This video explores the journey of AI language models, from their modest beginnings through the development of OpenAI's GPT models. Our journey takes us through the key moments in generative neural network research involved in next word prediction. We delve into the early experiments with tiny language models in the 1980s, highlighting significant contributions by researchers like Jordan, who introduced Recurrent Neural Networks, and Elman, whose work on learning word boundaries revolutionized our understanding of language processing. It leaves us with a question: what is thought? Is simulated thought, thought? Featuring Noam Chomsky Douglas Hofstadter Michael I. Jordan Jeffrey Elman Geoffrey Hinton Ilya Sutskever Andrej Karpathy Yann LeCun and more. (Sam altman)

My script, references & visualizations here: https://docs.google.com/document/d/1s7FNPoKPW9y3EhvzNgexJaEG2pP4Fx_rmI4askoKZPA

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This is the last video in the series "The Pattern Machine" you can watch it all here: https://www.youtube.com/playlist?list=PLbg3ZX2pWlgKV8K6bFJr5dhM7oOClExUJ

00:00 - Introduction 00:32 - hofstader's thoughts on chatGPT 01:00 - recap of supervised learning 01:55 - first paper on sequential learning 02:55 - first use of state units (RNN) 04:33 - first observation of word boundary detection 05:30 - first observation of word clustering 07:16 - first "large" language model Hinton/Sutskever 10:10 - sentiment neuron (Ilya | OpenAI) 12:30 - transformer explaination 15:50 - GPT-1 17:00 - GPT-2 17:55 - GPT-3 18:20 - In-context learning 19:40 - ChatGPT 21:10 - tool use 23:25 - philosophical question: what is thought?

Decolonising the Digital: Technology as Cultural Practice is a collection of critical essays, showcases, and interviews by Australian experimental artists, and diverse digital media theorists.

I remember reading about Geraldine Juárez’s 2014 bitcoin-burning experiment at the time and getting immensely impressed by its boldness. Back then, crypto seemed like a fringe phenomenon – worthy of radical artistic interventions but not earnest policy debate – so I didn’t make much of it.

Isaac Newton apocryphally discovered his second law – the one about gravity – after an apple fell on his head. Much experimentation and data analysis later, he realised there was a fundamental relationship between force, mass and acceleration.

We’ve seen our fair share of bizarre VR experiments over the years, but this one might just take the cake.

How can we imagine communities that are not shaped by the human superiority? Who are we in the light of eco-critical imaginaries? What constitutes us? Who are the others that are to be included in our community?

This two-day online symposium seeks to address the aforementioned questions by engaging the dialogue between philosophy, neuroscience, anthropology and art. It will take place on 17 & 18 September 2020. The symposium will be held in English, fully streamed online, participation is free.

Programme

17 SEPTEMBER, Thursday

11:00—11:15 Opening & Welcome Speeches: Rimvydas Petrauskas (Rector of Vilnius University); Jonas Dagys (Director of the Institute of Philosophy, Vilnius University), Kristupas Sabolius (organizer, Institute of Philosophy, Vilnius University).

MORNING SESSION Moderated by Daina Habdankaitė

11:15 —12:00 Catherine Malabou (Kingston University / University of California Irvine) Not Mandatory: When Addiction Replaces Law

12:00 —12:45 Vittorio Gallese (University of Parma / Columbia University / Humboldt Universität) The Empathic Body. Embodied Simulation and Experimental Aesthetics

12:45—13:00 Break

13:00—13:45 Kristupas Sabolius (Vilnius University / MIT) We Are Milieus

13:45—14:30 Panel discussion: Catherine Malabou, Vittorio Gallese, Kristupas Sabolius, Scott F. Gilbert, moderated by Elizabeth A. Povinelli

14:30 —15.30 Break

AFTERNOON SESSION Moderated by Ignas Šatkauskas

15:30 —16:15 Rita Šerpytytė (Vilnius University) The Challenge of the Subject in the Face of the Real

16:15 —17:00 Ruslanas Baranovas (Vilnius University) Grammatology and the Sadness of Being Human

17:00—17:45 Chiara Bottici (The New School for Social Research) Rethinking the Human Through the Philosophy of Transindividuality

17:45 —18:30 Panel discussion: Rita Šerpytytė, Ruslanas Baranovas, Chiara Bottici moderated by Catherine Malabou

What happens when design and engineering research results in activism, human rights work, politics, or matters of equity and justice? Engineers and designers are often thought of as “problem-solvers” in mostly technical, practical, and formal senses. But this class explores the equally compelling history of engineering and design projects that raise difficult questions, aid marginalized communities, address urgent social issues, or create new social conditions.We’ll talk to designers, artists, and engineers who work on issues of sustainability, power, health, education, and more. And we’ll run our own experiments in creative design work for the public good. The class includes significant reading, field trip(s) and guest lectures, short experiments, and a culminating project.We want you to witness and be inspired by the exciting, expansive fields of what are variously called social design, engineering for the public good, socially engaged art practices, and many other names. However, we also want you to be well versed in the many, many pitfalls of so-called “activist” work with technology—when it’s under-informed, poorly researched, focused on form and not on substance, it risks not only being ineffective, but can lead to actual harm. We take this risk seriously, so this course will have you mostly listening, learning, listening and learning some more, and, finally proposing—not carrying out fully-fledged projects in one semester. Trust us on this: We can have fun and be at play with ideas while also operating with due diligence as socially-minded engineers and designers. Humility and questions are your trusty companions here, your true north. We want to help you to lay a foundation; you will have many, many future opportunities to build the house.

It sounds like a sci-fi movie, or the weirdest series of Big Brother ever. Eight volunteers wearing snazzy red jumpsuits seal themselves into a hi-tech glasshouse that’s meant to perfectly replicate Earth’s ecosystems.

It sounds like a sci-fi movie, or the weirdest series of Big Brother ever. Eight volunteers wearing snazzy red jumpsuits seal themselves into a hi-tech glasshouse that’s meant to perfectly replicate Earth’s ecosystems.

AI Dictionary is a Twitter bot that tweets a . I wanted to see how much OpenAI's language model actually knew, so I tried to get it to define words... but I accidentally had it set to 'random', not 'best'. [via mefi projects] Semi-related: OpenAI's GPT-2: the model, the hype, and the controversy (Towards Data Science), and Experimenting with OpenAI's Improved Language Model (short post on Medium), which notes "The public at large will need to become more skeptical of the content they consume online."

In diesem Video geht es um den Salon Digital 10. Dokumentation des 10. Salon Digital an der Hochschule für Künste Bremen am 29.11.2017. Mit Daniel Rourke. / filmische Dokumentation: Eva Klauss Rather than try and solve the problems we face as a planetary species - political and social problems which have been with us for millennia; or problems which come with new, and shiny names like ‘The Anthropocene’ - Daniel Rourke and Morehshin Allahyari, in their #'Additivism project, look to question the very notion of ‘the solution’: asking how the stories our problem come wrapped in are products of particular privileges, identities, and points of view. In this talk Daniel Rourke introduces The 3D Additivist Manifesto and Cookbook, showcasing some of the 'post-solution' projects it contains, and asking difficult questions of how to act once there are no solutions left. What is #Additivism? In March 2015 Allahyari & Rourke released The 3D Additivist Manifesto, a call to push the 3D printer and other creative technologies, to their absolute limits and beyond into the realm of the speculative, the provocative and the weird. The 3D Additivist Cookbook is composed of responses to that call, an extensive catalog of digital forms, material actions, and post-humanist methodologies and impressions. - The program for Digital Media at the University of the Arts Bremen launched a regular series of salon-style gatherings titled “Spectacle: Reenactments in the Arts, Design, Science and Technology.” The events have an open format and provide a forum for experiments, presentations and performances from a range of different fields, but with a common focus on old and new media, as well as technologies. The salon thereby enables a practice of reenactment as a way to make things past and hidden visible, present and also questionable. Contemporary new technologies and media seem to cover knowledge with complex layers of materials, code/sign systems and history/organization. Reenacting can translate obscured knowledge, ideas and theories into bodies and actions. At the heart of this conceptual approach is a desire to turn past events into present experiences—although the very nature of the past prohibits such an endeavor. The salon pursues the primary goal of opening closed systems and constructions (black boxes). Global power structures, as well as complex processes in development and production—leading to hermetic constructs—have made it even harder to understand science, economy and contemporary media, as well as new technologies. Recipients therefore tend to mostly grasp only their superficial level. The spectacle is a way to condense actions and processes. Reenactment, on the other hand, builds on repetition and history. But the spectacle is a moment in the here and now where everything flows together and culminates. Organised by: Andrea Sick, Ralf Baecker und Dennis Paul salon-digital.comCast: Digitale Medien KuD der HfK

To start our run up to Halloween, Thogdin Ripley and Philippa Snow of avant-horror publishers Hexus Journal pick thirteen films that blur the worlds of horror and the avant-garde to frightening, funny and sometimes shocking effect Horror film and experimentalism in film go hand in hand.

It’s 2017 and computer graphics have conquered the Uncanny Valley, that strange place where things are almost real... but not quite. After decades of innovation, we’re at the point where we can conjure just about anything with software. The battle for photoreal CGI has been won, so the question is... what happens now? CREDITS: Written and animated by Alan Warburton with the support of Tom Pounder and Wieden + Kennedy. Music by Cool 3D World (cool3dworld.com/) Special thanks to: Leanne Redfern, Nico Engelbrecht, Iain Tait, Indiana Matine, Katrina Sluis, David Surman, Jacob Gaboury and Daniel Rourke. Animated backgrounds generously provided by: • Quixel (quixel.se/) • Katarina Markovic (youtube.com/channel/UCcr4QTtAK9N96pf_Z_zVqWg) • Roman Senko (vimeo.com/rendan) Featuring work by: • Al and Al (alandal.co.uk/) • Albert Omoss (omoss.io/) • Alex McLeod (alxclub.com/) • Barry Doupe (barrydoupe.ca/) • Claudia Hart (claudiahart.com/) • Cool 3D World (cool3dworld.com/) • Dave Fothergill (vimeo.com/davefothergillvfx) • Dave Stewart (vimeo.com/davegrafix) • Drages Animation (youtube.com/user/drakhean) • El Popo Sangre (vimeo.com/elpoposangre) • Eva Papamargariti (evapapamargariti.tumblr.com/) • Filip Tarczewski (vimeo.com/ftarczewski) • Geoffrey Lillemon (geoffreylillemon.com/website/) • Jacolby Satterwhite (jacolby.com/home.html) • Jesse Kanda (jessekanda.com/) • John Butler (vimeo.com/user3946359) • Jonathan Monaghan (jonmonaghan.com/) • Jun Seo Hahm (vimeo.com/junseohahm) • Kathleen Daniel (duh-real.com/) • Katie Torn (katietorn.com/index.html) • Kim Laughton (kimlaughton.tumblr.com/) • Kouhei Nakama (kouheinakama.com/) • LuYang (luyang.asia/) • Mike Pelletier (mikepelletier.net/) • Nic Hamilton (nichamilton.info/) • Pussykrew (hybrid-universe-emulation.net/) • Rick Silva (ricksilva.net/) • Sanatorios (instagram.com/sanatorios/)Cast: Alan WarburtonTags: CGI, computer graphics, uncanny valley, technology, software, art, film, history, catmull, pixar, ilm, VFX, animation, interstellar, Nolan, avengers, experimental, economy and cool3dworld

In his talk, Paolo makes a case of the origins of VR culture or rather counterculture. Notably by comparing two traditions of VR: the one concerned about extending cinema and simulating reality and the more psychedelic and visionary one that dominate the earliest research in the 90s and sci-fi.The latter has mostly disappeared and has been demonized in the mid-90, which is a great loss. Paolo will make sure this is brought back for indie developers to inspire from.

Paolo Pedercini | http://molleindustria.org/ Molleindustria | Italy Paolo Pedercini is a game developer, artist and educator. He teaches digital media production and experimental game design at the School of Art at Carnegie Mellon University. Since 2003 he works under the project name “Molleindustria” producing provocative games addressing issues of social and environmental justice (McDonald's videogame, Oiligarchy, Phone Story), religion (Faith Fighter) and labor and alienation (Every Day the Same Dream, Unmanned).

A MAZE. http://a-maze.net A MAZE. / Berlin http://amaze-berlin.de

Twitter http://twitter.com/amazefest Facebook http://facebook.com/amaze.festival

Video recording by SAE http://sae.edu Video editing by Nomi http://www.thenomi.com

A presentation I made for the Edge of Frame Weekend seminar at The Whitechapel gallery in East London, December 2016. Artists, curators and academics were asked to explore where experimental animation practice sits in relation to independent animation, visual art, histories and institutions. Rather than presenting papers, we were challenged to cite up to three works that illustrated our case.Cast: Alan Warburton

Dark Matters: Hannah Gregory interviews Morehshin Allahyari Morehshin Allahyari left Iran in 2007 to pursue a critical artistic practice, choosing, in her words, ‘self-exile over self-censorship’. Her work holds technology as 'a philosophical toolset’ and 3D printing as a potential 'process for repairing history and memory’, levelling equal criticisms at both the oppression of religious dictatorship and the white-privileging worldviews of the technology and art industries.Dark Matter (2012­–14) was her first experiment with additive tech as political medium, in which Allahyari turned taboos of Iranian daily life – dogs, pigs, satellite dishes, and dildos – into absurdist 3D-printed amalgams. The widely acclaimed Material Speculation: ISIS series (2015–16) pieced together the histories of artefacts destroyed by the Islamic State in the ancient cities of Hatra and Nineveh, through in-depth research and correspondence with archaeologists, historians, and museum staff.The reconstructed replicas, printed in translucent resin, were embedded with a USB drive and flash card containing this gathered imagery and information ­– an act of memory preservation testament to the persistence of the digital copy. This interview discusses the foundations of Allahyari’s practice through an introduction to her new research project, which is rooted in refiguring Middle Eastern mythologies, and begins with the exhibition and video She Who Sees the Unknown, which Allahyari recently presented at New York’s Transfer Gallery.

If you happen to find yourself in Sydney this week, you have the unique opportunity to have sex with the earth. You just need to stop by the "ecosexual bathhouse," which is currently part of the Syndey LiveWorks Festival of experimental art.

John Carpenter has been a master of horror, suspense, and science fiction for 40 years, Directing cult classics such as Halloween, The Thing, and Big Trouble In Little China. But many do not know that Carpenter was also the man behind the soundtracks for nearly all of his films, often using synthesizers and keyboards of the day to craft sounds that are now synonymous with Horror and Science Fiction.

In this video, Justin DeLay shows us how to approximate three classic Carpenter themes on synthesizers of the day, and gives tips and suggestions on how you can be inspired to experiment at home, all while getting followed by a mysterious Shape...

0:00 - Intro 1:04 - "Halloween" Main Piano Theme 3:04 - "Halloween" Pads, Drums 4:45 - John Carpenter's Synthesizers 5:55 - "The Fog" Theme on Juno 106 9:00 - "The Fog" Pads and Bass on Moog and Prophet 10:55 - "Assault on Precinct 13" Theme 13:30 - The Shape Closes In on Mr. DeLay

Read More about John Carpenter and download our John Carpenter MIDI clip pack at: http://bit.ly/2eJO84L

Synthesizers Used: Ensoniq ESQ-1: http://bit.ly/2eRPcAX Roland Juno 106: http://bit.ly/2bORcHQ Sequential Circuits Prophet 5: http://bit.ly/2bPIooc MiniMoog Model D: http://bit.ly/2bD3ClM Ableton Live: http://bit.ly/2coU2Zo Roland 606: http://bit.ly/2dX7wtE

Hosted by Justin DeLay Directed and Edited by Michael Lux Photographed by John Gagen & Michael Lux Eric Slager as The Shape Sawyer Hildebrandt as School Buddy #1 Titles and Pumpkin by Eric Slager