This archive file was compiled from an interview conducted at the Googleplex in Mountain View, California, 2013. In the discussion, Amit Singhal, a key figure in the evolution of Google’s search engine, broadly outlined the significant hurdles that stood in the way of achieving one of his long-held dreams — creating a true ‘conversational’ search engine. He also sketched out a vision of how the initial versions of such a system would, and also importantly, would not attempt to assist the individuals that it interacted with.
Though the vision was by design more limited and focused than a system capable of passing the famous Turing test, it nonetheless raised stimulating questions about the future relationships of humans and their ‘artificial’ assistants.
More about Amit Singhal:
Wikipedia: en.wikipedia.org/wiki/Amit_Singhal
Google Search: en.wikipedia.org/wiki/Google_Search
It’s not a physical landscape. It’s a term reserved for the new technologies. It’s a landscape in the future. It’s as though you used technology to take you off the ground and go like Alice through the looking glass. John Cage, in reference to his 1939 Imagined Landscape [1].
In the last installment (see here, here and here) I argued that the increasing prominence and frequency of futuristic aesthetics and themes of empowerment-through-technology in EDM-based mainstream music videos, as well as the increasing predominance of EDM foundations in mainstream music over the past 3 years, helps promote general awareness of emerging-technology-grounded and NBIC-driven concepts, causes and potential-crises while simultaneously presenting a sexy and self-empowering vision of technology and the future to mainstream audiences. The only reason this is mentionable in the first place is the fact that these are mainstream artists and labels reaching very large audiences.
In this installment, I will be analyzing a number of music videos for tracks by “real EDM” artists, released by exclusively-EDM record labels, to show that these futuristic themes aren’t just a consequence of EDM’s adoption by mainstream music over the past few years, and that there is long history of futuristic aesthetics and gestalts in electronic music, as well as recurrent themes of self-empowerment through technology.
In this part I will discuss some of these recurrent themes, which can be seen to derive from a number of aspects shared by Virtual Art (any art created without the use of physical instruments), of which contemporary electronic music is an example because it is created using software. I argue that this will become the predominant means of art production — via software — for all artistic mediums, from auditory to visual to eventual olfactory, somatosensory and proprioceptual artistic mediums. The interface between artist and art will become progressively thinner and more transparent, culminating in a time where Brain-Computer-Interface technology can sense neural operation and translate this directly into an informational form to be played by physical systems (e.g. speakers) at first, but eventually into a form that can be read by given person’s own BCI instantiated phenomenologically via high-precision technological neuromodulation (of which deep brain stimulation is an early form).
The 2nd amendment of the American Constitution gives U.S citizens the constitutional right to bear arms. Perhaps the most prominent justification given for the 2nd amendment is as a defense against tyrannical government, where citizens have a method of defending themselves against a corrupt government, and of taking their government back by force if needed by forming a citizen militia. While other reasons are sometimes called upon, such as regular old individual self-defense and the ability for the citizenry to act as a citizen army in the event their government goes to war despite being undertrooped, these justifications are much less prominent than the defense-against-tyrannical-government argument is.
This may have been fine when the Amendment was first conceived, but considering the changing context of culture and its artifacts, might it be time to amend it? When it was adopted in 1751, the defensive-power afforded to the citizenry by owning guns was roughly on par with the defensive-power available to government. In 1751 the most popular weapon was the musket, which was limited to 4 shots per minute, and had to be re-loaded manually. The state-of-the-art for “arms” in 1791 was roughly equal for both citizenry and military. This was before automatic weapons – never mind tanks, GPS, unmanned drones, and the like. In 1791, the only thing that distinguished the defensive or offensive capability of military from citizenry was quantity. Now it’s quality.
Technology is as Human Does When one of the U.S. Air Force’s top future strategy guys starts dorking out on how we’ve gotta at least begin considering what to do when a progressively decaying yet apocalyptically belligerent sun begins BBQing the earth, attention is payed. See, none of the proposed solutions involve marinade or species-level acquiescence, they involve practical discussion on the necessity for super awesome technology on par with a Kardeshev Type II civilization (one that’s harnessed the energy of an entire solar system).
Because Not if, but WHEN the Earth Dies, What’s Next for Us? Head over to Kurzweil AI and have a read of Lt. Col. Peter Garretson’s guest piece. There’s perpetuation of the species stuff, singularity stuff, transhumanism stuff, space stuff, Mind Children stuff, and plenty else to occupy those of us with borderline pathological tech obsessions.
