Sep 26, 2022
Described as a "custom sample mashing app," the project was first conceived around 20 years ago.
seen from Türkiye
seen from Argentina
seen from United Kingdom
seen from Poland
seen from New Zealand
seen from United States
seen from New Zealand
seen from Canada
seen from Pakistan
seen from United Kingdom
seen from Algeria
seen from United Kingdom
seen from Yemen
seen from United Kingdom
seen from United States
seen from United Kingdom
seen from India
seen from China
seen from Algeria
seen from Australia
Described as a "custom sample mashing app," the project was first conceived around 20 years ago.
Love Will Hold Us
Love Will Hold Us
All the broken hearts, resigned to be alone All the lonely ones who grieve Even as the floods come closer to the door Even in all this I believeLove will hold us In all that we have done Love gives meaning to it all Love will hold us When the fullness comes Love will be the meaning of it allI trust the love within us The love that knows our name, that love’s inviting us to receiveNurturing,…
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BetablockerDS, a sequencer by Dave Griffiths for NintendoDS. Inspiring stuff.
Been a little bit sick but hoping to start some programming soon. Maybe even up some Max patchers. I’ll probably start another blog for the audio programming just to keep motivated, probably updated weekly. Maybe I’ll finally internalise the syntax of a c++ class for once (psh, yeah right!)
If you haven’t heard our Dave Griffiths interview yet, you can listen here
by Dave Griffiths, Aymeric Mansoux and Marloes de Valk
Naked on Pluto.
A fun yet disturbing online game, developed with open source software, which parodies the insidiously invasive traits of “social software”. The city of “Elastic Versailles” is animated by the quirky combinatorial logics of a community of 57 artificial intelligence bots that glean the Facebook data of subscribers to the game. Naked on Pluto’s bot crew, difficult to distinguish from other agents in this textual environment, is formed by dysfunctional gatekeepers . The participants in the game can break the access control systems, but the bots have a certain flexibility to remain. The players can try and override the restrictions of the game and team up to crash and escape the system. Activities are described in a blog and on Twitter, and the robots run havoc with user information and that of their contacts while generating a constant stream of incitements to click, declare, poke and buy, generating more or less spurious links at dizzying speed. Disconcertingly familiar faces and information from one’s own and associated profiles are mixed indiscriminately in a brash landscape, rather like that of the original Versailles, designed for promotional parades of inseparable personal and ideological attributes. No information on players is stored, nor is it shared or relayed to Facebook in this malleable ecosystem where all that counts are glimpses of fleeting visibility.
Naked on Pluto caricatures the proliferation of virtual agents that harvest our personal data to reformulate in an insidious way our virtual environments and profiles, highlighting the ambivalent contrasts of the social networks: friends as quantifiable assets and personas carefully fashioned to impart a sense of “intimacy” and disingenuous publication of “private” data as self-advertising. The emergence of intelligence in this game is, ultimately, hopefully, that of the players that manage to escape from it.
http://naked-on-pluto.net/
via cccb.org