Each alien in the game is created based on a random file on the players computer. If the player kills the alien, the file it is based on is deleted. If the players ship is destroyed, the application itself is deleted. Although touching aliens will cause the player to lose the game, and killing aliens awards points, the aliens will never actually fire at the player.
This calls into question the player's mission, which is never explicitly stated, only hinted at through classic game mechanics. 4: On Critique by Brian Massumi. I wanted to follow up on the discussion thread about the organization of the event.
As a co-instigator of the series of events and a member of the organizing committee, I bear a large share of the responsibility for the “noncritical” approach. In view of this, I thought I might explain some of the background to the adoption of that approach, as I have understood it. For me, there were three principal starting points. The first was the distinction that Deleuze makes between criticism and critique. The second, entirely related to the first, was a statement by Isabelle Stengers that she rarely accepts invitations to academic meetings because they are normally structured in a way that ensures that nothing “important” (in Whitehead’s sense) can happen. INFLeXions No. 4 (Nov. 2010) Transversal Fields of Experience.
Widespread Hijacking of Search Traffic in the United States. By ICSI researchers Christian Kreibich, Nicholas Weaver and Vern Paxson, with Peter Eckersley.
UPDATE, 8/25/11: There are a couple of revisions to this post which are marked inline below, and explained further here. Earlier this year, two research papers reported the observation of strange phenomena in the Domain Name System (DNS) at several US ISPs. On these ISPs' networks, some or all traffic to major search engines, including Bing, Yahoo! And (sometimes) Google, is being directed to mysterious third party proxies.
The Dangerous Politics of Internet Humor in China. Untitled. 4: Transversal Fields of Experience. Hacking With Pictures. In 2008, Australian show A Current Affair broadcast an episode that included a brief hypnotherapy session.
The segment was called Think Slim and the idea was that it would help viewers lose weight. This was found to be in breach of the Commercial Television Industry Code of Practice which specifically forbids broadcasting shows “designed to induce a hypnotic state in viewers”. photo credit: rheanvent Take a look at this video of an augmented-reality physics app that Bruce Sterling linked to on Beyond the Beyond. You sketch objects in 2d and then the app figures out what they should look like and renders them in 3d. Did you see that? When this thing is running, images become executable. Drone Ethnography. Trevor Paglan, The Other Night Sky Suppose you wanted to build your own drone—well, hold on a minute—why do you want to build your own drone?
What do you mean, “why?” The answer is, you'd go to Dronepedia first, and then to DIY Drones , where you'd find out where to get started with a simple kit or pre-made drone. But suppose you just wanted to find out some of the latest info on the US government's top secret drone projects. Paul Chan, The Unthinkable Community / Journal. Paul Chan In Samuel Beckett’s Waiting for Godot, two men wait by the side of a country road for a man who never comes.
Network Maps, Energy Diagrams « Continental Drift. Structure and Agency in the Global System Untitled (choreographic sketch by by Trisha Brown, 1980) The Internet is the vector of a new geography – not only because it conjures up virtual realities, but because it shapes our lives in society, and shifts our perceptions along with the ground beneath our feet.
Networks have become the dominant structures of cultural, economic and military power. Yet that power remains largely invisible. How can the networked society be represented? Reflecting in the early 1980s on the spatial chaos that technological and financial developments had impressed upon contemporary cities, Fredric Jameson pointed to the need for “an aesthetics of cognitive mapping” to resolve “the incapacity of our minds, at least at present, to map the great global multinational and decentered communicational network in which we find ourselves caught as individual subjects.” Twenty years later, what has become of the mapping impulse? Click detail for whole map. Artbase: Browse by Archived. Home. Paul Gilroy speaks on the riots, August 2011, Tottenham, North London.
[Winston Silcott in his introduction, remarked that if London had a better welfare state like Sweden, the riots may not have occurred] Gilroy: I don't want us to get too romantic about Scandinavia...
[applause]. The last time I was in Malmö there was a laser sniper shooting at people of colour in the streets. I want to say a few things in solidarity with the people who have suffered, the families including the family of Mark Duggan who have lost so much. I was sitting in Highbury magistrate's court this morning, watching the magistrate giving people who had no criminal record months and months before their case would even be heard. We've heard a lot of surprise from our political leaders who say that they didn't know this was coming. Welcome to Seppukoo / Assisting your virtual suicide. Web 2.0 Suicide Machine - Meet your Real Neighbours again! - Sign out forever! TRANSFORMATIONS Journal of Media & Culture.
Issue No. 20 2011 — Slow Media Digital Suicide and the Biopolitics of Leaving Facebook By Tero Karppi “Everyone now wants to know how to remove themselves from social networks.
It has become absolutely clear that our relationships to others are mere points in the aggregation of marketing data. Political campaigns, the sale of commodities, the promotion of entertainment – this is the outcome of our expression of likes and affinities.” This article approaches the problem of leaving Facebook focusing especially on two art projects Seppukoo.com and Web 2.0 Suicidemachine, both established in 2009 and both offering digital suicide from Facebook as an outcome. These artworks are understood not as representational identities, but rather as nonhuman actors with both incorporeal and material capabilities to affect and be affected, create sensations and be sensed, to set into different kinds of relations with other forces and their capabilities (Parikka, “Ethologies” 116).