Dear Facebook, This is How You’re Breaking Democracy: A Former Facebook Insider Explains How the Platform’s Algorithms Polarize Our Society
Is this what we want? A post-truth world where toxicity and tribalism trump bridge building and consensus seeking? —Yaël Eisenstat
It’s an increasingly familiar occurrence.
A friend you’ve enjoyed reconnecting with in the digital realm makes a dramatic announcement on their social media page. They’re deleting their Facebook account within the next 24 hours, so shoot them a PM with your email if you’d like to stay in touch.
Such decisions used to be spurred by the desire to get more done or return to neglected pastimes such as reading, painting, and going for long unconnected nature walks.
These announcements could induce equal parts guilt and anxiety in those of us who depend on social media to get the word out about our low-budget creative projects, though being prone to Internet addiction, we were nearly as likely to be the one making the announcement.
For many, the break was temporary. More of a social media fast, a chance to reevaluate, rest, recharge, and ultimately return.
Legitimate concerns were also raised with regard to privacy. Who’s on the receiving end of all the sensitive information we’re offering up? What are they doing with it? Is someone listening in?
But in this election year, the decision to quit Facebook is apt to be driven by the very real fear that democracy as we know it is at stake.
Former CIA analyst, foreign service officer, and—for six months—Facebook’s Global Head of Elections Integrity Ops for political advertising, Yaël Eisenstat, addresses these preoccupations in her TED Talk, “Dear Facebook, This is How You’re Breaking Democracy,” above.
Eisenstat contrasts the civility of her past face-to-face ”hearts and minds”-based engagements with suspected terrorists and anti-Western clerics to the polarization and culture of hatred that Facebook’s algorithms foment.
As many users have come to suspect, Facebook rewards inflammatory content with amplification. Truth does not factor into the equation, nor does sincerity of message or messenger.
Lies are more engaging online than truth. As long as [social media] algorithms’ goals are to keep us engaged, they will feed us the poison that plays to our worst instincts and human weaknesses.
Eisenstat, who has valued the ease with which Facebook allows her to maintain relationships with far-flung friends, found herself effectively demoted on her second day at the social media giant, her title revised, and her access to high level meetings revoked. Her hiring appears to have been purely ornamental, a palliative ruse in response to mounting public concern.
As she remarked in an interview with The Guardian’s Ian Tucker earlier this summer:
They are making all sorts of reactive changes around the margins of the issues, [to suggest] that they are taking things seriously – such as building an ad library or verifying that political advertisers reside in the country in which they advertising – things they should have been doing already. But they were never going to make the fundamental changes that address the key systemic issues that make Facebook ripe for manipulation, viral misinformation and other ways that the platform can be used to affect democracy.
In the same interview she asserted that Facebook’s recently implemented oversight board is little more than an interesting theory that will never result in the total overhaul of its business model:
First of all, it’s another example of Facebook putting responsibility on someone else. The oversight board does not have any authority to actually address any of the policies that Facebook writes and enforces, or the underlying systemic issues that make the platform absolutely rife for disinformation and all sorts of bad behaviour and manipulation.
The second issue is: it’s basically an appeal process for content that was already taken down. The bigger question is the content that remains up. Third, they are not even going to be operational until late fall and, for a company that claims to move fast and break things, that’s absurd.
Nine minutes into her TED Talk, she offers concrete suggestions for things the Facebook brass could do if it was truly serious about implementing reform:
- Stop amplifying and recommending disinformation and bias-based hatred, no matter who is behind it—from conspiracy theorists to our current president.
- Discontinue personalization techniques that don’t differentiate between targeted political content and targeted ads for athletic footwear.
- Retrain algorithms to focus on a metrics beyond what users click or linger on.
- Implement safety features that would ensure that sensitive content is reviewed before it is allowed to go viral.
Hopefully viewers are not feeling maxed out on contacting their representatives, as government enforcement is Eisenstat’s only prescription for getting Facebook to alter its product and profit model. And that will require sustained civic engagement.
She supplements her TED Talk with recommendations for artificial intelligence engineer Guillaume Chaslot’s insider perspective op-ed “The Toxic Potential of YouTube’s Feedback Loop” and The Filter Bubble: How the New Personalized Web Is Changing What We Read and How We Think by MoveOn.org’s former Executive Director, Eli Pariser.
Your clued-in Facebook friends have no doubt already pointed you to the documentary The Social Dilemma, which is now available on Netflix. Or perhaps to Jaron Lanier’s Ten Arguments for Deleting Your Social Media Accounts Right Now.
Read the transcript of Yaël Eisenstat’s TED Talk here.
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Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine. Follow her @AyunHalliday.
Read More...A Long, Guided Tour of New York City Captured in Original Color Film (1937)
So much classic black and white footage has been digitally colorized recently, it’s hard to remember that the Eastman Kodak Company’s Kodachrome film debuted way back in 1935.
The above footage of New York City was shot by an unknown enthusiast in and around 1937.
Dick Hoefsloot, the Netherlands-based videographer who posted it to YouTube after tweaking it a bit for motion stabilization and speed-correction, is not averse to artificially coloring historic footage using modern software, but in this case, there was no need.
It was shot in color.
If things have a greenish cast, that’s owing to the film on which it was shot. Three-color film, which added blue to the red-green mix, was more expensive and more commonly used later on.
Hoefsloot’s best guess is that this film was shot by a member of a wealthy family. It’s confidently made, but also seems to be a home movie of sorts, given the presence of an older woman who appears a half dozen times on this self-guided tour of New York sites.
There’s plenty here that remains familiar: the Woolworth Building and the Metropolitan Museum of Art, trussed up Christmas trees propped against makeshift sidewalk stands, the New York Public Library’s lions, Patience and Fortitude.
Other aspects are more a matter of nostalgia.
Over in Times Square, Bulldog Drummond Comes Back starring John Barrymore was playing at the Criterion (now the site of a Gap store), while the Paramount Theater, now a Hard Rock Cafe, played host to True Confession with Barrymore and Carol Lombard.
Oysters were still food for the masses, though records show that locally harvested ones had been deemed too polluted for human consumption for at least a decade.
A bag of peanuts cost 15¢. A new Oldsmobile went for about $914 plus city tax.
Laundry could be seen strung between buildings (still can be on occasion), but people dressed up carefully for shopping trips and other excursions around town. Heaven forbid they step outside without a hat.
Though the Statue of Liberty makes an appearance, the film doesn’t depict the neighborhoods where new and established immigrants were known to congregate. Had the camera traveled uptown to the Apollo—by 1937, the largest employer of black theatrical workers in the country and the sole venue in the city in which they were hired for backstage positions—the overall composition would have proved less white.
The film, which was uploaded a little over a year ago, has recently attracted a fresh volley of attention, leading Hoefsloot to reissue his request for viewers to “refrain from (posting) political, religious or racist-related comments.”
In this fraught election year, we hope you will pardon a New Yorker for pointing out the legion of commenters flouting this polite request, so eager are they to fan the fires of intolerance by expressing a preference for the “way things used to be.”
With all due respect, there aren’t many people left who were present at the time, who can accurately recall and describe New York City in 1937. Our hunch is that those who can are not spending such time as remains rabble-rousing on YouTube.
So enjoy this historic window on the past, then take a deep breath and confront the present that’s revealing itself in the YouTube comments.
A chronological list of New York City sites and citizens appearing in this film circa 1937:
00:00 Lower Manhattan skyline seen from Brooklyn Heights Promenade
00:45 Staten Island steam ferry
01:05 RMS Carinthia
01:10 Old three-stack pass.ship, maybe USS Leviathan
01:28 One-stack pass.ship, name?
01:50 HAL SS Volendam or SS Veendam II
02:18 Westfield II steam ferry to Staten Island, built 1862?
02:30 Floyd Bennett Airfield, North Beach Air Service inc. hangar
02:43 Hoey Air Services hangar at F.B. Airfield
02:55 Ladies board monoplane, Stinson S Junior, NC10883, built 1931
03:15 Flying over New York: Central Park & Rockefeller Center
03:19 Empire State Building (ESB)
03:22 Chrysler building in the distance
03:26 Statue of Liberty island
03:30 Aircraft, Waco ZQC‑6, built 1936
03:47 Reg.no. NC16234 becomes readable
04:00 Arrival of the “Fly Eddie Lyons” aircraft
04:18 Dutch made Fokker 1, packed
04:23 Douglas DC3 “Dakota”, also packed, new
04:28 Green mono- or tri-engine aircraft, type?
04:40 DC3 again. DC3’s flew first on 17 Dec.1935
04:44 Back side of Woolworth Building
05:42 Broadway at Bowling Green
05:12 Brooklyn across East River, view from Pier 11
05:13 Water plane, Grumman G‑21A Goose
05:38 Street with bus, Standard Oil Building ®
05:40 Truck, model?
05:42 Broadway at Bowling Green
05:46 Old truck, “Engels”, model?
05:48 Flag USA with 48 stars!
05:50 Broadway at Bowling Green, DeStoto Sunshine cab 1936
05:52 Truck, “Bier Mard Bros”, model?
05:56 Ford Model AA truck 1930
05:58 Open truck, model?
06:05 Standard Oil Building
06:25 Bus 366 & Ford Model A 1930
06:33 South Street & Coenties Slip
06:45 Cities Service Building at 70 Pine St. right. Left: see 07:12
06:48 Small vessels in the East River
06:50 Owned by Harry F. Reardon
07:05 Shack on Coenties Slip, Pier 5
07:12 City Bank-Farmers Trust Building, 20 Exchange Place
07:15 Oyster bar, near Coenties Slip
07:19 South Street, looking North towards the old Seaman’s Church Institute
07:31 Holland America Line, Volendam‑I, built 1922
07:32 Chrysler Plymouth P2 De Luxe
07:34 Oyster vendor
08:05 Vendor shows oyster in pot
08:16 Wall st.; Many cars, models?
08:30 Looking down Wall st.
08:52 More cars, models?
09:00 Near the Erie Ferry, 1934/35 Ford s.48 De Luxe
09:02 Rows of Christmas tree sales, location?
09:15 Erie Railroad building, location? Quay 21? Taxi, model?
09:23 1934 Dodge DS
09:27 Baltimore and Ohio (B&O) Railroad
09:29 Clyde Mallory Lines
09:48 South end of West Side Highway
09:49, 10:08, 10:11, 10:45 Location?
10:25 Henry Hudson Parkway
11:30 George Washington Bridge without the Lower Level
12:07 Presbyterian Hospital, Washington Heights
12:15 Rockefeller Institute of Medical Research
12:49 New York Hospital at 68th St. & East River
13:14 ditto
13:35 ditto
13:42 Metropolitan Museum of Art
14:51 Rockefella Plaza & RCA building
16:33 Saint Patrick’s Cathedral
16:50 Public Library
17:24 Panoramic view, from ESB
17:45 RCA Building, 30 Rockefeller Plaza
18:16 Original Penn Station
19:27 Movie True Confession, rel. 24 Dec.1937
19:30 Sloppy Joes
20:12 Neon lights & Xmas
26:34 Herald Square
29:48 Police Emergency Service (B&W)
31:00 SS Normandie, French Line, Pier 88
32:06 RMS Queen Mary, White Star Line, Pier 92
32:43 Departure Queen Mary
33:45 Italian Line, Pier 84, Terminal, dd.1935
34:00 SS Conte Di Savoia, Italian Line, Pier 84
34:25 Peanut seller, near the piers
34:35 Feeding the pidgeons
34:52 SS Normandie, exterior & on deck
35:30 View from Pier 88
35:59 Interior
37:06 From Pier 88
37:23 Northern, Eastern, Southern or Western Prince, built 1929
37:32 Tug, William C. Gaynor
38:20 Departure
38:38 Blue Riband!
39:15 Tugs push Normandie into fairway
39:50 Under own steam.
40:00 Statue of Liberty
40:15 SS Normandie leaves NYC
View more of Dick Hoefsloot’s historic uploads on his YouTube channel.
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Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine. Follow her @AyunHalliday.
Read More...The Curious Death of Vincent van Gogh
The story of Vincent van Gogh’s suicide, like the removal of his ear, has been integral to his mythos for a long time, immortalized by Kirk Douglas in the final scene of Vincente Minnelli’s film Lust for Life and in the 1934 biographical novel of the same name by Irving Stone. We’ve all accepted this as brute historical fact, but, apparently, “it’s all bunk,” Gregory White Smith and Steven Naifeh wrote in a 2014 Vanity Fair article based on a decade of research for a new biography (Van Gogh: The Life).
“Though eagerly embraced by a public in love with a handful of memorable images and spellbound by the thought of an artist who would cut off his own ear,” the authors argue, “Stone’s suicide yarn was based on bad history, bad psychology, and, as a definitive new expert analysis makes clear, bad forensics.” An expert analysis, you say? Yes. the world’s biggest posthumous art star has become an unsolved mystery, the subject of a Buzzfeed video above, part a series that also includes Edgar Allan Poe, JFK, Jimmy Hoffa, and Natalie Wood.
Van Gogh’s suicide seems accepted as a fact by the Van Gogh Museum, at least according to their website, evidenced by the morbid gloom of his late letters to his brother. But Van Gogh wrote “not a word about his final days,” Smith and Naifeh point out, and he left behind no suicide note, “odd for a man who churned out letters so profligately.” A piece of writing found on him turned out to be an early draft of his last letter to Theo, which was “upbeat—even ebullient—about the future.” He had every reason to be, given the glowing success of his first show. “He had placed a large order for more paints only a few days before a bullet put a hole in his abdomen.”
The story of how the hole got there involves a then-16-year-old Paris pharmacist named René Secrétan, who cruelly bullied Van Gogh during his 1890 summer in Auvers. (He also sat for some paintings and a drawing.) His involvement explains the “studied silence” the community maintained after Van Gogh’s death. No one mentioned suicide, but no one would say much of anything else either. Secrétan became a wealthy banker and lived to see Kirk Douglas portray the eccentric artist he mocked as “Toto.” He later admitted to owning the gun that killed Van Gogh, but denied firing the shot.
The new evidence surrounding Van Gogh’s possible murder has been in the public eye for several years now, but it hasn’t made much of a dent in the Van Gogh suicide legend. Still, we must admit, that story has always made little sense. Even scholars at the Van Gogh museum privately admitted to the artist’s biographers that they had serious doubts about it. These were dismissed, they claimed, as being “too controversial.” Now that Van Gogh has become a YouTube true crime unsolved mystery, there’s no shutting the door on speculation about his untimely and tragic demise.
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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness
Read More...Discover the Longest Song in the World: A 639-Year Performance of the John Cage Composition Called “Organ/ASLSP (As Slow As Possible)”
In 2016, Laurie Anderson recreated the experience of Lou Reed’s Metal Machine Music in Saint Mark’s chapel in Brighton. The five-day-long performance piece involved “some eight unmanned guitars leaning on a similar number of vintage amps,” Mark Sheerin writes, all of them cranked up, feeding back, and echoing around the Anglican church’s vaulted ceiling. It was a fitting tribute to Reed, a sustained, dissonant drone that also invokes “the mysteries of faith and the incarnation of rebel angels.”
If five days seems like a long time to hold a single note, however, consider the performance of John Cage’s composition “ORGAN/ASLSP” or “A Slow as Possible” that began in the St. Burchardi church, in the German town of Halberstadt, on September 5th, 2001, what would have been Cage’s 89th birthday. The artists staging this piece intend it to last for 639 years. If the organ doesn’t fall apart and if a new generation of curators continues to take the place of the old, it will play until the year 2640.
Those are some big Ifs, but as long as it lasts, the piece should draw crowds every few years when a chord changes, as just happened recently, despite the pandemic, after the organ had played the same chord for almost 7 years. The change occurred on September 5th, 2020, Cage’s birthday, 19 years after the performance began. Lest we think its length insanely perverse, we should bear in mind that Cage himself never specified a tempo for “As Slow as Possible.” The score itself only “consists of eight pages of music, to be played,” writes Kyle Macdonald at Classic FM, “well, very, very slowly.”
Typically, organists and pianists have interpreted this direction within the space of an hour. Some have stretched single performances “up to, and beyond, 12 hours.” Obviously, no single person, or even team of people, could sustain playing the piece for 233,235 days. Nor, however, has the extreme slowness of the John Cage Organ Project version been made possible by digital means. Instead, a group of artists built a special pipe organ for the task. Each time a chord changes, new pipes are added manually. On Saturday, a masked crowd gathered “to see the G sharp and E notes meticulously installed.”
The organ is automated, by mechanical means. No one needs to sit and hold keys for several years. But can the long-term coordination needed to maintain this solemnly quixotic installation extend over six hundred years for a grand finale in 2640 (IF the organ, the church, and the planet, survive)? The question seems almost irrelevant since no one living can answer it with any degree of certainty. It depends on whether future generations see the St. Buruchardi “As Slow as Possible” as a phenomenon that should continue to exist. But why, we might ask, should it?
Maybe one way of thinking of the John Cage Organ Project is through the lens of the Long Now Project’s 10,000 Year Clock, a device being constructed (“no completion date scheduled”) to radically change humans’ relationship to time, to push us to think beyond—hundreds and thousands of years beyond—our meager lifetimes. Cage, I think, would appreciate the effort to turn his eight page composition into a musical manifestation of the future’s longue durée.
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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness
Read More...The Fall of Civilizations Podcast Engagingly Explores the Collapse of Civilizations & Empires Throughout History
Now the country does not even boast a tree.
—Robert Browning, “Love Among the Ruins”
Every empire seems to think (as much as empires seem to think) that it will be the one to outlast them all. And all of them have ended up more or less the same way in the end. This isn’t just a gloomy fact of human history, it’s a fact of entropy, mortality, and the linear experience of time. If imperial rulers forget—begin to think themselves immortal—there have always been poets to remind them, though maybe not so directly. Epic poetry often legitimizes the founding of empires. Another form, the poetry of ruin, interprets their inevitable demise.
All the Romantics were doing it, and so too was an unknown 8th century British poet who encountered Roman ruins during the so-called “Dark Ages.” The poem they left behind “gives us a glimpse of a world of mystery,” says Paul Cooper above in episode one of his Fall of Civilizations podcast, which begins with Roman Britain and continues, in each subsequent (but not chronological) episode, to explore the collapse of empires around the world through literature and culture. “Every ruin,” says Cooper in an interview with the North Star Podcast, “is a place where a physical object was torn apart, and that happened because of some historical force.”
We are enthralled with ruins, though this can seem like the product of a distinctly modern sensibility—that of the poets who inhabited what novelist Rose Macaulay called in her 1953 study Pleasure of Ruins “a ruined and ruinous world.”
But as our Old English poet above demonstrates, the fascination predates Shakespeare and Marlowe. Cooper would know. He has dedicated his life to studying and writing about ruins, earning a PhD in their cultural and literary significance. Along the way, he has written for The New York Times, The Atlantic, National Geographic, Discover Magazine, and the BBC.
Cooper also began publishing one of the most intriguing Twitter feeds in 2017, detailing in “several nested threads” various “ruin-related thoughts and feelings,” as Shruti Ravindran writes at Timber Media. His tweets became so popular that he turned them into a podcast, and it is not your standard informally chatty podcast fare. Fall of Civilizations engages deeply with its subjects on their own terms, and avoids the sensationalist cliches of so much popular history. Cooper “knew, for certain, what he wanted to avoid,” when he began: the “focus on gruesome torture techniques, executions, and the sexcapades of nobles.”
“History writers often don’t trust their audience will be interested in the past if they don’t Hollywoodize it,” says Cooper. Instead, in the latest episode on the Byzantine Empire he recruits the choir from the Greek Orthodox Cathedral in London, “and a number of musicians playing traditional Byzantine instruments such as the Byzantine lyra, the Qanun and the Greek Santur,” he explains. In his episode on the Han dynasty, Cooper looks back through “ancient Chinese poetry, songs and folk music” to the empire’s rise, “its remarkable technological advances, and its first, tentative attempts to make contact with the empires of the west.”
This is a rich journey through ancient history, guided by a master storyteller dedicated to taking ruins seriously. (Cooper has published a novel about ruins, River of Ink, “inspired by time spent in UNESCO sites in Sri Lanka,” Ravindran reports.) There is “love among the ruins,” wrote Robert Browning, and there is poetry and music and story and song—all of it brought to bear in Fall of Civilizations to “make sense about what must have happened,” says Cooper. Find more episodes, on fallen civilizations all around the world, on YouTube or head to Fall of Civilizations to subscribe through the podcast service of your choice.
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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness
Read More...Watch an Epic Drum Battle, Pitting a 9‑Year-Old Girl Against Foo Fighter Dave Grohl
Foo Fighter Dave Grohl, formerly of Nirvana, and Nandi Bushell, an Ipswich elementary schooler, have something in common besides their incredible command of the drums.
By all appearances, both seem to have benefited from being reared by grounded, encouraging parents.
Nandi, at 10, likely has a few more years under her folks’ roof despite her growing renown—she’s jammed with Lenny Kravitz, gone viral in last year’s Argos Christmas advert, and most recently, matched Grohl beat for beat in an epic drum battle, above.
Nandi demonstrated a natural rhythmic ear at an early age, bobbing along to the Teletubbies while still in diapers.
Of course, everything she’s achieved thus far can be considered to have occurred at an early age.
On the other hand, it was half a lifetime ago when her father, a software engineer and self-described “massive music fan” introduced the then-5-year-old to “Hey, Jude,” as part of a weekly tradition wherein he makes pancakes with his children while sharing YouTube links to favorite songs.
She was immediately taken with Ringo Starr, and the joy he exuded behind his kit.
Shortly thereafter, she passed a math exam, earning a trip to Toys “R” Us to pick out a promised treat. Her eye went immediately to a £25 kiddie drum set.
The plastic toy was a far cry from the professional kit she uses today, but she’s shown herself to be adaptable in a recent series of video tutorials for Daniel Bedingfield’s “Gonna Get Through This,” encouraging viewers who lack equipment to bang on whatever’s handy—colanders, pot lids, biscuit tins… She recommends kebab skewers tipped with cellophane tape for the stickless.
Her YouTube channel definitely reveals a preference for hard rock.
Her father, John, dislikes playing publicly, but occasionally accompanies her on guitar, hoping she’ll grow accustomed to playing with other people.
Documenting his daughter’s performances lies more within his comfort zone as he told Drum Talk TV in a very glitchy, early-pandemic virtual interview. Asked by host Dan Shinder to share tips for other parents of young drummers, particularly girls, he counsels exposing them to as many musical genres as possible, nurturing their desire to play, and resolving to have as much fun as possible.
It’s clear that Nandi is having a ball twirling her sticks and whaling on the drum part of Foo Fighters’ hit “Everlong,” in a video uploaded last month.
Grohl got wind of the video and the challenge contained therein.
He took the bait, responding with an “epic” video of his own, playing a set of drums borrowed from his 11-year-old daughter:
I haven’t played that song since the day I recorded it in 1997, but Nandi, in the last week I’ve gotten at least 100 texts from people all over the world saying ‘This girl is challenging you to a drum-off, what are you going to do?’
Look, I’ve seen all your videos. I’ve seen you on TV. You’re an incredible drummer. I’m really flattered that you picked some of my songs… and you’ve done them all perfectly. So today, I’m gonna give you something you may not have heard before. This is a song called “Dead End Friends” from a band called Them Crooked Vultures… now the ball is in your court.
(Fast forward to the final thirty seconds if you want to see the ultimate in happy dances.)
The young challenger calls upon the rock Gods of old—Bonzo, Baker, Peart, Moon—to back her side for “THE GREATEST ROCK BATTLE IN THE HISTORY OF ROCK!!!”
(In addition to drum lessons, and participation in the Ipswich Rock Project and junior jam sessions, it looks like her acting classes at Stagecoach Performing Arts Ipswich are so paying off.)
Five days after Grohl threw down his gauntlet, she’s back on her drum throne, clad in a preteen version of Grohl’s buffalo check shirt and black pants, her snare bearing the legend “Grohl rocks.”
That sentiment would surely please Grohl’s mother, Virginia, author of From Cradle to Stage: Stories from the Mothers Who Rocked and Raised Rock Stars.
A born entertainer in his mother’s opinion, Grohl didn’t take up music until he was around the age Nandi is now, after which it monopolized his focus and energy, leading to a disastrous 6th grade report card.
Rather than freaking out about general education dips, Virginia, a public school teacher, was supportive when the opportunity arose for him to tour Europe at 17 with the Washington, DC band Scream after the departure of drummer Kent Stax.
Wise move. Her son may be a high school drop-out, but he’s using his fame to shine a spotlight on the concerns of teachers, who are essential workers in his view. Check out his essay in The Atlantic, in which he writes that he wouldn’t trust the U.S. Secretary of Percussion to tell him how to play “Smells Like Teen Spirit” if they had never sat behind a drum set:
It takes a certain kind of person to devote their life to this difficult and often-thankless job. I know because I was raised in a community of them. I have mowed their lawns, painted their apartments, even babysat their children, and I’m convinced that they are as essential as any other essential workers. Some even raise rock stars! Tom Morello of Rage Against the Machine, Adam Levine, Josh Groban, and Haim are all children of school workers (with hopefully more academically rewarding results than mine).
He’s also leaving time in his schedule for another drum battle:
Ok, @Nandi_Bushell .…..you win round one.…but it ain’t over yet! Buckle up, cuz I have something special in mind…
Stay tuned, Dave https://t.co/THyApmHHep — Foo Fighters (@foofighters) September 4, 2020
Watch more of Nandi Bushell’s drum and guitar covers on her parent-monitored YouTube channel.
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Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine. Follow her @AyunHalliday.
Read More...Google Introduces 6‑Month Career Certificates, Threatening to Disrupt Higher Education with “the Equivalent of a Four-Year Degree”
Update: You can find the first of the Google Career Certificates here. They’re also added to our collection 200 Online Certificate & Microcredential Programs from Leading Universities & Companies.
I used to make a point of asking every college-applying teenager I encountered why they wanted to go to college in the first place. Few had a ready answer; most, after a deer-in-the-headlights moment, said they wanted to be able to get a job — and in a tone implying it was too obvious to require articulation. But if one’s goal is simply employment, doesn’t it seem a bit excessive to move across the state, country, or world, spend four years taking tests and writing papers on a grab-bag of subjects, and spend (or borrow) a large and ever-inflating amount of money to do so? This, in any case, is one idea behind Google’s Career Certificates, all of which can be completed from home in about six months. Find the first ones here.
Any such remote educational process looks more viable than ever at the moment due to the ongoing coronavirus pandemic, a condition that also has today’s college-applying teenagers wondering whether they’ll ever see a campus at all. Nor is the broader economic harm lost on Google, whose Senior Vice President for Global Affairs Kent Walker frames their Career Certificates as part of a “digital jobs program to help America’s economic recovery.” He writes that “people need good jobs, and the broader economy needs their energy and skills to support our future growth.” At the same time, “college degrees are out of reach for many Americans, and you shouldn’t need a college diploma to have economic security.”
Hence Google’s new Career Certificates in “the high-paying, high-growth career fields of Data Analytics, Project Management, and User Experience (UX) Design,” which join their existing IT Support and IT Automation in Python Certificates.
- Google UX Design Professional Certificate
- Google Data Analytics Professional Certificate
- Google Project Management Professional Certificate
- Google IT Support Professional Certificate
- Google IT Automation Professional Certificate
Hosted on the online education platform Coursera, these programs (which run about $300-$400) are developed in-house and taught by Google employees and require no previous experience. To help cover their cost Google will also fund 100,000 “need-based scholarships” and offer students “hundreds of apprenticeship opportunities” at the company “to provide real on-the-job training.” None of this guarantees any given student a job at Google, of course, but as Walker emphasizes, “we will consider our new career certificates as the equivalent of a four-year degree.”
Biggest tech & higher ed story of the last 2 weeks — #Google entering higher ed, offering BA-equivalent degrees@YahooFinance pic.twitter.com/bsGgwHsnRn
— Scott Galloway (@profgalloway) August 30, 2020
Technology-and-education pundit Scott Galloway calls that bachelor’s-degree equivalence the biggest story in his field of recent weeks. It’s perhaps the beginning of a trend where tech companies disrupt higher education, creating affordable and scalable educational programs that will train the workforce for 21st century jobs. This could conceivably mean that universities lose their monopoly on the training and vetting of students, or at least find that they’ll increasingly share that responsibility with big tech.
This past spring Galloway gave an interview to New York magazine predicting that “ultimately, universities are going to partner with companies to help them expand.” He adds: “I think that partnership will look something like MIT and Google partnering. Microsoft and Berkeley. Big-tech companies are about to enter education and health care in a big way, not because they want to but because they have to.” Whether such university partnerships will emerge as falling enrollments put the strain on certain segments of the university system remains to be seen, but so far Google seems confident about going it alone. And where Google goes, as we’ve all seen before, other institutions often follow.
Note: You can listen to Galloway elaborate on how Google may lead to the unbundling of higher ed here. Listen to the episode “State of Play: The Sharing Economy” from his Prof G podcast:
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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include 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, on Facebook, or on Instagram.
Read More...William Blake’s Paintings Come to Life in Two Animations
The poet and painter William Blake toiled in obscurity, for the most part, and died in poverty.
Twenty some years after his death, his rebellious spirit gained traction with the Pre-Raphaelites.
By the dawning of the Age of Aquarius, Blake was ripe to be venerated as a counter-cultural hero, for having flown in the face of convention, while championing gender and racial equality, nature, and free love.
Reclining half-naked on a “a fabulous couch in Harlem,” poet Allen Ginsburg had a hallucinatory encounter wherein Blake recited to him “in earthen measure.”
Ditto poet Michael McClure, though in his case, Bob Dylan’s “Gates of Eden” served as something of a medium:
I had the idea that I was hallucinating, that it was William Blake’s voice coming out of the walls and I stood up and put my hands on the walls and they were vibrating.
Blake’s work (and world view) continues to exert enormous influence on graphic novelists, theatermakers, and creatives of every stripe.
He’s also a dab hand at animation, collaborating from beyond the grave.
The short above, a commission for a late ‘70s Blake exhibition at The Tate, envisions a roundtrip journey from Heaven to Hell. Animator Sheila Graber parked herself in the Sculpture Hall to create it in public view, pairing Blake’s line “Energy is Eternal delight” with a personal observation:
Whether we use it to create or destroy—it’s the same energy. The practice of art can turn a person from a vandal to a builder!
More recently, the Tate gave director Sam Gainsborough access to super high-res imagery of Blake’s original paintings, in order to create a promo for last year’s blockbuster exhibition.
Gainsborough and animator Renaldho Pelle worked together to bring the chosen works to life, frame by frame, against a series of London buildings and streets that were well known to Blake himself.
The film opens with Blake’s Ghost of a Flea emerging from the walls of Broadwick Street, where its creator was born, then stalking off, bowl in hand, ceding the screen to God, The Ancient of Days, whose reach spreads like ink across the gritty facade of a white brick edifice.
Seymour Milton’s original music and Jasmine Blackborow’s narration of excerpts from Blake’s poem “Auguries of Innocence” seem to anticipate the fraught current moment, as does the entire poem:
Auguries of Innocence
To see a World in a Grain of Sand
And a Heaven in a Wild Flower
Hold Infinity in the palm of your hand
And Eternity in an hour
A Robin Red breast in a Cage
Puts all Heaven in a Rage
A Dove house filld with Doves & Pigeons
Shudders Hell thr’ all its regions
A dog starvd at his Masters Gate
Predicts the ruin of the State
A Horse misusd upon the Road
Calls to Heaven for Human blood
Each outcry of the hunted Hare
A fibre from the Brain does tear
A Skylark wounded in the wing
A Cherubim does cease to sing
The Game Cock clipd & armd for fight
Does the Rising Sun affright
Every Wolfs & Lions howl
Raises from Hell a Human Soul
The wild deer, wandring here & there
Keeps the Human Soul from Care
The Lamb misusd breeds Public Strife
And yet forgives the Butchers knife
The Bat that flits at close of Eve
Has left the Brain that wont Believe
The Owl that calls upon the Night
Speaks the Unbelievers fright
He who shall hurt the little Wren
Shall never be belovd by Men
He who the Ox to wrath has movd
Shall never be by Woman lovd
The wanton Boy that kills the Fly
Shall feel the Spiders enmity
He who torments the Chafers Sprite
Weaves a Bower in endless Night
The Catterpiller on the Leaf
Repeats to thee thy Mothers grief
Kill not the Moth nor Butterfly
For the Last Judgment draweth nigh
He who shall train the Horse to War
Shall never pass the Polar Bar
The Beggars Dog & Widows Cat
Feed them & thou wilt grow fat
The Gnat that sings his Summers Song
Poison gets from Slanders tongue
The poison of the Snake & Newt
Is the sweat of Envys Foot
The poison of the Honey Bee
Is the Artists Jealousy
The Princes Robes & Beggars Rags
Are Toadstools on the Misers Bags
A Truth thats told with bad intent
Beats all the Lies you can invent
It is right it should be so
Man was made for Joy & Woe
And when this we rightly know
Thro the World we safely go
Joy & Woe are woven fine
A Clothing for the soul divine
Under every grief & pine
Runs a joy with silken twine
The Babe is more than swadling Bands
Throughout all these Human Lands
Tools were made & Born were hands
Every Farmer Understands
Every Tear from Every Eye
Becomes a Babe in Eternity
This is caught by Females bright
And returnd to its own delight
The Bleat the Bark Bellow & Roar
Are Waves that Beat on Heavens Shore
The Babe that weeps the Rod beneath
Writes Revenge in realms of Death
The Beggars Rags fluttering in Air
Does to Rags the Heavens tear
The Soldier armd with Sword & Gun
Palsied strikes the Summers Sun
The poor Mans Farthing is worth more
Than all the Gold on Africs Shore
One Mite wrung from the Labrers hands
Shall buy & sell the Misers Lands
Or if protected from on high
Does that whole Nation sell & buy
He who mocks the Infants Faith
Shall be mockd in Age & Death
He who shall teach the Child to Doubt
The rotting Grave shall neer get out
He who respects the Infants faith
Triumphs over Hell & Death
The Childs Toys & the Old Mans Reasons
Are the Fruits of the Two seasons
The Questioner who sits so sly
Shall never know how to Reply
He who replies to words of Doubt
Doth put the Light of Knowledge out
The Strongest Poison ever known
Came from Caesars Laurel Crown
Nought can Deform the Human Race
Like to the Armours iron brace
When Gold & Gems adorn the Plow
To peaceful Arts shall Envy Bow
A Riddle or the Crickets Cry
Is to Doubt a fit Reply
The Emmets Inch & Eagles Mile
Make Lame Philosophy to smile
He who Doubts from what he sees
Will neer Believe do what you Please
If the Sun & Moon should Doubt
Theyd immediately Go out
To be in a Passion you Good may Do
But no Good if a Passion is in you
The Whore & Gambler by the State
Licencd build that Nations Fate
The Harlots cry from Street to Street
Shall weave Old Englands winding Sheet
The Winners Shout the Losers Curse
Dance before dead Englands Hearse
Every Night & every Morn
Some to Misery are Born
Every Morn and every Night
Some are Born to sweet delight
Some are Born to sweet delight
Some are Born to Endless Night
We are led to Believe a Lie
When we see not Thro the Eye
Which was Born in a Night to perish in a Night
When the Soul Slept in Beams of Light
God Appears & God is Light
To those poor Souls who dwell in Night
But does a Human Form Display
To those who Dwell in Realms of day
Related Content:
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Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine. Follow her @AyunHalliday.
Read More...Behold a Beautiful 400-Year-Old ‘Friendship Book’ Featuring the Signatures of Historic Figures
Maintaining the balance of power among European states has always been a fraught affair, but it was especially so in the years when mercantilism made fragile alliances during the religious wars of the 17th century. This was a time when merchants made excellent diplomats, not only because they traveled extensively and learned foreign tongues and customs, but because they spoke the universal language of trade.
German merchant and diplomat Philipp Hainhofer from Augsburg was such a figure, traveling from court to court to meet with Europe’s renowned dignitaries. As he did so, he would ask them to sign his album amicorum, or “friendship book,” also called a stammbuch. Each signer would then “commission an artist to create a painting accompanying their signatures,” Alison Flood writes at The Guardian.
“There are around 100 drawings” in his autograph book, known as the Große Stammbuch, “which took more than 50 years to compile.” After Hainhofer’s death in 1647, his friend August the Younger—who helped collect the hundreds of thousand of books in the Herzog August Bibliothek—tried to acquire the book but failed. Now it has finally landed in the huge library, one of the world’s oldest, almost 400 years later, after a purchase at a private auction this week.
Friendship books were commonly used at the time to record the names of family and friends. Students used them as yearbooks, and Hainhofer began his collection of signatures as a college student. He gradually gained a select clientele as his career advanced. Signatories, the History Blog points out, “include Holy Roman Emperor Rudolf II, another HRE Matthias, Christian IV of Denmark and Norway, Cosimo II de’Medici, Grand Duke of Tuscany…” and many others.
Hainhofer’s Große Stammbuch is, as you can see, a beautiful work of art—or almost 100 collected works of art—in its own right. “The elaborateness of the illustrations directly corresponds to the signatory’s status and rank in society,” as Grace Ebert notes at Colossal. It is also a fascinating record of Early Modern European politics, trade, and diplomacy, a fine art all its own.
via Colossal
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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness
Read More...What Did the Roman Emperors Look Like?: See Photorealistic Portraits Created with Machine Learning
We can spend a lifetime reading histories of ancient Rome without knowing what any of its emperors looked like. Or rather, without knowing exactly what they looked like: being the leaders of the mightiest political entity in the Western world, they had their likenesses stamped onto coins and carved into busts as a matter of course. But such artist’s renderings inevitably come with a certain degree of artistic license, a tendency to mold features into slightly more imperial shapes. Seeing the faces of the Roman Emperors as we would if we were passing them on the street is an experience made possible only by high technology, and high technology developed sixteen centuries after the fall of the Roman Empire at that.
“Using the neural-net tool Artbreeder, Photoshop and historical references, I have created photoreal portraits of Roman Emperors,” writes designer Daniel Voshart. “For this project, I have transformed, or restored (cracks, noses, ears etc.) 800 images of busts to make the 54 emperors of The Principate (27 BC to 285 AD).”
The key technology that enables Artbreeder to convincingly blend images of faces together is what’s called a “generative adversarial network” (GAN). “Some call it Artificial Intelligence,” writes Voshart, “but it is more accurately described as Machine Learning.” The Verge’s James Vincent writes that Voshart fed in “images of emperors he collected from statues, coins, and paintings, and then tweaked the portraits manually based on historical descriptions, feeding them back to the GAN.”
Into the mix also went “high-res images of celebrities”: Daniel Craig into Augustus, André the Giant into Maximinus Thrax (thought to have been given his “a lantern jaw and mountainous frame” by a pituitary gland disorder like that which affected the colossal wrestler). This partially explains why some of these uncannily lifelike emperors — the biggest celebrities of their time and place, after all — look faintly familiar. Though modeled as closely as possible after men who really lived, these exact faces (much like those in the artificial intelligence-generated modern photographs previously featured here on Open Culture) have never actually existed. Still, one can imagine the emperors who inspired Voshart’s Principate recognizing themselves in it. But what would they make of the fact that it’s also selling briskly in poster form on Etsy?
Visit the Roman Emperor Project here. For background on this project, visit here.
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The History of Ancient Rome in 20 Quick Minutes: A Primer Narrated by Brian Cox
The History of Rome in 179 Podcasts
Roman Statues Weren’t White; They Were Once Painted in Vivid, Bright Colors
Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include 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, on Facebook, or on Instagram.
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