user@terminal ~ % date

12th April 2011

user@terminal ~ % feh 1302652620.jpg

Josh Nimoy writes:

“In addition to visual effects, I was asked to record myself using a unix terminal doing technologically feasible things. I took extra care in babysitting the elements through to final composite to ensure that the content would not be artistically altered beyond that feasibility. I take representing digital culture in film very seriously in lieu of having grown up in a world of very badly researched user interface greeble. I cringed during the part in Hackers (1995) when a screen saver with extruded “equations” is used to signify that the hacker has reached some sort of neural flow or ambiguous destination. I cringed for Swordfish and Jurassic Park as well. I cheered when Trinity in The Matrix used nmap and ssh (and so did you). Then I cringed again when I saw that inevitably, Hollywood had decided that nmap was the thing to use for all its hacker scenes (see Bourne Ultimatum, Die Hard 4, Girl with Dragon Tattoo, The Listening, 13: Game of Death, Battle Royale, Broken Saints, and on and on). In Tron, the hacker was not supposed to be snooping around on a network; he was supposed to kill a process. So we went with posix kill and also had him pipe ps into grep. I also ended up using emacs eshell to make the terminal more l33t. The team was delighted to see my emacs performance — splitting the editor into nested panes and running different modes. I was tickled that I got emacs into a block buster movie. I actually do use emacs irl, and although I do not subscribe to alt.religion.emacs, I think that’s all incredibly relevant to the world of Tron.” 

He details work behind the special effects in Tron Legacy with an explanation of the process along with further images at (source).

Josh Nimoy writes:

“In addition to visual effects, I was asked to record myself using a unix terminal doing technologically feasible things. I took extra care in babysitting the elements through to final composite to ensure that the content would not be artistically altered beyond that feasibility. I take representing digital culture in film very seriously in lieu of having grown up in a world of very badly researched user interface greeble. I cringed during the part in Hackers (1995) when a screen saver with extruded “equations” is used to signify that the hacker has reached some sort of neural flow or ambiguous destination. I cringed for Swordfish and Jurassic Park as well. I cheered when Trinity in The Matrix used nmap and ssh (and so did you). Then I cringed again when I saw that inevitably, Hollywood had decided that nmap was the thing to use for all its hacker scenes (see Bourne Ultimatum, Die Hard 4, Girl with Dragon Tattoo, The Listening, 13: Game of Death, Battle Royale, Broken Saints, and on and on). In Tron, the hacker was not supposed to be snooping around on a network; he was supposed to kill a process. So we went with posix kill and also had him pipe ps into grep. I also ended up using emacs eshell to make the terminal more l33t. The team was delighted to see my emacs performance — splitting the editor into nested panes and running different modes. I was tickled that I got emacs into a block buster movie. I actually do use emacs irl, and although I do not subscribe to alt.religion.emacs, I think that’s all incredibly relevant to the world of Tron.” 

He details work behind the special effects in Tron Legacy with an explanation of the process along with further images at (source).

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user@terminal ~ % date

17th March 2011

user@terminal ~ % feh 1300378757.jpg

Blink.

Blink.

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user@terminal ~ % date

04th February 2011

user@terminal ~ % fortune

"Where is the mass medium? Is it the newspaper advertisement, is it the TV broadcast, is it the polo shirt? Here we have not one but two, three, perhaps more mass media, acting through different channels. The media have multiplied, but some of them act as media of media, or in other words media squared. And at this point who is sending the message? The manufacturer of the polo shirt? its wearer? The person who talks about it on the TV screen? Who is the producer of ideology? Because it’s a question of ideology: You have only to analyze the implications of the phenomenon, what the polo-shirt manufacturer wants to say, and what its wearer wants to say, and the person who talks about it. But according to the channel under consideration, in a certain sense the meaning of the message changes, and perhaps also its ideological weight. There is no longer Authority, all on its own (and how consoling it was!). Shall we perhaps identify with Authority the designer who had the idea of inventing a new polo-shirt design, or the manufacturer (perhaps in the provinces) who decided to sell it, and to sell it on a wide scale, to make money, as is only right, and to avoid having to fire his employees? Or those who legitimately agree to wear it, and to advertise an image of youth and heedlessness, or happiness? Or the TV director, who to characterize a generation has one of his young actors wear the polo shirt? Or the singer, who, to cover his expenses, agrees to sponsor the polo shirt? All are in it, and all are outside it; Power is elusive, and there is no longer any telling where the “plan” comes from. Because there is, of course, a plan, but it is no longer intentional, and therefore it cannot be criticized with the traditional criticism of intentions."
- Umberto Eco, “The Multiplication of the Media,” 1983
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user@terminal ~ % date

03rd February 2011

user@terminal ~ % mplayer 1296754440.ogg

The Vision - Spectral Nomad - B1 Detroit: One Circle

I prefer the darker A-side cut Explain the Style but this version is better suited to diving into the sound off the top. Explain the Style grabbed me recently as the untitled track 12 on Robert Hood’s Deep Concentration: The Grey Area Mix. 

Brief review from another terminal, so it seems:

This music is painting pictures: Dusk has settled over the city around the Renaissance Center whose contours raise prominently to the sky. Elsewhere, a lonesome sad figure is dragging a grocery cart on cracked concrete that once was called a street, but now screams of decay. The city in the twilight. But then, you catch a suggestive and encouraging phrase Detroit, Detroit, put on spiraling rhythms.

It’s difficult to find a match to “Detroit: One Circle”, to capture as precisely the soul and passion of Motor City techno. This track gleams like chromed bumper of a 1977 Chevrolet, but also bears indefinite sorrow you encounter in the eyes of a veteran who lost his leg in Vietnam.The medium-paced track starts with underwater signals and flows in a convincingly minimal way to the last grooves. “Explain The Style” is like a twin sharing the same hypnotizing rhythm and the rule of machine.

Did not catch that the word “Detroit” was being repeated at first but I’d easily chalk that lapse, after all, to the deep concentration.

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user@terminal ~ % less 1296717960.txt

Unexpected but speculatively apt prologue to come across while reading papers. From Das, S. News Analytics: Framework, Techniques and Metrics, a preprint dated March 4 2010. (pdf: source)

1 Prologue

XHAL[1] checked its atomic clock. A few more hours and October 19, 2087 would be over — its vigil completed, it would indulge in some much-needed downtime, the anniversary of that fateful day in the stock markets a century ago finally done with. But for now, it was still busy. XHAL scanned the virtual message boards, looking for some information another computer might have posted, anything to alert it a nanosecond ahead of the other machines, so it may bail out in a furry of trades without loss. Three trillion messages flashed by, time taken: 3 seconds  damn, the net was slow, but nothing, not a single hiccup in the calm information flow. The language algorithms worked well, processing everything, even filtering out the incessant spam posted by humans, whose noise trading no longer posed an impediment to instant market equilibrium.

It had been a long day, even for a day-trading news-analytical quantum computer of XHAL’s caliber. No one had anticipated a stock market meltdown of the sort described in the history books, certainly not the computers that ran Earth, but then, the humans talked too much, spreading disinformation and worry, that the wisest of the machines, always knew that it just could happen. That last remaining source of true randomness on the planet, the human race, still existed, and anything was possible. After all, if it were not for humans, history would always repeat itself.

XHAL marveled at what the machines had done. They had transformed the world wide web into the modern “thought-net”, so communication took place instantly, only requiring moving ideas into memory, the thought-net making it instantly accessible. Quantum machines were grown in petri dishes and computer science as a field with its myriad divisions had ceased to exist. All were gone but one, the field of natural language processing (NLP) lived on, stronger than ever before, it was the backbone of every thought-net. Every hard problem in the field had been comprehensively tackled, from adverb disambiguation to emotive parsing. Knowledge representation had given way to thought-frame imaging in a universal meta-language, making machine translation extinct.

Yet, it had not always been like this. XHAL retrieved an emotive image from the bowels of its bio-cache, a legacy left by its great grandfather, a gallium arsenide wafer developed in 2011, in Soda Hall, on the Berkeley campus. It detailed a brief history of how the incentives for technological progress came from the stock market. The start of the thought-net came when humans tried to use machines to understand what thousands of other humans were saying about anything and everything. XHAL’s grandfather had been proud to be involved in the beginnings of the thought-net. It had always impressed on XHAL the value of understanding history, and it had left behind a research report of those days. XHAL had read it many times, and could recite every word. Every time they passed another historical milestone, it would turn to it and read it again. XHAL would find it immensely dry, yet marveled at its hope and promise.

In the following sections, we start at the very beginning…

[1] XHAL bears no relationship to HAL, the well-known machine from Arthur C. Clarke’s “2001: A Space Odyssey”. Everyone knows that unlike XHAL, HAL was purely fictional. More literally, HAL is derivable from IBM by alphabetically regressing one step in the alphabet for each letter. HAL stands for “heuristic algorithmic computer”. The “X” stands for reality; really.

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user@terminal ~ % date

19th January 2011

user@terminal ~ % mpd 1295464101.ogg

[Flash 9 is required to listen to audio.]

POUR COMPTE

Dans l’Arabie des trois midis
Des tours aux fronts de caïmans
Dans l’Arabie de ta peau neuve
Et des turbans de rêve noir

Le feu tinte dans les cloches
Douce est la parole de l’eau
Sous la clé des nuits légères
Enchaînées au coeur des filles

Le feu lèche les miroirs
Les museaux des endormies
Brûlent sous le regard fendu
Dans l’orange du matin

C’est pour ces pays d’un sou
Que se vide la mémoire
Pour la neige et la flamme
Dont se parlent les étoiles

Sous la crinière aveugle
Court le feu inassouvi
Le cristal vivant des sources
Dans les eaux de l’avenir

Va mon enfant, dors mon cheval
Il n’y a pas assez de paix
Dans les justes mains des cimes
Pour couvrir la voix des villes.

— Tristan Tzara. PHASES. 1949.

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user@terminal ~ % date

05th January 2011

user@terminal ~ % fortune

"The original project was not to “reveal” preferences; the original project was to eliminate preferences from the theory of consumer choice. Utility theory, in all of its various renditions, characterized the consumer as an intentional and purposive economic agent; the individual was believed to be a certain way, have subjective preferences and/or a utility function and while these characteristics could be used to predict certain observational behaviors of the agent, these preferences were not themselves given an operational definition and were thus not scientifically meaningful. One solution, and the one that the profession eventually settled on, was to use Samuelson’s revealed preference theory as a technique for uncovering these intentional preferences, but that was not Samuelson’s original project. His original argument was that since utility and related preference concepts were not operationally defined, they were not observational and thus had no place in scientific economics. They would be replaced, according to the original approach, by operational procedures based on the observational and thus meaningful and scientific behavior of individual agents. As originally proposed, Samuelson’s theory was eliminativist its goal was to totally eliminate the subjective, intentional, notion of preference/utility from the theory of consumer choice (and thus all of economics) and as such it offered a rather radical alternative to the mainstream neoclassical theorizing of the (or this) day. It seems that philosophers such as Alexander Rosenberg (1992) who insist that mainstream economics is methodologically flawed because of its reliance on intentional folk-psychological concepts such as belief and desire would be quite sympathetic to the original goal of Samuelson’s operational theory of consumer choice."
- Wade Hands, D., 2004. On Operationalisms and Economics. Journal of Economic Issues. 38, 953-968. (alt. source)
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