News Watch Jon Hopkins perform to no one at The Sydney Opera House – Stoney Roads

Most Jon Hopkins fans already know what an incredibly talented producer he is and that reflects in a lifelong career and an impressive discography of emotive and substantive electronica.

His last album Singularity, released in 2018 was one of his best in many peoples eyes and earned a solid year-plus of touring that led him around the world and coincidently, to the stage of The Sydney Opera House.

From all reports, it was a spectacular not be missed with towering visuals coupled with Hopkins consistent blows and breaks of electronica that shook the place and included unreleased music that looks to be paving the way for a new album.

While the public was treated to that, he also recorded a special, intimate performance for a tiny audience of videographers which captured a piano rendition of one of his latest singles Scene Suspended.

The performance was filmed on the 28th March, which for those not in the know was global Piano Day and who better to flex it than talented player Jon Hopkins himself?

Bask in the exclusive video below, hint; Nils Frahm makes a cameo as well.

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News Watch Jon Hopkins perform to no one at The Sydney Opera House - Stoney Roads

Marching Toward the Singularity – kcstudio.org

Art and Technology Exhibitions Present an Unsettling Take on Contemporary Reality

Artists have engaged technology to aid and enhance their creations at least since the Renaissance and possibly as early as prehistoric times. Consider, for example, David Hockneys book Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters or Penn & Tellers documentary Tims Vermeer. Both make a compelling case that the camera obscura, a comparatively simple optical device, was a revolutionary technological breakthrough for artists capacity to render images with great accuracy and linear perspective.

Now that we are marching with reckless abandon toward the high-tech crisis point known as The Singularity, contemporary artists appear to comfortably employ all manner of technology as both artistic tool and subject of contemplation. A cross section of current exhibitions in our region shows an inventive array of art-meets-tech explorations laced with unsettling consequences.

The Marianna Kistler Beach Museum of Art in Manhattan, Kansas, hosts Charles Lindsay: Field Station 4, a spaced-out immersive installation that repurposes government surplus equipment into five funky multi-media sculptures.

Lindsay, a formerexploration geologist and photojournalist who lived for a while with a shaman in Tibet and did research at NASA Ames, brings a broad range of experience and knowledge to his Field Station, including his current work at the Search for Extraterrestrial Intelligence Institute in Mountainview, California.

One can hear the eerie soundtrack gurgling from the Field Station as it draws the visitor into a cluttered, darkened space. Enclosed by dozens of white stacked equipment cases marked with unsettling stencils like ALL FLUID DRAINED, and thick bundles of colored cables snaking through the space, it feels like entering an abandoned space station in which the scientific research has taken on a strange sentient twist.

One of the cases is splayed open to reveal a small bronze sculpture of a fierce Buddhistic deity wired up to a circuit board with an emergency off button. A small video screen shows two metallic balloons anchored to a large rock in a mountainous landscape. Is this science fiction or just weird science? Both would apply, and the visitor, as the only human presence in the space, is left to ponder just what scientific paradigm has been discovered here.

Lindsay provides a clue in two adjacent works that feature the ancient and medically important horseshoe crab, one of the oldest species to continuously inhabit our planet.

In a case resembling a fish tank, several gilded crabs with their distinctive helmet shapes are illuminated from below with erratic flashes of bluish light suggesting a communicative capacity. An underwater soundtrack clicks and pops like a pod of intelligent cetaceans from a small speaker. Buddhist iconography appears again in the form of a painted wooden panel inside the case. Can marine organisms be Buddhist too?

Clad in aluminum tape, the horseshoe crabs become slithering cyborgs in another large storage case in which they are halved to reveal their hybrid technological undercarriage. They are tethered to an emergency shut off button and a whizzing 12-digit LED countdown clock with a mysterious ravioli-like form bursting its carbonaceous guts.

At the back of the installation, one discovers the source of the sci-fi sound effects. A transparent canister, connected by hoses rising to the rafters, holds chunks of fluorescent minerals that sound like theyve come from deep Earth or deep space. Towers of stacked equipment cases add to the claustrophobic atmosphere and the mystery of the seemingly abandoned Field Station.

Outside the main exhibition space, another bizarre object defuses the tension with a bit of levity. Early Tibetan Computer, a clunky old desktop computer outfitted with yak horns, provides another clue to the artists interdisciplinary intent. Charles Lindsays Field Station 4 points to an expanded consciousness where science and shamanism, inquiry and imagination, intersect in the fluid boundaries of contemporary art.

A Tech Trio at the Ulrich

A trio of solo exhibitions at the Ulrich Museum of Art in Wichita, Kansas, addresses parallel artistic responses to the increasingly insidious relationship between humans and our technological creations.

New York based Scottish artist/filmmaker Zoe Beloffs carnivalesque installation Emotions Go to Work disarms the visitor with large cartoon cutouts linking early 20th-century anthropomorphic animation to the current proliferation of smart devices endowed with artificial intelligence, surveillance and data harvesting capabilities that effectively quantify and commodify our very existence.

Things that seemed outlandish almost a century ago, such as Betty Boops wacky, lifelike machines, have now come to pass in the form of Internet-connected doorbells, drones and dolls. Beloffs related film, The Cognitive Era, mimics a slick corporate animation and lays bare the frightening economic motive behind the so-called Internet of Things: nothing short of complete domination of the biological sphere from cradle to grave. Surely thats a fair price to pay for consumer convenience. Right, Alexa?

On a somewhat lighter note, Beloff plays with the now ubiquitous emojis that standardize our emotional responses into reductive digital icons. In a triptych of large panels, she presents uniform grids of expressive facial drawings. One panel calls to mind Charles Darwins pioneering scientific investigations into human and animal emotions as registered by minute variations in facial musculature. In another, she plays with the origins of several familiar emojis by exaggerating the features and restoring the nuances inherent in the human face.

Beloff extends this study in the projected video Future Emoji with real human faces masked into the circular format of the emoji with their corresponding color tints. Her rehumanization of the form reminds us that much emotional experience is lost in translation to digital platforms. However, the larger implication in the work is that through our voluntary interaction with the AI behemoth, we are teaching it how to emotionally manipulate us into predictable behavior monetized for life and beyond.

Curated from the Ulrichs permanent collection, Lee Adler: A Mad Man Amid the Machines brings to light a little known painter and printmaker active in the 1960s and 70s. Lee Adler (1926-2003), a native of Brooklyn, worked on Madison Avenue in the advertising industry before honing his skills as a graphic artist preoccupied with a society in technological ascent. His flat, hard-edged machine forms, rendered in the bright color schemes of Pop art, coincided with the development of cybernetics and systems art. Adlers work retains a surprising conceptual relevance 50 years later the convergent evolution of technological humans a.k.a. cyborgs interacting with ever more humanistic robots. How long before we can no longer recognize the difference?

One of the many consequences of the Digital Revolution has been the irreversible transformation of the photographic medium from a chemical process of image making to an electronic one. In the process, our relationship to the photographic image has destabilized from one of reliable representation to unprecedented manipulation. Photoshop and Instagram filters are commonplace, but now we face deepfake videos and de-aging movie actors that point to a breakdown of trust in the image itself.

That crisis in the medium becomes an opening for artists like A.P. Vague who exploit the tools of manipulation to discover the layered potentials of digital image making. Vagues exhibition of Digital Palimpsests comprises gicle prints and moving image works that range from painterly to geometric abstraction with ghostly traces of representation. Sometimes referred to as glitch art, Vagues work celebrates the open-ended process of liberating images from their original matrix.

Charles Lindsay: Field Station 4 continues through Oct. 17 at Kansas State Universitys Marianna Kistler Beach Museum of Art in Manhattan, Kansas. For more information, 785.532.7718 or http://www.beach.k-state.edu.

Zoe Beloff: Emotions Go to Work, Lee Adler: A Mad Man Amid the Machines, and A.P. Vague: Digital Palimpsests continue through March 29 at Wichita State Universitys Ulrich Museum of Art in Wichita, Kansas. For more information, 316.978.3456 or http://www.wichita.edu/museums/ulrich.

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Marching Toward the Singularity - kcstudio.org

Coronavirus: Seven Ways Collective Intelligence Is Tackling the Pandemic – Singularity Hub

Tackling the emergence of a new global pandemic is a complex task. But collective intelligence is now being used around the world by communities and governments to respond.

At its simplest, collective intelligence is the enhanced capacity created when distributed groups of people work together, often with the help of technology, to mobilize more information, ideas, and insights to solve a problem.

Advances in digital technologies have transformed what can be achieved through collective intelligence in recent yearsconnecting more of us, augmenting human intelligence with machine intelligence, and helping us to generate new insights from novel sources of data. It is particularly suited to addressing fast-evolving, complex global problems such as disease outbreaks.

Here are seven ways it is tackling the coronavirus pandemic.

On December 31, 2019, health monitoring platform Blue Dot alerted its clients to the outbreak of a flu-like virus in Wuhan, Chinanine days before the World Health Organization (WHO) released a statement about it. It then correctly predicted that the virus would jump from Wuhan to Bangkok, Seoul, Taipei, and Tokyo.

Blue Dot combines existing data sets to create new insights. Natural language processing, the AI methods that understand and translate human-generated text, and machine learning techniques that learn from large volumes of data, sift through reports of disease outbreaks in animals, news reports in 65 languages, and airline passenger information. It supplements the machine-generated model with human intelligence, drawing on diverse expertise from epidemiologists to veterinarians and ecologists to ensure that its conclusions are valid.

The BBC carried out a citizen science project in 2018, which involved members of the public in generating new scientific data about how infections spread. People downloaded an app that monitored their GPS position every hour and asked them to report who they had encountered or had contact with that day.

This collective intelligence initiative created a huge wealth of data that helped researchers understand who the super-spreaders are, as well the impact of control measures on slowing an outbreak. Although the full data set is still being analyzed, researchers have released data to help with modeling the UKs response to Covid-19.

Created by a coding academy based on official government data, Covid-19 SG allows Singapore residents to see every known infection case, the street where the person lives and works, which hospital they got admitted to, the average recovery time and the network connections between infections. Despite concerns about potential privacy infringements, the Singapore government has taken the approach that openness about infections is the best way to help people make decisions and manage anxiety about what is happening.

For dashboard enthusiasts, MIT Technology Review has a good round-up of the many coronavirus-related dashboards tracking the pandemic.

In early February, Wired reported how researchers at Harvards medical school were using citizen-generated data to monitor the progress of the disease. To do this, they mined social media posts and used natural language processing to look for mentions of respiratory problems and fever in locations where doctors had reported potential cases.

This builds on evidence published in a January article in the journal Epidemiology that found that hot spots of tweets could be good indicators of how a disease spreads. It remains to be seen how effective these initiatives are or whether they will succumb to the problems that beset Google Flu Trends.

The reality of peoples experience of the virus is largely absent from media reporting so far, but the importance of social sciences in pandemic preparedness and response is becoming increasingly recognized. We should therefore all tip our hats to the citizens of Wuhan who have been archiving and translating social media data from inside China, creating chronicles of testimonies of those affected before they get censored by the government.

To speed up the development of drugs to combat coronavirus, researchers at the University of Washington are calling on scientists and the public to play an online game.

The challenge is to build a protein that could block the virus from infiltrating human cells. The game is on Foldit, a 12-year-old website which has crowdsourced contributions to important protein research from more than 200,000 registered players worldwide.

Responding to concerns about lack of access to testing for Covid-19, Nesta Collective Intelligence grantee Just One Giant Lab is behind an effort to develop a cheap, quick coronavirus test that can be used anywhere in the world. The initiative is crowdsourcing ideas from do-it-yourself biology communities, with the ambition to open source and share designs so that certified labs can easily produce test kits for their communities.

In a global crisis, sharing collective intelligence about the virus will be a significant factor in our ability to respond and find new treatments. NextStrain pulls in all the data from labs around the world that are sequencing SARS-CoV-2s genome and centralizes it in one place for people to see in a genomic tree. This open repository, which is built on GitHub, is helping scientists studying coronavirus genomic evolution and enabling tracking of how the virus is passed between people.

Researchers have also been sharing new findings about the virus genomic profile through open source publications and preprint sites such as BioRxiv and Chinaxiv. Paywalls are being temporarily lifted on content related to coronavirus in scientific publications such as BMJ, and the public is demanding that major news outlets follow suit.

Activists on Reddit have gone one step further and bypassed paywalls to create an open archive of 5,312 research articles mentioning coronaviruses, citing a moral imperative for the research to be openly accessible. Newspeak House is crowdsourcing a handbook of tools, tech, and data for technologists building things to respond to the coronavirus outbreak.

The World Health Organization (WHO) is also compiling all published research into a global databaseand making learning resources about managing Covid-19 for health professionals, and decision makers have been made available on the WHO online learning platform. But they have also been criticized for not replying to comments left on their channels, leaving a vacuum instead of a response to rumors and falsehoods.

At Nestas Centre for Collective Intelligence Design, well keep tracking how collective intelligence is being used during the current crisis and updating our public online noticeboard of collective intelligence projects as often as we can. Please share any examples you come across in the comments.

By working together and sharing knowledge, we have a better chance of beating the pandemic.

This article is republished from The Conversation under a Creative Commons license. Read the original article.

Image Credit: Pete Linforth /Pixabay

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Coronavirus: Seven Ways Collective Intelligence Is Tackling the Pandemic - Singularity Hub

Scientists Just Proved These Two Brain Networks Are Key to Consciousness – Singularity Hub

Consciousness is one of the greatest mysteries of the human species. Where and how does it originate? Why do we have it? Is it even real, or just an illusion?

These questions arent just hard to answereven looking for answers is difficult. But scientists are slowly chipping away at them, with teams all over the world carrying out studies on the brain aimed at cracking the consciousness code.

One of the most recent studies showed a clear relationship between two brain networks critical to consciousness. In a paper published this week in Science Advances, a team from the University of Michigan described their finding that the default mode network (DMN) and the dorsal attention network (DAT) are anti-correlated, meaning that when one is active, the other is suppressed. The team also found that neither network was highly active in people who were unconscious.

These findings suggest that the interplay of the DMN and the DAT support consciousness by allowing us to interact with our surroundings then to quickly internalize those interactions, essentially turning our experiences into thoughts and memories.

Say youre walking through your neighborhood on a sunny afternoon. Youre thinking about the party you went to over the weekend, remembering people you met and conversations you had. Then theres a crashing noise and a car horn starts honkinga biker has run into a car and fallen over not ten steps from you. No one appears to be hurt, but you rush to the bikers side to see if she needs help.

In a few seconds, youve switched from using one brain network to another. The default mode network (DMN) is active when were internally focused, thinking about ourselves and using our memory and imagination. The dorsal attention network (DAT), on the other hand, is activated when were aware of and paying attention to the environment around us.

Of course, switching between different brain networks happens constantly, as does simultaneous use of multiple networks; wed use both the frontoparietal network (active in higher-level processing) and the visual network (used for sight) to analyze and react to images we see or words we read, for example.

But when it comes to the default mode and dorsal attention networks, the situation is a little different; the two are rarely, if ever, active at the same timein fact, neuroscientists had long suspected the two networks werent simultaneously active. The relationship between the two has been studied before, but the Michigan teams research yielded the first definitive proof that the DMN and DAT are, in fact, anti-correlated.

If you think about it, it makes sense; its hard to be fully engaged with your surroundings and be deep in thought about yourself at the same time.

People meditate to try to get out of their heads and focus on the present moment, that is, to quiet the DMN and activate the DAT. Psychedelics like psilocybin or LSD have the same effect: the default mode network is quieted, often resulting in intense feelings of connection to the natural world, other people, or ones surroundings. Since the DMN is where our egos live and where negative thought loops about ourselves take place, the use of psychedelics to quiet this brain region is increasingly being studied as a treatment for depression, PTSD, addiction, and other neurological disorders.

Indeed, were trying pretty hard these days to get out of our own headsand its not easy. This study showed that not only can we not be in our own heads and out of them at the same time, but this mutually exclusive relationship between the DMN and the DAT and the consistent switching between them is what enables us to interact with our environment then internalize and process our experiencesin other words, to be conscious.

The results provide novel scientific insight into the neuronal mechanisms of consciousness, said Zirui Huang, the lead author on the study, and these insights could eventually be used to develop an indicator of the state of consciousness in patients with brain disorders.

The team used functional magnetic resonance imaging (fMRI), which measures brain activity by detecting changes in blood flow, to study the brains of 98 participants. Some of the participants were awake, while others were mildly sedated or generally anesthetized, and some suffered from brain disorders of consciousness.

The team built a machine learning model to analyze when different parts of participants brains were in use at the same time. Many previous studies of these patterns used fMRI data averaged over several minutes, but the Michigan team took second-to-second images of brain activity.

We know the brain is changing second to second with different networks engaged in collaboration, said Anthony Hudetz, Professor of Anesthesiology and Director of the Center for Consciousness Science, and a senior author of the paper. Temporal averaging can miss the actual dynamics of the brain and what underlies everything the brain does, from our thinking to our imagination.

They observed eight primary brain networksfrom higher-level processing to visual processing and the activity of the whole brainin addition to the aforementioned DAT and DMN. Using the first 98 participants, the team created a model of the activity patterns of these networks, including which ones were activated simultaneously, for how long, and which network activated subsequently.

Once they had a reliable model, the team further evaluated their results in an additional group of 248 participants, all of whom were conscious but some of whom had psychiatric disorders that could alter the functioning of their brain networks.

The researchers saw that the brain quickly transitions from one network to another in regular patterns, and the conscious brain cycles through a structured pattern of states over time, including frequent transitions to the default mode and dorsal attention networks.

But in patients who were unconsciouswhether theyd been sedated or they suffered from brain disorderstransitions to the DMN and DAT were much less frequent.

This is key: though the experiences of unresponsive patients would have differed depending on how they became unconscioustheir brain networks would have been impacted and reorganized in different waysthey all shared the same isolation of the DMN and DAT networks.

In people who are conscious, turning off the DMN (which is what happens when you take psychedelics) results in an inability to deeply self-reflect. Turning off the DAT, on the other hand, would result in an inability to be aware of and respond to ones surroundings. Its the switching between these two networks that allows us to be engaged, aware, self-reflective humansconscious beings, you could say.

We wanted to pinpoint which networks are related to consciousness, said Huang. By suppressing consciousness, we developed a better sense of which networks are important for consciousness by process of elimination.

We already knew that youre in a conscious state whether youre daydreaming and caught up in memories or out of your head and engaged with the world around you.

But now we have further proof that, one, you dont use the brain networks required for self-reflection and external engagement at the same time, and two, you dont use much of either when youre unconscious.

Huang hopes to next identify how the brain regulates these moment-to-moment changes from one network to another. These structured patterns of brain changes are important for consciousness, he said.

Cracking the codeor, rather, the many codesof the human brain will likely take decades, and thats taking into account the decades scientists have already devoted to studying, probing, imaging, and analyzing the three-pound ball of neurons and fatty acids inside our heads.

But after all, the brain is the seat of consciousness, as well as that of every thought, memory, emotion, and sensation we have; we couldnt have expected its inner workings to be straightforward.

Image Credit: Greyson Joralemon on Unsplash

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Scientists Just Proved These Two Brain Networks Are Key to Consciousness - Singularity Hub

Biden, Sanders and a Debate for This Moment of Panic – The New York Times

This is an unprecedented moment in American history, Bernie Sanders said on Sunday night. It certainly produced an unprecedented debate, the singularity of which was captured in a superficially odd but profound bit of business near the start.

Both Sanders and Joe Biden volunteered proudly that they hadnt shaken hands. Both sang the praises of soap. And both spoke of hand sanitizer as if it were holy water.

The pandemic caused by the coronavirus changed and governed everything about the evening, in ways overt and oblique. It determined the first question that the two candidates were asked. It informed the last. It was the focus of many of their remarks in between.

Above all, it was the terrifying context in which their inevitable policy disagreements, aspersions on each others characters and exhumations of each others records took on a wholly different cast. All that stuff was unquestionably important and yet.

There was a life-threatening, nation-shuttering, wealth-decimating crisis at hand. Did Bidens decades-old comments about Social Security or onetime support of the Hyde Amendment matter even an eighth as much? Did Sanderss long-ago votes on gun control or kind words about Fidel Castro?

And wasnt the most important takeaway that neither of the candidates dwells in the truth-free, information-barren, delusion-rich bubble surrounding our current president, whose irresponsibility is having epic consequences? The two Democrats criticisms of each other, which grew heated at times, seemed almost immaterial next to what needed to be said and sometimes was about the denier in chief, Donald Trump.

That dynamic favored Biden, for several reasons. Hes now the far-and-away front-runner for the Democratic presidential nomination, with a lead in delegates that Sanders probably cant overcome, so any sense of urgency for the party to unite in common cause against Trump becomes a summons to send Biden into the general election in the strongest shape imaginable. I suspect many Democrats tuned into this debate, almost certainly the last of the Democratic primaries, not to see Biden tested but to will him onward unscathed.

Bidens position in the race, coupled with his message of national healing, meant that he more than Sanders had an interest in floating above the details of issues and painting a larger, gauzier picture. That approach suited this moment of utterly warranted panic.

So practiced riffs that were somewhat pat before the pandemic were wholly pertinent, such as Bidens recognition that while he and Sanders differ on how to improve health care or tackle other problems in America, We dont disagree on the principle. We fundamentally disagree with this president on everything.

So, he added, this is much bigger than whether or not Im the nominee or Bernies the nominee. We must defeat Donald Trump.

And Biden was able to portray Sanderss grander plans for transforming the American economy as luxuries unaffordable in the face of a scourge, as distractions from the emergency upon us. People are looking for results, not a revolution, Biden said.

Barring some remarkable, unforeseeable development, Sunday night was likely the valediction to Sanderss bid for the Democratic nomination. Thats not because there was any particular, glaring deficiency in Sanderss performance, a thorough and sometimes fierce grilling of Biden that correctly identified his evasions, inconsistencies and episodes of flawed judgment.

Sanders projected passion and self-assurance. He defended himself well against Bidens attacks. And he raised fair, even necessary questions about whether, on issues like climate change, Bidens proposals were more timid than the stakes demanded.

But there was something strained and strange about Sanderss repeated pivots from the pandemic to income inequality, from the pandemic to corrupt pharmaceutical executives, from the pandemic to how many millionaires and billionaires have contributed to Bidens campaign. The world has been transformed; the script remains the same.

And he couldnt claim the kind of experience that Biden repeatedly did, the intimate knowledge of what its like to be at the center of crucial national decisions.

Biden smartly understood that his eight years beside the last Democratic president and his foreign-policy seasoning are probably more reassuring to voters now than they were a month or even a week ago. So he marinated in them.

And to guarantee further that the media wouldnt fixate on who had got the better of whom, he threw in some major news, promising outright that he would pick a woman as his running mate. Cory Booker, Pete Buttigieg: You can officially stand down.

There were also bad moments for Biden: selective retellings and lavish sugarcoating of votes and comments hed made in the past. But they werent nearly enough to alter the current trajectory of the Democratic contest.

And Biden provided a mostly reassuring answer to perhaps the biggest question coming into this debate: With only one opponent sharing two full hours and a whole lot of talking to do, could he communicate his thoughts sharply enough, make his points with sufficient force and keep his sentences from running out of gas on a road to nowhere?

Squaring off against Sanders was a preview of squaring off against Trump, not because Sanders and Trump are anything alike, but because the initially crowded nature of the Democratic contest meant that Bidens debates until now were populous affairs, when he was on the hook for maybe 20 minutes total and not the only or even the main candidate under fire.

But Sunday nights debate was a two-person face-off, of the kind bound to occur in a general election. Did the extra time mean added peril? Biden was plenty repetitive and occasionally misspoke, but it was nothing to bolster team Trumps gross caricature of him as a barely animated corpse.

Biden mostly came across as calm and resolute in the face of dire circumstances that had forced a relocation of the debate to Washington from Phoenix, the elimination of an audience and the addition of an extra few feet between his lectern and Sanderss.

The two candidates may have stood at a greater distance from each other than they normally would, but somehow they were closer together. Even during the debates bitterest exchanges, I never got the sense that either of them was really and truly intent on savaging the other.

You cant tell Americans to pull together at this frightful juncture if youre pushing them apart. The Democrats seem to get that. If only the president did, too.

The Times is committed to publishing a diversity of letters to the editor. Wed like to hear what you think about this or any of our articles. Here are some tips. And heres our email: letters@nytimes.com.

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Biden, Sanders and a Debate for This Moment of Panic - The New York Times

This Week’s Awesome Tech Stories From Around the Web (Through March 14) – Singularity Hub

MEDICINE

Flattening the Coronavirus CurveSiobhan Roberts | The New York TimesThe ideal goal in fighting an epidemic or pandemic is to completely halt the spread. But merely slowing itmitigationis critical. This reduces the number of cases that are active at any given time, which in turn gives doctors, hospitals, police, schools and vaccine-manufacturers time to prepare and respond, without becoming overwhelmed.

Autonomous Robots Are Helping Kill Coronavirus in HospitalsEvan Ackerman | IEEE SpectrumTo prevent the spread of coronavirus (and everything else) through hospitals, keeping surfaces disinfected is incredibly important, but its also dirty, dull, and (considering what you can get infected with) dangerous. And thats why its an ideal task for autonomous robots.

Quarantined Italians Are Singing Their Hearts Out. Its Beautiful.Emily Todd VanDerWerff | VoxTheCovid-19 coronavirusand the associatedsocial distancing that nearly everyone on the planet is being encouraged to practicewill presumably hinder people from making and listening to music together, but tweets from all over Italy (which is under heavy lockdown) reveal a country where citizens are taking to their balconies and windows to enjoy music together.

These Industrial Robots Get More Adept With Every TaskTom Simonite | Wired Were paying people trillions of dollars a year to do stuff that robots have been physically capable of doing for the last 30 or 40 years, Phoenix says. Anyone who can make industrial robots more adeptand Vicarious is not the only one tryingcould transform the economy by shifting the balance of labor between people and machines.

How Wikipedias Volunteers Became the Webs Best Weapon Against MisinformationAlex Pasternack | Fast Companywhile places like Facebook, YouTube, and Twitter struggle to fend off a barrage of false content, with their scattershot mix of policies, fact-checkers, and algorithms, one of the webs most robust weapons against misinformation is an archaic-looking website written by anyone with an internet connection, and moderated by a largely anonymous crew of volunteers.

Cosmos: Possible Worlds Review Gorgeous Scientific Escapism Advocates for Rebels and OptimismSteve Greene| IndieWireThe most valuable part of Cosmos: Possible Worlds is its merging of boundless optimism and the necessity of urgency. Not merely content with being restricted to doomsaying or cheerleading, theres a healthy blend of both that sticks to a central thesis: Were capable of understanding what mystifies us now, but only if were willing to display some humility and cooperation in the process.

Dont Go Down a Coronavirus Anxiety SpiralLouise Matsakis | WiredThe stock market had its biggest decline in decades, Sarah Palin rapped to Baby Got Back dressed in a bear suitit feels like the world is unraveling. There is so much going on, and so much uncertainty, it is all too easy to get trapped watching cable news or scrolling through Twitter all day. If all this news is making you feel stressed, youre far from alone.

Image Credit:Ari He /Unsplash

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This Week's Awesome Tech Stories From Around the Web (Through March 14) - Singularity Hub

Kill It and Leave This Town: Film Review – Variety

An utterly bizarre, frequently grotesque, occasionally obscene singularity, Polish artist Mariusz Wilczynskis abrasive animation Kill It and Leave This Town exists so far outside the realm of the expected, the acceptable and the neatly comprehensible that it acts as a striking reminder of just how narrow that realm can be. Occupying a conceptual space several universes away from (or perhaps, given its intensely personal nature, deeply nested inside whatever it is we recognize as) reality, the scratchy, hand-drawn interior epic is alarmingly niche in appeal, but if you can slip into that tiny schism, it certainly rewards with one of the most nightmarishly original dystopian visions you are likely to encounter this year.

Willfully lo-fi, rendered in often crude black and white lines and smudges occasionally accented with tiny spots of color a pilot light, a row of cigarette packs, a fizzing neon sign in the shape of a ram the film is noted animator Wilczyskis first feature, but has been in the works for 11 years, which maybe accounts for why its 88 minutes play out like a decade-long anxiety attack. Within it, memory abuts dream, which in turn jostles against long tracts of defiantly self-indulgent navel-gazing that play as a kind of therapeutic exercise for an author experiencing an ontological crisis. So if a linear narrative is impossible to discern among such densely surreal imagery, the mood of circular despair, self-recrimination and intense melancholy is just as impossible to miss.

Loosely speaking, it is set in Wilczynskis childhood home of Lodz, in the 1970s, when a browbeaten Poland was still firmly in the clutches of the communist regime. The city backdrops are rendered in unusual detail, with plumes of smoke puffing from the industrial skyline, which has the eloquent effect of oppressing the more crudely-drawn human characters that populate it. These people officious shopkeepers, unhelpful station-masters, truant schoolboys all seem alienated from one another even as we swim in and out of their nervily chattering, nonsensical monologues.

Bobbing fish in a tank turn into decapitated heads that roll across trainyards and rasp incomprehensible, vaguely satanic-sounding messages to the living. An ancient sailor with a medal and a beak for a mouth bickers with his wife on a train ride. A man and his son go to the beach for the day and forget to telephone home where mother becomes increasingly frantic. And Wilczynski himself appears, a lumbering Brobdingnagian giant in this Lilliputian world (its as unflattering a self-portrait as you can imagine) while he waits at his dying mothers bedside later, we will watch in ghastly close-up as the mortician chats offhandedly while sewing up the genitalia on her shriveled corpse.

The film does not feel directly political, yet the style still recalls the politicized caricatures of George Grosz or the ghouls of Otto Dix meeting the surreal grotesqueries of Jan Svankmajer or Jiri Barta, minus the aesthetic intricacy. The transitions between disparate scenes are haphazard, sometimes simply fading in and out of black, sometimes eliding into each other as in a dream, and sometimes cutting on a sound element (old Polish pop music dots the soundtrack) or the wail of an electric guitar riff from Tadeusz Nalepas twanging score. The varying strokes and weights of the individual animators styles further challenge the films flow, with characters rendered so differently from one scene to the next its surprising that we can still ascribe them any object permanence at all. But despite the jarring form, Kill It and Leave This Town is still oddly immersive: a peculiarly vivid, monochromatically psychotropic bad trip.

These are Wilczynskis memories but also his nightmares, fears and neuroses made manifest in ink on paper backgrounds. Sometimes that paper is lined and ragged, stuck together with visibly yellowing tape that testifies to both the spontaneous, even hasty, nature of the images, but also to their ancientness, like marginalia doodles discovered in an old school copybook. And the naivet of the presentation is clamorously dissonant with the artistic ambition, which is little less than the tortured representation of an already unruly psyche gathering together fragmentary impressions churned up in the wake of the specific type of existential grief that occurs when orphanhood happens to an adult.

I simply dont believe in death, says Wilczynskis bloated, scraggly avatar at one point. Everyone who is gone is just gone. They didnt die, they are alive in my imagination. That might well be the kind of cozy blandishment wed expect of a much easier, more lighthearted film about death, one designed to comfort rather than provoke. But here it is anything but a consolation. The imagination that Kill It and Leave This Town illustrates may indeed be a sort of afterlife for people of Wilczynskis past, but if so, it is Purgatory.

'Kill It and Leave This Town': Film Review

Reviewed at Berlin Film Festival, Feb. 22, 2020. Running time: 88 MIN.

Production:(Poland, Animation) A Bombonierka production, in co-production with the National Film Archive, Adam Mickiewicz Institute, Ec1 Lodz - City Of Culture, Letko, NoLabel, DI Factory, Gigant Films and the Polish Film Institute. (International Sales: Outsider Pictures, LA.) Producers: Ewa Puszczynska, Agnieszka Scibior. Co-producers: Piotr Szczepanowicz, Jakub Karwowski, Grzegorz Waclawek, Krzysztof Hrycak, Lukasz Czyczylo, Jedrzej Sablinski, Rafal Golis, Julia Skorupska, Michal Herman, Radoslaw Drabik, Teresa Siwicka, Jacek Siwicki, Michal Chacinski. Executive producer: Lucja Kedzior-Samodulska.

Crew:Director, screenplay: Mariusz Wilczynski. Lead animators: Wilczynski, Agata Gorzadek, Jakub Wronski. Animation supervisor: Piotr Szczepanowicz. Editor: Jaroslaw Barzan. Music: Tadeusz Nalepa.

With:Krystyna Janda, Andrzej Chyra, Maja Ostaszewska, Malgorzata Kozuchowska, Barbara Krafftowna. (Polish dialogue)

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Kill It and Leave This Town: Film Review - Variety

Huge $161 Million Investment Means Meat Without the Animal Is Here – Singularity Hub

In 1931, Winston Churchill made a bold prediction: We shall escape the absurdity of growing a whole chicken in order to eat the breast or wing, by growing these parts separately under a suitable medium. It must have sounded like pure science fiction back thenbut not anymore.

Today, thanks to scientific innovations in tissue engineering for human medicine, were very close to fulfilling Churchills vision for food.Researchers and the media have variously called this new kind of food cell-based, cultured, or lab-grown meat, but I prefer the more palatable cultivated meat. Unlike plant-based alternatives, cultivated meat islike its conventional counterpartmade up of animal muscle and fat cells. But because these cells can be cultivated at the cellular level, we dont have to grow a whole animal to make meat from only some of its cells.

Since early cultivated meat company Memphis Meats launched in 2015, more and more startups have focused on producing animal meat without the animal. By removing the animal, these companies aim to produce meat with a fraction of the environmental footprint, needing as little as 45 percent less energy, 96 percent less water, and 99 percent less land than conventional meat.

As we race to find sustainable ways to feed the worlds insatiable appetite for meat, the field of cultivated meat has exceeded annual exponential growthmore than doubling every year in terms of the number of startup companies and investment dollars. In late 2015, one startup raised a few hundred thousand dollars. In 2020, there are dozens of cultivated meat companies around the world pursuing everything from shrimp and bluefin tuna to steak and kangaroo.

This year, the sector took another significant step forward when cultivated meat first-mover Memphis Meats closed a $161 million Series B funding round from lead investors Softbank, Norwest, and Temasek. This amount is greater than all other publicly disclosed investments in cultivated meat companies combined and brings total investment in the startup to $181 million.

What does an investment like this mean for cultivated meat companies and the field as a whole? Having tracked the sector since its inception, I think there are three key takeaways.

Funding at this level enables a cultivated meat company to move beyond the proof-of-concept phase. It allows them to dive into the juicy engineering challenges associated with scale-up and enables the construction of a pilot facility representative of true commercial-scale production.

This funding milestone serves to validate the technological soundness of the concept of cultivated meat and Memphis Meats approach to it. With a Series B funding round, scrupulous investors evaluate not just a research plan and a teams credentials but also actual progress toward technical and business milestones. They see a path toward commercial viability and profitability tooall within the time horizon of a typical venture capital fund.

The fact that Memphis Meats has been able to secure follow-on investments from their previous funders and also bring in noteworthy new investors shows theyve made impressive progress to date de-risking their technology.

While this is a win for Memphis Meats, the investment is also a validation for the entire field and the concept of cultivated meat as a solution to some of the problems inherent in conventional meat production.

But theres no time for a victory lap.

Momentum for meat alternatives is building. Plant-based meats from Impossible Foods and Beyond Meat made a splash in fast food restaurants like Burger King and KFC last year. And Beyond Meats initial public offering had a historic post-IPO pop (though its since retreated).

Cultivated meats may capture a further slice of the market if they can offer something even closer to a true replacement for conventional meat. But it will take more investment. And cultivated meat companies still need to pass regulatory scrutiny and convince the public that their products are not only healthy and safe, but also desirable and delicious.

Financial support will come from the private sectoras the Memphis Meats Series B seems to showbut the public sector can help keep things moving too.

Governments, which are heavily invested in renewable energy, should become heavily invested in renewable meat as well. The sector is still nascent. Continued resources are needed to address challenges, drive innovation, and enhance efficiencies to rapidly scale animal-free meat production. Given the vast promise of better meat production, governments are overdue for writing some of the critical checks to broaden the foundation of fundamental research.

As the climate crisis unfolds, we need to invest in the science that can save us, including methods that can produce truly sustainable meat. If the US is to maintain its lead in feeding the world safely and sustainably, we need public support for better forms of meat production.

Image Credit: Wolfgang Hasselmann /Unsplash

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Here’s what to do in Houston this week – KPRC Click2Houston

There's a little something for everyone coming up on the events calendar this week. From a card tournament to an improv show, here's a rundown of options to help you get out and about in the days ahead.

Hoodline offers data-driven analysis of local happenings and trends across cities. Links included in this article may earn Hoodline a commission on clicks and transactions.

From the event description:

We're playing spades, and you're invited. CReed Global Media is hosting game night. Calling all spades players. Bring your partner.

When: Friday, March 13, 7-11 p.m.Where: CReed Global Media Studios, 6363 Richmond Ave., Suite 350Admission: Free

Click here for more details, and to get your tickets

From the event description:

It's official! Crawling for charity is more fun. This is the official charity pub crawl, which supports the parade. Drink specials at participating bars for crawlers only.

When: Saturday, March 14, 3-9 p.m.Where: Downtown HoustonAdmission: $5 (Super Pre Sale (83% off); $7.50 (Pre Sale (75% OFF)). More ticket options available.

Click here for more details, and to get your tickets

From the event description:

Learn to make beautiful holiday icicle ornaments from molten glass in this introductory flameworking class.

When: Saturday, March 14, 4-5 p.m.Where: Verlocal, 214 E. 27th St.Admission: $75

Click here for more details, and to get your tickets

From the event description:

Insane salsa night party at Capitol Bar. It's off the hook. You get three dance lessons in salsa merengue and bachata. Then dance inside and outside to salsa, bachata, cumbia reggaeton and more till 2 a.m. with two DJs!

When: Saturday, March 14, 8 p.m.- Sunday, March 15 2 a.m.Where: Capitol Bar Midtown, 2415 Main St.Admission: $10

Click here for more details, and to get your tickets

From the event description:

Saturday Singularity at Station Theater welcomes the best in live independent improv and sketch comedy from Houston and beyond!

When: Saturday, March 14, 8-9:15 p.m.Where: Station Theater, 1230 Houston Ave.Admission: $8

Click here for more details, and to get your tickets

This story was created automatically using local event data, then reviewed by an editor. Click here for more about what we're doing. Got thoughts? Go here to share your feedback.

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Here's what to do in Houston this week - KPRC Click2Houston

PS4-exclusive Horizon Zero Dawn is coming to PC – The Tech Report

Were approaching the video game singularity, where platform and hardware no longer matter. Sony and developer Guerrilla games took us one step closer to that singularity this week with the official announcement that Horizon Zero Dawn is coming to PC.

The announcement comes straight from the most official source possible. Head of Sonys Worldwide Studios Helman Hunst, who ran Guerrilla Games before stepping into the Sony position last year, announced the release via Sonys official PlayStation blog.

I can confirm that Horizon Zero Dawnis coming to PC this summer, Hunst said. There will be more information coming from Guerrilla, from the new studio directors pretty soon.

The announcement was rumored earlier this year, and its not completely without precedent. Also releasing this summer is Hideo KojimasDeath Stranding,which Kojima built using Guerilla Games Decima Engine. In that light,Horizon Zero Dawnmakes more sense than any other Sony game for this move. Its also one of the biggest Sony properties to appear on PC; its not hard to start fantasizing about games like God of War or The Last of Us joiningHorizon Zero Dawn. Word from Sony suggests that this might be just the start.

If you havent come acrossHorizon Zero Dawn yet, the game follows a woman named Aloy, outcast from her tribe. She searches for clues to her origins in a world overrun by imposing and dangerous mechanized creatures, modeled in the shapes of dinosaurs, predators, and other wildlife. Signs of an old world are out there, and call to Aloy as she unravels the mystery of her own life and that of the dinosaurs roaming the planet. As a PlayStation exclusive, the game has held a steady 89 on Metacritic.

Horizon Zero Dawn isnt available for pre-order just yet, but it does have a page on the Steam store for theHorizon Zero Dawn Complete Edition.The package includes the game, the Frozen Wilds expansion, and some special weapons and item packs. Theres no word on price just yet.

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PS4-exclusive Horizon Zero Dawn is coming to PC - The Tech Report

10 Forgotten First Person Shooters You Need To Play | Game Rant – GameRant

If someone was to ask most gamers to name a first-person shooter they most likely answer would either be Call of Duty, Battlefield, or even Halo. Which is unsurprising considering how popular these games are with fans of multiplayer shooters.

RELATED:5 Multiplayer Games Best Played Solo (& 5 With Friends)

One only has to look at the Call of Duty franchise topping the number one selling game every Christmas for the last few years to see its dominance on the market. Unfortunately, this has meant that many great first-person shooters that perhaps focused more on its single-player than the multiplayer have gone under the radar. Lets take a look at ten great but forgotten single-player shooters that gamers should check out if they want something different from the CoD series.

Released in 2005 for the PlayStation 3, Xbox 360, and the PC, F.E.A.R. is an atmospheric survival horror first-person shooter developed by Monolith Productions. The game offers players a well rounded single-player campaign with an interesting story taking inspiration from Japanese horror films like Ju-On: The Grudge and Ring.

RELATED:10 Horror Games That Take The Longest To Beat

F.E.A.R. also uses its own version of the bullet-time mechanic called Reflex Time which comes in handy against the games advanced artificial intelligence. The long-haired little girl Alma may be pretty scary but the true star of the show is the unpredictable A.I. The enemy soldiers coordinate with teammates, use suppressive fire, blind fire, and really seem to make an effort in taking down the player by not repeating the same mistakes.

Released on the Nintendo Wii in 2010, Red Steel 2 is a first-person action shooter that combined themes from samurai and Wild West movies. It also implemented cell-shaded visuals which still look great giving it an anime-style appearance.

Red Steel 2 also made excellent use of the Nintendo Wiis motion controls delivering some of the best swordfight mechanics in any game and it transitions fluidly into gunplay very nicely. Unfortunately, a planned sequel was canceled by its developers by Ubisoft due to its low sales, but Red Steel 2definitely deserves another chanceand could be the perfect candidate for the PSVR.

Released in 2006 for the Xbox 360 and PC formats in 2006, Prey is a science fiction horror first-person shooter developed by the now-defunct Human Head Studios. It was created using the Doom 3 engine also known as id Tech 4 and unsurprisingly the graphics still hold up well. Level design is top-notch, and monster design is gruesome in all the right ways.

Its a completely different game to the very good 2017 reboot of the same name developed by Arkane Studios. The gameplay implements the use of portals that are there to interconnect the levels and create new methods of attack. In addition, the Spirit Force mechanics allows the protagonist Danny to enter the spirit realm to solve puzzles and surprise enemies.

First released in 2011, Bulletstorm was released on the PlayStation 3, Xbox 360, and the PC. Despite being well received by critics, the game was a commercial failure. Bulletstorm was released again on the Xbox One and the PS4 in 2017, and the Nintendo Switch in 2019.

In spite of the remasters, Bulletstorm is still not a game that is considered to be a mainstream hit. For lack of a better term, Bulletstorm is an absolute blast to play and has a great sense of humor. The Skillshot mechanic is what will keep players hooked from beginning to the end, however, letting players pull off some amazing feats with the games unique weapons.

Developed by Chronicles of Riddick: Escape From Butcher Bay creators Starbreeze, The Darkness is another fantastic first-person shooter based on thecomic book series if the same name. The gunplay is solid but the games most unique mechanic is the Darkness powers such as Creeping Dark allowing stealth attacks and Dark for more violent tentacle attacks that can impale enemies in lots of creative ways.

In addition to the excellent gameplay, The Darkness world is a joy to explore with lots of characters and items to interact to help bring the game to life, and the storyhas lots of twists rig.

Mace Griffin: Bounty Hunter was released on the Xbox, PC and PlayStation 2 in 2003. It is a futuristic science fiction game with inspirations from classic Wild West movies. Mace Griffin allows players to switch between space ship fights and first-person viewpoints and was way ahead of its time in terms of loading speeds and transitional gameplay.

The game features solid voice work from Henry Rollins as the titular character, and the interesting and involved sci-fi story builds and develops at a great pace in relation to the mission design.

Released in 2012, Syndicate was a first-person shooter reboot of the cyberpunk real-time strategy series. It was developed by Starbreeze Studios. Just like The Darkness, theres a lot more to this game than simply running and gunning. However, it must be said that running down a corridor John Woo-style taking out enemies with ease is very satisfying.

Syndicate gives its players an incredible amount of tools to use in battle from the DART chip that can tag enemies through walls, hacking techniques and lots of weapons that feel great to use. Despite being on the PS3 and Xbox 360, Syndicate still holds up well visually with great art design and excellent animations.

The Chronicles Of Riddick: Escape From Butcher Bay is another great action title from Starbreeze Studios and arguably their best effort to date. First released in 2004 on the original Xbox it was best looking and performing game on the machine. However, the remastered edition included with Chronicles of Riddick: Assault on Dark Athena is the best version giving gamers two great games in one.

RELATED:The 10 Best Stealth Games Ever Made (According To Metacritic)

The lighting and shadows look realistic and really add to the games stealth mechanics which are among some of the best in the genre. Furthermore, in terms of hand-to-hand combat in the first person, there are very few games that can match the fluidity of the Riddick games.

Released in 2010 on the PS3 and Xbox 360, Singularity is a first-person science fiction horror shooter developed by Raven Software. Even though Raven is perhaps now better known for developing Call of Duty games Singularity is a narratively driven FPS that has more in common with the Bioshock series.

RELATED:Call of Duty: 5 Reasons Why Its WW2 Era Was The Best (& 5 Why It's The Modern Warfare Era)

In addition to its very good storyline, Singularity implements an innovative time manipulation mechanic that can be used as a weapon and solve several puzzles as the game progresses. Theres an alternate timeline storyline thats inspired by classic science fiction TV shows and was far more imaginative than it was given credit for at the time of its release.

Released as a launch title for the Xbox 360 in 2005, Condemned: Criminal Origins is a survival horror FPS developed by Monolith Productions the same team behind the F.E.A.R. series. Unlike F.E.A.R. however, theres a stronger emphasis on horror and successfully making the player jump out of their skins - gamers will never look at a store mannequin in the same way again.

The shooting mechanics areweighty and satisfyingbut its brutal melee combat that stands out among the best in the genre. Despite its age, Condemned is still one of the more visually striking games on the system and quite possibly one of the most underrated horror games of the last two generations.

NEXT:10 Great RPGs That Flew Under The Radar (And Their Metacritic Scores)

Next10 Ridiculously Long PC Games (& How Long They Take To Beat)

Writer for GameRant, The Gamer, The Sportser, and ScreenRant. Gaming, wrestling and film fan for over 35 years. He's a Schwarzenegger and Stallone fanatic that considers himself something of an expert in all things RPGs and cheesy action films from the 80s and 90s.

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10 Forgotten First Person Shooters You Need To Play | Game Rant - GameRant

AQ Arif accentuates brave nature of defending warriors in Epic Mughals – The News International

AQ Arif accentuates brave nature of defending warriors in Epic Mughals

The genesis of war is as old as history. Human beings have been fighting for power and supremacy from the moment they began to run out of resources and starve, leading to ruthless greed, writes art critic Saeed Kureshi (Sitara-e-Imtiaz).

The ArtCiti Gallery, which is hosting AQ Arifs solo art exhibition titled Epic Mughals until March 17, quotes Kureshi as saying: Today history is replete with conflicts, battles and wars that were fought for a variety of reasons, such as forcing ideological change, settling border disputes and capturing mineral resources among others.

Accentuating the brave nature of defending warriors, AQ Arif has put together a unique set of aesthetically modelled artworks. Additionally, being a highly acknowledged painter of cityscapes and Islamic buildings, the artist in the current exhibit introduces a new wave of captivating structures draped in Muslim architecture.

The set of paintings depicting the grand era of the Mughals reflects the artists vivid vision, eye for detail and a keen urge to define the atmosphere of combat. The visually complex subject of armed conflicts comprising armour, weapons and dynamic articulation is a daunting theme that Arif confronts head-on. The historical nature of painted episodes is crucial to the preservation of past history of the Subcontinent; some of it grand and some humiliating.

The artist indeed has manifested his command over this exclusive subject, narrating some of the significant junctures of battle, which now stand preserved. The remarkable demeanour of courage, gracefully composed for movement and posture, these paintings exude inspiration and induce a winning spirit to struggle.

The artist through his extraordinary arrangements on the canvas has revived the powerful imagery of the regions ancestors, which oozes with inspiration to fortify the defences of the motherland.

Retrospectively, ever since the Indus Valley Civilisation (3300-1300 BC), successive kingdoms and empires invaded and ruled the region and enriched its culture: from the Persian Achaemenid Empire to Alexander the Great.

Muslim rule in the Subcontinent began in 712 AD, when Muhammad bin Qasim conquered Sindh and Multan, setting off several successive invasions leading to the forming of Muslim empires of the Delhi Sultanate and the Mughal Empire.

It was the Mughal rulers who introduced Middle-Eastern art and architecture to India. The emerging Mughal army developed a superior cavalry branch. The cavalrys horsemen possessed horses and used a wide variety of weapons like swords, shields, lances and, more rarely, guns.

Their armour was made of steel or leather, and they wore the traditional dress of their tribes. Arif portrays the aforesaid with masterful imagination deploying painterly realism, especially the Mughal cavalry with elephants bearing richly ornamented sturdy armour.

Among the Mughal military, the artist portrays warships and boats which were used for defending coastlines, controlling piracy and for transportation of men and goods.

The inclusion of maritime activity amid the subject of warriors strengthens the artists archival aspiration, capturing the essence of the 16th century Akbarnama paintings of Mughal court painters that depict battles on the Ganges river.

Arif underpins the soft aspect of the Mughal lifestyle through artistic representation of royal attire of men and women. Portraits of graceful women dressed in glorious apparel of that era convey an insight into feminine grandeur and beauty.

Imparting a majestic textural persona to the paintings, the artist handles paints in a variety of application techniques, ranging from scumbling and stippling to bold impasto strokes.

Culminating into an enhanced and a more gratifying style, Arif has achieved a distinguished disposition among leading painters. The singularity of the artists concepts and perception emerging from history emphasises the significance of learning from the past, specifically when the homeland is threatened by conniving adversaries.

Pictures courtesy: ArtCiti Gallery

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AQ Arif accentuates brave nature of defending warriors in Epic Mughals - The News International

Ken Liu’s ‘The Hidden Girl’ Loops Through Space and Time – WIRED

I point up at the kite, hoping shell see how I picked out a fairy whose face looks like hers. But the kite is too high up now for her to notice the resemblance. Ive let out all the string . I wish the kite could fly higher, I say, desperate to keep the words flowing, as though unspooling more conversation will keep something precious aloft.

This particular story, as well as Altogether Everywhere, Vast Herds of Reindeer, are sort of structural analogs to a stark, short sketch called Memories of My Mother, in which a mother cheats death and time by electing to see her child only in slices, like a two-dimensional person might experience a three-dimenional person, once every seven years through a time-dilatory trick that swells the heart and ultimately reverses their roles.

The Hidden Girl and Other Stories by Ken Liu | Buy on Amazon

Absent and illusory though Lius parents often are, their love remains fiercely real. (When the mother and daughter in Seven Birthdays are reunited after aeons, at the center of the galaxy, the world brightens with the light of a million billion suns.) That kind of tension between being together and being apart, between reality and non-reality, between corporality and etheriality, suffuses many of the stories. In The Hidden Girl, the narrator relishes the physicality of this mortal coil: I like to stay in this world, to remain surrounded by the night breeze and the distant hoots of the owl.

These stretchy dichotomies are particularly apparent when it comes to Singularity Stuff. What if humans uploaded into the Matrix become gods who long to fall back to earth? From The Gods Have Not Died in Vain: It turned out that deep down, all the gods had similar vulnerabilities, a kind of regret or nostalgia for life in the flesh that seemed reflected at every level of organization. It was a blind spot, a vulnerability, that could be exploited in the war against the gods.

Or is what we think of as our existence really something set in motion by some kind of superintelligence? Is a living planet just a computing machine powered by a sun? From Seven Birthdays: Even if weve always suspected that we also live in a grand simulation, we prefer the truth to be otherwise.

Woah man, that's deep. Yes, let the marble that is your (non-uploaded) brain roll around in that cosmic Klein bottle as you make your way through the book. Some of the stories, though, are less delicious to inhabit. Liu, who is also a Harvard-trained lawyer, says in his intro that a good story cannot function like a legal brief, which attempts to persuade and lead the reader down a narrow path suspended above the abyss of unreason. Hes right, and in a few places, like Byzantine Empathy, his characters start speechifying to each other and those tales are less delightful, less emotional (in a story about empathy, no less). In those (rare) moments, he loses the audience. But even in that story, hes navigating the space between whats real and whats not, tumbling and faceting that notion just as he does elsewhere, examining the people and aliens in this hot-fleshed chaotic world and how they might interact with spirits and memory, say, or even how they might express their love for the cool post-singularity mathematical souls that live inside the machine.

Further Reading

The Paper Menagerie and Other Stories by Ken LiuAgain with the parenting themes in the titular story! And Lius first collection is just as varied and full of thought experiments as The Hidden Girl, from an ice cube soul (State Change) to the moment one soul engenders another in a kind of spiraling creation myth (The Waves) to an explication of horrific, real war crimes (The Man Who Ended History: A Documentary.).

Cloud Atlas by David MitchellThis 2004 novel makes some of the same back-and-forth-through-time moves that Liu explores, with the requisite voice shifts, and the V-structure reminds me of Ghost Days.

The Three-Body Problem by Cixin LiuKen Liu famously translated (and reorganized) this wild and brilliant epic that starts during the Cultural Revolution and leaps to another solar system. Barack Obama liked, it; Zuckerberg liked it; you will almost certainly like it too.

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Tesla Is Building Its First European Factory But It Has to Clear a Forest First – Singularity Hub

Tesla is having a banner year, and were not even two months in. After reaching what was an all-time high in December at a value of $393.15 per share, last Wednesday the companys stock closed at more than double that: $917.42 per share.

While its car sales are strong, theyre not the source of Teslas skyrocketing value; people are investing in the company because they see it as the future of electric vehicles. After clearing a legal hurdle last week, Tesla is set for more growth, and in a brand-new market: Europe. Germany, to be specific.

CEO Elon Musk announced plans last November to build a fourth Gigafactory outside Berlin (the first three are in Nevada, New York, and Shanghai). But construction involves cutting down a pine forest the size of 100 soccer fields (not to mention removing buried World War II ammunition), and work was halted after local environmental groups protested. On top of having to cut down thousands of trees, the factory will border a nature reserve, and theres been much concern raised about how the areas water supply and wildlife will be impacted.

A Berlin-Brandenburg court stopped Teslas forest-clearing with an injunction earlier this month, but last Thursday overturned the injunction and granted the company permission to resume activity, finding that the legal requirements for early construction had been met.

The factory will be located in Gruenheide, a small town about 33 kilometers (20 miles) south-east of Berlin. Tesla intends to have the plant completed and fully functional by mid-2021, and will eventually produce up to 500,000 cars a year there. Though its moving forward with land-clearing and other construction preparations, the company technically doesnt have final project approval from German authorities. Tesla has projected that the factory will employ about 12,000 people.

Getting the state governments approval is just one of a few hurdles left to clear, and in fact may be more straightforward than the other tasks awaiting Tesla as it builds this factory.

German environmental laws dictate that construction must not interfere with the breeding period for wildlife, which starts in March; this essentially means that for the project to move forward on its planned timetable, tree-cutting would need to be completed in the next couple weeks.

Speaking of protecting wildlife, Tesla will also have to provide bats living in the forest with alternative spots to hibernate, put up fences to prevent reptiles from entering the area, relocate ant nests without destroying them, and find a way to humanely expel any wolves living in the area.

In a tweet from January 24, Musk emphasized that the factory will absolutely be designed with sustainability and the environment in mind. He added that Tesla will plant three trees for every tree it cuts down in the area.

Home to iconic brands like BMW, Mercedes, Audi, and Volkswagen, German car manufacturing has been disrupted by companies that got an earlier and stronger start in electric vehicle technologyspecifically, Tesla. The companys Model 3 outsold all German competitors in both the US and European markets last year, and Germanys auto industry is now at a 22-year low.

The arrival of Tesla will, in the best-case scenario for German automakers, spur innovation through competition and encourage more private-sector investment. The Germans may not be leaders in electrification, but they certainly have a reputation for high-quality engineering. They would do well to follow in Teslas footsteps and start investing in energy storage technology and research; perhaps this could be the path to a rejuvenated German auto industry and economy.

But first, lets make sure those bats, wolves, lizards, birds, and ants are taken care of.

Image Credit: Artist rendering, Gigafactory. Image courtesy of Tesla

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Tesla Is Building Its First European Factory But It Has to Clear a Forest First - Singularity Hub

The World’s First Open-Source Nuclear Reactor Blueprint Is Coming Online – Singularity Hub

Nuclear powers role in combating climate change is a contentious topic, but a Silicon Valley entrepreneur thinks he can sway the debate by releasing open-source designs for a small-scale reactor that could be built in two years for just $300 million.

The argument for making nuclear power part of our response to climate change is compelling: the fuel is abundant, it releases no greenhouse gas emissions during operations, and its capable of producing huge amounts of energy.

But safety concerns, cost, and the question of what to do with the radioactive waste produced mean its failed to capture the zeitgeist.

Bret Kugelmass wants to change that. After selling his drone company Airphrame in 2017 he decided to take on climate change, founding a non-profit research organization called the Energy Impact Center (EIC). And pretty quickly, he came to the conclusion that nuclear power is the way forward.

To advance his vision, last week EIC launched the OPEN100 project, which Kugelmass says will provide open-source blueprints for the design, construction, and financing of a 100-megawatt nuclear reactor. He claims the reactor can be built for $300 million in less than two years, significantly decreasing the per-kilowatt cost of nuclear power.

Nuclear power isnt just part of the solution to addressing climate change; it is the solution, Kugelmass said in a press release. OPEN100 will radically change the way we deploy nuclear power plants going forward, offering a substantially less expensive and less complicated solution.

The logic behind the idea is that the biggest barrier to the widespread use of nuclear is the cost of building reactors, which most experts would agree is a major problem for the industry. Kugelmass thinks thats because weve been focused on large, overly complicated reactors that take far too long to build. His solution is to go back to tried and tested pressurized water reactors from the previous century, and bring their cost down even further through standardization and a focus on speedy construction.

The path to this conclusion was a review of the nuclear industry by EIC staff involving 1,500 interviews with experts in everything from technology to economics and policy. The team used this analysis to put together an open-source template for designing and constructing a nuclear power plant.

Kugelmass isnt the only one convinced that shrinking reactors is the way to revive interest in nuclear power. Several companies are developing small modular reactors that promise to be both cheaper and safer. NuScale in the US is close to deploying its first plant, and Rolls-Royce in the UK and the Chinese and Russian governments are also working on designs.

But there are still plenty of unresolved questions. Any claims about how quickly and cheaply a reactor can be built should be taken with a grain of salt in an industry where costly overruns are the norm. At present, OPEN100s blueprints consist of simple 3D shells of components like reactor vessels or turbines, without any detail on how they workthough the organizations website says more detailed models will be released in the coming months.

Theres also widespread skepticism about how transformative the shift to smaller reactors would be, with many experts saying they face the same cost and safety concerns as their larger cousins. Kugelmass is bullish on the safety front, telling POWER that the low number of casualties from the Fukushima nuclear disaster showed that nuclear plants have similar risks of accidents as any other industrial plant, with similarly mild consequences.

But safety concerns dont only revolve around the risk of meltdown. All nuclear plants create large amounts of long-life radioactive waste that no country has yet worked out how to deal with. And regardless of what the facts are, public opinion is broadly unwelcoming to new nuclear development; the HBO series Chernobyl didnt help.

However, the costs of renewable energy are plummeting and advances in utility-scale energy storage are beginning to provide solutions to the intermittency of wind and sun. If these trends continue, they could call into question the rationale for a major investment in new nuclear technologythough by some estimates, even if the solar and wind intermittency problem is solved and battery storage capacity improves, solely relying on these sources wont be enough to meet future energy needs.

This doesnt seem to deter Kugelmass, though. To coincide with the launch of OPEN100 he also launched a for-profit EIC spin-off called Last Energy that will seek to connect private investors with opportunities to develop new nuclear projects around the world. We could soon be finding out whether open-source nuclear power has any legs.

Image Credit: Open100

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The World's First Open-Source Nuclear Reactor Blueprint Is Coming Online - Singularity Hub

AI Is an Energy-Guzzler. We Need to Re-Think Its Design, and Soon – Singularity Hub

There is a saying that has emerged among the tech set in recent years: AI is the new electricity. The platitude refers to the disruptive power of artificial intelligence for driving advances in everything from transportation to predicting the weather.

Of course, the computers and data centers that support AIs complex algorithms are very much dependent on electricity. While that may seem pretty obvious, it may be surprising to learn that AI can be extremely power-hungry, especially when it comes to training the models that enable machines to recognize your face in a photo or for Alexa to understand a voice command.

The scale of the problem is difficult to measure, but there have been some attempts to put hard numbers on the environmental cost.

For instance, one paper published on the open-access repository arXiv claimed that the carbon emissions for training a basic natural language processing (NLP) modelalgorithms that process and understand language-based dataare equal to the CO2 produced by the average American lifestyle over two years. A more robust model required the equivalent of about 17 years worth of emissions.

The authors noted that about a decade ago, NLP models could do the job on a regular commercial laptop. Today, much more sophisticated AI models use specialized hardware like graphics processing units, or GPUs, a chip technology popularized by Nvidia for gaming that also proved capable of supporting computing tasks for AI.

OpenAI, a nonprofit research organization co-founded by tech prophet and profiteer Elon Musk, said that the computing power used in the largest AI training runs has been increasing exponentially with a 3.4-month doubling time since 2012. Thats about the time that GPUs started making their way into AI computing systems.

While GPUs from Nvidia remain the gold standard in AI hardware today, a number of startups have emerged to challenge the companys industry dominance. Many are building chipsets designed to work more like the human brain, an area thats been dubbed neuromorphic computing.

One of the leading companies in this arena is Graphcore, a UK startup that has raised more than $450 million and boasts a valuation of $1.95 billion. The companys version of the GPU is an IPU, which stands for intelligence processing unit.

To build a computer brain more akin to a human one, the big brains at Graphcore are bypassing the precise but time-consuming number-crunching typical of a conventional microprocessor with one thats content to get by on less precise arithmetic.

The results are essentially the same, but IPUs get the job done much quicker. Graphcore claimed it was able to train the popular BERT NLP model in just 56 hours, while tripling throughput and reducing latency by 20 percent.

An article in Bloomberg compared the approach to the human brain shifting from calculating the exact GPS coordinates of a restaurant to just remembering its name and neighborhood.

Graphcores hardware architecture also features more built-in memory processing, boosting efficiency because theres less need to send as much data back and forth between chips. Thats similar to an approach adopted by a team of researchers in Italy that recently published a paper about a new computing circuit.

The novel circuit uses a device called a memristor that can execute a mathematical function known as a regression in just one operation. The approach attempts to mimic the human brain by processing data directly within the memory.

Daniele Ielmini at Politecnico di Milano, co-author of the Science Advances paper, told Singularity Hub that the main advantage of in-memory computing is the lack of any data movement, which is the main bottleneck of conventional digital computers, as well as the parallel processing of data that enables the intimate interactions among various currents and voltages within the memory array.

Ielmini explained that in-memory computing can have a tremendous impact on energy efficiency of AI, as it can accelerate very advanced tasks by physical computation within the memory circuit. He added that such radical ideas in hardware design will be needed in order to make a quantum leap in energy efficiency and time.

The emphasis on designing more efficient chip architecture might suggest that AIs power hunger is essentially a hardware problem. Thats not the case, Ielmini noted.

We believe that significant progress could be made by similar breakthroughs at the algorithm and dataset levels, he said.

Hes not the only one.

One of the key research areas at Qualcomms AI research lab is energy efficiency. Max Welling, vice president of Qualcomm Technology R&D division, has written about the need for more power-efficient algorithms. He has gone so far as to suggest that AI algorithms will be measured by the amount of intelligence they provide per joule.

One emerging area being studied, Welling wrote, is the use of Bayesian deep learning for deep neural networks.

Its all pretty heady stuff and easily the subject of a PhD thesis. The main thing to understand in this context is that Bayesian deep learning is another attempt to mimic how the brain processes information by introducing random values into the neural network. A benefit of Bayesian deep learning is that it compresses and quantifies data in order to reduce the complexity of a neural network. In turn, that reduces the number of steps required to recognize a dog as a dogand the energy required to get the right result.

A team at Oak Ridge National Laboratory has previously demonstrated another way to improve AI energy efficiency by converting deep learning neural networks into whats called a spiking neural network. The researchers spiked their deep spiking neural network (DSNN) by introducing a stochastic process that adds random values like Bayesian deep learning.

The DSNN actually imitates the way neurons interact with synapses, which send signals between brain cells. Individual spikes in the network indicate where to perform computations, lowering energy consumption because it disregards unnecessary computations.

The system is being used by cancer researchers to scan millions of clinical reports to unearth insights on causes and treatments of the disease.

Helping battle cancer is only one of many rewards we may reap from artificial intelligence in the future, as long as the benefits of those algorithms outweigh the costs of using them.

Making AI more energy-efficient is an overarching objective that spans the fields of algorithms, systems, architecture, circuits, and devices, Ielmini said.

Image Credit: analogicus from Pixabay

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AI Is an Energy-Guzzler. We Need to Re-Think Its Design, and Soon - Singularity Hub

What Is A Singularity? – World Atlas

In the world of physics, a singularity is a concept that shifts the laws of physics as we know them. The theories on singularity came about when people first discovered black holes. The unusual nature of black holes has made scientists ask the question - what lies beyond?

Singularity, in this context, serves as a theoretical framework to explain the Big Bang, and gravity becomes the focus of the exploration.

Physicists have proposed the idea of the so-called gravitational singularity. From this type of standpoint, a gravitational singularity is an occurrence or an object where common laws of physics do not work. This type of singularity is a specific point in space-time, a construct that views the notions of time and space like they are almost glued together.

This gravitational singularity is a hard one to measure, at least in a traditional sense of the word. In fact, a space-time singularity becomes virtually independent of the coordinate system, or space, where it is observed. The data that is measured becomes, in a way, infinite. Because of this, a singularity creates a system where time and space no longer affect each other and practically become one thing. That is why the phrase space-time is so essential because the two entities stop having self-governing properties.

It does not come as a shock, how Albert Einstein, arguably one of the greatest minds of the 20th century, is the person responsible for this hard-grasping concept. After Einstein came out with his Theory of General Relativity, it was possible to discuss singularities. It could be said that the black holes themselves were, in a way, predicted by Einstein and that he created a theoretical frame from where scientists could start to unveil the mysteries that lie beyond the event horizon.

The theory of how black holes, and therefore singularities, are possible, is not that hard to conceptualize. When a particular star becomes to approach a certain point of its mass, it creates a force of gravity that is so strong that the star collapses into itself. This breaking point is called the Chandrasekhar limit. This limit is exactly 1,39 solar masses, which means mass that is 1,39 times bigger than the mass of our own Sun. When a star collapses, nothing, not even light, can escape it. When that happens, we are talking about something called the event horizon.

There are two distinct types of singularities that exist if the event horizon covers them. The first one is known as Curvature singularity. It got its name because of what happens inside the black hole. At the very center, a black hole holds up enormous amounts of mass. Because of this, gravity becomes infinite, which leads to the, also infinite, curving of space-time.

The other type that goes by Conical singularity happens when the singularity reaches a point where all the variables are finite. In this scenario, the space-time is not infinite, but it looks more like a cone, with the Conical singularity at its very top.

Another type of singularity is the one that does not depend on it being covered up by the event horizon. In this case, we are talking about Naked singularity. The Naked singularity does not stay hidden behind the event horizon. In theory, this type of singularity existed before the Big Bang.

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What Is A Singularity? - World Atlas

Neri Oxman grows tools for the future at new MoMA retrospective – The Architect’s Newspaper

A pioneer in materials, objects, and construction, Neri Oxman is showing work from her 20-year career as an architect, designer, and inventor at the Neri Oxman:Material Ecology exhibition currently on view until May 20 at New York Citys Museum of Modern Art (MoMA).

Curated by Paola Antonelli with help from curatorial assistant Anna Burckhardt, Oxmans work on display explores the intersection of the science of materials, digital fabrication, and organic design in pieces both extruded from and infused with the wisdom of nature. This is Oxmans seventh exhibition at MoMA, andMaterial Ecology is a magnifying glass for the vibrant microstructures that give shape to the world.

My team and I stand in the crossroads, challenging some of the processes that designers face at the intersection of biology and technology, nature and culture, Oxman said during a media preview of the show on February 20. There will come a moment where we will find material singularity [a state in which we cannot differentiate between what is man-made and what is grown]was this made, was this built, or was it grown? And does it matter?

As a professor of media arts and sciences at the MIT Media Lab and founder and director of The Mediated Matter Group, Oxman observes naturally occurring structures, such as birch tree bark and crustacean shells, and routines, such assilkworm behavior, and presses them forward toward innovative building materials.

We envision these different objects that are processes and materials as tools for the future, Antonelli said. As tools for architects, designers, artists to make in a different way together with nature.

The exhibition includes demonstrations of what these processes could ultimately lead to one day, with tables arranged to resemble Oxmans lab, videos displaying the projects progressions, and the artifacts themselves. The works are categorized into Infusions and Extrusions:

Infusions

Totems is a series of 3D-printed photopolymer resin infused in melanin. The three 5 7/8 x 5 7/8 x 19 5/16 blocks are set within black columns, suggesting a future as a compressive building material. They stand in front of a rendering of an illuminated structure in Cape Town, South Africa, that employs Totems as walls.

Totems, 2018. Melanins are a group of pigments ranging in color from yellow to brown. The term melanin often refers to eumelanin, a particular type that is brown-black in color. However, other types, such as pheomelanin (yellow-red in color), also exist. This library represents the diversity of melanin, and includes constituent components of the reaction as well as melanin-containing natural materials, such as feathers and cuttlefish ink. (Courtesy Neri Oxman and The Mediated Matter Group)

A collection of contemporary interpretations of ritualistic death masks made from photopolymer, Vespers are infused with natural minerals and bacteria. The 15 futuristic masks range from the size of a human head to nearly twice that and were created with spatial mapping algorithms. Some seem to be almost coral-like metallic kaleidoscopes, while others resemble opals with frozen whisps of color.

Vespers,2018. Series 1, Mask 5, front view. Designed for The New Ancient Collection. Curated and 3-D printed by Stratasys. (Yoram Reshef)

Imaginary Beingsare multicolored photopolymer interpretations of body armor inspired by Luis Borgess Libro de los seres imaginarios (Book of Imaginary Beings, 1967), which described 120 mythical animals from folklore. The creations range from protective helmets to breastplates resembling crystalline dragonfly wings.

Extrusions

Glass,pseudo-cylindrical printed structures, were created with The Mediated Matter Groups 2015 invention G3DP, or Glass 3D Printer. The exhibition includes smaller samples, roughly 8 inches in diameter as shown below, and larger columns of printed glass, reaching almost 10 feet high.

Glass I. 2015. (Courtesy The Mediated Matter Group)

As the focal point of the exhibition, Silk Pavilion IIis a suspended structure of water-soluble mesh stretched across an aluminum framework covered in silk spun by 17,532 silkworms. The twisted gossamer cylinder stretches almost 20 feet, nearly doubling the size of theSilk Pavilion I dome constructed at the MIT Media Lab in 2013. Through 3-inch-square studies (exhibited beneath the pavilion), Oxman and her team were able to pinpoint the geometrical situations in which silkworms spin flat sheets as opposed to three-dimensional cocoons, enabling the researchers to design a structure that could be spun by the silkworms themselves, rather than a machine that uses the silk. This discovery allowed for a fabrication process that works in harmony with nature rather than in dominance over it.

Silk Pavilion,2013. A Bombyx mori silkworm deposits silk fiber on a digitally fabricated scaffolding structure. (Courtesy The Mediated Matter Group)

Aguahoja I is a collection of objects printed from biopolymers, including wood-pulp cellulose, apple pectin, calcium carbonate, acetic acid, vegetable glycerin, and chitosan. The installation stretches across the wall of the gallery and consists of a library of fabricated pieces designed to be compatible with nature. The water-based objects are designed to decay over time, serving as a temporary alternative to plastics.

Aguahoja I. 2018. The Aguahoja Artifacts Display: A catalog of material experiments spanning four years of research shows the range of aesthetics and behaviors we have been able to elicit in medium-to-large-scale prints via performative geometric toolpaths, generative design, bio-composite distributions, and variable fabrication parameters. (Courtesy The Mediated Matter Group)

Oxman and her research team at the Mediated Matter Group operate through what they call the Krebs Cycle of Creativity, which is a framework that considers the domains for art, science, engineering, and design as synergetic forms of thinking and making in which the input from one becomes the output of another, as defined in the exhibitions catalog, designed by Irma Boom.

The input for science is information. Science converts information into knowledge. Engineering then takes knowledge and translates it to utility. Design then takes utility and places it in a cultural context, Oxman explained. Then art takes all things designed around us in the built environment and questions the perception of the world.

Funded by Allianz, MoMAs partner for design and innovation, Material Ecology embodies Oxmans Krebs Cycle with artifacts that are more grown than made, through a process called templating. The researchers and designers at the Mediated Matter Group used environmental, geometrical, chemical, and genetic influences to manipulate materials.

They are singular materials that differentiate their properties locally to accommodate for environmental and structural strengths, Oxman said. They are not made of parts. They are wholes that are bigger than the sum of their parts.

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Neri Oxman grows tools for the future at new MoMA retrospective - The Architect's Newspaper

At Celine, Hedi Does Hedi | Fashion Show Review, Ready-to-Wear Autumn 2020 | BoF – The Business of Fashion

PARIS, France Hedi Slimane is exactly where he was again. This season, Celine did not progress, showing the courage and the narrowness of the creative directors vision. Hedi does Hedi. In this sense, Slimane is brave: he believes is his ideas, no matter what. This season he moved a bit further into the Sixties and Seventies, but the root references did not change. And they are as literal as ever, from beatniks to bohemian ladies in capes or pleated silk dresses and large brim hats. There was strictness here, some sparkle there, a lot of velvet, unisex everything bags included and jewellery developed with the acclaimed French artist Cesar. But ultimately it was endless dj vu.

Sure, the tailoring was mean, and one has to commend the designer for sticking to his guns. But in a time of plurality, it was astonishing how much Slimane insists on singularity. His fashion calls for a specific body type, a specific attitude. You either like it or not, tertium non datur. The fact is, that skinny maudit thing does not look that cool anymore. It looks dated, in fact, like Slimane is trying too hard to deliver his ideal of what a youngster might like. This ultimate lack of coolness might actually be a kiss of death. Perhaps, its time to move on or not give a damn and stay singularly still.

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At Celine, Hedi Does Hedi | Fashion Show Review, Ready-to-Wear Autumn 2020 | BoF - The Business of Fashion

You May Have Missed Borderlands 3’s Weapon Buffing Hotfix Yesterday – Forbes

Borderlands 3

There was an absolutely tremendous amount of Borderlands 3 news dropped yesterday, mostly focused on the new DLC, Guns, Love and Tentacles which features the wedding of Hammerlock and Jakobs with a bonus cameo by Gaige as the wedding planner.

I covered all of that in a post here, and yet there was something that happened yesterday in the actual game itself that probably flew a bit under the radar. There was a Borderlands 3 hotfix that buffed some of the weakest weapons in the game, which is always nice to see, rather than nerfing the strong things. Some of these weapons are so common and bad theyre memes, but now? Maybe, just maybe, theyll be okay.

Heres the full list of the buffed weapons:

The Lob

Now has a magazine of 12, not 4, and shoots three balls instead of one giant ball. Damage per tick has been greatly increased. I feel like this has already been buffed once before, but it didnt do the job, it seems. Curious to use it now.

Borderlands 3

DAHL Assault Rifles

I always thought these rifles were underperforming, and now they have received a 35% damage boost across the board.

Which Assault Rifles are DAHL, you ask? That would be Breath of the Dying, Kaos, Warlord and Star Helix as the most common ones, and Barrage and Good Juju as two of the more rare ones. So knock yourself out with these.

Woodblocker

If there ever was a meme weapon in the game, its this, which seems to have like a 50% drop rate from bosses. Well, now it has had its critical damage increased by 100% and it has better recoil.

Malaks Bane

And heres the other common Sniper Rifle you will find absolutely everywhere. The shotgun part of it now costs less ammo, but the only buff we know is greatly increased damage. By just how much? I guess we have to use it and find out.

Rubys Wrath

Forgot this even existed. No exact numbers here, just greatly increased damage and greatly increased the cooldown of the singularity grenade. Its still probably no ION Cannon, but these buffs should help.

The problem, of course is that these weapons have been terrible for so long that I have deleted practically all of them from my vault and characters unless they had some super good Anointment. I dont think I have a single Lob, Woodblocker or Rubys Wrath across all 300+ saved items in the game, so I guess its time to farm some. If their old drop rates are similar, this really shouldnt be much of a problem at all.

Love to see underused stuff buffed which Borderlands has been pretty good about lately. We still have a month until the DLC so not much going on until then except experimentation with some of these guns, perhaps.

Follow meon Twitter,FacebookandInstagram. Pick up my new sci-fi novelHerokiller, and read my first series,The Earthborn Trilogy, which is also onaudiobook.

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You May Have Missed Borderlands 3's Weapon Buffing Hotfix Yesterday - Forbes