AI, Algorithm, Automata, Biological Computation, Code, Cybernetics, Deep Learning, Emergence, Man/Machine, Neural Networks, Robots, Science, Social intelligence, Society

Can a robot be too nice?

“Designing artificial entities perfectly groomed to meet our emotional needs has an obvious appeal, like creating the exact right person for a job from thin air. But it’s also not hard to imagine the problems that might arise in a world where we’re constantly dealing with robots calibrated to treat us, on an interpersonal level, exactly the way we want. We might start to prefer the company of robots to that of other, less perfectly optimized humans. We might react against them, hungry for some of the normal friction of human relations. As Lanier worried, we might start to see the lines blur, and become convinced that machines—which in some ways are vastly inferior to us, and in other ways vastly superior—are actually our equals.”


AI, Algorithm, Biometrics, Brain, Capitalism, Cybernetics, Economy, Education, Emergence, Ethics, Man/Machine, Robots, Science, Social intelligence, Society

Will You Lose Your Job To a Robot?

“The biggest exception will be jobs that depend upon empathy as a core capacity — schoolteacher, personal service worker, nurse. These jobs are often those traditionally performed by women. One of the bigger social questions of the mid-late 2020s will be the role of men in this world.” — Jamais Cascio, technology writer and futurist


AI, Animals, Brain, Emergence, Ethics, philosophy, Religion, Robots, Science, Society

Buddhist perspectives on AI

“From the viewpoint of Buddhism, all life is emergent, entities functioning at a capacity greater than the sum of their parts. There is no special qualifier that separates any form of intelligence from another (note that even consciousness is on the list of things that we aren’t.”. This means that an intelligence inside of a robot body, a computer, or existing on the Internet would be just as worthy of being considered “alive” as a squirrel, a human, or a bacteria. Further, Buddhism accepts the existence of life that does not have a physical body. In the Buddhist mythology, beings that exist in realms without physical bodies are described and treated the same as those with physical bodies. Although this ethic is ascribed to mythical beings, if we begin to see actual beings that exist in “formless realms”, most Buddhists would likely see no problem accepting them as living. In Buddhism, a computer intelligence would be viewed by most as a new form of life, but one equally possessed of the heaps and equally capable of emergent behavior and enlightenment. The Dalai Lama, Thich Nhat Hanh, and several other high profile Buddhist thinkers have already spoken in support of AI as a living being.”


Algorithm, Architecture, Automata, Bio hacking, Brain, Cybernetics, DIY, Interface, Light, Maker, Man/Machine, Mathematics, Music, Neural Networks, Robots, Science, Society, Sound, Tactical Media

History of Computer Art : Cybernetic Sculptures

“In 1968 artists and musicians like Stephen Antonakos, Terry Riley, Charles Ross and Robert Whitman realised installations producing light and sound events for the exhibition “The Magic Theatre”. James Seawright constructed “Electronic Peristyle” 37: an uncommon work for an uncommon exhibition. He installed “power supplies” in a base under a sphere. The sphere was made of transparent plastic and contained 12 photocells. A “cylindrical metal box” with 12 “light beam projectors” was mounted underneath the “plastic sphere”. The electronics in this vertical structure with round segments “was either digital (the earliest family of Motorola RTL logic chips)” or it contained “conventional analog transistor circuits.” These electronics controlled the generation of sounds by “electronic synthesizer modules”. These modules were developed by Robert Moog. He integrated his analog equipment in Seawright´s installation.”


Algorithm, Ethics, Interface, Man/Machine, Mathematics, Nature, Neural Networks, philosophy, Robots, Science, Society, Tactical Media

Robot Ethnography

“Rather, the point of anthropology is typically to locate a people who are typically strange and foreign to us, and then relate the way in which those people live, showing not only how they are different from us but also how they are the same. In doing so, we learn not only about others, but also ourselves. So in that framework, I tend to agree with the critics who say that only way to give a vitalistic account of a robot society is by projecting too many human qualities onto the non-human. What is then left is a non-vitalistic ethnography: an account of a culture devoid of life. Like with Latour and agency, once we show that life is not a necessary criterion for this thing called culture, then the fun really begins — and you can see why lots of people would oppose this.”

Art, Automata, Biology, Biometrics, Film, History, Interface, Man/Machine, Music, Nature, Neural Networks, PDF, Robots, Science, Society, Sound, Tactical Media

Sholpo, Russian sound Art Histories and Generation Z

“Graphical (Drawn) Sound is a technology of synthesizing sound from light that was developed in Soviet Russia in 1929 as a consequence of the newly invented sound-on-film technology, which made possible access to the sound as a trace in a form that could be studied and manipulated. It also opened up the way for a systematic analysis of these traces such that they could be used to produce any sound at will. The laboratories that were soon created became the first-ever prototypes of the future centres for computer music. While most inventors of electronic musical instruments were developing tools for performers, the majority of methods and instruments based on Graphical Sound techniques were created for composers. Similar to modern computer music techniques, the composer could produce the final synthesized soundtrack without need for any performers or intermediates. At exactly the same time similar efforts were being undertaken in Germany by Rudolf Pfenninger in Munich and, somewhat later, by Oscar Fischinger in Berlin. Among the researchers working with Graphical Sound after World War II were the famous filmmaker Norman McLaren (Canada) and the composer and inventor Daphne Oram (UK)”


Algorithm, Art, Automata, Biometrics, Brain, History, Interface, Man/Machine, Mathematics, Music, Neural Networks, PDF, Robots, Science, Society, Sound

When Machines Play Chopin

“However, as the eighteenth-century androids show, machines and or­ ganic nature, including human cognition, were not always polar opposites. Philipp Sarasin writes in his book on machines and the body that the machine and the organic were interchangeable in pre-Romantic thought (75). In another study on machines in human history, Herbert Heckman explains that the relationship between the body and the machine starts with the stone-age necessity to build tools as extensions of the body in order to survive (11). The nineteenth-century desire to separate the mechanical from the organic was a reaction to Enlightenment philosophy and an attempt to break away from this thinking in favour of an emphasis of expression and spirit over form.”


Algorithm, Art, Bio hacking, DIY, DNA, Farming, Mathematics, Nature, Neural Networks, Robots, Science

Agricultural Printing/Altered Landscapes

“The project uses the idea of “Agricultural Printing” to explore the possibilities of digital fabrication carried over into farming. The experiment applies algorithms to partition and to create an environmentally beneficial structure into a standard biomass/energy production field. These additional areas establish, or improve, the connectivity for fauna and flora between habitats. This increased diversity also eases typical problems of monocultures e.g. less vermin → reduced usage of pesticides.”


Algorithm, Art, Biometrics, Brain, Chaos, Interface, Man/Machine, Mathematics, Music, Neural Networks, Robots, Science, Sound

Post-Human Musics

“Might they not, too, be interested in music? After all, they will have unfettered access to the cultural products of the human world, and they will share DNA—the same hardware, languages, and algorithms—with electronic music. They will have networked relationships with devices and systems capable of generating sound. Freed from the limitations of the fallible human body, they will certainly be capable of playing expertly, although it’s more plausible they won’t need to play at all. It used to take a laser, a magnet, or a needle to reproduce sound. Now all it takes is code.”


Algorithm, Biometrics, Economy, Interface, Man/Machine, Robots, Science, Society, Tactical Media

Algorithm predicts your next action on video

“Just as in some languages nouns can go before or after verbs but adjectives have to precede nouns, in a particular action, like making tea, the preparer could put a tea bag into an empty cup before or after putting the water on to boil, but no matter what the kettle will go on the stove before the water is poured. The grammar model has another advantage: The algorithm can make educated guesses about partially completed actions in a streaming video. The software makes its best guess as to what the action is and subsequently revises it if necessary.”

Algorithm, Capitalism, Economy, Education, Man/Machine, Robots, Society

Automation and the end of Capitalism

“If the owners and operators of the machines kept for themselves all the proceeds from robot production, the state could not for long provide enough income to the rest to enable them to buy the goods and services produced by the elite….but if most of the elite’s money were taken from them by the state to provide incomes for the leisure class so that they could buy goods and services, why would the elite bother to produce anything? It seems to me that fully automated production and a world in which few people work for a living is not in the interests of capitalism or of capitalists. Maybe capitalists DO need a large labour force. Their survival depends on it. “


Algorithm, Brain, Capitalism, Commons, Education, Interface, Man/Machine, Mathematics, Robots, Science, Society

“Jeeves, bring up my feed”

“It’s entirely possible that the influence of our virtual minders could reach far further. What if we tell our OS that we’ll only ever buy products that meet certain ethical standards; hit certain carbon emission targets or treat their employees in a certain way? Our computer may say no to brands for many different reasons. This may sound like science fiction, but actually we are close to combining concept areas such as big personal data management, the internet of things and operating systems that learn how to provide the perfect approach to life management, just for us. The ingredients are already there and companies that could potentially deliver a “Her” are already hard at work putting the building blocks of personal technology in place.”

Art, Bio hacking, Biology, Brain, Education, Interface, Maker, Man/Machine, Medicine, Music, phenomenology, philosophy, Robots, Science, Society, Sound, Tactical Media


“You are not your brain. You have a brain, yes. But you are a living being that is connected to an environment; you are embodied, and dynamically interacting with the world. We can’t explain consciousness in terms of the brain alone because consciousness doesn’t happen in the brain alone.” Alva Noe. (Great links on this page)


Brain, Interface, Medicine, Robots, Science

Elderly Fear Robot Friends Will Corrupt Children

“This phenomenon is known as the “third-person effect.” “The greatest negative effects are predicted to occur among imagined audiences that are socially distant from the individual’s own reference group,” the Pennsylvania State University media researchers explain in their paper. “For the population of interest in this study, namely senior citizens, the obvious ‘other’ group is younger people.”


Bio hacking, Biology, Robots, Science

Cancer killing Nano-bots

“Whether or not these structures are, in fact, robots forces us to ask: what is a robot? The researchers’ point in using the term — beyond it being catchy — was that they are programmed and act autonomously. The key difference from the popular conception of robots, constructed from metal and coded in 1s and 0s, is that these versions are made out of DNA and told what to do with As, Cs, Gs and Ts.”


Algorithm, Art, Maker, Robots, Sound

Norman White is the shiz.

“Funky Isn’t Junky (1982)” An installation of five or six crude sound-producing machines synchronized by a “conductor” machine. As a reaction to ten years of intense personal involvement with electronic hi-tech, I built the work almost entirely with pre-40’s technology. At the end of the sequence, the piece appears to break down, dramatizing my love for the vulnerability of machine-kind. Materials: wood, motors, steel, plexiglas, aluminum, speaker, custom electronics. Owned by myself.”