Watch Venice’s New $7 Billion Flood Defense System in Action

There are cap­i­tals unlike­ly to be much afflict­ed by ris­ing sea lev­els — Indi­anapo­lis, say, or La Paz — but Venice looks set for a much more dire fate. Still, there is hope for the Float­ing City, a hope held out by large-scale engi­neer­ing projects like the one pro­filed in the Tomor­row’s Build video above. Called MOSE (an acronym stand­ing for MOd­u­lo Sper­i­men­tale Elet­tromec­ca­ni­co), the sys­tem con­sists of “78 gates, each 20 meters wide, that rise up out of the water when flood­ing is immi­nent.” This sounds like just the tick­et for a city that, “built in the mid­dle of a lagoon,” has “been sus­cep­ti­ble to a nat­ur­al phe­nom­e­non known as acqua alta, or ‘high water,’ since its found­ing in the fifth cen­tu­ry.”

MOSE is now “final­ly up and run­ning, eigh­teen years after con­struc­tion began” — and a decade after its orig­i­nal com­ple­tion dead­line. This was too late, unfor­tu­nate­ly, to spare Venice from the 2019 flood that ranked as its worst in 50 years, leav­ing 80 per­cent of the city under­wa­ter.

“The good news is, it passed the first major test,” suc­cess­ful­ly pro­tect­ing the city in Octo­ber of last year “from a 1.3‑meter high tide, and it’s per­formed mul­ti­ple times since. But this does­n’t mean that flood­ing’s been stopped entire­ly. In Decem­ber, it was unable to pre­vent an unex­pect­ed­ly high tide from sweep­ing in and drench­ing the city once again.” Tech­ni­cal­ly, that inci­dent was­n’t MOSE’s fault: “Weath­er fore­cast­ers under­es­ti­mat­ed how high the water would get, so author­i­ties kind of did­n’t think to switch it on.”

This speaks to the dif­fi­cul­ty of not just design­ing and installing a com­plex mechan­i­cal defense mech­a­nism, but also of get­ting it to work in con­cert with the oth­er sys­tems already per­form­ing func­tions of their own (and at var­i­ous lev­els of reli­a­bil­i­ty). At a cost of over €6 bil­lion (or $7 bil­lion), MOSE has become “far more expen­sive than first pre­dict­ed,” and thus faces that much high­er a bur­den of self-jus­ti­fi­ca­tion, espe­cial­ly giv­en the cloud of “cor­rup­tion, envi­ron­men­tal oppo­si­tion, and ques­tions about its long-term effec­tive­ness” hang­ing over it. Seen in action, MOSE remains an unques­tion­ably impres­sive work of engi­neer­ing, but its asso­ci­at­ed headaches have sure­ly con­vert­ed some to the posi­tion on Venice once advanced by no less a schol­ar and lover of that sto­ried city than Jan Mor­ris: “Let her sink.”

via Kot­tke

Relat­ed Con­tent:

How Venice Works: 124 Islands, 183 Canals & 438 Bridges

Huge Hands Rise Out of Venice’s Waters to Sup­port the City Threat­ened by Cli­mate Change: A Poignant New Sculp­ture

The Venice Time Machine: 1,000 Years of Venice’s His­to­ry Gets Dig­i­tal­ly Pre­served with Arti­fi­cial Intel­li­gence and Big Data

Watch City Out of Time, a Short Trib­ute to Venice, Nar­rat­ed by William Shat­ner in 1959

Venice in a Day: From Day­break to Sun­set in Time­lapse

Venice is Way Under Water…

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Take 193 Free Tech and Business Courses Online at Udacity: Product Design, Programming, A.I., Marketing & More

Each of us now com­mands more tech­no­log­i­cal pow­er than did any human being alive in pre­vi­ous eras. Or rather, we poten­tial­ly com­mand it: what we can do with the tech­nol­o­gy at our fin­ger­tips — and how much mon­ey we can make with it — depends on how well we under­stand it. Luck­i­ly, the devel­op­ment of learn­ing meth­ods has more or less kept pace with the devel­op­ment of every­thing else we now do with com­put­ers. Take the online-edu­ca­tion plat­form Udac­i­ty, which offers “nan­ode­gree” pro­grams in areas like pro­gram­ming, data sci­ence, and cyber­se­cu­ri­ty. While the nan­ode­grees them­selves come with fees, Udac­i­ty does­n’t charge for the con­stituent cours­es: in oth­er words, you can earn what you need to know for free.

Above you’ll find the intro­duc­tion to Udac­i­ty’s Prod­uct Design course by Google (also cre­ator of the Cours­era pro­fes­sion­al-cer­tifi­cate pro­grams pre­vi­ous­ly fea­tured here on Open Cul­ture). “Designed to help you mate­ri­al­ize your game-chang­ing idea and trans­form it into a prod­uct that you can build a busi­ness around,” the course “blends the­o­ry and prac­tice to teach you prod­uct val­i­da­tion, UI/UX prac­tices, Google’s Design Sprint and the process for set­ting and track­ing action­able met­rics.”

This is a high­ly prac­ti­cal learn­ing expe­ri­ence at the inter­sec­tion of tech­nol­o­gy and busi­ness, as are many oth­er of Udac­i­ty’s 193 free cours­es, like App Mar­ket­ingApp Mon­e­ti­za­tion, How to Build a Start­up, and Get Your Start­up Start­ed.

If you have no par­tic­u­lar inter­est in found­ing and run­ning the next Google, Udac­i­ty also hosts plen­ty of cours­es that focus entire­ly on the work­ings of dif­fer­ent branch­es of tech­nol­o­gy, from pro­gram­ming and arti­fi­cial intel­li­gence to 2D game devel­op­ment and 3D graph­ics. (In addi­tion to the broad intro­duc­tions, there are also rel­a­tive­ly advanced cours­es of a much more spe­cif­ic focus: Devel­op­ing Android Apps with Kotlin, say, or Deploy­ing a Hadoop Clus­ter.) And if you’d sim­ply like to get your foot in the door with a job in tech, con­sid­er such offer­ings as Refresh Your Résumé, Strength­en Your LinkedIn Net­work & Brand, and a vari­ety of inter­view-prepa­ra­tion cours­es for jobs in data sci­encemachine learn­ing, prod­uct man­age­ment, vir­tu­al-real­i­ty devel­op­ment, and oth­er sub­fields. And how­ev­er cut­ting-edge their work, who could­n’t anoth­er spin through good old Intro to Psy­chol­o­gy?

Find a list of 193 Free Udac­i­ty cours­es here. For the next week Nan­ode­grees are 75% off (use code JULY75). Find more free cours­es in our list, 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

Note: Open Cul­ture has a part­ner­ship with Udac­i­ty. If read­ers enroll in cer­tain Udac­i­ty cours­es and pro­grams that charge a fee, it helps sup­port Open Cul­ture.

Relat­ed Con­tent:

Google’s UX Design Pro­fes­sion­al Cer­tifi­cate: 7 Cours­es Will Help Pre­pare Stu­dents for an Entry-Lev­el Job in 6 Months

Learn How to Code for Free: A DIY Guide for Learn­ing HTML, Python, Javascript & More

1,700 Free Online Cours­es from Top Uni­ver­si­ties

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

The Long-Lost Pieces of Rembrandt’s Night Watch Get Reconstructed with Artificial Intelligence

Most of us know Rem­brandt’s mas­ter­piece by the name The Night Watch, but it has a longer orig­i­nal title: Mili­tia Com­pa­ny of Dis­trict II under the Com­mand of Cap­tain Frans Ban­ninck Cocq. By the same token, the ver­sion of the paint­ing we’ve all seen — what­ev­er we hap­pen to call it — is small­er than the one Rem­brandt orig­i­nal­ly paint­ed in 1642. “In 1715, the mon­u­men­tal can­vas was cut down on all four sides to fit onto a wall between two doors in Amsterdam’s Town Hall,” writes The New York Times’ Nina Sie­gal. “The snipped pieces were lost. Since the 19th cen­tu­ry, the trimmed paint­ing has been housed in the Rijksmu­se­um, where it is dis­played as the museum’s cen­ter­piece, at the focal point of its Gallery of Hon­or.”

In recent years, the Rijksmu­se­um has hon­ored The Night Watch fur­ther with a thor­ough­go­ing restora­tion called Oper­a­tion Night Watch. This ambi­tious under­tak­ing has so far pro­duced attrac­tions like the largest and most detailed pho­to­graph of the paint­ing ever tak­en, zoom-in-able to the indi­vid­ual brush­stroke.

That phase required high imag­ing tech­nol­o­gy, to be sure, but it may appear down­right con­ven­tion­al com­pared to the just-unveiled recre­ation of the work’s three-cen­turies-miss­ing pieces, which will hang on all four sides of the orig­i­nal at the Rijksmu­se­um for the next three months. This mak­ing-whole would­n’t have been pos­si­ble with­out a small copy made in the 17th cen­tu­ry — or the lat­est arti­fi­cial-intel­li­gence tech­nol­o­gy of the 21st.

Image cour­tesy of the Rijksmu­se­um

“Rather than hir­ing a painter to recon­struct the miss­ing pieces, the museum’s senior sci­en­tist, Robert Erd­mann, trained a com­put­er to recre­ate them pix­el by pix­el in Rembrandt’s style,” writes Sie­gal. Erd­mann used “a rel­a­tive­ly new tech­nol­o­gy known as con­vo­lu­tion­al neur­al net­works, a class of arti­fi­cial-intel­li­gence algo­rithms designed to help com­put­ers make sense of images.” The process, explained in more detail by Shan­ti Escalante-De Mat­tei at ART­News, involved dig­i­tal­ly “split­ting up the paint­ing into thou­sands of tiles and plac­ing match­ing tiles from both the orig­i­nal and the copy side-by-side,” train­ing mul­ti­ple neur­al net­works to com­plete the paint­ing in a style as close as pos­si­ble to Rem­brandt’s rather than the copy­ist’s. The result, with a few new faces as well as a star­tling­ly dif­fer­ent com­po­si­tion­al feel than the Night Watch we’ve all seen, would no doubt please Cap­tain Ban­ninck Cocq and his mili­ti­a­men: this, after all, is the por­trait they paid for.

You can watch videos on this Rijksmu­se­um page show­ing how the clas­sic paint­ing was restored.

Relat­ed Con­tent:

What Makes The Night Watch Rembrandt’s Mas­ter­piece

The Restora­tion of Rembrandt’s The Night Watch Begins: Watch the Painstak­ing Process On-Site and Online

The Largest & Most Detailed Pho­to­graph of Rembrandt’s The Night Watch Is Now Online: Zoom In & See Every Brush Stroke

All the Rem­brandts: The Rijksmu­se­um Puts All 400 Rem­brandts It Owns on Dis­play for the First Time

Watch an Art Con­ser­va­tor Bring Clas­sic Paint­ings Back to Life in Intrigu­ing­ly Nar­rat­ed Videos

AI & X‑Rays Recov­er Lost Art­works Under­neath Paint­ings by Picas­so & Modigliani

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

The Story of the MiniDisc, Sony’s 1990s Audio Format That’s Gone But Not Forgotten

“If I had asked peo­ple what they want­ed, they would have said faster hors­es.” Whether or not pio­neer­ing car­mak­er Hen­ry Ford actu­al­ly uttered that quip, it has long held near-Bib­li­cal sta­tus in the realm of Amer­i­can busi­ness. On the oth­er side of the Pacif­ic, Sony founder Akio Mori­ta put it less mem­o­rably but more gen­er­al­ly: “If you ask the pub­lic what they think they’ll need, you’ll always be behind in this world. You’ll nev­er catch up unless you think one to ten years in advance, and cre­ate a mar­ket for the items you think the pub­lic will accept at that time.” And had Sony, cre­ator of the Walk­man and co-cre­ator of the Com­pact Disc, asked its cus­tomers what they want­ed in the late 1980s, they may well have said dig­i­tal cas­sette tapes.

In fact Philips, Sony’s part­ner in the devel­op­ment of the Com­pact Disc, did want to make a dig­i­tal cas­sette tape. But Sony saw the future dif­fer­ent­ly, imag­in­ing opti­cal discs that were even more com­pact, and rewritable to boot. The result was Mini­Disc, which with­in a few years of its launch in 1992 man­aged to see off the Dig­i­tal Com­pact Cas­sette, the com­pet­ing for­mat Philips end­ed up devel­op­ing with Mat­sushi­ta. But then the sto­ry gets even more inter­est­ing, and you can see it told in detail by the half-hour This Does Not Com­pute doc­u­men­tary above. Though the Mini­Disc was­n’t a straight­for­ward suc­cess, it turns out nei­ther to have been the sort of Beta­max-style fail­ure many Amer­i­cans seem to remem­ber today.

As a con­sumer audio for­mat, Mini­Disc actu­al­ly became a mas­sive phe­nom­e­non, at least back in Sony’s home­land of Japan. The pecu­liar eco­nom­ics of the Japan­ese music mar­ket, espe­cial­ly back in the 1990s, made CDs about twice as expen­sive there as they were in the Unit­ed States. Enter the music-rental shop, where cus­tomers could check out a dozen albums for the cost of buy­ing a sin­gle one of them, then go home and copy them all to their Mini­Discs. Ver­i­ta­bly print­ing mon­ey, Sony and oth­er Mini­Disc hard­ware man­u­fac­tur­ers came to the defense of music-rental chains when the dis­pleased Japan­ese record indus­try took them to court. By the time the issue was set­tled, Mini­Disc had already entrenched itself in the Japan­ese mar­ket to the point that its devices sur­passed CD play­ers in sales.

Con­fused by the sud­den pre­pon­der­ance of options, most of them pricey and of uncer­tain val­ue, Amer­i­can music con­sumers of the ear­ly 1990s stuck with what they knew: the high-qual­i­ty CD for home lis­ten­ing, and the “good-enough” ana­log cas­sette tape else­where. In the world of pro­fes­sion­al audio, and espe­cial­ly among radio pro­duc­ers, the flex­i­bil­i­ty, reli­a­bil­i­ty, con­ve­nience, and clar­i­ty of Mini­Disc proved unde­ni­able. But nev­er cheap or wide­spread enough for the aver­age lis­ten­er, nor quite high-fideli­ty enough for the exact­ing audio­phile, it spent most of its life in the West as a niche prod­uct. Today, a decade after its dis­con­tin­u­a­tion, the his­to­ry of tech­nol­o­gy has come to rec­og­nize Mini­Disc as the evo­lu­tion­ary link between the Walk­man and the iPod, each of which rev­o­lu­tion­ized the way we lis­ten to music. And what with the new­ly retro appeal of 1990s tech­nol­o­gy, its aes­thet­ic stock has nev­er been high­er.

Relat­ed Con­tent:

The Sto­ry of How Beethoven Helped Make It So That CDs Could Play 74 Min­utes of Music

All Praise Lou Ottens: The Inven­tor of the Cas­sette Tape Dies at Age 94

Home Tap­ing Is Killing Music: When the Music Indus­try Waged War on the Cas­sette Tape in the 1980s, and Punk Bands Fought Back

A Cel­e­bra­tion of Retro Media: Vinyl, Cas­settes, VHS, and Polaroid Too

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

AI & X‑Rays Recover Lost Artworks Underneath Paintings by Picasso & Modigliani

You see above a paint­ing by Amedeo Modigliani, a por­trait of the artist’s lover Beat­rice Hast­ings, unseen by the pub­lic until its redis­cov­ery just this year. Or at any rate, some see that: in anoth­er sense, the image is a new or almost-new artis­tic cre­ation, based on X‑rays of Modiglian­i’s Por­trait of a GirlUnder­neath the paint that makes up that cel­e­brat­ed work lie traces enough to estab­lish the pres­ence of a dif­fer­ent, ear­li­er one beneath. But only now, after the employ­ment of neur­al net­works fed with enough of the artist’s acknowl­edged work to rec­og­nize and repli­cate his sig­na­ture style, do we have a sense of what it could have looked like.

“Antho­ny Bourached and George Cann, both PhD can­di­dates, are head­ing the ‘Neo­Mas­ters’ project through a com­pa­ny called Oxia Palus,” writes The Guardian’s Dalya Alberge. “They have ambi­tious plans to redis­cov­er fur­ther hid­den paint­ings on can­vas­es that were reused by artists, who were per­haps too impov­er­ished to buy sup­plies or dis­sat­is­fied with ini­tial com­po­si­tions.”

Modigliani was cer­tain­ly impe­cu­nious enough to have done so more than once, and his rela­tion­ship with Hast­ings — a long affair that was volatile even by the stan­dards of the ear­ly 20th-cen­tu­ry Parisian bohemia they inhab­it­ed — did pro­vide mate­r­i­al for oth­er por­traits.

Spe­cial­ists, respec­tive­ly, in neu­ro­science and the sur­face of Mars (their com­pa­ny’s name refers to a region of that plan­et), Bourached and Cann have proven enter­pris­ing in this art-ori­ent­ed endeav­or. “A 3D-print­ed phys­i­cal ren­der­ing of their cre­ation, com­plete with com­put­er-sim­u­lat­ed ‘brush­strokes’ and tex­ture, will soon go on dis­play at London’s Leben­son Gallery as part of the duo’s ‘Neo­Mas­ters’ project,” writes Nora McGreevy at Smithsonian.com. Ear­li­er this year, McGreevy also cov­ered Oxia Palus’ dig­i­tal­ly assist­ed recov­ery of a Barcelona land­scape pos­si­bly paint­ed by the Span­ish poet, play­wright, and artist San­ti­a­go Rusiñol — before it was paint­ed over by Pablo Picas­so.

This dis­cov­ery actu­al­ly goes back to 1992, when con­ser­va­tors first deter­mined the exis­tence of anoth­er image beneath Picas­so’s lit­tle-known La Mis­éreuse accroupie, or The Crouch­ing Beg­gar. “Researchers sus­pect that Picas­so used the moun­tains in Rusiñol’s land­scape to shape the con­tours of his female subject’s back,” writes McGreevy. “A 2018 X‑ray of that less­er-known work by the Art Gallery of Toron­to pro­vid­ed Oxia Palus what they need­ed to start work on their A.I.-assisted recre­ation. Not only did Bourached and Cann 3D print 100 phys­i­cal copies of the final prod­uct, they linked each one to a unique non-fun­gi­ble token (NFT), the new kind of dig­i­tal arti­fact that has become some­thing of a craze in the art world — sure­ly an unimag­in­able after­life for these images Modigliani and Picas­so must have assumed they’d oblit­er­at­ed for good.

via Hyper­al­ler­gic

Relat­ed Con­tent:

Orig­i­nal Por­trait of the Mona Lisa Found Beneath the Paint Lay­ers of da Vinci’s Mas­ter­piece

Sci­en­tists Cre­ate a New Rem­brandt Paint­ing, Using a 3D Print­er & Data Analy­sis of Rembrandt’s Body of Work

Short Film Takes You Inside the Recov­ery of Andy Warhol’s Lost Com­put­er Art

A 10 Bil­lion Pix­el Scan of Vermeer’s Mas­ter­piece Girl with a Pearl Ear­ring: Explore It Online

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Download Great Works of Art from 40+ Museums Worldwide: Explore Artvee, the New Art Search Engine

Dil­bert cre­ator Scott Adams once wrote of his ear­ly expe­ri­ences intro­duc­ing the World Wide Web to oth­ers. “In 1993, there were only a hand­ful of Web sites you could access, such as the Smith­so­ni­an’s exhib­it of gems. Those pages were slow to load and crashed as often as they worked.” But those who wit­nessed this tech­nol­o­gy in action would invari­ably “get out of their chairs their eyes like saucers, and they would approach the key­board. They had to touch it them­selves. There was some­thing about the inter­net that was like cat­nip.” In the inter­ven­ing decades, the tech­nol­o­gy pow­er­ing the inter­net has only improved, and we’ve all felt how great­ly that cat­nip-like effect has inten­si­fied. And the Smith­son­ian, as we’ve fea­tured here on Open Cul­ture, is still there — now with much more online than gems.

Today, the Smith­so­ni­an’s impres­sive online col­lec­tions are acces­si­ble through Artvee, a new search engine for down­load­able high-res­o­lu­tion, pub­lic domain art­works. So are the col­lec­tions of more than 40 oth­er inter­na­tion­al insti­tu­tions, from the New York Pub­lic Library and the Art Insti­tute of Chica­go to the Rijksmu­se­um and Paris Musées, many of which had lit­tle or no online pres­ence back in the ear­ly 1990s.

In recent years, they’ve got­ten quite seri­ous indeed about dig­i­tiz­ing their hold­ings and mak­ing those dig­i­ti­za­tions freely avail­able to the world, upload­ing them by the thou­sand, even by the mil­lion. With so many art­works and arti­facts already up, and sure­ly much more to come, the ques­tion becomes how best to nav­i­gate not just one of these col­lec­tions, but all of them.

Artvee con­sti­tutes one answer to this ques­tion. Using its search engine, writes Denise Tem­pone at Domesti­ka, “you can fil­ter cat­e­gories such as abstract art, land­scape, mythol­o­gy, draw­ings, illus­tra­tions, botany, fash­ion, fig­u­ra­tive art, reli­gion, ani­mal, desserts, his­to­ry, Japan­ese art, and still life. The site also gives you the option to search by artist. You will find works by Rem­brandt van Rijn, Claude Mon­et, Raphael, and San­dro Bot­ti­cel­li in this amaz­ing gallery.” Oth­er col­lec­tions, cre­at­ed by Artvee itself as well as by its users, include “illus­tra­tions from fairy tales; cov­ers of pop­u­lar Amer­i­can songs; and some even more pecu­liar ones, such as adverts sell­ing bicy­cles that are over a hun­dred years old.”

The vari­ety of artists brows­able on Artvee also includes Alphonse Mucha, Edvard Munch, and Hilma af Kint; oth­er col­lec­tions offer the won­ders of polit­i­cal illus­tra­tions, book pro­mo posters, and NASA’s visions of the future. All of the items with­in, it bears repeat­ing, are in the pub­lic domain or dis­trib­uted under a Cre­ative Com­mons license, mean­ing you can use them not just as sources of inspi­ra­tion but as ingre­di­ents in your own work as well, a pos­si­bil­i­ty few us could have imag­ined at the dawn of the Web. Back then, you’ll recall, we all used a vari­ety of dif­fer­ent tools and por­tals to nav­i­gate the inter­net, accord­ing to per­son­al pref­er­ence. The emerg­ing field of art search engines, which includes not just Artvee but oth­er options like Museo, may remind us of those days — and how far the inter­net has come since.

Relat­ed Con­tent:

A Search Engine for Find­ing Free, Pub­lic Domain Images from World-Class Muse­ums

Vis­it 2+ Mil­lion Free Works of Art from 20 World-Class Muse­ums Free Online

The Smith­son­ian Puts 2.8 Mil­lion High-Res Images Online and Into the Pub­lic Domain

14 Paris Muse­ums Put 300,000 Works of Art Online: Down­load Clas­sics by Mon­et, Cézanne & More

Cre­ative Com­mons Offi­cial­ly Launch­es a Search Engine That Index­es 300+ Mil­lion Pub­lic Domain Images

Flim: a New AI-Pow­ered Movie-Screen­shot Search Engine

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Blockchain and Money: A Free Online Course from MIT

Taught by MIT pro­fes­sor Gary Gensler, Blockchain and Mon­ey is “for stu­dents wish­ing to explore blockchain tech­nol­o­gy’s poten­tial use—by entre­pre­neurs and incumbents—to change the world of mon­ey and finance. The course begins with a review of Bit­coin and an under­stand­ing of the com­mer­cial, tech­ni­cal, and pub­lic pol­i­cy fun­da­men­tals of blockchain tech­nol­o­gy, dis­trib­uted ledgers, and smart con­tracts. The class then con­tin­ues on to cur­rent and poten­tial blockchain appli­ca­tions in the finan­cial sec­tor.”

You can watch all 23 lec­tures above, or on YouTube. A syl­labus and oth­er course mate­ri­als can be found on MIT’s web­site. More relat­ed cours­es are list­ed below.

Blockchain and Mon­ey has been added to our list of Free Busi­ness Cours­es, a sub­set of our col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent 

What Actu­al­ly Is Bit­coin? Princeton’s Free Online Course “Bit­coin and Cur­ren­cy Tech­nolo­gies” Pro­vides Much-Need­ed Answers

Bit­coin and Cryp­tocur­ren­cy Tech­nolo­gies: A Free Course from Prince­ton

Cryp­tocur­ren­cy and Blockchain: An Intro­duc­tion to Dig­i­tal Currencies–A Free Online Cours­es from the Uni­ver­si­ty of Penn­syl­va­nia

The Prince­ton Bit­coin Text­book Is Now Free Online

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Sci-Fi “Portal” Connects Citizens of Lublin & Vilnius, Allowing Passersby Separated by 376 Miles to Interact in Real Time

Can we ever tran­scend our ten­den­cy to divide up the world into us and them? The his­to­ry of Europe, which polit­i­cal the­o­rist Ken­neth Minogue once called “plau­si­bly summed up as prepar­ing for war, wag­ing war, or recov­er­ing from war,” offers few con­sol­ing answers. But per­haps it isn’t for his­to­ry, much less for the­o­ry or pol­i­tics, to dic­tate the future prospects for the uni­ty of mankind. Art and tech­nol­o­gy offer anoth­er set of views on the mat­ter, and it’s art and tech­nol­o­gy that come togeth­er in Por­tal, a recent­ly launched project that has con­nect­ed Vil­nius, Lithua­nia and Lublin, Poland with twin instal­la­tions. More than just a sculp­tur­al state­ment, each city’s por­tal offers a real-time, round-the-clock view of the oth­er.

“In both Vil­nius and Lublin,” writes My Mod­ern Met’s Sara Barnes, “the por­tals are with­in the urban land­scape; they are next to a train sta­tion and in the city cen­tral square, respec­tive­ly. This allows for plen­ty of engage­ment, on either end, with the peo­ple of a city 376 miles apart. And, in a larg­er sense, the por­tals help to human­ize cit­i­zens from anoth­er place.”

Images released of the inter­ac­tion between passer­by and their local por­tal show, among oth­er actions, wav­ing, cam­era phone-shoot­ing, syn­chro­nized jump­ing, and just plain star­ing. Though more than one com­par­i­son has been made to the Star­gate, the image also comes to mind of the apes around the mono­lith in 2001: A Space Odyssey, react­ing as best they can to a pre­vi­ous­ly unimag­ined pres­ence in their every­day envi­ron­ment.

Iron­i­cal­ly, the basic tech­nol­o­gy employed by the Por­tal project is noth­ing new. At this point we’ve all looked into our phone and com­put­er screens and seen a view from per­haps much far­ther than 376 miles away, and been seen from that dis­tance as well. But the coro­n­avirus-induced world­wide expan­sion of tele­con­fer­enc­ing has, for many, made the under­ly­ing mechan­ics seem some­what less than mirac­u­lous. Con­ceived years before trav­el restric­tions ren­dered next to impos­si­ble the actu­al vis­it­ing of human beings else­where on the con­ti­nent, let alone on the oth­er side of the world, Por­tal has set up its first instal­la­tions at a time when they’ve come to feel like some­thing the world needs. “Res­i­dents in Reyk­javik, Ice­land, and Lon­don, Eng­land can expect a por­tal in their city in the future,” notes Barnes — and if those two can feel tru­ly con­nect­ed with Europe, there may be hope for the one­ness of the human race yet.

via Colos­sal/MyMod­ern­Met

Relat­ed Con­tent:

Street Artist Cre­ates an Opti­cal Illu­sion That Lets Peo­ple See the Art Inside a Shut­tered Muse­um in Flo­rence

This Huge Crash­ing Wave in a Seoul Aquar­i­um Is Actu­al­ly a Gigan­tic Opti­cal Illu­sion

See Web Cams of Sur­re­al­ly Emp­ty City Streets in Venice, New York, Lon­don & Beyond

Dis­cov­er Euro­peana Col­lec­tions, a Por­tal of 48 Mil­lion Free Art­works, Books, Videos, Arti­facts & Sounds from Across Europe

The His­to­ry of Europe from 400 BC to the Present, Ani­mat­ed in 12 Min­utes

Haru­ki Muraka­mi Nov­els Sold in Pol­ish Vend­ing Machines

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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