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Posts Tagged ‘Robots’

Sketches from an Artificial Mind, and Other News

November 14, 2014 | by

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Not a fair fight: five robots sketch one man. Photo via Beautiful/Decay

  • A new collection of stories from the tenth-century Arab world is agreeably unhinged, particularly when it comes to sex. In “The Story of the Forty Girls and What Happened to Them with the Prince,” for instance, “a Persian prince stumbles across an enchanted castle run by a sorceress and her troop of warlike female cousins. Divested of their armor, the girls prove to be ‘more beautiful than the houris of Paradise,’ and queue up to enjoy his favors (naturally they are all virgins). Finally the sorceress offers herself to him, forbidding the prince—who is impressively not yet exhausted—from approaching any of the others again on pain of being imprisoned, tortured and loaded with iron chains; conditions to which he cheerfully agrees. That’s forty couplings, and then some, since the sorceress, having miraculously regained her virginity, presents herself for a second deflowering.”
  • If you’d prefer to keep things chaste, look to love in the time of telegraphy. The nineteenth century saw a vibrant subgenre of the romance in which telegraph operators flirted across the wires. “There’s something incredibly modern about these amateur stories and the way they handle technology, the influence of corporations, gender, and love in the time of hyperconnection.”
  • A history of the New York Times Style section and its uncanny ability to court controversy: “For decades, many of us have used ‘reading the New York Times’ as a kind of performance, a shorthand to convey our seriousness or sophistication or social cachet, or yes, even our affluence. To read the Times daily, we think, is to signify that one is in this world, but not of We imagine ourselves the world’s observers, its makers, or even its collective conscience. We want to believe we are reading from far above the fray of Juicy Couture, or Botox, or any of a hundred other manifestations of rank consumerism, vanity and anxiety. The section instead is a jarring, insistent reminder of the folly of this fantasy. Styles, we are you.”
  • Novelists and musicians earn royalties on their work—visual artists don’t, meaning they receive nothing from multimillion-dollar deals involving their art. Art Royalties Too, a new bill making its way through the congressional meat grinder, will try to change that, but no one knows if it will pass. “Intellectual property is a very unusual area in Congress. As a general rule, you cannot predict where someone is going to be on an issue like this or on music licensing by knowing that he’s a Democrat or Republican.”
  • I wrote earlier this week about a robot that could give you the creepy sensation that someone is right behind you. But the world has no shortage of terrifying robots, and so now I give you this: Paul-IX, a robot who can sketch with more talent and accuracy than most humans. (If this robot teamed up with the other, it could get some great sketches of you looking creeped out.)

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It’s Already Right Behind You, and Other News

November 10, 2014 | by

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The Phantom Omni can make you feel as if someone (or something) is right behind you. User discretion advised.

  • “An editor whose taste is unique to himself is a bad editor. The only person who discovers a writer is the writer himself.” An interview with our editor, Lorin Stein.
  • Aldous Huxley doing calisthenics; Borges beneath a ponderous storm cloud; James Ellroy behind a lamp with no shade on it … and other portraits that give the lie to this idea that writers don’t photograph well.
  • Partying on the dime of New York’s most controversial literary publisher: Amazon. “Outside, a war was raging; inside there were friends, food, and funding—for now. Passed hors d’oeuvres were loudly heralded … ‘I saw the sliders coming around and it just suddenly crossed my mind. I guess all this is being paid for by Amazon!’ ”
  • A pair of new films offer two very different theories about creative life: In Whiplash, an aspiring drummer faces “an abusive professor who is convinced that relentless torture is the only way to coax his students to the peak of their abilities … the crazy guy is right: The only way to be any good at something is to not bother trying to be good at anything else.” Meanwhile, Adult Beginners suggests “that if you forego grandiose notions of achievement and settle for surrounding yourself with people who love you and provide you with emotional support, your definition of fulfillment will become more manageable.”
  • Today in our science-fictional reality: What if there were a robot that could produce the skin-crawling feeling that someone is right behind you? There is. We’re fucked. (Actually, the robot may help us understand schizophrenia—but still.)

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Oh, Shit, There Are Robots in the Library, and Other News

October 2, 2014 | by

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Nancy and Vincent: Friends or foes? Only time will tell. Photo: Picasa/Aldebaran

  • Soon to appear at the library in Westport, Connecticut: robots, two of them. “Vincent” and “Nancy” “have blinking eyes and an unnerving way of looking quizzically in the direction of whoever is speaking. They walk, dance, and can talk in nineteen different languages … [they] can recognize faces and detect where sound is coming from.” Ostensibly, the pair will help patrons find books and will serve as the centerpiece of a new robotics workshop. But whether these unfeeling golems are here to help or to serve as ruthless, lethal agents of the state remains to be seen. Anyone with late fees is advised to proceed with extreme caution.
  • Speaking of things you’re powerless to stop, however much you may wish to: Crime and Punishment, the Musical. (“I wouldn’t call it a rock-opera as such,” its director said.)
  • Victor Hugo’s The Man Who Laughs “is not an easy read. It was written late in Victor Hugo’s career when he was living in exile on Guernsey, and his contemporaries dismissed it as an inferior work.” And yet it seems to have plenty going for it in the plot department: it’s “the story of a young man who is kidnapped, mutilated and sold to travelling entertainers, yet who retains his integrity and his dignity through the love of his adoptive ‘family,’ the eccentric philosopher Ursus, his pet wolf Homo, and the beautiful blind girl, Dea.” Sold.
  • Merritt Tierce, who was interviewed here last month, used to work at an upscale Dallas steak house, as does the protagonist in her debut novel. On two occasions, Tierce served Rush Limbaugh, who “left her $2,000 tips on modest-size checks, once with twenty $100 bills. ‘That was like blood money to me,’ says Tierce, who does not share Limbaugh’s social views.” So she gave it all to an abortion-rights group.
  • The trend of the “passport professor”: Why are so many Ph.D.s leaving America? (Why aren’t they? you might say.)

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Red Pens for Robots, and Other News

August 14, 2014 | by

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Better wielded by machines. Photo: ellenm1, via Flickr

  • Residents of Bay Ridge, Brooklyn, rise up, and reclaim Gilbert Sorrentino as your bard! “Sorrentino died of lung cancer in Brooklyn in 2006; he remains widely uncelebrated in his own neighborhood, his own borough, despite the fact that so many of his books are set there, and he lived so much of his life there. The Fort Hamilton High School Alumni Association doesn’t list him in its Hall of Fame. The libraries don’t stock his books, and neither does the local bookstore. I spent thirty years in Bay Ridge as a bookish neighborhood enthusiast without ever hearing his name, until a poet mentioned it to me in passing.”
  • Where do typos come from? Our foolish brains, and their inveterate laziness. There’s no escaping it, really.
  • Which is part of why we need editors—but even editors aren’t good enough. What the world needs, apparently, is robot editors: “Students almost universally resist going back over material they’ve written … [but they] are willing to revise their essays, even multiple times, when their work is being reviewed by a computer and not by a human teacher. They end up writing nearly three times as many words … Students who feel that handing in successive drafts to an instructor wielding a red pen is ‘corrective, even punitive’ do not seem to feel rebuked by similar feedback from a computer.”
  • “It’s a common and easy enough distinction, this separation of books into those we read because we want to and those we read because we have to, and it serves as a useful marketing trope for publishers, especially when they are trying to get readers to take this book rather than that one to the beach. But it’s a flawed and pernicious division … There are pleasures to be had from books beyond being lightly entertained. There is the pleasure of being challenged; the pleasure of feeling one’s range and capacities expanding; the pleasure of entering into an unfamiliar world, and being led into empathy with a consciousness very different from one’s own … ”
  • Exploring the annals of Dalkey Archive Press, which is now thirty years old.

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One Word: bookBot

April 12, 2013 | by

Neologism, we should say. Whatever you call it, the device—a robotic book delivery system—is just one of many nifty features at North Carolina State University’s James B. Hunt Library of the future. Check it out here.

 

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Among the Automata

May 22, 2012 | by

By now, the entire Internet is aware that last month A/V technicians at Coachella resurrected Tupac for a performance with Snoop Dog and Dr. Dre. Though a little phosphorescent, the rapper seems lifelike enough in the videos, with his Timberlands and rather nice abs. Cumulatively, though, the effect, especially when (living) Snoop is in the frame, is, above all else, weird. Watching the virtual Pac unintentionally moonwalk across the stage, we might think of E.T.A. Hoffmann’s “Sandman”: “Aha! Pretty doll! Spin round, lovely doll!” Not as odd a juxtaposition as it may seem: as Gizmodo reports, the effect was produced by means of a nineteenth-century trick called “Pepper’s Ghost.”

The nineteenth century represents the tail end of humanity's fascination with the mechanical replication of itself. Much effort had been expended in that direction the century prior, in the Marais neighborhood of Paris, where the automata builders lived and worked. That the word automata comes from an economical Greek verb for “acting of one’s own will” points somewhat toward the source of the period’s fascination with them; miming organic processes, these machines seemed to be animated by something beyond gears and wires. Actually, they were operated by clockwork: linkages or rods in the body connected to a set of cams, irregular wheels concealed in the object’s base or body. The cams served as the object’s “memory” turning in circular motion—a winding key, for instance—into linear, transposing mechanics into something resembling life. Automata were, as Freud put it, in his essay on the uncanny, unlike us enough to be at once familiar and strange, or at least “secretly familiar.” It was uncertain whether they were really doing what they appeared to be, whether they lived, whether they had something resembling a soul. But like Tupac, automata were reproducible, replaceable, and performed the same actions again and again. There were also many copies, quite a few of which still survive.

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