A retirement crisis is looming. As people live longer, one study finds that half of all households are at risk of coming up short on retirement money. And while many working households may feel they simply don’t have enough to spare for retirement, experts say some of the biggest barriers to saving up are psychological.
Now, new research has found a way around that barrier: providing a virtual glimpse into the future that could help motivate young people to save more for retirement.
Meet Your Future Self
“When you make a decision now about yourself in the future, that distant self almost feels like a stranger,” says Hal Hershfield of New York University’s Stern School of Business.
In fact, when we think about ourselves in the future we actually use the same part of our brain that we use when we think about a stranger. Hershfield and a group of researchers wanted to help young people vividly imagine their own old age, so they recruited college-age men and women, gave them goggles and sent them into a virtual reality laboratory where they encountered a kind of mirror.
Excerpt of an article written by Jennifer Ludden at NPR. Continue HERE
Pikup is a new platform that remunerates artists based on subscribers’ listening habits.
The UK startup is currently offering free software to Mac, iPhone and iPad users — although it intends to include other operating systems in the future. Once installed, it works in the background and keeps a private record of all media accessed by the user, creating a digital diary of music, video, podcast and e-book consumption held on Pikup’s servers. Those using the service can then pay a small monthly subscription to support the arts, with the twist being that their money will be split between the artists whose work they have been playing. Pikup analyses the collective listening and viewing habits of all of its users and allocates subscription funds appropriately. Media creators, meanwhile, will be able to create accounts in order to claim their income. Pikup also has plans to allow bands and filmmakers to have a say in regards to how much of the site’s funds goes to them and how much is used to monetize the company’s operations. Pikup has taken the model of popular sites such as last.fm and discovered a way to fund artists based on how often their media is accessed by each individual, rather than relying on a one-off initial payment. Does this signal a shift towards fairer allocation of profit for artists?
“The Brine Shrimp’s Butterfly Stroke.” From Brennan Johnson, Deborah Garrity, Lakshmi Prasad Dasi (Colorado State University, Fort Collins, CO, USA.)
Abstract: We investigate the fluid dynamics of brine shrimp larvae swimming in this gallery of fluid motion video. Time resolved particle image velocimetry was performed using nano-particles as seeding material to measure the time dependent velocity and vorticity fields. The Reynolds number of the flow was roughly 8 and the Womerseley number (ratio of periodic forcing to viscous forcing) was about 5. Vorticity dynamics reveals the formation of a vortex ring structure at the tip of each arm at the beginning of the power stroke. This two vortex system evolves dramatically with time as the stroke progresses. The outer circulation is noted to weaken while the inner circulation strengthens over the power stroke. The gaining strength of the inner vortex correlates with the acceleration and forward movement of the larvae.
Physicists demonstrate a scalable quantum network that ought to be adaptable for all manner of long-distance quantum communication.
Quantum technologies are the way of the future, but will that future ever arrive?
Maybe so. Physicists have cleared a bit more of the path to a plausible quantum future by constructing an elementary network for exchanging and storing quantum information. The network features two all-purpose nodes that can send, receive and store quantum information, linked by a fiber-optic cable that carries it from one node to another on a single photon.
The network is only a prototype, but if it can be refined and scaled up, it could form the basis of communication channels for relaying quantum information. A group from the Max Planck Institute of Quantum Optics (M.P.Q.) in Garching, Germany, described the advance in the April 12 issue of Nature. (Scientific American is part of Nature Publishing Group.)
Quantum bits, or qubits, are at the heart of quantum information technologies. An ordinary, classical bit in everyday electronics can store one of two values: a 0 or a 1. But thanks to the indeterminacy inherent to quantum mechanics, a qubit can be in a so-called superposition, hovering undecided between 0 and 1, which adds a layer of complexity to the information it carries. Quantum computers would boast capabilities beyond the reach of even the most powerful classical supercomputers, and cryptography protocols based on the exchange of qubits would be more secure than traditional encryption methods.
Excerpt from an article by John Matson at Scientific American. Continue HERE
According to Google’s DoubleClick Ad Planner, which tracks users across the web with a cookie, dozens of adult destinations populate the top 500 websites. Xvideos, the largest porn site on the web with 4.4 billion page views per month, is three times the size of CNN or ESPN, and twice the size of Reddit. LiveJasmin isn’t much smaller. YouPorn, Tube8, and Pornhub — they’re all vast, vast sites that dwarf almost everything except the Googles and Facebooks of the internet.
While page views are a fine starting point, they only tell you that X porn site is more popular than Y non-porn site. Four billion page views sure sounds like a lot, but it’s only when you factor in what those porn surfers are actually doing that the size and scale of adult websites truly comes into focus.
Excerpt from an article written by Sebastian Anthony at ExtremeTech. Read it HERE
Metachaos, from Greek Meta (beyond) and Chaos (the abyss where the eternally-formless state of the universe hides), indicates a primordial shape of ameba, which lacks in precise morphology, and it is characterized by mutation and mitosis.
In fact the bodies represented in METACHAOS, even though they are characterized by an apparently anthropomorphous appearance, in reality they are without identity and conscience. They exist confined in a spaceless and timeless state, an hostile and decadent hyperuranium where a fortress, in perpetual movement, dominates the landscape in defense of a supercelestial, harmonic but fragile parallel dimension. In its destructive instinct of violating the dimensional limbo, the mutant horde penetrates the intimacy of the fortress, laying siege like a virus. Similar to the balance of a philological continuum in human species, bringing the status of things back to the primordial broth.
STATEMENT
METACHAOS is a multidisciplinary audio-visual project, articulated in a short film, a set of photography and mix-technique paintings. The purpose of the project is to represent the most tragic aspects of the human nature and of its motion, such as war, madness, social change and hate. An accretion of feelings that are metaphorically represented by specific visual forms, which are abstract conceptually, but concrete and tangible formally. The application of acid and monochromatic tints, besides the strong contrasts, makes everything intentionally more oppressive and tragic.
In order to obtain a more immersive and plausible version, the shot was taken adopting the camera live technique. The extreme and frenetic motion of the shoulder camera, similar to the subjective one, becomes a main constant, so that, along with the persisting cuts used to edit the video, create a bigger sense of instability and danger. In fact, thanks to the dissemination of Technology, it is possible to notice that the unconscious-esthetic potential of the shots available on Youtube, characterized by a pseudo-documentary and amateur approach, often offer an unexpected emotional involvement, which trigger an exhibitionistic-voyeuristic interchange between the author and the consumer.
The irrational gesture and action of the bodies, as if a collective form of madness controlled them, are inspired by artists like Bosch and Bruegel who, between the ‘400 and ‘500, produced an iconography where irrational images show sickly madness and pain.
The project has been realized using different techniques: live shots taken in discharged industrial sites, CGI animations, tracking and motion captures, besides various other analogical ones.
American Jeff Ensign, aka Evolution Noise Slave composed the original sound track, which has been progressively updated during the video production. The musical score was inspired by 6 separate pieces Jeff had previously created that were then combined into a hybrid. The composition was also based in part from a sonic interpretation of the ideas presented in Antonin Artaud’s the Theater and Cruelty overlaid on Bavari’s images.
Metropia takes place in a not-so-distant future. The world is running out of oil and the underground train systems have been connected into a gigantic subway network beneath Europe. Whenever Roger from Stockholm enters this system he hears a stranger’s voice in his head. He looks to the mysterious Nina to help him escape the disturbing web of the Metro, but the further they travel, the deeper he’s involved in a dark conspiracy.
The Internet Archive and Google have scanned and uploaded Paget Toynbee’s A Dictionary of Proper Names and Notable Matters in the Works of Dante. See it HERE
In 1989, as communism was beginning to crumble across Eastern Europe, just a few months before protesters started pecking away at the Berlin Wall, the Japanese game-making giant Nintendo reached across the world to unleash upon America its own version of freedom. The new product was the Game Boy — a hand-held, battery-powered plastic slab that promised to set gamers loose, after all those decades of sweaty bondage, from the tyranny of rec rooms and pizza parlors and arcades.
And so a tradition was born: a tradition I am going to call (half descriptively, half out of revenge for all the hours I’ve lost to them) “stupid games.” In the nearly 30 years since Tetris’s invention — and especially over the last five, with the rise of smartphones — Tetris and its offspring (Angry Birds, Bejeweled, Fruit Ninja, etc.) have colonized our pockets and our brains and shifted the entire economic model of the video-game industry. Today we are living, for better and worse, in a world of stupid games.
Game-studies scholars (there are such things) like to point out that games tend to reflect the societies in which they are created and played. Monopoly, for instance, makes perfect sense as a product of the 1930s — it allowed anyone, in the middle of the Depression, to play at being a tycoon. Risk, released in the 1950s, is a stunningly literal expression of cold-war realpolitik. Twister is the translation, onto a game board, of the mid-1960s sexual revolution. One critic called it “sex in a box.”
Short synopsis: The non-verbal documentary ROBOT WORLD depicts the evolution of robots from a mechanical somnambulist to an autonomous sensorium. The neoclassical violinist Matt Howden emphasizes the film’s message: these artificial people are our alternate doubles.
About the film: ROBOT WORLD is a compilation. The source material for this one-hour film comes from robot laboratories at universities, from private footage at industrial fairs, military archives and corporate videos from the robot industry. Motion pictures of old 16 mm films from the 1930’s were added. This non-verbal documentary was recycled from far in excess of one hundred hours of raw material. ROBOT WORLD is the second film in the “Technology & Mind & Evolution” series of Munich filmmaker Martin Hans Schmitt. The first film in this series, HIGHWAY WORLD, deals with highway worlds and in 2008/2009 was successful at international film festivals.
Robot World – A Meeting with Your Alternate Double will be screened at Robots and Avatars
Masaki Batoh, former musician of the band Ghost and currently also an acupuncturist, recently released the album called Brain Pulse Music. Here, he experimented with his BPM Machine and used traditional Japanese ritual melodies and instrumentation to form a prayer/requiem for the victims of the Great East Japan Earthquake. Fortunately, I read some of his wise insights thanks to Co.Design
“We survivors were mentally shattered like our dead victims.” He explains to Co.Design
Batoh wanted to articulate that devastation, but the worst experiences can be tough to articulate. Talking can require that you catalog each emotion, and how do you do that when your whole psyche is a mess? How do you share the truth of what you feel, if you have no idea what that truth is?
“Human beings lie, but their brain waves never lie,” writes Batoh. And with that mantra in mind, Batoh moved beyond words. He turned to a modified EEG, what he calls a Brain Pulse Machine, to measure the brain waves of earthquake victims and play them back as music. He then mixed these tracks with his own to create Brain Pulse Music, a memorial album to raise money for Japan’s orphans.
To get Masaki Batoh’s $699.99 Brain Pulse Music Machine go to Drag City.
Hear audio samples HERE
“We believe technology should work for you — to be there when you need it and get out of your way when you don’t.
A team within our Google[x] group started Project Glass to build this kind of technology, one that helps you explore and share your world, putting you back in the moment.”
Gijs Gieskes is a sonic artist/craftsman/circuit-bender/electrician/digi-magician/industrial designer/educator among other things. As you travel through his website, you will find how wonderfully generous and transparent he is about his process and work. Bellow you will find some audio visual samples of his work.
Acid-Machine
Analog Hard Disk 2
Cappuccino Synth
Image Scan Sequencer
Test_Lab: Audio_Objects (2007); Photo by Jan Sprij
Designers are increasingly faced with the problem of understanding and visualizing data-filled space and making it inhabitable. In their book Anthony Dunne and Fiona Raby, who conduct research in the field at the Royal College of Arts, speak of the electro-climate and the electro-geography – which can effect architecture just as the real climate can – and refer to it as »hertzian space.« The two designers think of electromagnetic fields full of data. But in times of geospatial data and location-based services data also assumes this wave field-like materiality. Are screens an appropriate medium for this? What is the form of these metadata?
Now that location-based metadata waft through the space, thereby redefining contexts and places, a new field opens up to designers: How will information be usefully integrated into the physical space? Inspired by the fictional illustrations by Ingeborg Marie Dehs Thomas, who interprets the spatial expansion of radio waves, we attempted to lend metadata a form. Using the light painting technique, we placed our idea of these data in a room, making it haptic. The resulting forms depict possible data sets and examine the design possibilities between technoid holograms and personal notes.
In an age when Internet devices are always on, meeting face-to-face is becoming increasingly rare as people choose to meet screen-to-screen. Goldfield wants to know what this new dynamic is doing to normal social interaction? How do these devices and social media services, such as Facebook, affect the way we socialize and communicate with each other?
But, more than that, what impact do these social networks have on their user’s mental health?
Murray and Goldfield have teamed up and have scraped together funding to conduct a study this summer examining the impact Facebook has on people’s mental health and their everyday lives and interactions.
They aren’t alone.
John Lyons, director of CHEO’s mental-health research group, has applied to the Canadian Institutes of Health Research for a grant to conduct his own study into the topic. However, Lyon’s study will be laser focused. With so much anecdotal evidence about the effects of cyberbullying and online taunts, he wants to know what role social media plays in a person’s decision to end their life, and if there is a way to leverage social technologies to reach out to people considering suicide.
“It’s becoming the medium by which young people communicate with each other. It’s a pretty significant social change,” said Lyons. “There are some very valuable things about social media and networking, and there are also some dangers. Historically, the (societal) changes have been in musical taste and style of dress. Now it has to do with technology and the use of technology to deal with social relations. It’s so fast moving and there is so much going on that it’s rather complicated to figure out the good and the bad aspects of it.”
Excerpt of an article by Vito Pilieci at The Gazette. Read HERE
Google Maps is now available for 8-bit Nintendo Entertainment Systems (NES). Availability in Google Store is TBD but you can try it on your browser by going to http://maps.google.com and clicking “Quest” in the upper right hand corner of the map.
BMW Tate Live: Performance Room is an innovative series of performances broadcast viewable exclusively online around the globe, as they happen.
Five artists each present works for the BMW Tate Live Performance Room beginning with choreographer and dancer Jérôme Bel on 22 March 2012 and continuing monthly with Pablo Bronstein, Harrell Fletcher, Joan Jonas and Emily Roysdon. Audiences can pose questions to the artist and curators, and interact with other viewers via social media.
You are invited to enter the online BMW Tate Live Performance Room via Tate’s YouTube channel at 20.00 hrs in the UK and at exactly the same moment across the globe on the specified dates. So if you are on the East Coast of America, log on at 15.00 hrs for a mid-afternoon art break, if you are located in Europe then join us at 21.00 hrs for an evening performance and for those in Russia, needing some late night art at 23.00 hrs.
A second chance to watch Jerome Bell’s performance and see the conversation with the artist and curators captured live Thursday 22nd March 2012 at Tate Modern.
ICT4D (Information Communication Technology for Development) powerfully frames women’s grassroots video production in the Global South, much of which is distributed widely through YouTube. Often, these videos reproduce racialized and gendered discourses – legacies of colonialism – in their narratives of economic, social, and technological progress. However, there are also videos by women’s groups that defy both the historical linearity and spatial fragmentation of the ICT4D framework. These videos instead remix, reclassify, and globally reconnect women’s experiences in the contemporary moment. Culled from hundreds of online videos produced by ICT4D programs, including those in countries classified as having “Low Human Development” according to the Gender Inequality Index of the United Nations Development Program, these media represent powerful instances of a decolonial aesthetics, an altogether unexpected development. These ICT4D videos make compelling claims for other historical narratives and visions for women’s future lives, identities, and uses of information communication technologies.
Unexpected Development: Decolonial Media Aesthetics and Women’s ICT4D Video Dalida Maria Benfield, Berkman Center Fellow
This event will be webcast Tuesday, April 17, live at 12:30 pm ET.
Berkman Center, 23 Everett Street, second floor
About Dalida:
Dalida María Benfield’s research addresses artists’ and activists’ creative uses of video and other networked digital media towards social justice projects. Her work is focused on the transformational capacities of media art across different scales. As an artist and activist, she has developed production, education, exhibition, and distribution initiatives focused on youth, women, people of color in the U.S., and local and transnational social movements, including co-founding the media collective Video Machete. She received her Ph.D. in 2011 from the University of California-Berkeley in Comparative Ethnic Studies with Designated Emphasis in Women, Gender, and Sexuality Studies. Her dissertation, Apparatuses, Globalities, Assemblages: Third Cinema, Now, chaired by Trinh T. Minh-ha, considers contemporary media art theory and practice, including work by Cao Fei, Michelle Dizon, and the Raqs Media Collective, in relation to the Third Cinema movement. As a Fellow at the Berkman Center, she is studying race and gender in the online presence of ICT4D programs, as well as working on collaborative projects with the Networked Cultures Working Group, the Cyberscholars Working Group, and metaLAB(at)Harvard.
Something abstract existing in thought or as an idea but not having a physical or concrete existence. Visual geometry containing the non-explicit description of sexual organs or activity. Arising in the mind it intends to stimulate erotic rather than aesthetic or emotional feelings.
GeometricPorn is a project by Luciano Foglia, a multidisciplinary visual artist. He has been working in the design industry for over ten years focusing on interactive design, code based animations and music. His personal time is spent exploring new ways of expression in music and art, working from his studio in London, Hackney Wick.
Geometric Porn App was rejected by Apple Inc.
Reasons for Rejection: 16.1: Apps that present excessively objectionable or crude content will be rejected. We found that many audiences would find your app concept objectionable, which is not in compliance with the App Store Review Guidelines.
The power consumption of our high-tech machines and devices is hugely underestimated.
When we talk about energy consumption, all attention goes to the electricity use of a device or a machine while in operation. A 30 watt laptop is considered more energy efficient than a 300 watt refrigerator. This may sound logical, but this kind of comparisons does not make much sense if you don’t also consider the energy that was required to manufacture the devices you compare. This is especially true for high-tech products, which are produced by means of extremely material- and energy-intensive manufacturing processes. How much energy do our high-tech gadgets really consume?
The 180 watt laptop
While these reports are in themselves reason for concern, they hugely underestimate the energy use of electronic equipment. To start with, electricity consumption does not equal energy consumption. In the US, utility stations have an average efficiency of about 35 percent. If a laptop is said to consume 60 watt-hours of electricity, it consumes almost three times as much energy (around 180 watt-hour, or 648 kilojoules).
So, let’s start by multiplying all figures by 3 and we get a more realistic image of the energy consumption of our electronic equipment. Another thing that is too easily forgotten, is the energy use of the infrastructure that supports many technologies; most notably the mobile phone network and the internet (which consists of server farms, routers, switches, optical equipment and the like).
Embodied energy
Most important, however, is the energy required to manufacture all this electronic equipment (both network and, especially, consumer appliances). The energy used to produce electronic gadgets is considerably higher than the energy used during their operation. For most of the 20th century, this was different; manufacturing methods were not so energy-intensive.
An old-fashioned car uses many times more energy during its lifetime (burning gasoline) than during its manufacture. The same goes for a refrigerator or the typical incandescent light bulb: the energy required to manufacture the product pales into insignificance when compared to the energy used during its operation.
Text and Images via Low-tech Magazine. Read full article HERE
Artwork: cityscape I & II by Grace Grothaus.
Produced by onformative and chopchop the “unnamed soundsculpture” is a project by Daniel Franke & Cedric Kiefer, building from the simple idea of creating a moving sand sculpture from the recorded motion data of a real person.
For the work the team asked a dancer to visualize a musical piece (Kreukeltape by Machinenfabriek) as closely as possible by movements of her body. She was recorded by three depth cameras (Kinect) using Processing, in which the intersection of the images was later put together to a three-dimensional volume (3d point cloud) in 3D Studio Max, so they were able to use the collected data throughout the further process.
Text and Images via Creative Aplications. Click HERE for more info.
Featuring: Mary Elise Hayden, Marissa Merrill & Dustin Edward
Executive Producers: David Lyons & Andrew Huang
Producers: Laura Merians & Stephanie Marshall
Cinematographer: Laura Merians
Production Designer: Hugh Zeigler
Costume Designer: Lindsey Mortensen
Hair & Makeup Designer: Jennifer Cunningham
Sound Design & Original Score: Andrew Huang
The above interactive features a male human brain, removed from his skull shortly after death. In order to preserve the brain’s delicate tissue and structure, it was ‘fixed’ in a solution containing formaldehyde, a process that transformed the brain’s soft-boiled-egg consistency into a more resilient, spongy one. The front of the brain, with the frontal lobes, is sitting on top of the metallic stand, and the back of the brain is propped on top of its own walnut-like cerebellum.
A towering dust devil casts a serpentine shadow over the Martian surface in this image acquired by the High Resolution Imaging Science Experiment (HiRISE) camera on NASA’s Mars Reconnaissance Orbiter. Image credit: NASA/JPL-Caltech/Univ. of Arizona. Via NASA
Color-enhanced scanning electron micrograph of a human sperm fertilizing a human egg. The sperm has fused to the egg cell membrane (oolemma) prior to becoming incorporated almost completely into the egg. The zona pellucida has been removed in this preparation. The surface of the egg is covered with dense microvilli. Once the sperm has fused to the egg cell membrane the “zona reaction” takes place which prevents other sperm from entering the egg. Credit: Yorgos Nikas. Wellcome Images. Via Science Museum
The car is apparently one of the next battlefields for ownership of our personal data and privacy. It is an intimate environment and there will soon be enough sensors to document every human habit and behavior within it. While cars will become the panoptic reporter to our every move, people will also be burdened with an overwhelming amount of data ostensibly aimed at “aiding” them in the driving task. There will be touch activated windshields, Augmented Reality (AR) navigation lines projected onto the windshield that guide drivers on a track of navigation, and the blending of both scenarios with the addition of ads showing up on screen. Audio feedback based on sensor activity is currently available as a service in certain commercial vehicles. Installed sensors monitor driver behavior and provide immediate audio feedback if a driver changes lanes suddenly, is speeding or engages in other unsafe behaviors.
A vegetable scanner made by Toshiba. I can already envision the future of this new device. What about the prices? Could the nutritional content of a vegetable dictate its price?
The Digit is a giant chrome double-finger that looms over unwitting passers-by in Union Square, NYC. More precisely, it is a double-sided finger, with a second appendage extending out of where the rest of the hand would be. The two fingertips methodically double-tap and swipe, while reflecting the surrounding architecture on their bulbous surface.
The Digit is a virtual (augmented-reality) sculpture that can be viewed with an iPhone application available for free at the App Store. Simply launch the app when you are on the southern tip of Union Square and look up through the iPhone’s camera.
The sculpture is a response to two public art works located in Union Square – the statue of George Washington (one of the first public sculptures in New York) and Metronome – a recent installation about time that occupies 3 building facades just south of the square. Incidentally, Metronome includes an enlarged replica of GW statue’s hand (located just above the smoking hole). The Digit follows this trajectory by isolating the index digit of George Washington and appropriating it as an emblem of the digital condition.
The Digitalso exist as an interactive web experience and in the form of physical souvenirs. WebGL compatible Browser Required (Firefox 4 or Chrome 9 and up) or you may need to update your graphics card driver.
Test_Lab: Audio_Objects (2007); Photo by Jan Sprij 
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