“This work is based on our belief that VR offers new methods for storytelling and engagement.”
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Category: media & arts – Page 107
Examining the science behind the Epstein Drive as portrayed on The Expanse. Careful for general spoilers! Add your comments, observations and be sure to use this week’s hashtag!
CREDITS
The Expanse http://www.syfy.com/theexpanse
MUSIC
Light Awash by Kevin MacLeod is licensed under a Creative Commons Attribution license (https://creativecommons.org/licenses/by/4.0/)
Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100175
Artist: http://incompetech.com/
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Earlier Work
Wernquist early short film “Wanderers” explored many of the same themes about humanities nature to explore and experance, built around beautiful images of space and the cosmos and narration built around an expert from Carl Sagan ‘s “Pale Blue Dot.”
Wernquist described the film as:
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Technology can be wonderful. But how do you keep track of yourself when technology allows you to be everywhere at once?
In this film Prof. Yair Amichai-Hamburger (director of the Research Center for Internet Psychology at the Sammy Ofer School of Communications) argues that even though technology allows us to reach out and connect more easily than ever before, if we don’t ever take a step back, we can lose track of our humanity in the process.
Self-driving cars are pretty cool. Really, who wouldn’t want to spend their daily commute surfing social media, chatting with friends or finishing the Netflix series they were watching at 4 am the night before? It all sounds virtually utopian. But what if there is a dark side to self-driving cars? What if self-driving cars kill the jobs? ALL the jobs?
In this video series, the Galactic Public Archives takes bite-sized looks at a variety of terms, technologies, and ideas that are likely to be prominent in the future. Terms are regularly changing and being redefined with the passing of time. With constant breakthroughs and the development of new technology and other resources, we seek to define what these things are and how they will impact our future.
This is the oldest and largest art magazine by circulation in the world. For the first time, it has #transhumanism in its search engines. A main task of mine all these years has been spreading that word and concept. My talk at #Moogfest on the Immortality Bus is covered a bit in this story.
L ast month, as bidding was underway at Sotheby’s for what would prove to be a stratospheric Jean-Michel Basquiat sale, Lonnie Holley, a 67-year-old artist who was born in Birmingham, Alabama, and has worked for decades in various folksy and homegrown modes, was preparing to take the stage at a sports bar in Durham, North Carolina. He was sitting at a table in the back, in a place that stank of burgers and beer. An audience of a few dozen had convened for the occasion, though it was hard to distinguish between Holley fans and regular denizens of the Bullpen, a joint next door to the stadium for the beloved local minor-league baseball team, the Durham Bulls. Night-game lights were bright outside. Televisions above the bar showed the Bulls making easy work of the Gwinnett Braves, in town for a weekend series from Georgia. The air was thick and languid in the way it tends to be on a deep, hot Southern summer night.
Holley is a hero to some: as an artist, he has made formidable paintings and sculptures that have been collected by the Souls Grow Deep Foundation and exhibited by museums and institutions all over, and as a musician, he has forged an unforgettable sound with a stirring voice and stewing electronics. For all his accomplishments, though, Holley remains underappreciated—certainly not as known in the worlds of either art or music as he should be.
So first came an introduction. Tim Duffy, the founder of Music Maker Relief Foundation, an organization devoted to preserving musical traditions of the South, took to a microphone and lavished Holley with praise, running down a list of laurels and markers of a legacy still in the making. “Thumbs up for Mother Universe,” Duffy said, thankful for the cosmic conception of an artist he clearly revered.
Official video for Afrojack & David Guetta ft. Ester Dean – Another Life.
Download or stream Another Life here: https://Afrojack.lnk.to/AnotherLIfe
Directed by sanghon kim produced by division
Website: http://www.afrojack.com
Shimon—a four-armed marimba playing robot—has been around for years, but its developers at Georgia Tech have recently taken this futuristic musical machine to the next level. Using deep learning, the robot can now study large datasets from well-known musicians, and then produce and perform its own original compositions.
Shimon was originally developed by Gil Weinberg, director of Georgia Tech’s Center for Music Technology. Under its original programming, the robot was capable of improvising music as it played alongside human performers, using an “interestingness” algorithm to make sure it wasn’t just copying its bandmates. But now, thanks to the efforts of Ph.D. student Mason Bretan, Shimon has become an accomplished composer, capable of autonomously generating the melodic and harmonic structure of a song. And you know what? Shimon’s songs are actually quite good!
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The recent efforts to remove Net Neutrality have given many a sense of impending doom we are soon to face. What happens to an Internet without Net Neutrality? Advocates have a vision of the possible results — and it is quite the nightmare! In this segment of Future A to Z, The Galactic Public Archives takes a cheeky, yet compelling perspective on the issue.