Bots are everywhere. From simple algorithms and aggregator bots to complex “artificially” intelligent machine-learning systems, they have become inescapable. Some are in chat programs.

Responding to the 1 millionth time that people have said "the left has failed men" and somehow... kinda agreeing with Shoe on Head

2:00 Y'all are overreacting to that table 7:40 The Manosphere isn't new it's just more visible 11:08 Algorithms make this an uphill battle 15:14 The online left does have a weak analysis of masculinity 17:57 Stop whining about mean feminist and do the work 19:40 The real problems facing men

Classic debunks of various manosphere topics MuneCat debunks the manosphere - https://www.youtube.com/watch?v=BgO25FTwfRI&pp=ygUHbXVuZWNhdA%3D%3D My Black Manosphere video - https://www.youtube.com/watch?v=upt_ks61_70&t=1466s&pp=ygUQYmxhY2sgbWFub3NwaGVyZQ%3D%3D Sissyphus trying to make sense of the manosphere - https://www.youtube.com/watch?v=lSq3bcyrJY0&pp=ygUOdGhlIG1hbm9zcGhlcmU%3D Frank Laundry explaining Fresh and Fit - https://www.youtube.com/watch?v=WBsCmYCShqI&pp=ygUbZnJhbmsgbGF1bmRyeSBmcmVzaCBhbmQgZml0 Zatzman on the Manosphere as a content farm - https://www.youtube.com/watch?v=pvZITKjaffw&pp=ygUOdGhlIG1hbm9zcGhlcmU%3D

Other male content creators to check out

@Salari @FinntasticMrFox @ForeignManinaForeignLand @NoahSamsen @Sisyphus55 @TheZatzman @COLORMIND.mp4 @victorythecreator @lilbilliam @ThinkpieceTribe @JawnLouis

Monitoring the future study 2022 - https://monitoringthefuture.org/wp-content/uploads/2022/12/mtf2022.pdf Political ideology data from 2021 - https://monitoringthefuture.org/wp-content/uploads/2023/08/PoliticalBeliefTrends12thGraders1976-2021.xlsx CDC Deaths of despair study - https://www.cdc.gov/surveillance/blogs-stories/deaths-of-dispair.html Meta study mentioned - https://www.ncbi.nlm.nih.gov/pmc/articles/PMC9566538/

You have full access to this article via your institution. An artificial intelligence (AI) system based on Google DeepMind’s AlphaZero AI created algorithms that, when translated into the standard programming language C++, can sort data up to three times as fast as human-generated versions.

Your browser is no longer supported. You can still use the site, but some features may not work as expected. Please consider upgrading to one of the following browsers. Chrome, Firefox, Safari, Opera or Edge / Internet Explorer. Algorithms from the 1950s.

A recent ProPublica analysis of The Princeton Review’s prices for online SAT tutoring shows that customers in areas with a high density of Asian residents are often charged more.

In fascinating new research, cosmologists explain the history of the universe as one of self-teaching, autodidactic algorithms.

Computer-generated imagery is supposed to be one of the success stories of computer science. Starting in the 1970s, the algorithms for realistically depicting digital worlds were developed in a monumental joint effort between academic, commercial and federal research labs.

'Trust Me' - I'm an Algorithm

Trust is fundamental to all our relationships - not just with our family and friends. We trust banks with our money, we trust doctors with our really personal information. But what happens to trust in a world driven by algorithms? As more and more decisions are made for us by these complex pieces of code, the question that comes up is inevitable: can we trust algorithms?

Join Ali Rae in this first episode of ‘All Hail The Algorithm’ - a 5 part series exploring the impact of these invisible codes on our everyday lives.

In this episode, Ali speaks with Asher Wolf about Australia’s robo-debt scandal, Virginia Eubanks about how inequality is being automated and Sharad Goel about COMPAS - an algorithm being used in courts across the US to assist with sentencing.

Subscribe to our channel http://bit.ly/AJSubscribe Follow us on Twitter https://twitter.com/AJEnglish Find us on Facebook https://www.facebook.com/aljazeera Check our website: http://www.aljazeera.com/

AlJazeeraEnglish #Algorithms #AllHailtheAlgorithm

The death of a woman hit by a self-driving car highlights an unfolding technological crisis, as code piled on code creates ‘a universe no one fully understands’ by The 18th of March 2018, was the day tech insiders had been dreading.

Bots are everywhere. From simple algorithms and aggregator bots to complex “artificially” intelligent machine-learning systems, they have become inescapable. Some are in chat programs.

MarI/O is a program made of neural networks and genetic algorithms.

-- MarI/O by SethBling https://www.youtube.com/watch?v=qv6UVOQ0F44

MarI/O AI finishing 1-1 https://www.youtube.com/watch?v=iakFfOmanJU

MarI/O AI finishing 1-2 https://www.youtube.com/watch?v=gbbsw22ZZjw https://www.youtube.com/watch?v=wzBhjk0y6rE

MarI/O AI finishing 1-3 https://www.youtube.com/watch?v=P2MR59k_ZIk

MarI/O AI finishing 1-4

https://www.youtube.com/watch?v=TsCFHyvBWZE

Code: https://pastebin.com/ZZmSNaHX

Discord Server by 1_2_Oatmeal_: https://discord.gg/7vyvzfJ

Multistreaming with https://restream.io/

Computer algorithms have gotten much better at recognizing patterns, like specific animals or people's faces, allowing software to automatically categorize large image collections. But we've come to rely on some things that computers can't do well.

The New Observatory opened at FACT, Liverpool on Thursday 22nd of June and runs until October 1st. The exhibition, curated by Hannah Redler Hawes and Sam Skinner, in collaboration with The Open Data Institute, transforms the FACT galleries into a playground of micro-observatories, fusing art with data science in an attempt to expand the reach of both. Reflecting on the democratisation of tools which allow new ways of sensing and analysing, The New Observatory asks visitors to reconsider raw, taciturn ‘data’ through a variety of vibrant, surprising, and often ingenious artistic affects and interactions. What does it mean for us to become observers of ourselves? What role does the imagination have to play in the construction of a reality accessed via data infrastructures, algorithms, numbers, and mobile sensors? And how can the model of the observatory help us better understand how the non-human world already measures and aggregates information about itself? In its simplest form an observatory is merely an enduring location from which to view terrestrial or celestial phenomena. Stone circles, such as Stonehenge in the UK, were simple, but powerful, measuring tools, aligned to mark the arc of the sun, the moon or certain star systems as they careered across ancient skies. Today we observe the world with less monumental, but far more powerful, sensing tools. And the site of the observatory, once rooted to specific locations on an ever spinning Earth, has become as mobile and malleable as the clouds which once impeded our ancestors’ view of the summer solstice. The New Observatory considers how ubiquitous, and increasingly invisible, technologies of observation have impacted the scale at which we sense, measure, and predict. Citizen Sense, Dustbox (2016 – 2017). The New Observatory at FACT, 2017. Photo by Gareth Jones. The Citizen Sense research group, led by Jennifer Gabrys, presents Dustbox as part of the show. A project started in 2016 to give residents of Deptford, South London, the chance to measure air pollution in their neighbourhoods. Residents borrowed the Dustboxes from their local library, a series of beautiful, black ceramic sensor boxes shaped like air pollutant particles blown to macro scales. By visiting citizensense.net participants could watch their personal data aggregated and streamed with others to create a real-time data map of local air particulates. The collapse of the micro and the macro lends the project a surrealist quality. As thousands of data points coalesce to produce a shared vision of the invisible pollutants all around us, the pleasing dimples, spikes and impressions of each ceramic Dustbox give that infinitesimal world a cartoonish charisma. Encased in a glass display cabinet as part of the show, my desire to stroke and caress each Dustbox was strong. Like the protagonist in Richard Matheson’s 1956 novel The Shrinking Man, once the scale of the microscopic world was given a form my human body could empathise with, I wanted nothing more than to descend into that space, becoming a pollutant myself caught on Deptford winds. Moving from the microscopic to the scale of living systems, Julie Freeman’s 2015/2016 project, A Selfless Society, transforms the patterns of a naked mole-rat colony into an abstract minimalist animation projected into the gallery. Naked mole-rats are one of only two species of ‘eusocial’ mammals, living in shared underground burrows that distantly echo the patterns of other ‘superorganism’ colonies such as ants or bees. To be eusocial is to live and work for a single Queen, whose sole responsibility it is to breed and give birth on behalf of the colony. For A Selfless Society, Freeman attached Radio Frequency ID (RFID) chips to each non-breeding mole-rat, allowing their interactions to be logged as the colony went about its slippery subterranean business. The result is a meditation on the ‘missing’ data point: the Queen, whose entire existence is bolstered and maintained by the altruistic behaviours of her wrinkly, buck-teethed family. The work is accompanied by a series of naked mole-rat profile shots, in which the eyes of each creature have been redacted with a thick black line. Freeman’s playful anonymising gesture gives each mole-rat its due, reminding us that behind every model we impel on our data there exist countless, untold subjects bound to the bodies that compel the larger story to life.

James Coupe, A Machine for Living (2017). The New Observatory at FACT, 2017. Photo by Gareth Jones. Natasha Caruana’s works in the exhibition centre on the human phenomena of love, as understood through social datasets related to marriage and divorce. For her work Divorce Index Caruana translated data on a series of societal ‘pressures’ that are correlated with failed marriages – access to healthcare, gambling, unemployment – into a choreographed dance routine. To watch a video of the dance, enacted by Caruana and her husband, viewers must walk or stare through another work, Curtain of Broken Dreams, an interlinked collection of 1,560 pawned or discarded wedding rings. Both the works come out of a larger project the artist undertook in the lead-up to the 1st year anniversary of her own marriage. Having discovered that divorce rates were highest in the coastal towns of the UK, Caruana toured the country staying in a series of AirBnB house shares with men who had recently gone through a divorce. Her journey was plotted on dry statistical data related to one of the most significant and personal of human experiences, a neat juxtaposition that lends the work a surreal humour, without sentimentalising the experiences of either Caruana or the divorced men she came into contact with. Jeronimo Voss, Inverted Night Sky (2016). The New Observatory at FACT, 2017. Photo by Gareth Jones. The New Observatory features many screens, across which data visualisations bloom, or cameras look upwards, outwards or inwards. As part of the Libre Space Foundation artist Kei Kreutler installed an open networked satellite station on the roof of FACT, allowing visitors to the gallery a live view of the thousands of satellites that career across the heavens. For his Inverted Night Sky project, artist Jeronimo Voss presents a concave domed projection space, within which the workings of the Anton Pannekoek Institute for Astronomy teeter and glide. But perhaps the most striking, and prominent use of screens, is James Coupe’s work A Machine for Living. A four-storey wooden watchtower, dotted on all sides with widescreen displays wired into the topmost tower section, within which a bank of computer servers computes the goings on displayed to visitors. The installation is a monument to members of the public who work for Mechanical Turk, a crowdsourcing system run by corporate giant Amazon that connects an invisible workforce of online, human minions to individuals and businesses who can employ them to carry out their bidding. A Machine for Living is the result of James Coupe’s playful subversion of the system, in which he asked mTurk workers to observe and reflect on elements of their own daily lives. On the screens winding up the structure we watch mTurk workers narrating their dance moves as they jiggle on the sofa, we see workers stretching and labelling their yoga positions, or running through the meticulous steps that make up the algorithm of their dinner routine. The screens switch between users so regularly, and the tasks they carry out as so diverse and often surreal, that the installation acts as a miniature exhibition within an exhibition. A series of digital peepholes into the lives of a previously invisible workforce, their labour drafted into the manufacture of an observatory of observations, an artwork homage to the voyeurism that perpetuates so much of 21st century ‘online’ culture.

The New Observatory at FACT, 2017. Learning Space. Photo by Gareth Jones. The New Observatory is a rich and varied exhibition that calls on its visitors to reflect on, and interact more creatively with, the data that increasingly underpins and permeates our lives. The exhibition opened at FACT, Liverpool on Thursday 22nd of June and runs until October 1st.

The celebrated historian of science, Director of the Max Planck Institute for the History of Science in Berlin, and Visiting Professor of Social Thought and History at the University of Chicago speaks on "Algorithms Before Computers: Patterns, Recipes, and Rules." Presented at the UW as a Katz Distinguished Lecture in the Humanities on April 19, 2017. More at https://simpsoncenter.org/news/2017/03/lorraine-daston-algorithms-computers-april-19.

Exhibition: The World Without Us. Narratives on the age of non-human actors (22nd Oct 2016 - 5th March 2017) The 3D Additivist Manifesto is part of ‘The World Without Us’ exhibition, currently open at HMKV Dortmund:In „The World Without Us“ humans will be replaced by machines, Artificial Intelligences will be optimized by other AIs and algorithms will be programmed by self-learning algorithms. In this way a radically different, post-anthropocentric world could develop where non-human life forms would eventually prove to be better adaptable than humans.

In central London this spring, eight of the world’s greatest minds performed on a dimly lit stage in a wood-panelled theatre. An audience of hundreds watched in hushed reverence.

with: Jean-Marie Boyer, Ewen Chardronnet, Nicolas Maigret, Daniel Rourke, Erin Sexton; moderated by Ryan Bishop

Disnovation Research is a project inquiring into the mechanics and rhetoric of innovation. Considering the "propaganda of innovation" as one of the ideological driving forces of our era, it aims to explore the notions of technological fetishism and solutionism through speculations and diversions by artists and thinkers.

The performance Drone-2000 presents a bestiary of autonomous flying systems powered by dysfunctional algorithms. Here, trusting the autonomy of the machine is not only a discursive concept but a real-life experience shared with the audience, triggering visceral and psychological reactions.

The Disnovation panel highlighted a few outstanding projects on this issue, with Daniel Rourke introducing the #Additivism speculative research project – a collaboration with artist and activist Morehshin Allahyari – followed by Ewen Chardronnet presenting the fifth issue of the Laboratory Planet newspaper.

Haus der Kulturen der Welt Thursday, 4 February 2016

To the computer scientist Leslie Valiant, “machine learning” is redundant. In his opinion, a toddler fumbling with a rubber ball and a deep-learning network classifying cat photos are both learning; calling the latter system a “machine” is a distinction without a difference.

I am working on a project that relies on different ways to present instructions. I want to collect as many ways as possible. These can be visual, written, or otherwise, but each 'type' of instruction must have a design aesthetic or formulaic quality that is particular to it. So, for instance, recipes are usually laid out in a certain way; architectural blueprints have a design that we all recognise, as do maps, exploded diagrams, algorithms, technical schematics, toolkits... Can you help me think of more?