MachineMachine /stream - search for things en-us LifePress <![CDATA[What is your favorite story-breaking glitch or exploit?]]>

Explanation: I'm an academic researching glitches in videogames, and what fascinates me most is how glitches—often ones discovered by speedrunners, though not always ones that speed up runs—completely destroy the stories the games are trying to tell. Characters get chopped and changed, plot sequences get broken, settings get demolished, even space and time get bent around the exploits and accidents of the game's programming going wrong. Some examples: 1) Using the FF6 "airship glitch", you can break sequence to do things like moving from the World of Ruin back to the World of Balance, making Terra become her own father, or taking General Leo to visit his own grave. 2) In the Pokemon Reverse Badge Order runs, the player essentially warps space and time to pull the various gym leaders to him, beat them soundly, and then dismiss them again. That's no longer the story of a young hero on a personal-development quest, it's now about a young god screwing with people. 3) Stretching the definition of glitch a bit, but I think definitely not something intended by the developers: the Any% for Two Worlds where the main villain is killed within the game's first two minutes by aggro'ed townsfolk and the game takes that as its cue to end. Glad to clarify further but that should give the general gist of it. I'd love to know your own favorite examples of stories getting broken. (And if I end up using it anywhere in the book or articles I'm writing, I'll be sure to cite you there.) submitted by /u/epikt to r/speedrun [link] [comments]

Thu, 18 Jul 2019 06:21:47 -0700
<![CDATA[Hackers used stickers to fool a Tesla, highlighting the risks of AI - Vox]]>

Artificial intelligence researchers have a big problem. Even as they design powerful new technologies, hackers are figuring out how to trick the tech into doing things it was never meant to — with potentially deadly consequences.

Tue, 16 Apr 2019 11:46:30 -0700
<![CDATA[BBC - Future - Why catastrophes can change the course of humanity]]>

My father’s family came to the US in the 1930s, a Jewish family fleeing Nazi Germany. My life has gone well, and I suppose I should be grateful for the way things turned out.

Tue, 16 Apr 2019 11:46:27 -0700
<![CDATA[Remembering what things were like before Brexit]]> ]]> Sat, 23 Mar 2019 07:03:13 -0700 <![CDATA[Why this Two Pixel Gap is Among the Most Complicated Things in Super Mario Maker.]]>

Since the release of Super Mario Maker the community found many many crazy ways to build levels. We found ways to activate pipes if mario takes damage, we found ways to forbid mario to jump, to run or to slow down in Super Mario Maker. We found ways to build binary storage and built turn based combat systems but there is one super weird, incredibly powerful, and unimaginably complicated Super Mario Maker technique we never discussed in detail before. Namely the giant gap, and pow block memory. So with Super Mario Maker 2 around the corner, it's time for us to tie up some loose ends, and to finally take a look at what are probably the most complex and weirdest techniques currently possible in super mario maker.

A couple of Giants fantastic Levels:

[3YMM] Life Without Mystery A2E5-0000-03C2-C05B

Rubik’s Stiffest Pocket Cube A09B-0000-036E-41BE

The Tower of Hanoi for n=4 7A55-0000-0354-526E

--------------------Credits for the Music-------------------------- ------Holfix HolFix - Beyond the Kingdom

------ Mario and Luigi: Superstar Saga OST Teehee Valley

------Kevin MacLeod "Adventure Meme", “Amazing Plan”,”The Show Must Be Go” Kevin MacLeod Licensed under Creative Commons: By Attribution 3.0

Sun, 17 Mar 2019 09:00:05 -0700
<![CDATA[Jem Bendell on Deep Adaptation, Climate Change and Societal Collapse // Acceptance and evolution in the face of global meltdown - The Future Is Beautiful]]>

“Getting busy with action can be a distraction from full acceptance of our predicament, where our predicament is that we don’t know. We don’t know what the best things to do are anymore and we don’t know whether what we do with the best intentions will work.” – Jem Bendell E45 – JEM BENDELL ON DEEP ADAPTATION, CLIMATE CHANGE AND …

Sun, 10 Mar 2019 08:04:31 -0700
<![CDATA[Memes are modern-day propaganda]]>

The framing of the term “fake news” orients you toward thinking whether a claim is true or false. By this logic, it assumes that people share things online because they’re 100% concerned about accuracy—but people share because of deeper political allegiances and viewpoints.

Thu, 07 Feb 2019 05:01:07 -0800
<![CDATA[We Should Never Have Called It Earth | The On Being Project]]>

We should never have called it Earth. Three quarters of the planet’s surface is saltwater, and most of it does not lap at tranquil beaches for our amusement. The ocean is deep; things are lost at sea.

Tue, 31 Jul 2018 19:35:45 -0700
<![CDATA[The Rise and Fall and Rise of Virtual Reality]]>

I wonder if the reason we keep on cycling back to hope about cool things like VR is that for all the tech news and our fetishizing about our touch devices, we’re still a little disappointed in the menu of tech items that we have at this late date.

Sun, 22 Jul 2018 05:33:19 -0700
<![CDATA[Scientists Sucked A Memory Out of a Snail and Stuck it in Another Snail]]>

A new study strongly suggests that at least some memories are stored in genetic code, and that genetic code can act like memory soup. Suck it out of one animal and stick the code in a second animal, and that second animal can remember things that only the first animal knew.

Mon, 11 Jun 2018 05:02:37 -0700
<![CDATA[187 Things the Blockchain Is Supposed to Fix | WIRED]]>

When businesses latch onto a buzzword, it quickly becomes the solution to everything. Not long ago, in the era of “big data,” companies scrambled to add chief data scientists to their ranks.

Mon, 11 Jun 2018 05:02:32 -0700
<![CDATA[Humans just 0.01% of all life but have destroyed 83% of wild mammals – study | Environment | The Guardian]]>

Humankind is revealed as simultaneously insignificant and utterly dominant in the grand scheme of life on Earth by a groundbreaking new assessment of all life on the planet. The world’s 7.6 billion people represent just 0.01% of all living things, according to the study.

Thu, 24 May 2018 03:47:08 -0700
<![CDATA[10. Salon Digital: #Additivism and the Art of Collective Survival - Daniel Rourke]]>

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

Mon, 16 Apr 2018 11:01:13 -0700
<![CDATA[Inspired by brain’s visual cortex, new AI utterly wrecks CAPTCHA security | Ars Technica]]>

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.

Sun, 26 Nov 2017 07:30:44 -0800
<![CDATA["Weapons, or Other Things the Parents Have Specifically Forbidden" <a href="" rel="external"></a>]]> ]]> Thu, 26 Oct 2017 08:04:17 -0700 <![CDATA[Goodbye Uncanny Valley]]>

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 ( 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 ( • Katarina Markovic ( • Roman Senko ( Featuring work by: • Al and Al ( • Albert Omoss ( • Alex McLeod ( • Barry Doupe ( • Claudia Hart ( • Cool 3D World ( • Dave Fothergill ( • Dave Stewart ( • Drages Animation ( • El Popo Sangre ( • Eva Papamargariti ( • Filip Tarczewski ( • Geoffrey Lillemon ( • Jacolby Satterwhite ( • Jesse Kanda ( • John Butler ( • Jonathan Monaghan ( • Jun Seo Hahm ( • Kathleen Daniel ( • Katie Torn ( • Kim Laughton ( • Kouhei Nakama ( • LuYang ( • Mike Pelletier ( • Nic Hamilton ( • Pussykrew ( • Rick Silva ( • Sanatorios ( Alan WarburtonTags: CGI, computer graphics, uncanny valley, technology, software, art, film, history, catmull, pixar, ilm, VFX, animation, interstellar, Nolan, avengers, experimental, economy and cool3dworld

Mon, 16 Oct 2017 16:03:18 -0700
<![CDATA[Episode 431: Takeshi Murata and Robert Beatty | Bad at Sports]]>

This week: San Francisco checks in with a great interview. Bad at Sports contributors Brian Andrews and Patricia Maloney sat down with artist Takeshi Murata and sound designer Robert Beatty on November 9, 2013, at Ratio 3, in San Francisco, to discuss Murata’s most recent digitally animated video, OM Rider(2013). OM Rider follows two animated creatures: a wizened old man that Andrews describes as “half the Curious George Man in the Yellow Suit, half like the butler from Rocky Horror Picture Show,” and a hipster wolf, which rides a moped through a barren landscape and performs other aimless tasks. The video begins with the creature playing a synthesizer that gives the video its title. Om Rider contains Murata’s characteristic absurd humor and aesthetic, which mixes highly attuned lighting and composition with more retro modeling and minimalist, almost antiseptic spaces.

Takeshi Murata was born in 1974 in Chicago. In 1997, he graduated from the Rhode Island School of Design, where he studied film, video, and animation. He currently lives and works in Saugerties, New York. Murata has exhibited at the New Museum, New York; the Museum of Modern Art, New York; the Museum of Fine Arts, Houston; the Fondazione Sandretto Re Rebaudengo, Turin, Italy; Sikemma Jenkins & Co., New York; Gladstone Gallery, New York; and Salon 94, New York. Murata’s work is featured in the collections of the Hirshhorn Museum and Sculpture Garden, Washington DC; DESTE Foundation for Contemporary Art, Athens; and The Smithsonian Museum of American Art.

FYI, AP will post an excerpted text version of this interview on Dec. 3, and the link for that conversation should be:

And here is a related review Brian wrote for his previous show:

About Latest Posts ChristopherOperations Manager at Bad at SportsChristopher Hudgens is the Operations Manager for BaS and works in various other capacities for other organizations in the Chicago Art & Culture scene. Most recently as Business Operations Manager for the Bridge Art Fair and currently an advocate for all things art & technology.

Latest posts by Christopher (see all)

Episode 577: Kerry James Marshall WLPN B@SC Radio Edit - February 28, 2017

Kevin Jennings (1979-2016) - June 28, 2016

Episode 549: James Wines SITE Architect - May 24, 2016

Thu, 28 Sep 2017 10:13:24 -0700
<![CDATA[John Lanchester reviews ‘The Attention Merchants’ by Tim Wu, ‘Chaos Monkeys’ by Antonio García Martínez and ‘Move Fast and Break Things’ by Jonathan Taplin · LRB 17 August 2017]]>

At the end of June, Mark Zuckerberg announced that Facebook had hit a new level: two billion monthly active users. That number, the company’s preferred ‘metric’ when measuring its own size, means two billion different people used Facebook in the preceding month.

Wed, 06 Sep 2017 03:24:16 -0700
<![CDATA[Paolo Pedercini: Stranger Playthings: Remaking a VR Counterculture]]>

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 | 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. A MAZE. / Berlin

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Video recording by SAE Video editing by Nomi

Wed, 09 Aug 2017 09:29:30 -0700
<![CDATA[Dialectic of Dark Enlightenments: The Alt-Right’s Place in the Culture Industry - Los Angeles Review of Books]]>

IN Kill All Normies: Online Culture Wars from 4chan and Tumblr to Trump and the Alt-Right (Zero Books, 2017), Angela Nagle does two remarkable things.

Sun, 06 Aug 2017 11:35:31 -0700