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The Construction of a Twitter Aesthetic : The New Yorker
““You can build paragraphs with the sentences I’ve learned to write.” Having deconstructed his passions down to the size of a tweet, Jarosinski is building them back up again.”
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The New RoboCop Is What RoboCop Meant to Kill
“But the curse and the genius of the great Idiotopian stories is that their warnings come true. Max Headroom—introductory chyron: “20 Minutes Into the Future”—described a world where televisions couldn’t be turned off and where journalists were driven by real-time ratings, forced to change programming on the fly to chase traffic. Right now, you probably have an always-on media-delivery device in your pocket, and if enough of you are reading this story, the count will appear on a big screen inside the doorway of Gawker Media.
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The New Aesthetic — Infovore » InfinifriendsThe machines does a few…
Infinifriends – Bot created Friends Episodes FOREVER http://t.co/b7K5wN52SE
— Tom Woodward (@twoodwar) February 14, 2014
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Forget Augmented Reality. What About Diminished Reality?
“Given this creeping designation of digital artifacts of the real world as protected, only viewable to those of particular value or privilege, it seems reasonable to expect that at some point in the near future devices such as Glass, or other heads-up displays, such as digital windscreens, will contain apps that prevent us from viewing, getting data on, and/or capturing images of people and places in public. We will, in effect, be wearing a form of subjective map on our faces, or driving through selectively rendered environments. We will be using increasingly sophisticated forms ofdiminished reality technology.
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Software Studies: An Outline for Computational Art History
“Computational art history – use of algorithms for the analysis and visualization of patterns in art production, dissemination, reception/interaction, and scholarship. (In other words: use of computers to augment human intellect and intuition.)
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The Dangers of Certainty: A Lesson From Auschwitz – NYTimes.com
“He often smiled as he spoke, not out of conceit or because he lived in California (which, incidentally, he did, working at the Salk Institute in San Diego), but out of a sheer, greedy joy at explaining what he thought was important. But there was a genuine humility in his demeanor that made him utterly likeable.”
“The ascent of man was secured through scientific creativity. But unlike many of his more glossy and glib contemporary epigones, Dr. Bronowski was never reductive in his commitment to science. Scientific activity was always linked to artistic creation. For Bronowski, science and art were two neighboring mighty rivers that flowed from a common source: the human imagination. Newton and Shakespeare, Darwin and Coleridge, Einstein and Braque: all were interdependent facets of the human mind and constituted what was best and most noble about the human adventure.”