“quote collages”
70 posts under this tag.
A math experiment was carried out recently when Alex Smith —an Electronic and Computer Engineering undergraduate with “a background in mathematics and esoteric programming languages”— proved that the Turing machine below is in fact universal, making it the simplest universal Turing machine possible. In other words, the cute graph below are the instructions for an abstract symbol-manipulating machine that can in principle do anything your computer (or any other computer for that matter) can do.
Stephen Wolfram, who made the conjecture and offered a $25k reward for proving it, reports:
We’ve come a long way since Alan Turing’s original 1936 universal Turing machine—taking four pages of dense notation to describe.
We did an experiment; and PCE [the Principle of Computational Equivalence] was validated.
But unlike some science experiments, it didn’t take a multibillion-dollar particle accelerator. It just took a 20-year-old undergraduate with a PC.
[It’s] a wonderful monument in the computational universe—a marker at the edge of universality for Turing machines.
It’s a very satisfying way to spend $25,000.
Now, ain’t this just breathtaking?
My father, who is very fond of sayings and good phrases (a formist!), surprises one often with some bizarre and rather tactless answer that is however perfectly appropriate. “Stop looking for five legs in a dog 1...”, he admonishes, tired of pointless dabbling, pausing to smile and lull you, ”...or tits in a hen”.
A while ago, building a huge and pretty warehouse, he had to endure a terribly inefficient contractor that was however friends with the client. He had a excuse for everything, a but, an it wasn’t my fault, a there’s no way, an it can’t be done. “Look, when one doesn’t know how to fuck…”, interrupts him my father one day, tired of delays and pretexts, “balls get in the way”.
Ahora en el Espanhol original, (llano, claro)
Mi padre, que es muy dado a los refranes y las buenas frases (a formist!), sorprende de vez en cuando con respuestas mas bien bizarras y de poco, digamos, tacto que sin embargo suelen ser perfectamente atinadas. “No le busques tres pies al gato…,” te reganha, cansado de necios devaneos, pausando para sonreir y arrullarte, ”...ni chichis a las gallinas.”
Hace poco, construyendo una bodega enorme y muy linda, tuvo que aguantar un contratista ineficiente pero amigo del cliente. Para todo tenia una excusa, un pero, un no fue mi culpa, un no hay manera, un no se puede. “Mira, al que no sabe coger,” lo interrumpe mi padre un buen dia, cansado de retrasos y pretextos, “hasta los huevos le estorban.”
Fascinating Economist article on the music industry’s new developments. Very reminiscent of Dyson’s thoughts on intellectual property:
“[...it] is dead; long live intellectual process. Long live service; long live performance.”
and anime’s general stance towards piracy:
“If it succeeds, milk it; if not, try something different. And if the fans are into file sharing (which they are), keep the lawyers leashed and find a way to make piracy work for you.”
Seven years ago musicians derived two-thirds of their income, via record labels, from pre-recorded music, with the other one-third coming from concert tours, merchandise and endorsements, according to the Music Managers Forum, a trade group in London. But today those proportions have been reversed—cutting the labels off from the industry’s biggest and fastest-growing sources of revenue. Concert-ticket sales in North America alone increased from $1.7 billion in 2000 to over $3.1 billion last year, according to Pollstar, a trade magazine.
Frustrated record companies have responded by trying to get their artists to spend more time promoting records and less time touring and endorsing products, says Jeanne Meyer of EMI, another big record label. “Sometimes you’ve got a tug of war going on,” she says. Yet the more labels spend on marketing pre-recorded music, the more they raise their artists’ profiles and boost their other, more lucrative, sources of income. Pre-recorded music, no longer the main cash cow, increasingly serves merely as a marketing tool for T-shirts and concert tickets. The best seats for The Police’s world tour this summer cost over $900; the group’s entire catalogue on CD costs less than $100.
The shift away from recorded music is due in part to the recognition that touring and merchandise are more lucrative. But it may also be a consequence of internet piracy, as free downloads give music fans more money to spend on other things. Jwana Godinho, the director of Música no Coração, a concert promoter in Lisbon, thinks many music lovers have a “mental budget” that they are prepared to spend on music, and have switched their spending from CDs to tickets and merchandise.
The logical conclusion is for artists to give away their music as a promotional tool. Some are doing just that. This week Prince announced that his new album, “Planet Earth”, will be given away in Britain for free with the Mail on Sunday, a national newspaper, on July 15th. (For years Prince has made far more money from live performances than from album sales; he was the industry’s top earner in 2004.) Outraged British music retailers were quick to condemn the idea. As far as the record industry is concerned, it is madness. But for the music industry, it could well be the shape of things to come.
I’ve always hated, with a passion, moral-indignation ads against piracy—not only because they’re manipulative but because they’re stupid. And the best defense for piracy may be how hard it is to make an argument against it that doesn’t stink of moral indignation—if maudlin pleas are the best you can do, you’re probably rotten. (On a related sidenote, I found it mighty interesting when The Economist circuitously referred to Kazaa as “a file-sharing program that was widely used to download music without paying for it”—as much as ads want to make us believe pirating is stealing, there are crucial differences, which is why such circumlocutions are essential.)
To solve intellectual property’s malaise I’ve long sought for grand economic solutions (new innovative schemes or perhaps even a new concept of property rights) rather than grand political ones (which are just, ugh, imposed moral rules). While there has been plenty of both, I’m starting to see these days that maybe the solution will be simply to move on. Piracy is just another (admittedly extreme) form of commodificationWP. You don’t fight commodification by outlawing it, you take the next thing that hasn’t been commodified yet, you offer value however you can, you move on.
A Fair Ellen (noun) could be a roundabout, inefficient, sometimes extravagant and always pathetic behavior to get around a bug in a product. Particularly when it lingers on long after said bug has been fixed. From Bruce Tognazzini’s inspired collie metaphor.
Albert Payson Terhune, the author who taught the world to love collies (Lad, A Dog , et. al.), once wrote an article for the Saturday Evening Post (March 26, 1927 issue) about his beloved collie, Fair Ellen.
Terhune explained that Fair Ellen.. had been born blind, but learned to live quite happily, except for one small quirk:
If I stand beside her kennel yard and call to her to come and be put up, she does not approach me in a straight line, but along an imaginary path which has perhaps six or seven twists and turns.
This used to puzzle me, until one day I saw her run against a wheelbarrow which one of the men had left in the open patch of fairway between the house and her kennel. That was three years ago. Never since then does she come to that spot without making a careful detour around the imaginary barrow.
Her twisting course, along all familiar bits of ground, is due to her effort to skirt some box or rake or other obstruction which at some times she has struck against. She has preternatural memory for such things and for the precise spot in which once they were.
Users do the same thing. Users’ behavior will not necessarily change..[when the bug that brought that behavior into being is fixed]. Once people have learned something no longer works, once they have formed a new habit, no matter how inefficient that habit is, they tend to perpetuate it.
Never had the bug bit me before—always thinking crypto-anarchismWP a hangover from the cyberpunky 80s. It isn’t. It’s pure magic. And it may be anarchy’s best hope—ever.
Timothy C. May’s WP long, superb essay, True Nyms and Crypto Anarchy (which appears in an essay collectionAM around Vernor Vinge’s True Names novel) has made a wild-eyed believer out of me. Fascinating stuff, this. (May, btw, is a former chief scientist at Intel, confirming my hypothesis that the people at the trenches of the Moore revolution had to be among humanity’s very best.)
Crypto anarchy is the cyber spatial realization of anarcho-capitalism, transcending national boundaries and freeing individuals to consensually make the economic arrangements they wish to make..
[It] ensures that men with guns cannot be brought in to interfere with mutually agreed-upon transactions, the only kind of economics interaction possible in crypto anarchy. Some people will of course scream “Unfair!” and demand government intervention, which is why strong cryptography will probably be opposed by the masses, unless of course, they are wise and take the long view. This may smack of elitism, but I have very little faith in democracy. De Tocqueville warned in 1840 that, roughly translated, “The American Republic will endure, until politicians realize they can bribe the people with their own money.” We reached that point several decades ago..
To put it bluntly, crypto anarchy basically undermines democracy: it removes behaviors and transactions from the purview of the mob. And once crypto is deeply entwined into the fabric of life and commerce, it will be too late to pull the plug.
Timothy C. May, True Nyms and Crypto Anarchy
Never had I been more than casually interested in cryptography. Now my copy of Schneier’s Applied Cryptograpy is on its way. Can’t wait.
Here some definitions—some funny, but all out of sadness. «Whimsical» to be (mostly) understood in the not so standard sense of “subject to our whims”—of course.
Reality: that which is not whimsical.
Technology: that which makes Reality whimsical.
Technologist: that who believes Reality can and should be whimsical.
Hacker: a Technology maker.
Body: that which is whimsical and its manifold possibilities.
Health: the body’s actual whimsicality.
Culture: the exploration of Body.
Art: Culture making.
Artist: a Culture maker.
Knowledge: Of Reality—of what else?
Science: Knowledge making.
Scientist: a Knowledge maker.
Good: the creation or exploration of Body.
Evil: the destruction of Body.
Virtual Reality: whimsical Reality; Technology’s ultimate success.
Religion: the belief that Reality is self-servingly whimsical.
Some inspirations and context:
Sunny Bains’s Mixed Feelings is a cool article in last month’s Wired about synthetic synesthesias: using technology to give us new senses by using old ones’ bandwidth. Stuff like using the tongue to see, or, below, using touch to locate.
For six weird weeks in the fall of 2004, Udo Wächter had an unerring sense of direction. Every morning after he got out of the shower, Wächter, a sysadmin at the University of Osnabrück in Germany, put on a wide beige belt lined with 13 vibrating pads — the same weight-and-gear modules that make a cell phone judder. On the outside of the belt were a power supply and a sensor that detected Earth’s magnetic field. Whichever buzzer was pointing north would go off. Constantly.
The brain, it turns out, is dramatically more flexible than anyone previously thought, as if we had unused sensory ports just waiting for the right plug-ins. Now it’s time to build them.
“It was slightly strange at first,” Wächter says, “though on the bike, it was great.” He started to become more aware of the peregrinations he had to make while trying to reach a destination. “I finally understood just how much roads actually wind,” he says. He learned to deal with the stares he got in the library, his belt humming like a distant chain saw. Deep into the experiment, Wächter says, ”I suddenly realized that my perception had shifted. I had some kind of internal map of the city in my head. I could always find my way home. Eventually, I felt I couldn’t get lost, even in a completely new place1.”
Some intriguing stories here about the brain that will delight anyone who has read Jeff Hawkin’s mind-bendingly good On IntelligenceAM. Another example:
 More than 50 years ago, Austrian researcher Ivo Kohler gave people goggles that severely distorted their vision: The lenses turned the world upside down. After several weeks, subjects adjusted — their vision was still tweaked, but their brains were processing the images so they’d appear normal. In fact, when people took the glasses off at the end of the trial, everything seemed to move and distort in the opposite way.
Of course any true Jeff fan would nod knowingly and immediately quote back with:
Patterns are all the brain knows about. Brains are pattern machines. It’s not incorrect to express the brain’s functions in terms of hearing or vision, but at the most fundamental level, patterns are the name of the game. No matter how different the activities of various cortical areas may seem from each other, the same basic cortical algorithm is at work. The cortex doesn’t care if the patterns originated in vision, hearing, or another sense. It doesn’t care if its inputs are from a single sensory organ or from four. Nor would it care if you happened to perceive the world with sonar, radar, or magnetic fields, or if you had tentacles rather than hands, or even if you lived in a world of four dimensions rather than three.
Jeff Hawkins, On IntelligenceAM, p2
Being a fan of the concept since my soundscape post, however, I was surprised the article doesn’t mention the inspiration for my post and the most widespread example yet of a synthetic synesthesia: the beeping proximity sensor in many vehicles—space as sound. My brain has become so used to it that at times glancing back seems like a distraction.
The recent (April 16) revamping of TED.com around their famous talks provides the perfect excuse for me to finally write about them. And what I want to say boils down to one thing: watch them. They’re free. They’re one of the most exciting things content-wise to happen to the web of late. They have a cumulative effect. The audio and video quality are superb. They are raw, distilled passion. Their speakers are truly among the world’s most talented, most inspiring people (passion begets passion).
And if you only have time for one talk, let it be Eva Vertes’s—probably the best video I’ve seen, ever. Not only does she (very convincingly) puts forth a fascinating (and, oddly, satisfying) theory of cancer in less than 19 minutes, making it all seem as the simplest, most logical thing in the world, she also does it with a naive, youthful spunk that disarms you right away. I swear if I had seen this in high school I might have thrown it all away and study medicine. She’s that good. Now I’ll settle to try to convince my brilliant med-studying sister to tackle cancer. She too is that good.
Also not to be missed are…
A: There are great, quirky restaurants a plenty in Guadalajara!
B: Fex?
A: Nippondo, La Zanahoria, Los Burritos de Moyagua, Las Corajes, La Fuente, Hotel Victoria, Santuario,...!
The classic example of the Web 2.0 era is the “mash-up”— fex, connecting a rental-housing Web site with Google Maps to create a new, more useful service that automatically shows the location of each rental listing.
With markets becoming saturated and mobile operators’ revenue-growth slowing—there are already 112 mobile devices for every 100 Austrians, fex—providing information about travel patterns could be a lucrative opportunity for telecoms firms.
The day has been, I grieve to say in many places it is not yet past, in which the greater part of the species, under the denomination of slaves, have been treated by the law exactly upon the same footing as, in England fex, the inferior races of animals are still.
Think of the arms races that go on between one or two animals living the same environment. Fex the race between the Amazonian manatee and a particular type of reed that it eats. The more of the reed the manatee eats, the more the reed develops silica in its cells to attack the teeth of the manatee and the more silica in the reed, the more manatee’s teeth get bigger and stronger.
Here 2 examples—a graph and a paragraph—from a typical article (about the paper industry’s dire prospects, of all things) in this week’s edition of The Economist.
Restructuring in the paper industry is proceeding at a furious pace. The first thing some paper companies have jettisoned is ownership of forests. International Paper (IP), one of the world’s biggest pulp-and-paper companies which is based in Tennessee, used to be the largest private landowner in America. A year ago the company sold 5.7m acres, or 90%, of its forestland—an area larger than Massachusetts. The $6.6 billion sale was “probably the hardest decision that I’ve had to make since I became CEO,” says John Faraci, IP’s boss since 2003. Most buyers were financial investors, but 5% of the land went to conservation groups.
Starting with the graph: it’s a 16-year window to worldwide newsprint production that drives home the article’s main point with eloquence: North America’s newsprint production (a fifth, you will notice, of the world’s; used to be a fourth) is slowly but decisively dwindling; production in the rest of the world, on the other hand, is increasing, albeit not in a hurry.
It’s full of conventions too, but they’re so well thought that you never need to be consciously aware of them as a reader: Take the upper-left red patch, a gentle way to guide your eyes to the graph’s title and instructions. The source always goes at the bottom, smaller-typed, and the y-axis is always labeled at the right, which I find more natural than the common left convention (it makes you look at the graph first, notice its pattern). The x-axis is usually the time axis, its gridlines usually obviated for clarity’s sake, and its labels, usually years, presented in a simple format that marks millennia only when needed. And graphs are always in this blue scheme—a convention to avoid color misinformation that still allows for meaningful distinctions between color shades: darker blue for the main variable under discussion, the foreground; lighter, fading blue(s) for the background variable(s).
As for the paragraph, it’s brimming with fascinating facts about the world. Did you know who the world’ biggest pulp-an-paper company was and that it was located in Tennessee (WP)—of all places? Did you know it also happened to be the largest private landowner in America? (A paper company! The largest private landowner in America!) Did you know it recently sold, because of restructuring, 90% of its forestland, 5.7m acres—an area larger than Massachusetts? Did you know it sold them for $6.6 billions? (Surprisingly cheap, considering it’s an area big enough for many a country.) Did you know most buyers were financial investors but 5% were conservation groups? (A wonderful example of how trade allocates resources, peacefully and quietly, to those who care about them.) Now you know.
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