In May, 1997, I.B.M.’s Deep Blue supercomputer prevailed over Garry Kasparov in a series of six chess games, becoming the first computer to defeat a world-champion chess player. Two months later, the Times offered machines another challenge on behalf of a wounded humanity: the two-thousand-year-old Chinese board game wei qi, known in the West as Go. The article said that computers had little chance of success: “It may be a hundred years before a computer beats humans at Go—maybe even longer.”
Last March, sixteen years later, a computer program named Crazy Stone defeated Yoshio Ishida, a professional Go player and a five-time Japanese champion. The match took place during the first annual Densei-sen, or “electronic holy war,” tournament, in Tokyo, where the best Go programs in the world play against one of the best humans. Ishida, who earned the nickname “the Computer” in the nineteen-seventies because of his exact and calculated playing style, described Crazy Stone as “genius.” […]
En este mapa se retoman las películas producidas o filmadas en países latinoamericanos con mejor promedio en la Internet Movie Database (IMDb, en español Base de datos de películas en Internet). Se explica que para la selección, cada película tiene al menos 50 votos de los usuarios.
A Universidade do Tennessee escolheu o Daytripper para o programa “Life of the Mind” deste ano, um programa que visa integrar os alunos ingressando no primeiro ano e prepará-los para entrar na vida universitária. Todos os alunos ingressando na Universidade – por volta de 4500 – receberão o livro em Agosto, antes das aulas começarem, e devem ler e fazer um pequeno ensaio sobre ele, para depois participarem de uma série de debates sobre o livro e seus temas.
O Daytripper é a primeira História em Quadrinhos selecionada neste programa, que já tem mais de dez anos.
China Directors’ Guild chairman Feng Xiaogang said the artistic quality of recent local films was too low to honor, a move some are interpreting as a protest against the government’s refusal to screen Jia Zhangke’s Cannes winner “A Touch of Sin.”
The Japanese Imperial Army killed 30 million people — a fact that is barely alluded to by the film.
As you may know, its most egregious offenses during WW2, which include orchestrated mass rape, slave labor, and medical human experimentation on live and conscious human beings, are not taught to students, nor are they mentioned in textbooks.
After decades of denying that Japan had forced tens of thousands of Korean and Chinese women into sex slavery, one Japanese prime minister finally admitted his country’s actions during the war. Every other prime minister has since reversed the apology, either minimizing or wholly denying those war crimes.
Miyazaki’s film is wholly symptomatic of Japan’s postwar attitude toward its history, which is an acknowledgement of the terribleness of war and a willful refusal to acknowledge its country’s role in that terribleness.
The film also pits European and American powers, in the abstract, as Japan’s rivals, but in fact, those planes were used to “pacify” Japan’s Korean colony and invade China, the Philippines, and Vietnam, and many other countries, including, of course, the U.S.
To me, the fact that the film glosses over the true purpose of those planes — and never mentions the fact that those planes were built by Chinese and Korean slave labor — is morally egregious.
To me, the beauty of Miyazaki’s film is obscured by its moral irresponsibility.
While initially jarring, Miyazaki’s unapologetic deviations from fact help “The Wind Rises” to transcend the linearity of its expected structure, the film eventually revealing itself to be less of a biopic than it is a devastatingly honest lament for the corruption of beauty, and how invariably pathetic the human response to that loss must be. Miyazaki’s films are often preoccupied with absence, the value of things left behind and how the ghosts of beautiful things are traced onto our memories like the shadows of a nuclear fallout, and “The Wind Rises” looks back as only a culminating work can. His stories aren’t about the things we’ve lost so much as they’re about the act of remembering them, and though “The Wind Rises” doesn’t forgive us for our transgressions, it directs us back to the beautiful ideas from which they first sprang. […]
[…] Facebook is not a company of grass-roots tech enthusiasts. Facebook is not a game tech company. Facebook has a history of caring about building user numbers, and nothing but building user numbers. People have made games for Facebook platforms before, and while it worked great for a while, they were stuck in a very unfortunate position when Facebook eventually changed the platform to better fit the social experience they were trying to build.
Don’t get me wrong, VR is not bad for social. In fact, I think social could become one of the biggest applications of VR. Being able to sit in a virtual living room and see your friend’s avatar? Business meetings? Virtual cinemas where you feel like you’re actually watching the movie with your friend who is seven time zones away?
But I don’t want to work with social, I want to work with games.
Fortunately, the rise of Oculus coincided with competitors emerging. None of them are perfect, but competition is a very good thing. If this means there will be more competition, and VR keeps getting better, I am going to be a very happy boy. I definitely want to be a part of VR, but I will not work with Facebook. Their motives are too unclear and shifting, and they haven’t historically been a stable platform. There’s nothing about their history that makes me trust them, and that makes them seem creepy to me.
There are almost as many cell-phone subscriptions (6.8 billion) as there are people on this earth (seven billion)—and it took a little more than 20 years for that to happen. In 2013, there were some 96 cell-phone service subscriptions for every 100 people in the world.
Patrícia Cornils: Você escreveu que “é bom conhecer e começar a minerar todos os conteúdos que são publicadas nelas.” Por que?
Porque é preciso compreender a política dessas redes e seus temas prioritários. Instituir um debate por lá e não apenas ficar no nosso mundo. É preciso dialogar afirmando que uma sociedade justa é a que produz a paz, e não uma sociedade que só obedece ordens. Estamos numa fase de mídia em que se calar para não dar mais “ibope” é uma estratégia que não funciona. É a fala franca, o dito corajoso, que é capaz de alterar (ou pelo menos chacoalhar) o discurso repressor.
É interessante, ao coletarmos e minerarmos os dados, notar que muitas dessas páginas articulam um discurso de Ode à Repressão com um outro pensamento: o religioso, cujo Deus perdoa os justiceiros. Isso se explica porque ambos são pensamentos em que o dogma, a obediência, constituem valores amplamente difundidos. Para essas redes, a defesa moral de uma paz, de um cuidado de si, viria da capacidade de os indivíduos manterem o estado das coisas sem qualquer questionamento, qualquer desobediência.
The “Terminator” franchise proposes a future in which humans are fighting against Skynet, an Artificial Intelligence. At least that’s what the humans think they are fighting.
An alternative way to think about this future, is that there is no Artificial Intelligence. Instead, the elites have separated themselves from the proletariat and have begun a genocidal war against them using killer drones.
Which future is more likely? A menacing singularity or a group of resistance fighters being hunted down by drones from an unknown enemy? I imagine that it must feel a lot like the latter in Afghanistan. Polls show that 92% of Afghans have never heard of 9/11. They are presently fighting a war with no history, and no future.
A team of scientists may have detected a twist in light from the early universe that could help explain how the universe began. Such a finding has been compared in significance to the detection of the Higgs boson at the LHC in 2012.
[…] ‘The first time I got excited about writing was reading comic books by Alan Moore and Grant Morrison as a kid. Growing up in southwest Louisiana, in a house without many books, the sophistication and depth of their stories were really mind-blowing for a kid.’
It’s got the Louisiana setting of Swamp Thing, it’s got the Lovecraft stuff, it’s got that pervading interest in consciousness and symbolism. But, to me, it feels most like Watchmen – there’s a murder mystery that’s an excuse to tell a character piece, it’s told in a nested set of flashbacks with a narration that doesn’t always synchronise with what we’re seeing.
The various elaborate online theories about which incidental character did it – the gardener, the Vietnamese cook, one of the women in the school photo – seem not to be missing the point of the show so much as missing the category. It’s called True Detective, but it’s about the nature of truth, not the nature of detectives.