You should subscribe (if you’re human?) – Matt W’s blog is back, back, BACK!
You should subscribe (if you’re human?) – Matt W’s blog is back, back, BACK!
Daniel Dennett, Intuition Pumps (my emboldening, below)
How can meaning make a difference? It doesn’t seem to be the kind of physical property, like temperature or mass or chemical composition, that could cause anything to happen. What brains are for is extracting meaning from the flux of energy impinging on their sense organs, in order to improve the prospects of the bodies that house them and provide their energy. The job of a brain is to “produce future” in the form of anticipations about the things in the world that matter to guide the body in appropriate ways. Brains are energetically very expensive organs, and if they can’t do this important job well, they aren’t earning their keep.
Matt Ward, interviewed by SpeculativeEdu
Colonising the future: If Speculative Design builds competency in thinking about future alternatives, the design community needs to ensure that it is aware of the structural inequalities that allow for a privileged voice. I think it’s become painfully obvious that we don’t need any more white male billionaires telling us how the future looks, therefore by moving Speculative Design outside of the “academy” we need to make sure it’s reaching people who don’t normally have say over the future. We should aim to empower alternative views about how the world could be.
It’s a great interview. Read the lot.
“Through gaps in the cloud layer she could see the light-but-dark blue of the Terran sky, subtle and full.
It looked like a blue dome flattened at the center, perhaps a few kilometers above the clouds—she reached up for it—although knowing too that it was just a kind of rainbow made it glorious.
A rainbow that was blue everywhere and covered everything. The blue itself was complex, narrow in range but infinite within that range.
It was an intoxicating sight, and you could breathe it—one was always breathing it, you had to. The wind shoved it into you!
Breathe and get drunk, oh my, to be free of all restraint, minimally clothed, lying on the bare surface of a planet, sucking in its atmosphere as if it were an aqua vitae, feeling in your chest how it kept you alive!
No Terran she had ever met properly appreciated their air, or saw their sky for what it was. In fact they very seldom looked at it.”
from 2312 by KSR
This caught my eye from Benedict Evan‘s latest newsletter
Baked into the chip – the nature of fighting.
The dynamics of violence between humans to be detected at the edge, reported to… wherever.
My mind drifted to a future Gibsonian street-fighting style that might be informed by this evolutionary pressure from an eye that can see all the fights of the past.
Resistance that looks like dance.
Generative/Adversarial martial arts for a robot-readable world.
The economic data we have collected shows clearly that the expense of the problems in the world now exceeds the cost of the solutions. To put it another way, the profit that can be achieved by instituting regenerative solutions is greater than the monetary gains generated by causing the problem or conducting business-as-usual. For instance, the most profitable and productive method of farming is regenerative agriculture. In the electric power generation industry, more people in the U.S. as of 2016 are employed by the solar industry than by gas, coal, and oil combined. Restoration creates more jobs than despoliation. We can just as easily have an economy that is based on healing the future rather than stealing it.
Drawdown: The Most Comprehensive Plan Ever Proposed to Reverse Global Warming
“Social media does not “get” not-fully-baked. Social media is useless for thinking out loud and exploring notions. Social media — bizarrely, given its nature — does not do context. I start a new notebook every year. Notebooks have internal context. Notebooks exist only to think about things, remember things and preserve things for later consideration. This is a notebook.”
Bruce Sterling’s short story was published in 1999.
I figure he must have written it at least twenty years ago now.
I still think of it multiple times every year.
Severe annual resonance increases.
NAFTA, Sphere, and Europe: the trilateral superpowers jostled about with the uneasy regularity of sunspots, periodically brewing storms in the proxy regimes of the South. During his fifty-plus years, Pete had seen the Asian Cooperation Sphere change its public image repeatedly, in a weird political rhythm. Exotic vacation spot on Tuesdays and Thursdays. Baffling alien threat on Mondays and Wednesdays. Major trading partner each day and every day, including weekends and holidays.
At the current political moment, the Asian Cooperation Sphere was deep into its Inscrutable Menace mode, logging lots of grim media coverage as NAFTA’s chief economic adversary.
As far as Pete could figure it, this basically meant that a big crowd of goofy North American economists were trying to act really macho.
Their major complaint was that the Sphere was selling NAFTA too many neat, cheap, well-made consumer goods. That was an extremely silly thing to get killed about. But people perished horribly for much stranger reasons than that.
At sunset, Pete and Katrinko discovered the giant warning signs. They were titanic vertical plinths, all epoxy and clinker, much harder than granite. They were four stories tall, carefully rooted in bedrock, and painstakingly chiseled with menacing horned symbols and elaborate textual warnings in at least fifty different languages.
English was language number three.
“Radiation waste,” Pete concluded, deftly reading the text through his spex, from two kilometers away.
“This is a radiation waste dump. Plus, a nuclear test site. Old Red Chinese hydrogen bombs, way out in the Taklamakan desert.” He paused thoughtfully. “You gotta hand it to ’em. They sure picked the right spot for the job.”
“No way!” Katrinko protested. “Giant stone warning signs, telling people not to trespass in this area? That’s got to be a con-job.”
“Well, it would sure account for them using robots, and then destroying
all the roads.”
“No, man. It’s like—you wanna hide something big nowadays. You don’t put a safe inside the wall any more, because hey, everybody’s got magnetometers and sonic imaging and heat detection. So you hide your best stuff in the garbage.”
“For the ‘One Hundred Billion Sparks’ album project I want to tell a story of our one hundred billion sparking neurones, and the magic which they create: our minds. Early in the story I aimed for the “nuts and bolts” of the processes involved, but not in the sense of showing a neuroscience lecture, I want to find the artistry and beauty of the natural processes involved.
Those are what make the richest visuals for my videos and live shows. Following this reasoning, one idea which came along, was to visualise a “Turing-complete” machine, which is a computer that is capable of performing any computation. This means the design of the computer is versatile enough to allow for any logical operation, within the constraints of the sorts of logical operations our usual computers can do. David Deutsch, amongst others, makes a convincing argument that human brains must also be universal computers in this sense, in his interesting new book ‘The Beginning of Infinity’. So I have some rough grounds at least, for making this link between brains and computers for the purpose of trying to get some hint of the visual essence of thought.
The interesting aesthetic link comes in via the work of Stephen Wolfram, from his 2002 book, ‘A New Kind of Science’, where he shows that simple “cellular automata” models, growing blocks of binary colour following simple rules, can create rich behaviours in their growth patterns, and even yield a system capable of Turing-completeness. Following a systematic exploration of the simplest possible rules governing cell duplication, Rule 110 is the first rule which displays Turing-completeness and is the simplest visual system that I know of which embodies this attribute.
The really interesting thing is that Rule 110 also displays a very particular visual aesthetic, that of a combination of order and chaos, never totally predictable or totally random. For me, that potential artistic/aesthetic link to universal thought is pretty amazing, and it’s also an aesthetic/property which appears in many other important places in nature (for example https://maxcooper.net/the-nature-of-nature), as well as being one of the main principles of my approach to music, where a healthy dose of disorder is always important.
After settling on this visual form for the project, I needed to create a piece of music which suited the retro blocky nature, which is something akin to Tetris. My immediate thought was big gated reverb snares and powerful classic synths. It had to be bold and clean in one the large scale, but also full of generative unpredictability.
It all fit nicely with what I like to do anyway, and just pushed me in a slightly more poppy direction than anything else on the album. The initial focused time was spent finding the killer chord sequence and bold patch, then setting up a generative seething chaos of synthesis with plenty of random waveforms and modulations, then a long time on the arrangement detailing with more than 100 layers of sounds. I finally added a vocal from Wilderthorn, which I chopped into destruction, just there to add a little hint of humanity in amongst the computation.
The final step in the process was to chat to the great visual artist, Raven Kwok, about the ideas and what I would like from the video. I was really happy when Raven showed me that he wasn’t just going to make an artistic interpretation of Rule 110, but had actually built his own version of the real system!
So the video shows an authentic pattern-generation of Rule 110, where we can see moments of repetition and pattern, but never in perpetuity, it always returns to disorder. The colours and 3-dimensional explorations are Raven’s extension of the basic system.
I still find it counter-intuitive that a simple deterministic system like this can yield undecidability in the content of its output, and I find it inspiring that this property relates to universal computation. It seems to me, at least, like the finest artistry.”