 2016, when the company began employing an artificial-intelligence technique called a deep neural network that makes connections between videos that humans wouldn’t. The algorithm uses hundreds of signals, YouTube says, but the most important remains what a given user has watched.
  • Using a deep neural network makes the recommendations more of a black box to engineers than previous techniques,
  • “We don’t have to think as much,” he said. “We’ll just give it some raw data and let it figure it out.”
  • To better understand the algorithm, the Journal enlisted former YouTube engineer Guillaume Chaslot, who worked on its recommendation engine, to analyze thousands of YouTube’s recommendations on the most popular news-related queries
  • Mr. Chaslot created a computer program that simulates the “rabbit hole” users often descend into when surfing the site. In the Journal study, the program collected the top five results to a given search. Next, it gathered the top three recommendations that YouTube promoted once the program clicked on each of those results. Then it gathered the top three recommendations for each of those promoted videos, continuing four clicks from the original search.
  • The first analysis, of November’s top search terms, showed YouTube frequently led users to divisive and misleading videos. On the 21 news-related searches left after eliminating queries about entertainment, sports and gaming—such as “Trump,” “North Korea” and “bitcoin”—YouTube most frequently recommended these videos:
  • The algorithm doesn’t seek out extreme videos, they said, but looks for clips that data show are already drawing high traffic and keeping people on the site. Those videos often tend to be sensationalist and on the extreme fringe, the engineers said.
  • Repeated tests by the Journal as recently as this week showed the home page often fed far-right or far-left videos to users who watched relatively mainstream news sources, such as Fox News and MSNBC.
  • Searching some topics and then returning to the home page without doing a new search can produce recommendations that push users toward conspiracy theories even if they seek out just mainstream sources.
  • After searching for “9/11” last month, then clicking on a single CNN clip about the attacks, and then returning to the home page, the fifth and sixth recommended videos were about claims the U.S. government carried out the attacks. One, titled “Footage Shows Military Plane hitting WTC Tower on 9/11—13 Witnesses React”—had 5.3 million views.
Javier E

Chris Hayes Has Arrived With 'Up' - NYTimes.com - 0 views

  • In less than a year on television (and with a chirpy voice, a weakness for gesticulation and a tendency to drop honors-thesis words like “signifier” into casual conversation), Mr. Hayes has established himself as Generation Y’s wonk prince of the morning political talk-show circuit.
  • “He is never doctrinaire,” Mr. Leo said in an interview. Both punk fans and “Up” fans are “suspicious of any authority,” he said, and appreciate that Mr. Hayes “is always willing to challenge his own assumptions, and the received wisdom on both sides of the aisle.”
  • Social media, in fact, have played an unusually important role in driving traffic to the program, an MSNBC spokeswoman said. About 45 percent of the visitors to the program’s Web site, which contains complete episodes, linked through sites like Facebook and Twitter. In April, those users spent an average of 51 minutes on the site each visit.
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  • “Up” comes off as a rebuke to traditional cable shout-fests like CNN’s late “Crossfire.” Thanks to its early weekend time slot, the program has the freedom to unwind over two hours each Saturday and Sunday. Guests are encouraged to go deep into the issues of the week, and not try to score cheap-shot points to win the debate.
  • “The first and foremost important rule of the show: we’re not on television — no talking points, no sound bites,” he said, his hair still a bed-head tangle and his suit collar askew. “We have a lot of time for actual conversation. So actually listen, actually respond.”
  • An hour later, as the cameras rolled, Mr. Hayes and his guests waded thigh-deep into an analysis of private equity and whether it is bad for the economy. At a table of wonks, Mr. Hayes, who studied the philosophy of mathematics at Brown, came off as the wonkiest as he deconstructed the budgetary implications of tax arbitrage. Opinions were varied and passionate, but there was no sniping, no partisan grandstanding.
  • “I like t
  • he fact that it’s dialogic, small-d ‘democratic,’ ” Mr. Hayes said of his show. “We’re all sitting at t
  • Since Dec. 26, it has been No. 1 on average in its Sunday time slot on cable news channels among viewers ages 18 to 34, according to Nielsen figures provided by the network.
  • Ms. Maddow said on her program that “Up” was “the best news show on TV, including this one.” “Chris is the antidote to the anti-intellectual posing that has characterized the last decade in cable news,”
  • “No one else in cable is even trying long-form, off-the-news-cycle dives like him — let alone succeeding at them as he is. He’s giving the network Sunday shows a run for their money.”
  • As a student at Hunter College High School in Manhattan, he aspired to write. “My dream when I was 14,” he said, “was someday I could have a David Levine caricature of me in The New York Review of Books.”
carolinewren

Sarah Palin dives in poll ratings as Tina Fey impersonates her on Saturday Night Live -... - 0 views

  • Palin's poll ratings are telling a more devastating story.
  • In a Newsweek poll in September, voters were asked whether Palin was qualified or unqualified to be president. The result was a near dead-heat. In the same poll this month, those saying she was "unqualified" outnumbered those saying she was "qualified" by a massive 16 points
  • It currently commands 10 million viewers – a creditable figure for a primetime drama, let alone a late-night sketch show.
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  • Other satirical shows, such as The Daily Show with Jon Stewart and The Colbert Report, are also enjoying record ratings, as well as influence far beyond their own viewers.
  • Even bigger than Saturday Night Live have been the presidential and vice-presidential debates. Sarah Palin's set-to with Joe Biden on October 2 attracted nearly 70 million viewers – a record for a vice-presidential debate and the highest-rated election debate since 1992
  • It is impossible to imagine a similar level of engagement with political television in this country. Gordon Brown and David Cameron would not only have to debate each other on TV – an unlikely scenario in itself – but pull in an audience bigger than the finals of Britain's Got Talent and Strictly Come Dancing put together
  • American networks do have some advantages over the BBC and ITV in planning and executing their political coverage
  • four-year timetable, avoiding the unholy scramble when a British general election is called at a month's notice.
  • engage with the process much earlier on – not least with their Sunday morning political talk shows
  • "I think we're learning what it means to have opinion journalism in this country on such a grand scale," says Stelter. "It's only in the last six to 12 months that those lines have hardened between Fox and MSNBC. I think the [ratings] numbers for cable have surprised people.
  • I think that shows that people are looking for different stripes of political news."
  • American political TV certainly is polarised. When Governor Palin attacked the media in her speech at the Republican convention last month, the crowd chanted "NBC"
  • Gwen Ifill, a respected anchor on the non-commercial channel PBS, who moderated the vice-presidential debate, saw her impartiality attacked because she is writing a book about African-American politics that mentions Obama in its title
  • America's networks comprehensively outstrip this country in both volume and quality of political coverage.
  • All three major US networks – ABC, CBS and NBC – offer a large amount of serious (and unbiased) political coverage, both in their evening network newscasts and in their morning equivalents of GMTV
  • Impartiality and the public service ethos hardly characterise Tina Fey's performances. Tonight's presidential debate forms part of a series driven largely by commercial networks, not publicly funded channels. Neither Fox News nor MSNBC was set up as a sop to a regulator
Javier E

'I Like to Watch,' by Emily Nussbaum book review - The Washington Post - 0 views

  • Nussbaum’s case: That television could be great, and not because it was “novelistic” or “cinematic” but because it was, simply, television, “episodic, collaborative, writer-driven, and formulaic” by design.
  • According to Nussbaum, a TV show achieved greatness not despite these facts (which assumes they are limitations) but because of them (which sees them as an infrastructure that provokes creativity and beauty — “the sort that govern sonnets,”
  • Nussbaum’s once-iconoclastic views have become mainstream.
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  • It is increasingly common to find yourself apologizing not for watching too much TV but for having failed to spend 70 hours of your precious, finite life binge-watching one of the Golden Age of Television’s finest offerings.
  • Nussbaum writes of her male classmates at NYU, where she was a literature doctoral student in the late 1990s. These men worshiped literature and film; they thought TV was trash. These men “were also, not coincidentally, the ones whose opinions tended to dominate mainstream media conversation.”
  • the same forces that marginalize the already-marginalized still work to keep TV shows by and about women, people of color, and LGBTQ+ individuals on a lower tier than those about cis, straight, white men: Your Tony Sopranos, your Walter Whites, your Don Drapers, your True Detectives
  • Over and over, Nussbaum pushes back against a hierarchy that rewards dramas centered on men and hyperbolically masculine pursuits (dealing drugs, being a cop, committing murders, having sex with beautiful women) and shoves comedies and whatever scans as “female” to the side.
  • Nussbaum sticks up for soaps, rom-coms, romance novels and reality television, “the genres that get dismissed as fluff, which is how our culture regards art that makes women’s lives look like fun.
  • Nussbaum’s writing consistently comes back to the question of “whose stories carried weight . . . what kind of creativity counted as ambitious, and who . . . deserved attention . . . Whose story counted as universal?
  • What does it mean to think morally about the art we consume — and, by extension, financially support, and center in our emotional and imaginative lives? The art that informs, on some near-cellular level, who we want to know and love and be?
  • maybe the next frontier of cultural thought is in thinking more cohesively about what we’ve long compartmentalized — of not stashing conflicting feelings about good art by bad men in some dark corner of our minds, but in holding our discomfort and contradictions up to the light, for a clearer view.
Javier E

Wine-tasting: it's junk science | Life and style | The Observer - 0 views

  • google_ad_client = 'ca-guardian_js'; google_ad_channel = 'lifeandstyle'; google_max_num_ads = '3'; // Comments Click here to join the discussion. We can't load the discussion on guardian.co.uk because you don't have JavaScript enabled. if (!!window.postMessage) { jQuery.getScript('http://discussion.guardian.co.uk/embed.js') } else { jQuery('#d2-root').removeClass('hd').html( '' + 'Comments' + 'Click here to join the discussion.We can\'t load the ' + 'discussion on guardian.co.uk ' + 'because your web browser does not support all the features that we ' + 'need. If you cannot upgrade your browser to a newer version, you can ' + 'access the discussion ' + 'here.' ); } Wor
  • Hodgson approached the organisers of the California State Fair wine competition, the oldest contest of its kind in North America, and proposed an experiment for their annual June tasting sessions.Each panel of four judges would be presented with their usual "flight" of samples to sniff, sip and slurp. But some wines would be presented to the panel three times, poured from the same bottle each time. The results would be compiled and analysed to see whether wine testing really is scientific.
  • Results from the first four years of the experiment, published in the Journal of Wine Economics, showed a typical judge's scores varied by plus or minus four points over the three blind tastings. A wine deemed to be a good 90 would be rated as an acceptable 86 by the same judge minutes later and then an excellent 94.
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  • Hodgson's findings have stunned the wine industry. Over the years he has shown again and again that even trained, professional palates are terrible at judging wine."The results are disturbing," says Hodgson from the Fieldbrook Winery in Humboldt County, described by its owner as a rural paradise. "Only about 10% of judges are consistent and those judges who were consistent one year were ordinary the next year."Chance has a great deal to do with the awards that wines win."
  • French academic Frédéric Brochet tested the effect of labels in 2001. He presented the same Bordeaux superior wine to 57 volunteers a week apart and in two different bottles – one for a table wine, the other for a grand cru.The tasters were fooled.When tasting a supposedly superior wine, their language was more positive – describing it as complex, balanced, long and woody. When the same wine was presented as plonk, the critics were more likely to use negatives such as weak, light and flat.
  • In 2011 Professor Richard Wiseman, a psychologist (and former professional magician) at Hertfordshire University invited 578 people to comment on a range of red and white wines, varying from £3.49 for a claret to £30 for champagne, and tasted blind.People could tell the difference between wines under £5 and those above £10 only 53% of the time for whites and only 47% of the time for reds. Overall they would have been just as a successful flipping a coin to guess.
  • why are ordinary drinkers and the experts so poor at tasting blind? Part of the answer lies in the sheer complexity of wine.For a drink made by fermenting fruit juice, wine is a remarkably sophisticated chemical cocktail. Dr Bryce Rankine, an Australian wine scientist, identified 27 distinct organic acids in wine, 23 varieties of alcohol in addition to the common ethanol, more than 80 esters and aldehydes, 16 sugars, plus a long list of assorted vitamins and minerals that wouldn't look out of place on the ingredients list of a cereal pack. There are even harmless traces of lead and arsenic that come from the soil.
  • "People underestimate how clever the olfactory system is at detecting aromas and our brain is at interpreting them," says Hutchinson."The olfactory system has the complexity in terms of its protein receptors to detect all the different aromas, but the brain response isn't always up to it. But I'm a believer that everyone has the same equipment and it comes down to learning how to interpret it." Within eight tastings, most people can learn to detect and name a reasonable range of aromas in wine
  • People struggle with assessing wine because the brain's interpretation of aroma and bouquet is based on far more than the chemicals found in the drink. Temperature plays a big part. Volatiles in wine are more active when wine is warmer. Serve a New World chardonnay too cold and you'll only taste the overpowering oak. Serve a red too warm and the heady boozy qualities will be overpowering.
  • Colour affects our perceptions too. In 2001 Frédérick Brochet of the University of Bordeaux asked 54 wine experts to test two glasses of wine – one red, one white. Using the typical language of tasters, the panel described the red as "jammy' and commented on its crushed red fruit.The critics failed to spot that both wines were from the same bottle. The only difference was that one had been coloured red with a flavourless dye
  • Other environmental factors play a role. A judge's palate is affected by what she or he had earlier, the time of day, their tiredness, their health – even the weather.
  • Robert Hodgson is determined to improve the quality of judging. He has developed a test that will determine whether a judge's assessment of a blind-tasted glass in a medal competition is better than chance. The research will be presented at a conference in Cape Town this year. But the early findings are not promising."So far I've yet to find someone who passes," he says.
sissij

Will 'Skam,' a Norwegian Hit, Translate? - The New York Times - 0 views

  • OSLO — “Skam,” a racy, emotionally intense, true-to-life Norwegian web and television series, follows a group of Oslo teenagers as they navigate sex, school, drinking, depression, rape, religion, coming out and the pains of status anxiety, in real life and online.
  • Each season of “Skam” centers on one character. Season 3, which wraps up next week, has focused on Isak (Tarjei Sandvik Moe), who is coming to terms with being gay and has fallen for an older boy, Even (Henrik Holm).
  • “‘Skam’ is combining reality and fiction and the line between them isn’t so clear,” said Mari Magnus, 27, the web producer for the show, who writes the text messages and masterminds the Instagram accounts.
  •  
    I strongly recommend this TV series because it has a very good depiction of the coming of age problems. I really like the way that the TV series switches the main character for every season. The main characters are all in the same story frame but with different identities. I really like this variety of perspectives in the TV series. Something related to TOK is that nobody is the center of the world, or rather there are a lot of different version of the world, so that why when we are referring to the same even we all experience, we may have completely different description. --Sissi (12/9/2016)
Javier E

All the (open) world's a stage: how the video game Fallout became a backdrop for live S... - 0 views

  • The Wasteland Theatre Company is not your average band of thespians. Dotted all across the world, they meet behind their keyboards to perform inside Fallout 76, a video game set in a post-nuclear apocalyptic America. The Fallout series is one of gaming’s most popular, famous for encouraging players to role-play survivors within the oddly beautiful ruins of alternate-history Earth
  • “Imagine a wandering theatre troupe in the 17th century going from town to town doing little performances,” says the company’s director, Northern_Harvest, who goes by his gamertag or just ‘North’, and works in communications in real life. “It’s not a new idea; we’re just doing it within the brand new medium of a video game.”
  • The company was formed almost by chance, when North befriended a group of players in the wasteland. As they adventured together, they noticed that the Fallout games are peppered with references to Shakespeare’s works.
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  • “The Fallout universe lends itself really well to Shakespeare. It’s very desolate, very grotesque, very tragic, really,” says North. In this world, Shakespeare existed before the bombs fell, so it seemed logical that North and his friends could role-play a company keeping culture alive in the ruins of civilisation – like the troupe of actors in Emily St John Mandel’s post-apocalyptic dystopia, Station Eleven.
  • It takes months to pull a show together. First, North picks the play and adapts it. Hundreds of pages of script are shared with the crew, so set design and rehearsals can commence. “It’s just like a real theatre company, where you start with an idea and a few folks sitting together and figuring out what our season is going to look like,”
  • There are no ticketed seats, and the company makes no money. The majority of audiences stumble across the performances accidentally in the wasteland, and sit to watch the show for free – or tune in on Twitch, where the company broadcasts every performance live
  • n 2022 Fallout 76 claimed to have over 13.5 million players, some of whom North believes “may never have seen a Shakespeare play. Ninety-nine per cent of those who find us sit down and quietly watch the show … It’s really quite moving, performing for people who might not go to the theatre in their own communities or haven’t thought about Shakespeare since high school. We are tickled silly knowing that we are potentially reaching new, untapped audiences and (re)introducing Shakespeare to so many. I hope Shakespeare academics who study comparative drama will take note of our use of this new medium to reach new audiences
  • “I think we’re a perfect example of how video games inspire creativity, and celebrate theatre and culture and the arts. I hope that other gamers out there know that there’s so much potential for you to be able to express what you’re passionate about in video games.”
Javier E

Opinion | Richard Powers on What We Can Learn From Trees - The New York Times - 0 views

  • Theo and Robin have a nightly ritual where they say a prayer that Alyssa, the deceased wife and mother, taught them: May all sentient beings be free from needless suffering. That prayer itself comes from the four immeasurables in the Buddhist tradition.
  • When we enter into or recover this sense of kinship that was absolutely fundamental to so many indigenous cultures everywhere around the world at many, many different points in history, that there is no radical break between us and our kin, that even consciousness is shared, to some degree and to a large degree, with a lot of other creatures, then death stops seeming like the enemy and it starts seeming like one of the most ingenious kinds of design for keeping evolution circulating and keeping the experiment running and recombining.
  • Look, I’m 64 years old. I can remember sitting in psychology class as an undergraduate and having my professor declare that no, of course animals don’t have emotions because they don’t have an internal life. They don’t have conscious awareness. And so what looks to you like your dog being extremely happy or being extremely guilty, which dogs do so beautifully, is just your projection, your anthropomorphizing of those other creatures. And this prohibition against anthropomorphism created an artificial gulf between even those animals that are ridiculously near of kin to us, genetically.
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  • I don’t know if that sounds too complicated. But the point is, it’s not just giving up domination. It’s giving up this sense of separateness in favor of a sense of kinship. And those people who do often wonder how they failed to see how much continuity there is in the more-than-human world with the human world.
  • to go from terror into being and into that sense that the experiment is sacred, not this one outcome of the experiment, is to immediately transform the way that you think even about very fundamental social and economic and cultural things. If the experiment is sacred, how can we possibly justify our food systems, for instance?
  • when I first went to the Smokies and hiked up into the old growth in the Southern Appalachians, it was like somebody threw a switch. There was some odd filter that had just been removed, and the world sounded different and smelled different.
  • richard powersYeah. In human exceptionalism, we may be completely aware of evolutionary continuity. We may understand that we have a literal kinship with the rest of creation, that all life on Earth employs the same genetic code, that there is a very small core of core genes and core proteins that is shared across all the kingdoms and phyla of life. But conceptually, we still have this demented idea that somehow consciousness creates a sanctity and a separation that almost nullifies the continuous elements of evolution and biology that we’ve come to understand.
  • if we want to begin this process of rehabilitation and transformation of consciousness that we are going to need in order to become part of the living Earth, it is going to be other kinds of minds that give us that clarity and strength and diversity and alternative way of thinking that could free us from this stranglehold of thought that looks only to the maximizing return on investment in very leverageable ways.
  • richard powersIt amazed me to get to the end of the first draft of “Bewilderment” and to realize how much Buddhism was in the book, from the simplest things.
  • I think there is nothing more science inflected than being out in the living world and the more-than-human world and trying to understand what’s happening.
  • And of course, we can combine this with what we were talking about earlier with death. If we see all of evolution as somehow leading up to us, all of human, cultural evolution leading up to neoliberalism and here we are just busily trying to accumulate and make meaning for ourselves, death becomes the enemy.
  • And you’re making the point in different ways throughout the book that it is the minds we think of as unusual, that we would diagnose as having some kind of problem or dysfunction that are, in some cases, are the only ones responding to the moment in the most common sense way it deserves. It is almost everybody else’s brain that has been broken.
  • it isn’t surprising. If you think of the characteristics of this dominant culture that we’ve been talking about — the fixation on control, the fixation on mastery, the fixation on management and accumulation and the resistance of decay — it isn’t surprising that that culture is also threatened by difference and divergence. It seeks out old, stable hierarchies — clear hierarchies — of control, and anything that’s not quite exploitable or leverageable in the way that the normal is terrifying and threatening.
  • And the more I looked for it, the more it pervaded the book.
  • ezra kleinI’ve heard you say that it has changed the way you measure a good day. Can you tell me about that?richard powersThat’s true.I suppose when I was still enthralled to commodity-mediated individualist market-driven human exceptionalism — we need a single word for this
  • And since moving to the Smokies and since publishing “The Overstory,” my days have been entirely inverted. I wake up, I go to the window, and I look outside. Or I step out onto the deck — if I haven’t been sleeping on the deck, which I try to do as much as I can in the course of the year — and see what’s in the air, gauge the temperature and the humidity and the wind and see what season it is and ask myself, you know, what’s happening out there now at 1,700 feet or 4,000 feet or 5,000 feet.
  • let me talk specifically about the work of a scientist who has herself just recently published a book. It’s Dr. Suzanne Simard, and the book is “Finding the Mother Tree.” Simard has been instrumental in a revolution in our way of thinking about what’s happening underground at the root level in a forest.
  • it was a moving moment for me, as an easterner, to stand up there and to say, this is what an eastern forest looks like. This is what a healthy, fully-functioning forest looks like. And I’m 56 years old, and I’d never seen it.
  • the other topics of that culture tend to circle back around these sorts of trends, human fascinations, ways of magnifying our throw weight and our ability and removing the last constraints to our desires and, in particular, to eliminate the single greatest enemy of meaning in the culture of the technological sublime that is, itself, such a strong instance of the culture of human separatism and commodity-mediated individualist capitalism— that is to say, the removal of death.
  • Why is it that we have known about the crisis of species extinction for at least half a century and longer? And I mean the lay public, not just scientists. But why has this been general knowledge for a long time without public will demanding some kind of action or change
  • And when you make kinship beyond yourself, your sense of meaning gravitates outwards into that reciprocal relationship, into that interdependence. And you know, it’s a little bit like scales falling off your eyes. When you do turn that corner, all of the sources of anxiety that are so present and so deeply internalized become much more identifiable. And my own sense of hope and fear gets a much larger frame of reference to operate in.
  • I think, for most of my life, until I did kind of wake up to forests and to trees, I shared — without really understanding this as a kind of concession or a kind of subscription — I did share this cultural consensus that meaning is a private thing that we do for ourselves and by ourselves and that our kind of general sense of the discoveries of the 19th and 20th century have left us feeling a bit unsponsored and adrift beyond the accident of human existence.
  • The largest single influence on any human being’s mode of thought is other human beings. So if you are surrounded by lots of terrified but wishful-thinking people who want to believe that somehow the cavalry is going to come at the last minute and that we don’t really have to look inwards and change our belief in where meaning comes from, that we will somehow be able to get over the finish line with all our stuff and that we’ll avert this disaster, as we have other kinds of disasters in the past.
  • I think what was happening to me at that time, as I was turning outward and starting to take the non-human world seriously, is my sense of meaning was shifting from something that was entirely about me and authored by me outward into this more collaborative, reciprocal, interdependent, exterior place that involved not just me but all of these other ways of being that I could make kinship with.
  • And I think I was right along with that sense that somehow we are a thing apart. We can make purpose and make meaning completely arbitrarily. It consists mostly of trying to be more in yourself, of accumulating in one form or another.
  • I can’t really be out for more than two or three miles before my head just fills with associations and ideas and scenes and character sketches. And I usually have to rush back home to keep it all in my head long enough to get it down on paper.
  • for my journey, the way to characterize this transition is from being fascinated with technologies of mastery and control and what they’re doing to us as human beings, how they’re changing what the capacities and affordances of humanity are and how we narrate ourselves, to being fascinated with technologies and sciences of interdependence and cooperation, of those sciences that increase our sense of kinship and being one of many, many neighbors.
  • And that’s an almost impossible persuasion to rouse yourself from if you don’t have allies. And I think the one hopeful thing about the present is the number of people trying to challenge that consensual understanding and break away into a new way of looking at human standing is growing.
  • And when you do subscribe to a culture like that and you are confronted with the reality of your own mortality, as I was when I was living in Stanford, that sense of stockpiling personal meaning starts to feel a little bit pointless.
  • And I just head out. I head out based on what the day has to offer. And to have that come first has really changed not only how I write, but what I’ve been writing. And I think it really shows in “Bewilderment.” It’s a totally different kind of book from my previous 12.
  • the marvelous thing about the work, which continues to get more sophisticated and continues to turn up newer and newer astonishments, is that there was odd kind of reciprocal interdependence and cooperation across the species barrier, that Douglas firs and birches were actually involved in these sharing back and forth of essential nutrients. And that’s a whole new way of looking at forest.
  • she began to see that the forests were actually wired up in very complex and identifiable ways and that there was an enormous system of resource sharing going on underground, that trees were sharing not only sugars and the hydrocarbons necessary for survival, but also secondary metabolites. And these were being passed back and forth, both symbiotically between the trees and the fungi, but also across the network to other trees so that there were actually trees in wired up, fungally-connected forests where large, dominant, healthy trees were subsidizing, as it were, trees that were injured or not in favorable positions or damaged in some way or just failing to thrive.
  • so when I was still pretty much a card-carrying member of that culture, I had this sense that to become a better person and to get ahead and to really make more of myself, I had to be as productive as possible. And that meant waking up every morning and getting 1,000 words that I was proud of. And it’s interesting that I would even settle on a quantitative target. That’s very typical for that kind of mindset that I’m talking about — 1,000 words and then you’re free, and then you can do what you want with the day.
  • there will be a threshold, as there have been for these other great social transformations that we’ve witnessed in the last couple of decades where somehow it goes from an outsider position to absolutely mainstream and common sense.
  • I am persuaded by those scholars who have showed the degree to which the concept of nature is itself an artificial construction that’s born of cultures of human separatism. I believe that everything that life does is part of the living enterprise, and that includes the construction of cities. And there is no question at all the warning that you just gave about nostalgia creating a false binary between the built world and the true natural world is itself a form of cultural isolation.
  • Religion is a technology to discipline, to discipline certain parts of the human impulse. A lot of the book revolves around the decoded neurofeedback machine, which is a very real literalization of a technology, of changing the way we think
  • one of the things I think that we have to take seriously is that we have created technologies to supercharge some parts of our natural impulse, the capitalism I think should be understood as a technology to supercharge the growth impulse, and it creates some wonders out of that and some horrors out of that.
  • richard powersSure. I base my machine on existing technology. Decoded neurofeedback is a kind of nascent field of exploration. You can read about it; it’s been publishing results for a decade. I first came across it in 2013. It involves using fMRI to record the brain activity of a human being who is learning a process, interacting with an object or engaged in a certain emotional state. That neural activity is recorded and stored as a data structure. A second subsequent human being is then also scanned in real time and fed kinds of feedback based on their own internal neural activity as determined by a kind of software analysis of their fMRI data structures.
  • And they are queued little by little to approximate, to learn how to approximate, the recorded states of the original subject. When I first read about this, I did get a little bit of a revelation. I did feel my skin pucker and think, if pushed far enough, this would be something like a telepathy conduit. It would be a first big step in answering that age-old question of what does it feel like to be something other than we are
  • in the book I simply take that basic concept and extend it, juke it up a little bit, blur the line between what the reader might think is possible right now and what they might wonder about, and maybe even introduce possibilities for this empathetic transference
  • ezra kleinOne thing I loved about the role this played in the book is that it’s highlighting its inverse. So a reader might look at this and say, wow, wouldn’t that be cool if we had a machine that could in real time change how we think and change our neural pathways and change our mental state in a particular direction? But of course, all of society is that machine,
  • Robin and Theo are in an airport. And you’ve got TVs everywhere playing the news which is to say playing a constant loop of outrage, and disaster, and calamity. And Robbie, who’s going through these neural feedback sessions during this period, turns to his dad and says, “Dad, you know how the training’s rewiring my brain? This is what is rewiring everybody else.”
  • ezra kleinI think Marshall McLuhan knew it all. I really do. Not exactly what it would look like, but his view and Postman’s view that we are creating a digital global nervous system is a way they put it, it was exactly right. A nervous system, it was such the exact right metaphor.
  • the great insight of McLuhan, to me, what now gets called the medium is the message is this idea that the way media acts upon us is not in the content it delivers. The point of Twitter is not the link that you click or even the tweet that you read; it is that the nature and structure of the Twitter system itself begins to act on your system, and you become more like it.If you watch a lot of TV, you become more like TV. If you watch a lot of Twitter, you become more like Twitter, Facebook more like Facebook. Your identities become more important to you — that the content is distraction from the medium, and the medium changes you
  • it is happening to all of us in ways that at least we are not engaging in intentionally, not at that level of how do we want to be transformed.
  • richard powersI believe that the digital neural system is now so comprehensive that the idea that you could escape it somewhere, certainly not in the Smokies, even more remotely, I think, becomes more and more laughable. Yeah, and to build on this idea of the medium being the message, not the way in which we become more like the forms and affordances of the medium is that we begin to expect that those affordances, the method in which those media are used, the physiological dependencies and castes of behavior and thought that are required to operate them and interact with them are actual — that they’re real somehow, and that we just take them into human nature and say no, this is what we’ve always wanted and we’ve simply been able to become more like our true selves.
  • Well, the warpage in our sense of time, the warpage in our sense of place, are profound. The ways in which digital feedback and the affordances of social media and all the rest have changed our expectations with regard to what we need to concentrate on, what we need to learn for ourselves, are changing profoundly.
  • If you look far enough back, you can find Socrates expressing great anxiety and suspicion about the ways in which writing is going to transform the human brain and human expectation. He was worried that somehow it was going to ruin our memories. Well, it did up to a point — nothing like the way the digital technologies have ruined our memories.
  • my tradition is Jewish, the Sabbath is a technology, is a technology to create a different relationship between the human being, and time, and growth, and productive society than you would have without the Sabbath which is framed in terms of godliness but is also a way of creating separation from the other impulses of the weak.
  • Governments are a technology, monogamy is a technology, a religiously driven technology, but now one that is culturally driven. And these things do good and they do bad. I’m not making an argument for any one of them in particular. But the idea that we would need to invent something wholly new to come up with a way to change the way human beings act is ridiculous
  • My view of the story of this era is that capitalism was one of many forces, and it has become, in many societies, functionally the only one that it was in relationship with religion, it was in relationship with more rooted communities.
  • it has become not just an economic system but a belief system, and it’s a little bit untrammeled. I’m not an anti-capitalist person, but I believe it needs countervailing forces. And my basic view is that it doesn’t have them anymore.
  • the book does introduce this kind of fable, this kind of thought experiment about the way the affordances that a new and slightly stronger technology of empathy might deflect. First of all, the story of a little boy and then the story of his father who’s scrambling to be a responsible single parent. And then, beyond that, the community of people who hear about this boy and become fascinated with him as a narrative, which again ripples outward through these digital technologies in ways that can’t be controlled or whose consequences can be foreseen.
  • I’ve talked about it before is something I’ve said is that I think a push against, functionally, materialism and want is an important weight in our society that we need. And when people say it is the way we’ll deal with climate change in the three to five year time frame, I become much more skeptical because to the point of things like the technology you have in the book with neural feedback, I do think one of the questions you have to ask is, socially and culturally, how do you move people’s minds so you can then move their politics?
  • You’re going to need something, it seems to me, outside of politics, that changes humans’ sense of themselves more fundamentally. And that takes a minute at the scale of billions.
  • richard powersWell, you are correct. And I don’t think it’s giving away any great reveal in the book to say that a reader who gets far enough into the story probably has this moment of recursive awareness where they, he or she comes to understand that what Robin is doing in this gradual training on the cast of mind of some other person is precisely what they’re doing in the act of reading the novel “Bewilderment” — by living this act of active empathy for these two characters, they are undergoing their own kind of neurofeedback.
  • The more we understand about the complexities of living systems, of organisms and the evolution of organisms, the more capable it is to feel a kind of spiritual awe. And that certainly makes it easier to have reverence for the experiment beyond me and beyond my species. I don’t think those are incommensurable or incompatible ways of knowing the world. In fact, I think to invoke one last time that Buddhist precept of interbeing, I think there is a kind of interbeing between the desire, the true selfless desire to understand the world out there through presence, care, measurement, attention, reproduction of experiment and the desire to have a spiritual affinity and shared fate with the world out there. They’re really the same project.
  • richard powersWell, sure. If we turn back to the new forestry again and researchers like Suzanne Simard who were showing the literal interconnectivity across species boundaries and the cooperation of resource sharing between different species in a forest, that is rigorous science, rigorous reproducible science. And it does participate in that central principle of practice, or collection of practices, which always requires the renunciation of personal wish and ego and prior belief in favor of empirical reproduction.
  • I’ve begun to see people beginning to build out of the humbling sciences a worldview that seems quite spiritual. And as you’re somebody who seems to me to have done that and it has changed your life, would you reflect on that a bit?
  • So much of the book is about the possibility of life beyond Earth. Tell me a bit about the role that’s playing. Why did you make the possibility of alien life in the way it might look and feel and evolve and act so central in a book about protecting and cherishing life here?
  • richard powersI’m glad that we’re slipping this in at the end because yes this framing of the book around this question of are we alone or does the universe want life it’s really important. Theo, Robin’s father, is an astrobiologist.
  • Imagine that everything happens just right so that every square inch of this place is colonized by new forms of experiments, new kinds of life. And the father trying to entertain his son with the story of this remarkable place in the sun just stopping him and saying, Dad, come on, that’s asking too much. Get real, that’s science fiction. That’s the vision that I had when I finished the book, an absolutely limitless sense of just how lucky we’ve had it here.
  • one thing I kept thinking about that didn’t make it into the final book but exists as a kind of parallel story in my own head is the father and son on some very distant planet in some very distant star, many light years from here, playing that same game. And the father saying, OK, now imagine a world that’s just the right size, and it has plate tectonics, and it has water, and it has a nearby moon to stabilize its rotation, and it has incredible security and safety from asteroids because of other large planets in the solar system.
  • they make this journey across the universe through all kinds of incubators, all kinds of petri dishes for life and the possibilities of life. And rather than answer the question — so where is everybody? — it keeps deferring the question, it keeps making that question more subtle and stranger
  • For the purposes of the book, Robin, who desperately believes in the sanctity of life beyond himself, begs his father for these nighttime, bedtime stories, and Theo gives him easy travel to other planets. Father and son going to a new planet based on the kinds of planets that Theo’s science is turning up and asking this question, what would life look like if it was able to get started here?
Javier E

The Fall of Facebook - The Atlantic - 0 views

  • When a research company looked at how people use their phones, it found that they spend more time on Facebook than they do browsing the entire rest of the Web.
  • Digital-media companies have grown reliant on Facebook’s powerful distribution capabilities.
  • this weakens the basic idea of a publication. The media bundles known as magazines and newspapers were built around letting advertisers reach an audience. But now virtually all of the audiences are in the same place, and media entities and advertisers alike know how to target them: they go to Facebook, select some options from a drop-down menu—18-to-24-year-old men in Maryland who are college-football fans—and their ads materialize in the feeds of that demographic.
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  • when Google was the dominant distribution force on the Web, that fact was reflected in the kinds of content media companies produced—fact-filled, keyword-stuffed posts that Google’s software seemed to prefer.
  • while, once upon a time, everyone with a TV and an antenna could see “what was on,” Facebook news feeds are personalized, so no one outside the company actually knows what anyone else is seeing. This opacity would have been impossible to imagine in previous eras.
  • it is the most powerful information gatekeeper the world has ever known. It is only slightly hyperbolic to say that Facebook is like all the broadcast-television networks put together.
  • Facebook is different, though. It measures what is “engaging”—what you (and people you resemble, according to its databases) like, comment on, and share. Then it shows you more things related to that.
  • Facebook has built a self-perpetuating optimization machine. It’s as if every time you turned on the TV, your cable box ranked every episode of every show just for you. Or when you went to a bar, only the people you’d been hanging out with regularly showed up
  • It’s all enough to make you wonder whether Facebook, unlike AOL or MySpace, really might be forever
  • “In three years of research and talking to hundreds of people and everyday users, I  don’t think I heard anyone say once, ‘I love Facebook,’ ”
  • The software’s primary attributes—its omniscience, its solicitousness—all too easily provoke claustrophobia.
  • users are spreading themselves around, maintaining Facebook as their social spine, but investing in and loving a wide variety of other social apps. None of them seems likely to supplant Facebook on its own, but taken together, they form a pretty decent network of networks, a dispersed alternative to Facebook life.
sissij

Do You and Your Partner Fight Too Much, or Not Enough? Turns Out There's a "Magic Ratio... - 0 views

  • Everyone knows couples break up when they fight too much. But what if they don't fight enough?
  • the “magic ratio” of positive and negative interactions in successful relationships is about 5 to 1.
  • So, too much fighting leads to breakups. That’s obvious. But what’s interesting about the theory is it implies that one sign of a doomed relationship could be not enough negativity.
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  • The idea is that because people and environments are always changing, partners must provide one another with enough corrective feedback so they can be “on the same page.” 
  • Gottman and his colleagues found that couples who remained stoic during conflicts actually tended to fare worse than couples that were more “volatile".
  • These couples exert a healthy amount of influence on one another, both positively and negatively. But as long as their interactions favor the positive, they tend to enjoy relatively stable relationships over the long term.
  • The 5:1 ratio also seems to ring true in the business world.
  • The results showed that the most successful teams made an average of 5.6 positive comments per every negative one, while the average ratio among the lowest performing teams was just 0.36 to 1.
  • Negative feedback can prevent you from driving off a cliff.
  •  
    I find it very interesting that sometimes having some negative things can result in a positive way. In TV series or books, we can always see a scene that when two people are arguing, there would be a third person saying that "wow, you guys have such a good relationship!" and they would reply "no" together. Bow there are research on that and we can see from the perspective of logic of evolution that human community needs correction and advices from others to adjust themselves. I think arguing may sometimes shorten the relationship between two people since they both show each other the worst side and there won't be much hide between them. --Sissi (4/26/2017)
ilanaprincilus06

Are shows like Dexter to blame for inspiring violent crimes? | Steve Lillebuen | Opinio... - 0 views

  • serious crime has always been tied to pop culture.
  • The attempted assassination of US President Ronald Reagan was even linked to watching Taxi Driver.
  • But the scientific evidence backing up such a link has never been very clear, leading many to quite rightly discount the level of influence.
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  • how Twitchell's crimes challenge this new way of thinking that totally exonerates pop culture from contributing to real-life violence.
  • In 2008, he had been completing a Dexter-inspired film production when police charged him with a missing man's murder and an attack on another. An unimaginable court case then revealed all: the filmmaker had re-enacted his horror script in real-life.
    • ilanaprincilus06
       
      How do you regulate something like this? Many people like myself, watch these shows for the plot lines or topics addressed. People would eventually maneuver around watching shows like these even if they were banned/cancelled.
  • This didn't seem like a case of insanity, mental illness or a drug-induced psychosis. Twitchell was a married father with no history of violence or criminal convictions before he transformed seemingly overnight into a would-be serial killer.
  • We just need to distinguish what it really means to be inspired rather than who is responsible.
  • Like other tragedies before it, this finger-pointing stems from an intense need to find tangible explanations for horrific violence when the answers can be far more layered, far more complex.
  • Millions around the world are now watching. The uncomfortable truth remains that so is Mark Twitchell and many others who are like him.
mshilling1

Analysis: TV news is realigning, with Fox's ratings sagging and CNN's soaring - CNN - 0 views

  • Furthermore, a big chunk of Fox's base audience was demoralized by Trump's loss in November and disheartened by the pro-Trump riot last week. Fox's average viewership levels are about 20% lower than they were before the election, even though overall TV news viewership is elevated due to the current combination of crises.
  • But for the conservative media ecosystem, just what should be affirmed has suddenly become an existential question."
  • "Tristan Harris famously said that social networks are about 'affirmation, not information'
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  • Fox sources say that some viewers have sampled Newsmax, yes, but many have just chosen to turn off the news altogether. They're watching Hallmark, HGTV or Netflix instead.
  • Confusion is certainly apparent among many conservative media producers and commentators -- trying to find their footing as the story of the Capitol assault, and the President's reaction, keeps getting worse."
  • Fox is focusing on what it calls "Big Tech censorship" instead, but I strongly suspect that most people want news about the terror threat right now, not Twitter. Frankly, many Fox shows are running away from the news rather than reporting on it.
  • Second: Fox's decision to de-emphasize the news division "in favor of more opinion programming." Third: The opinion shows going "all-in on conspiracies.
Javier E

In 2022, TV Woke Up From the American Dream - The New York Times - 0 views

  • In politics, “the American dream” has long been used aspirationally, to evoke family and home. But as my colleague Jazmine Ulloa detailed earlier this year, the phrase has also lately been used ominously, especially by conservative politicians, to describe a certain way of life in danger of being stolen by outsiders.
  • The typical counterargument, both in politics and pop culture, has been that immigrants pursuing their ambitions help to strengthen all of America
  • recent stories have complicated this idea by questioning whether the dream itself — or, at least, defining that dream in mostly material terms — can be toxic.
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  • This is the danger of the American dream when you scale it down from the national to the individual level. You risk devoting your life to wanting something because it’s what you’ve been told you should want. Everybody loves a Cinderella story, but sometimes your dream, in reality, is just a wish somebody else’s heart made.
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