The idea of a one-to-one scale map of the world, portraying everything in it, is a venerable device in literature, surfacing most famously in the work of Lewis Carroll and Jorge Luis Borges; in Harry Potter, there’s a map that shows what everyone in Hogwarts is doing at every moment. But in the era of Street View Trekker and Liquid Galaxy, these fictional maps seem somewhat less absurd – and the level of detail is only one way in which maps are changing. Increasingly, the boundary between consulting a map and interacting with the world outside it is blurring: when Google glasses, currently in prototype, can project directions, or reviews of the restaurant you’re looking at, directly into your visual field, what does the word “map” mean anymore? While researching his forthcoming book, A History of the World in Twelve Maps, Brotton sometimes brought up the “one-to-one map” idea, from Borges and Carroll, with people at Google, but they didn’t find it particularly witty or intriguing.
"Oh, yeah," they would reply, matter-of-factly. "We can make that map."
The Hoboken garage is one of a handful of fully automated parking structures that make more efficient use of space by eliminating ramps and driving lanes, lifting and sliding automobiles into slots and shuffling them as needed. If the robot shuts down, there is no practical way to manually remove parked vehicles.
In the days that followed, both sides dragged each other into court. Robotic accused Hoboken of violating its copyright. “This case is about them using software without a license,” said Dennis Clarke, chief operating officer of Robotic Parking, in a telephone interview last week.
At the same time, Hoboken accused Robotic of setting booby traps in the code, causing the garage to malfunction. Then Robotic accused Hoboken of endangering its business by allowing a competitor into the garage.
In the meantime, many of the garage’s customers simply couldn’t get their cars out.
According to Tom Jennemann, a staff writer who followed the story for the local Hudson Reporter, the distrust between the city and Robotic Parking goes back to the beginning of their relationship. “I think (the city) signed a bad contract,” says Jennemann. This conflict began after the last software term ran out at the end of 2005, and the city began to license the software on a month-to-month basis. By the end of July it had no legal access to the software at all.
Citigroup has announced an agreement to use the services of Watson, the IBM supercomputer that gained renown last year when it beat a couple of humans on the US quiz show Jeopardy . A spokesman for the bank said: “We are working to rethink and redesign the various ways in which our customers and clients interact with money.” A news release added that Citi was looking for a “first of a kind customer interaction solution combined with Watson’s deep content analytics”.
Software is not experienced in a disembodied graphical space – we interact with it though machines. If one of the major driving forces behind sharing with these image repositories is education, it seems logical to employ a documentation strategy that is simple and effective in visually communicating the context of these works, not simply a strategy that meets the image specifications. We are beginning to employ a documentation strategy at Rhizome that will touch all of these bases. It’s quite simple really: take a picture.
[…] exemplary of how instantly readable a still image of a web based work of art is, when it depicts the work from the perspective of the viewer, not the computer.
A series made by photographing the reflections from the reverse of a black Apple iphone (with another iphone) whilst travelling around the city of London.
A contemporary process that revisits the historic use of the Claude Glass – an 18th century hand held, black mirror that was used as a proto snapshot ‘camera’ prior to the invention of the means to fix photographs. The dark gently curved glass would mute tones and pull the view into compositions reminiscent of the classical painter Claude’s work.
One of the common assumptions software authors make is that the underlying hardware works reliably. Very few operating systems add their own parity bits or CRC to memory accesses. Even fewer applications check the results of a computation. Yet when it comes to cryptography and software protection, the attacker controls the platform in some manner and thus faulty operation has to be considered.
Fault induction is often used to test hardware during production or simulation runs. It was probably first observed when mildly radioactive material that is a natural part of chip packaging led to random memory bit flips.
And there is the famous story of Suzanne Vega’s “Tom’s Diner,” the song used by audio engineer Karlheinz Brandenburg to fine-tune the MP3 encoder. Brandenburg was putting the finishing touches on his compression algorithm when he heard Vega’s hit playing down the hallway. “I was electrified,” he later explained. “I knew it would be nearly impossible to compress this warm a capella voice.” He listened to the song thousands of times, eventually figuring out a way to convert it into an MP3 while preserving the warmth of her performance. As reporter Hilmar Schmundt remarks, in an article noted by Sterne: “When an MP3 player compresses music by anyone from Courtney Love to Kenny G, it is replicating the way that Brandenburg heard Suzanne Vega.”
That couch catching your eye in the 2013 edition of IKEA’s new catalog may not be a couch at all.
It is likely the entire living room was created by a graphic artist. In fact, much of the furniture and settings in the 324-page catalog are simply a collection of pixels and polygons arranged on a computer.
This year 12% of IKEA’s content for the Web, catalog and brochures were rendered virtually; that number will increase to 25% next year.
A science project of unprecedented scale begins this month in the New Mexico desert, as a technology firm breaks ground for a model metropolis. Washington-based Pegasus Global Holdings will build a town replete with schools, parks and an airport.
But the intended residents are not people, but robots.
The practice of purchasing Twitter followers is not only causing controversy for Real Housewives and presidential candidates. In Saudi Arabia, a senior cleric has condemned the practice as “dishonest and mendacious”, following a revelation that several high-profile Saudis were buying “phantom followers”.
While we mock the surfeit of fatwas emanating from the Saudi clergy – tackling everything from personal grooming to Mickey Mouse – this one seemed to genuinely hit the nail on the head. Prior to his pronouncement, the manager of a Saudi marketing company had told the press that it had sold “bundles” of Twitter followers, Facebook fans and YouTube “likes” to “sportsmen, businessmen, poets and clerics”, but preferred not to name names. Soon after this revelation, Sheikh Abdullah declared that not only was buying Twitter followers really sad, it was also sinful and dishonest.
The term “fatwa” may conjure up images of death sentences and men demonstrating with effigies on spikes, but at its most prosaic, a fatwa is merely a religious opinion that deems something to be unacceptable – the Sheikh simply issued a sobering condemnation of online behaviour and the excesses of social networking.