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para além do Kurzweil, o conceito de singularidade já era debatido muitos anos antes.
Vejam o texto do Vernor Vinge (grande escritor de scifi) publicado em 1993:

The Coming Technological Singularity: How to Survive in the Post-Human Era

chrome-extension://efaidnbmnnnibpcajpcglclefindmkaj/https://users.manchester.edu/Facstaff/SSNaragon/Online/100-FYS-F15/Readings/Vinge,%20The%20Coming%20Technological%20Singularity.pdf

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☰

Mars College is an educational program, R&D lab, and off-grid residential community dedicated to cultivating a low-cost, high-tech lifestyle.

Secure your livelihood from an idyllic location and escape the hamster wheel of urban professional life.

Learn to satisfy your own needs and thrive in the face of meager circumstances, personal adversity, and global instability.

Leverage emerging technologies under your own terms. Take online classes, work remote, or develop an internet business.

Make art, spin fire, do yoga, shoot bliss out your third eye. Take the time to find what makes you happy, and play an integral role in a small community.

Interested in Mars College?

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☰ Mars College is an educational program, R&D lab, and off-grid residential community dedicated to cultivating a low-cost, high-tech lifestyle. Secure your livelihood from an idyllic location and escape the hamster wheel of urban professional life. Learn to satisfy your own needs and thrive in the face of meager circumstances, personal adversity, and global instability.

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https://twitter.com/hardmaru

https://twitter.com/_akhaliq

https://twitter.com/runwayml

https://twitter.com/EMostaque

https://twitter.com/genekogan
https://twitter.com/RiversHaveWings
https://twitter.com/cantrell

https://twitter.com/bentossell
https://twitter.com/advadnoun
https://twitter.com/ykilcher

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Tweets by RiversHaveWings

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Copyright Storm — Authorship in the age of AI

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ps: english is not my native language, hence I make some weird phrase constructions quite often.

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Flatland: A Romance of Many Dimensions (1884) Edwin Abbott Abbott 

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Flatland: A Romance of Many Dimensions (1884) Edwin Abbott Abbott 

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Flatland: A Romance of Many Dimensions is a satirical novella by the English schoolmaster Edwin Abbott Abbott, first published in 1884 by Seeley & Co. of London. Written pseudonymously by "A Square", the book used the fictional two-dimensional world of Flatland to comment on the hierarchy of Victorian culture, but the novella's more enduring contribution is its examination of dimensions.

Several films have been made from the story, including the feature film (2007). Other efforts have been short or experimental films, including one narrated by Dudley Moore and the short films Flatland: The Movie (2007) and Flatland 2: Sphereland (2012).

The story describes a two-dimensional world occupied by geometric figures, whereof women are simple line-segments, while men are polygons with various numbers of sides. The narrator is a square, a member of the caste of gentlemen and professionals, who guides the readers through some of the implications of life in two dimensions. The first half of the story goes through the practicalities of existing in a two-dimensional universe as well as a history leading up to the year 1999 on the eve of the 3rd Millennium.

On New Year's Eve, the Square dreams about a visit to a one-dimensional world (Lineland) inhabited by "lustrous points". These points are unable to see the Square as anything other than a set of points on a line. Thus, the Square attempts to convince the realm's monarch of a second dimension; but is unable to do so. In the end, the monarch of Lineland tries to kill A Square rather than tolerate his nonsense any further.

Following this vision, he is himself visited by a three-dimensional sphere. Similar to the "points" in Lineland, the Square is unable to see the sphere as anything other than a circle. The Sphere then levitates up and down through the Flatland, allowing Square to see the circle expand and retract. The Square is not fully convinced until he sees Spaceland (a tridimensional world) for himself. This Sphere visits Flatland at the turn of each millennium to introduce a new apostle to the idea of a third dimension in the hope of eventually educating the population of Flatland. From the safety of Spaceland, they are able to observe the leaders of Flatland secretly acknowledging the existence of the sphere and prescribing the silencing of anyone found preaching the truth of Spaceland and the third dimension. After this proclamation is made, many witnesses are massacred or imprisoned (according to caste), including A Square's brother, B.

After the Square's mind is opened to new dimensions, he tries to convince the Sphere of the theoretical possibility of the existence of a fourth and higher spatial dimensions; but the Sphere returns his student to Flatland in disgrace.

The Square then has a dream in which the Sphere visits him again, this time to introduce him to Pointland, whereof the point (sole inhabitant, monarch, and universe in one) perceives any communication as a thought originating in his own mind (cf. Solipsism):

"You see," said my Teacher, "how little your words have done. So far as the Monarch understands them at all, he accepts them as his own - for he cannot conceive of any other except himself - and plumes himself upon the variety of Its Thought as an instance of creative Power. Let us leave this god of Pointland to the ignorant fruition of his omnipresence and omniscience: nothing that you or I can do can rescue him from his self-satisfaction."

The Square recognises the identity of the ignorance of the monarchs of Pointland and Lineland with his own (and the Sphere's) previous ignorance of the existence of higher dimensions. Once returned to Flatland, the Square cannot convince anyone of Spaceland's existence, especially after official decrees are announced that anyone preaching the existence of three dimensions will be imprisoned (or executed, depending on caste). Eventually the Square himself is imprisoned for just this reason, with only occasional contact with his brother who is imprisoned in the same facility. He does not manage to convince his brother, even after all they have both seen. Seven years after being imprisoned, A Square writes out the book Flatland in the form of a memoir, hoping to keep it as posterity for a future generation that can see beyond their two-dimensional existence.

Men are portrayed as polygons whose social status is determined by their regularity and the number of their sides, with a Circle considered the "perfect" shape. On the other hand, women consist only of lines and are required by law to sound a "peace-cry" as they walk, lest they be mistaken face-to-face for a point. The Square evinces accounts of cases where women have accidentally or deliberately stabbed men to death, as evidence of the need for separate doors for women and men in buildings.

In the world of Flatland, classes are distinguished by the "Art of Hearing", the "Art of Feeling", and the "Art of Sight Recognition". Classes can be distinguished by the sound of one's voice, but the lower classes have more developed vocal organs, enabling them to feign the voice of a Polygon or even a Circle. Feeling, practised by the lower classes and women, determines the configuration of a person by feeling one of its angles. The "Art of Sight Recognition", practised by the upper classes, is aided by "Fog", which allows an observer to determine the depth of an object. With this, polygons with sharp angles relative to the observer will fade more rapidly than polygons with more gradual angles. Colour of any kind is banned in Flatland after Isosceles workers painted themselves to impersonate noble Polygons. The Square describes these events, and the ensuing class war at length.

The population of Flatland can "evolve" through the "Law of Nature", which states: "a male child shall have one more side than his father, so that each generation shall rise (as a rule) one step in the scale of development and nobility. Thus the son of a Square is a Pentagon, the son of a Pentagon, a Hexagon; and so on".

This rule is not the case when dealing with isosceles triangles (Soldiers and Workmen) with only two congruent sides. The smallest angle of an Isosceles Triangle gains thirty arc minutes (half a degree) each generation. Additionally, the rule does not seem to apply to many-sided Polygons. For example, the sons of several hundred-sided Polygons will often develop fifty or more sides more than their parents. Furthermore, the angle of an Isosceles Triangle or the number of sides of a (regular) Polygon may be altered during life by deeds or surgical adjustments.

An equilateral triangle is a member of the craftsman class. Squares and Pentagons are the "gentlemen" class, as doctors, lawyers, and other professions. Hexagons are the lowest rank of nobility, all the way up to (near) Circles, who make up the priest class. The higher-order Polygons have much less of a chance of producing sons, preventing Flatland from being overcrowded with noblemen.

Only regular Polygons are considered until chapter seven of the book when the issue of irregularity, or physical deformity, became considered. In a two dimensional world a regular polygon can be identified by a single angle and/or vertex. To maintain social cohesion, irregularity is to be abhorred, with moral irregularity and criminality cited, "by some" (in the book), as inevitable additional deformities, a sentiment with which the Square concurs. If the error of deviation is above a stated amount, the irregular Polygon faces euthanasia; if below, he becomes the lowest rank of civil servant. An irregular Polygon is not destroyed at birth, but allowed to develop to see if the irregularity can be "cured" or reduced. If the deformity remains, the irregular is "painlessly and mercifully consumed."

In Flatland Abbott describes a society rigidly divided into classes. Social ascent is the main aspiration of its inhabitants, apparently granted to everyone but strictly controlled by the top of the hierarchy. Freedom is despised and the laws are cruel. Innovators are imprisoned or suppressed. Members of lower classes who are intellectually valuable, and potential leaders of riots, are either killed, or promoted to the higher classes. Every attempt for change is considered dangerous and harmful. This world is not prepared to receive "revelations from another world".

The satirical part is mainly concentrated in the first part of the book, "This World", which describes Flatland. The main points of interest are the Victorian concept of women's roles in the society and in the class-based hierarchy of men. Abbott has been accused of misogyny due to his portrait of women in Flatland. In his Preface to the Second and Revised Edition, 1884, he answers such critics by emphasizing that the description of women was satirizing the viewpoints held, stating that the Square:

was writing as a Historian, he has identified himself (perhaps too closely) with the views generally adopted by Flatland and (as he has been informed) even by Spaceland, Historians; in whose pages (until very recent times) the destinies of Women and of the masses of mankind have seldom been deemed worthy of mention and never of careful consideration.

Although Flatland was not ignored when it was published, it did not obtain a great success. In the entry on Edwin Abbott in the Dictionary of National Biography,[specify ][which? ] Flatland is not even mentioned.

The book was discovered again after Albert Einstein's general theory of relativity was published, which brought to prominence the concept of a fourth dimension. Flatland was mentioned in a letter entitled "Euclid, Newton and Einstein" published in on 12 February 1920. In this letter Abbott is depicted, in a sense, as a prophet due to his intuition of the importance of time to explain certain phenomena:

Some thirty or more years ago a little jeu d'esprit was written by Dr. Edwin Abbott entitled Flatland. At the time of its publication it did not attract as much attention as it deserved... If there is motion of our three-dimensional space relative to the fourth dimension, all the changes we experience and assign to the flow of time will be due simply to this movement, the whole of the future as well as the past always existing in the fourth dimension.

-  from a "Letter to the Editor" by William Garnett. in Nature on February 12, 1920.

Numerous imitations or sequels to Flatland have been created. Examples include:

In literature

Books and short stories inspired by Flatland include:[citation needed ]

Physicists and science popularizers Carl Sagan and Stephen Hawking have both commented on and postulated about the effects of Flatland. Sagan recreates the thought experiment as a set-up to discussing the possibilities of higher dimensions of the physical universe in both the book and television series Cosmos, whereas Hawking notes the peculiarity of life in two-dimensional space, as any inhabitants would necessarily be unable to digest their own food.

Flatland features in The Big Bang Theory episode "The Psychic Vortex", when Sheldon Cooper declares it one of his favourite imaginary places to visit.

On the series The Orville, episode "New Dimensions", Captain Ed Mercer references Flatland and its theme of social hierarchy in response to both the discovery of a two-dimensional anomaly in space, as well as his and another colleague's questionable promotions through the ranks.

"Sci-Fri Bookclub"-recording of National Public Radio discussion of Flatland, featuring mathematician Ian Stewart (21 September 2012)

Online and downloadable versions of the text

Flatland, a Romance of Many Dimensions (first edition) on Wikisource

Flatland, a Romance of Many Dimensions (second edition) on Wikisource

, text, no illustrations

Flatland, digitised copy of the first edition from the Internet Archive

Flatland (Second Edition), Revised with original illustrations (HTML format, one page)

Flatland (Fifth Edition), Revised, with original illustrations (HTML format, one chapter per page)

Flatland (Fifth Edition), Revised, with original illustrations (PDF format, all pages, with LaTeX source on github)

Flatland (illustrated version) on Manybooks

Flatland at Open Library

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Flatland: A Romance of Many Dimensions is a satirical novella by the English schoolmaster Edwin Abbott Abbott, first published in 1884 by Seeley & Co. of London. Written pseudonymously by "A Square", the book used the fictional two-dimensional world of Flatland to comment on the hierarchy of Victorian culture, but the novella's more enduring contribution is its examination of dimensions.

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Gödel, Escher, Bach: an Eternal Golden Braid de Douglas Hofstadter

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Gödel, Escher, Bach: an Eternal Golden Braid de Douglas Hofstadter

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Todos nós estamos contribuindo com o algoritmo.

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Todos nós estamos contribuindo com o algoritmo.

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Caderno Elétrico #4  - Newsletter da Academia de Curadoria

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Caderno Elétrico #4  - Newsletter da Academia de Curadoria

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A IRIS+ foi considerada pelo jornal estadunidense "The New York Times" como um dos mais disruptivos usos da inteligência artificial em museus pelo mundo. Seu desenvolvimento já foi tema de congressos pelo Brasil, além de eventos ligados à tecnologia realizados na França e Estados Unidos.

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Inaugurada em dezembro de 2017 como primeira extensão da Exposição Principal, a IRIS+, projeto que permite ao visitante aprofundar sua experiência no Museu do Amanhã, ganhou novo projeto de design e foi atualizada com mais sugestões de iniciativas e projetos com os quais o visitante pode se engajar.

Com as novas funcionalidades, a IRIS+ se torna ainda mais efetiva na função de unir tecnologia, interatividade e justiça social. O visitante vai notar que as iniciativas - 250 cadastradas até o momento - estão alinhadas aos Objetivos de Desenvolvimento Sustentável (ODSs) das Nações Unidas, e os temas discutidos na experiência podem ser melhor explorados graças a uma aplicação que mostra onde aquela informação pode ser encontrada pela Exposição Principal do Museu. Além disso, visitantes com deficiência auditiva podem realizar a experiência completa graças à acessibilidade implementada nesta nova fase. Outra novidade é que a fotografia feita pela experiência é enviada por e-mail ao visitante, que pode compartilhá-la nas redes sociais.

O assistente cognitivo construído com IBM Watson - plataforma de Inteligência Artificial para negócios - foi desenvolvido não somente para responder aos visitantes, mas também formular perguntas. Após motivar uma reflexão ao longo da mostra sobre a atual época geológica em que vivemos, o Antropoceno, a intenção com a IRIS+ é encorajar o visitante a pensar sobre seu papel na sociedade e a agir para um amanhã mais consciente, tolerante e sustentável.

Ao chegar ao Museu do Amanhã - um espaço de ciências, que examina o passado, apresenta tendências do presente e explora cenários possíveis para os próximos 50 anos -, o visitante recebe o cartão da IRIS, a nossa assistente virtual. Ao longo do percurso narrativo, que é norteado por perguntas que acompanham desde sempre a humanidade (De onde viemos? Quem somos? Onde estamos? Para onde vamos? Como queremos ir?), esse cartão registra os dados da pessoa, abrindo as experiências interativas da Exposição Principal.

A IRIS+ também é acionada por esse cartão (da IRIS). Mas a diferença é que, ao final do percurso, ao lado da área NÓS, a IRIS ganha voz - deficientes auditivos, ou quem preferir, podem conversar por chat - e fala diretamente com o visitante. São seis totens de autoatendimento, sendo dois para uso prioritário de cadeirantes e crianças. O diálogo inicia com a indicação do visitante sobre a sua principal preocupação a partir do que acabou de vivenciar.
Como funciona a IRIS+
No desenvolvimento da aplicação, foi utilizada a API (Application Programming Inter-faces) Watson Conversation Service (WCS), hospedada na IBM Cloud. A aplicação foi treinada para responder dúvidas e também fazer perguntas, guiando um diálogo com os visitantes sobre os dois eixos temáticos principais do Museu do Amanhã: sustentabilidade e convivência.

O visitante é questionado sobre como ele pode modificar sua preocupação e, a partir de sua resposta, a IRIS+ apresenta, por exemplo, projetos de diversas organizações, fundações e instituições do Brasil, cadastradas pela equipe do Museu do Amanhã, que podem levá-lo a um engajamento social. Até fevereiro de 2020, o interativo IRIS+ foi utilizado 528.923 vezes. 37% deles dizem ter se engajado em alguma questão, social ou ambiental, após a participação na experiência. As cinco maiores preocupações do visitante do Museu são as seguintes:

A IRIS+ foi considerada pelo jornal estadunidense "The New York Times" como um dos mais disruptivos usos da inteligência artificial em museus pelo mundo. Seu desenvolvimento já foi tema de congressos pelo Brasil, além de eventos ligados à tecnologia realizados na França e Estados Unidos.

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Inaugurada em dezembro de 2017 como primeira extensão da Exposição Principal, a IRIS+, projeto que permite ao visitante aprofundar sua experiência no Museu do Amanhã, ganhou novo projeto de design e foi atualizada com mais sugestões de iniciativas e projetos com os quais o visitante pode se engajar.

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When the pandemic hit I was already in Mars. Not so far as the planet Mars, but in a little part of the Sonoran desert where me and some friends created an art community/ R&D lab we call Mars. After all, if our technology could one day take some humans to Mars, we could just as well use it to try to inhabit the harsh parts of nowadays Earth. A high tech, low cost approach. It’s an exercise in resilience and sustainability, with a lot of space for artistic madness and fun. We hope to share whatever knowledge we gather with our projects' documentation and open source software libraries. It’s a seasonal enterprise, the Martian community is only functional during Winter time, but it’s a long term one.
I started collecting local clay and creating ceramics with primitive kilns I dug into the ground. Then I got fancy and started to experiment with a variety of art clays and glazes. I transformed the sculptures into 3d digital objects using a technique known as photogrammetry. With artificial intelligence tools, I created animations based on the sculptures. When I realized, I was creating a sci-fi tale about humans who mutate to adapt to a changing environment. Also, humans who don’t see a difference anymore between the physical world and its virtual simulation. So humans become Martians, a colorful, genderless, only head and no body, version of ourselves. It’s a playful extrapolation of some of the futuristic stereotypes of our present society. 2021 version of the ‘little green man’ alien classic.
Not so different from us, these future humans like to spend their time telling stories, imagining the past and the future. I’m still creating their stories. I plan to spend many years imagining their stories and inviting people to join me in such task.
My artworks used to be about historical research, tales of world history. During the pandemic I
started to put my energy into imagining futures I’d like to live in, how not to fall into dystopia. A
little bit of joy, playfulness and hope.

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Virtual and live experiences showing how Humans+AI work together.

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Museum of AI creates immersive learning experiences about Humans+AI working together. Host a live or virtual experience for your customers, teams, and partners. %

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Número de iniciativas de IA em museus (2010-2021)

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As part of my research work on museums and Artificial Intelligence, I have compiled a list of activities based on press releases, journal articles, museum blogs, and other sources. This list has been compiled in collaboration with Oonagh Murphy, Lecturer (Goldsmiths, University of London) and Kate Nadel, Research Assistant (Pratt Institute).

The goal is to map the activities where museums are applying AI technologies such as robots, chatbots, computer vision, natural language processing, and machine learning.

Number of AI initiatives in museums (2010-2021)

If you know other museum projects that apply AI technologies please add them to the list using this form:
https://forms.gle/wSbHEfaWq9h89TgB7
You can find more information about this research on the Museums and AI network website.

Tagged artificial intelligence, machine learning

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List of Artificial Intelligence (AI) initiatives in museums

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As part of my research work on museums and Artificial Intelligence, I have compiled a list of activities based on press releases, journal articles, museum blogs, and other sources. This list has been compiled in collaboration with Oonagh Murphy, Lecturer (Goldsmiths, University of London) and Kate Nadel, Research Assistant (Pratt Institute).

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KURZWEIL, Ray. A singularidade está próxima. Quando os humanos transcendem a biologia. (2005)

"Sua tese é a de que na primeira metade do séc. XXI a inteligência artificial superará, de longe, a humana - e a singularidade terá acontecido."

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Frieder Nake
Random Polygon, 1963

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“What are the minimum conditions under which a set of marks functions as an image?”

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“What are the minimum conditions under which a set of marks functions as an image?”

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Harold Cohen
Untitled Computer Drawing, 1982

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A post shared by ART+TECHNOLOGY (@artandtechofficial)

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A post shared by ART+TECHNOLOGY (@artandtechofficial)

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"Clearly recognizable styles are well-defined problems that can be reduced to computational tasks, while the generation of variants that don’t follow compositional rules (like Duchamp’s works) results in ill-defined tasks that have no easy procedural solution.7 “My kid could have done that!”, the popular cliché directed at contemporary art, seems now, in an ironic reversal, to turn against the great and stylistically complex - but computationally scalable - art of cultural tradition: even an AI could do that. It is the Duchamp that remains outside of AI’s creative abilities, at least for now."

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"The encounter between AI and aesthetics is crucial because aesthetics is considered a quintessentially human domain. Its intractability and complexity have long appeared as insusceptible to algorithmic reduction. For some, art, aesthetics, and creativity are the pinnacle of human abilities and therefore represent a final bulwark against the seemingly unstoppable advances of AI. In other words, this complex field becomes the ultimate testing ground for AI’s possibilities and limitations."

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Listen to this episode from Braincast on Spotify. Nas últimas semanas, uma premiação de arte no Colorado, nos Estados Unidos, virou polêmica mundial. O motivo? O artista vencedor usou o Midjourney, uma plataforma de Inteligência Artificial, para gerar a sua imagem.

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A post shared by 국립중앙박물관 (@nationalmuseumofkorea)

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1. a questão do gosto como uma construção social (bourdieu)
2. criatividade vs teleologia vs autonomia
3. o futuro das ias (utopias e distopias)
4. singularidade vs autor vs mercado vs NFT
5. capitalismo informacional e como a arte se relaciona com isso (algoritmo e produção de dados) - (qual o futuro dos museus em uma realidade de excesso de imagens?)

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An A.I.-Generated Picture Won an Art Prize. Artists Aren’t Happy. (Published 2022)

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“I won, and I didn’t break any rules,” the artwork’s creator says.