The logo is a Whale carrying a stack of containers. It is on its way to deliver those to you.
SYNOPSIS: In a society under the reformed 'Real-Time' Calendar, without history nor future, everybody is faceless. A woman panics when she wakes up one day with a face. With the help of the Spectral Children she slowly finds out more about the lost power and history of the human face and begins the search for its future.
Said Roger McNamee, co-founder and managing director of venture capital firm Elevation Partners: “These companies began with a goal of connecting the world. But once they put a business model in place that depended on advertising, they had to put in techniques that depended on creating addiction. Then when the smart phone came along, it created an opportunity to create a level of brain hacking that had never previously been seen.”
The company says the program has been trained on posts and messages flagged by human users in the past, and looks for telltale signs, like comments asking users “are you ok?” or “can I help?” The technology also examines live streams, identifying parts of a video that have more than the usual number of comments, reactions, or user reports.
Nucera is part of a growing cohort of Detroiters who have started a grassroots movement to close that gap, by building the internet themselves. It’s a coalition of community members and multiple Detroit nonprofits. They’re starting with three underserved neighborhoods, installing high speed internet that beams shared gigabit connections from an antenna on top of the tallest building on the street, and into the homes of people who have long gone without. They call it the Equitable Internet Initiative.
Barranquitas is a small town located in the mountainous center of the island, where lacking telecommunications the people were getting information around the old-fashioned way: walking. “The parish has this organic network of communication,” said Malavé. But a handful of goTenna devices in strategic locations made it so that, for instance, instead of walking 40 minutes to the hospital to ask for medical aid, a person could walk 3 minutes to the church, where they could send a message to the hospital instantly.
So far the volunteer group has a bunch of devices around San Juan and is working with a few smaller communities to set up small networks like the one in Barranquitas. They’ve also set up endpoints at places where connectivity can be relied on — a working satellite connection that can send text messages (the Mesh can act as an SMS gateway, sending texts coming from locations where there’s no signal) or connect to web tool APIs like Twitter’s. Like Perdomo says, it’s not Netflix, but in the aftermath of a storm, Netflix is pretty low on the list of priorities.
n order to make video essays on the Internet, we had to learn the basics of copyright law. In America, there’s a provision called fair use; if you meet four criteria, you can argue in court that you made reasonable use of copyrighted material.
But as always, there’s a difference between what the law says and how the law is implemented. You could make a video that meets the criteria for fair use, but YouTube could still take it down because of their internal system (Copyright ID) which analyzes and detects copyrighted material.
So I learned to edit my way around that system.
Nearly every stylistic decision you see about the channel — the length of the clips, the number of examples, which studios’ films we chose, the way narration and clip audio weave together, the reordering and flipping of shots, the remixing of 5.1 audio, the rhythm and pacing of the overall video — all of that was reverse-engineered from YouTube’s Copyright ID.
What I find somewhat disturbing about the proliferation of even (relatively) normal kids videos is the impossibility of determining the degree of automation which is at work here; how to parse out the gap between human and machine. The example above, from a channel called Bounce Patrol Kids, with almost two million subscribers, show this effect in action. It posts professionally produced videos, with dedicated human actors, at the rate of about one per week.
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