“Who controls the past controls the future; who controls the present controls the past.”1
And now we are come to the great techlash, long overdue and desperately needed. With the techlash comes the political contest to assemble the narrative of What Just Happened and How We Got Here, because “Who controls the past controls the future. Who controls the present controls the past.”Barlow is a key figure in that narrative, and so defining his legacy is key to the project of seizing the future.
As we contest over that legacy, I will here set out my view on it. It’s an insider’s view: I met Barlow first through his writing, and then as a teenager on The WELL, and then at a dinner in London with Electronic Frontier Foundation (EFF) attorney Cindy Cohn (now the executive director of EFF), and then I worked with him, on and off, for more than a decade, through my work with EFF. He lectured to my students at USC, and wrote the introduction to one of my essay collections, and hung out with me at Burning Man, and we spoke on so many bills together, and I wrote him into one of my novels as a character, an act that he blessed. I emceed events where he spoke and sat with him in his hospital room as he lay dying. I make no claim to being Barlow’s best or closest friend, but I count myself mightily privileged to have been a friend, a colleague, and a protege of his.
There is a story today about “cyber-utopians”told as a part of the techlash: Once, there were people who believed that the internet would automatically be a force for good. They told us all to connect to one another and fended off anyone who sought to rein in the power of the technology industry, naively ushering in an era of mass surveillance, monopolism, manipulation, even genocide. These people may have been well-intentioned, but they were smart enough that they should have known better, and if they hadn’t been so unforgivably naive (and, possibly, secretly in the pay of the future monopolists) we might not be in such dire shape today.
La música occidental consta de doce notas agrupadas en siete blancas y cinco negras según el teclado del piano. Vamos, siete notas naturales y cinco alteraciones. ¿Por qué esta disposición tan random? Las matemáticas son protagonistas de una historia de pasión y desenfreno entre conjuntos cociente y frecuencias que le gustan al oído.
Ya que has continuado la lectura hasta aquí, una cosica extra. Fíjate que la disposición de igual temperamento es una piedra en el riñón de la teoría sonora. Al principio buscábamos sonidos que encajaban entre sí debido a que seguían relaciones simples (de 1/2 o de 2/3). Si ahora las relaciones dependen de la raíz duodécima de dos (un número abiertamente irracional) nunca las podremos expresar como una fracción. Es decir, que TODOS los sonidos de la escala cromática son disonantes entre sí. A tomar viento fresco la teoría. Por suerte, el oído humano no es tan tiquismiquis y le cuesta distinguir estas pequeñas diferencias en la frecuencia de los sonidos. Por eso la escala nos sigue sonando afinada, aunque matemáticamente no lo esté.
——————————————————————————————————— Cosicas que he utilizado:
Sonido Whoosh: https://freesound.org/people/ztrees1/sou…
Original video: https://www.youtube.com/watch?v=P7iC-fbdKmQ&feature=share
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On this week’s show: Using new technology and bee behavior, researchers and beekeepers are working to defeat a mite that has decimated bee colonies worldwide. Meanwhile, other researchers are training an artificial intelligence to recognize the emotional content of images. Plus, our monthly books segment
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