Ich werde diesen Newsletter ein wenig umstrukturieren, ich bin immer noch dabei, herauszufinden, was das ideale Format für diese Plattform ist. Bislang habe ich, ähnlich wie auf meinem ehemaligen Blog thematisch sortierte und kommentierte Linksammlungen veröffentlicht, also vor allem eine Ausgabe mit News und Links zum Klimawandel, dann eine Ausgabe über Netzkultur, dann eine Ausgabe mit Musikvideos und Trailern. Ich denke, ein besserer Ansatz ist es, all das zu durchmischen und in den einzelnen Ausgaben mit Headlines für Ressorts abzutrennen. Wir werden sehen, wo das hinführt.

Heute mit einer Menge Links zur Outrage Machine formerly known as Netzkultur, ein Interview mit Mark Zuckerberg zum Metaverse, einer großartigen Demo, die auf dem Commodore-Floppy 1541 läuft, einem Podcast über die Philosophie der Rache, ein kurzes Video über Skateboarding als neue Olympische Sportart und vieles mehr.

Dieser Newsletter erscheint parallel und kostenlos auf Substack (Öffnet in neuem Fenster), Patreon (Öffnet in neuem Fenster) und Steady (Öffnet in neuem Fenster), wo ihr meine Arbeit aber auch mit einem monatlichen Abonnement unterstützen könnt. Shirts und Sticker gibt es auf Spreadshirt (Öffnet in neuem Fenster).

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METAVERSE

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Interview mit The Zuck über die Zukunft von Facebook, Mark in the Metaverse (Öffnet in neuem Fenster): “Facebook’s CEO on why the social network is becoming ‘a metaverse company’”.

Einer der Kernpunkte des Metaverses ist die Interoperabilität, also die Fähigkeit, Avatare des Users auf allen Plattformen des Metaverses zu nutzen. Facebook ist vor allem bekannt als “Walled Garden”, was meines Erachtens schon immer eine etwas schiefe Metapher war, denn Facebook ist weniger “walled”, als eine das Internet “durchwachsende Pflanze”, um im Bild zu bleiben. Nun geht es darum, diese Pflanze auch in anderen Gärten anpflanzen zu können, ähnlich dem Like-Button, nur sehr viel offener und umfassender.

Für mich hört sich das alles sehr nach dem an, was das Fediverse (interoperable und dezentralisierte Social Media Plattformen wie Mastodon) und das Indie Web (technische Unabhängigkeit von Plattformen durch Befreiung der Daten aus den Silos der Konzernen, so dass etwa meine Kommentare auf Facebook auch auf meiner privaten Website erscheinen) vor ein paar Jahren versuchten, nur mit mehr Crypto-Währungen, mehr Virtual Reality, Gaming und der Macht der Konzerne im Rücken.

Hier die diesbezügliche Stelle aus dem Interview:

I think a good vision for the metaverse is not one that a specific company builds, but it has to have the sense of interoperability and portability. You have your avatar and your digital goods, and you want to be able to teleport anywhere. You don’t want to just be stuck within one company’s stuff. So for our part, for example, we’re building out the Quest headsets for VR, we’re working on AR headsets. But the software that we build, for people to work in or hang out in and build these different worlds, that’s going to go across anything. So other companies build out VR or AR platforms, our software will be everywhere. Just like Facebook or Instagram is today.

So I think part of this is, I think it’ll be good if companies build stuff that can work together and go across lines rather than just being locked into a specific platform. But I do think that, just like you have the W3C (Öffnet in neuem Fenster) that helps set standards around a bunch of the important internet protocols and how people build the web, I think there will need to be some of that here, too, for defining how developers and creators can build experiences that allow someone to take their avatar and their digital goods and their friends, and be able to teleport seamlessly between all these different experiences.

So we’re already starting to do some of this. There’s an XR consortium (Öffnet in neuem Fenster) that we are in with Microsoft and a bunch of other companies that are working on some of this as well. But I think that that’s going to be one of the big questions. I don’t think every company is going to have exactly the same vision here. I think some are going to have more siloed visions, and I, at least, believe that in order for this to work really well, you want it to be very portable and interconnected.

There’s this great essay (Öffnet in neuem Fenster) that the venture capitalist Matthew Ball wrote last year about the metaverse. I imagine you’ve read it, but he talks about “unprecedented interoperability” as one of the defining features of this metaverse. And we live at this time when the biggest tech platforms are barely interoperable; at most, they might let you share some contact data or export some photos. So it sounds like you’re saying that you’re preparing to build systems that are much more interoperable than the ones we have today, at least on Facebook’s end.

Yeah. I think that that aligns with our mission and worldview. We’re generally not trying to serve a smaller number of people but have them pay us a large premium. That’s not our business model. We’re here to serve as many people as possible and to help people connect. And when you’re building social systems primarily, you want everyone to be able to be a part of the same systems. So we want to make them as affordable as possible, we want to make them as unified as possible, and part of that is making sure that things can run everywhere, can run across different platforms, can talk to each other. There are a bunch of big questions about how you do that. There will be privacy questions, there’ll be intellectual property questions.

I thought Matthew Ball’s essays, by the way, were great, and anyone who’s trying to learn about this, I think he wrote a nine-part piece (Öffnet in neuem Fenster) on a bunch of the different aspects of what the metaverse could be, and I highly recommend all of them. But I’d say that, I think sometimes people may be a little idealistic about assuming that this will develop in a certain way. I think the vision that Matthew lays out, for example, of being extremely interoperable, is the vision that I hope comes about. But I think we’ve seen from modern computing that there are different companies that push in different directions. So I think from my perspective, without a doubt, you’re going to have some companies that are trying to build incredibly siloed things, and then some that are trying to build more open and interoperable ones.

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Mehr in Marc Andreessens neuem Innovations-Magazin über das von mir sogenannte Konzept des Fluid Intellectual Property und wie Crypto-Währungen irgendwie User-Ownership über geistiges Eigentum simulieren soll.

The Creator Economy Comes for Gaming (Öffnet in neuem Fenster)

Through fan-built blockbusters like Roblox — which nearly tripled (Öffnet in neuem Fenster) payouts to external developers last year — and still-nascent players like The Sandbox and Mythical Games, where players can build and own their own blockchain-based game experiences, the creator economy is infiltrating the games industry. Players are discovering new ways to monetize their contributions, whether by building original game worlds, creating and selling in-game goods on the blockchain, or engaging with fans through new gaming streamer tools. Meanwhile, studios and game developers are realizing that giving players the opportunity to contribute — and share in the profits — presents a competitive advantage. This has the potential to reshape the underlying economics of game design and distribution in key ways.

“Fantasy Hollywood” — Crypto and Community-Owned Characters (Öffnet in neuem Fenster)

There’s already a broader cultural shift happening in corporations and beyond — just look at the rise of environmental, social, and corporate governance (ESG) investing, or activist investing, or fan communities for all kinds of creators. What these many different flavors of participation have in common is stakeholders or communities seeking new ways to organize and invest both time and money into supporting people and causes that appeal to them.We are on the cusp of the same thing happening with intellectual property around cultural characters.

Early in my career at e-commerce payment and advertising platform TrialPay (acquired by Visa), I worked with some of the most successful free-to-play game developers to help them grow and monetize their virtual economies. One game in particular provided an early case study on the power of giving fans the feeling of “single player” control of a popular character from their mobile phone. It was Kim Kardashian: Hollywood (Öffnet in neuem Fenster) (launched by Glu Mobile in 2014), a simple choose-your-own-adventure-style game where players pretend they are a Kardashian, and make decisions on avatar outfits, fictitious film shoots, and appearances.

While the game became a major hit, the currency (Öffnet in neuem Fenster) of the game — and all the outputs of countless choices and decisions made by fans — were confined to a closed-loop world: These early gaming experiences demonstrated the promise of simulated governance through an existing popular “character” that they could each individually enjoy, but they never provided the opportunity to work together with a community in a more meaningfully creative way.

What if, instead, fans could have introduced a new character into the real world, with anyone having the opportunity to participate in the fun, and financial upside, of its success?

Designing Internet-Native Economies: A Guide to Crypto Tokens (Öffnet in neuem Fenster)

At the simplest level, tokens are just code that lives on a global peer-to-peer network called a blockchain. But unlike other forms of money, they’re digitally native, programmable, and secured by one’s crypto wallet and private key. Cryptocurrencies are just one type of token.  There are two main categories of tokens: fungible (e.g., interchangeable) and non-fungible (e.g., unique). As more creators and communities build their own crypto economies, fungible tokens will be used to exchange goods, store value, and make collective decisions. Meanwhile, non-fungible tokens (e.g., NFTs) will be used to create new business models centered on collectibles, rewards, achievements, and more — giving people a sense of identity, status, and belonging.

Ich als harter Crypto-Skeptiker habe da ein paar Anmerkungen:

• Es handelt sich hier um eine Illusion von Eigentum, die Rechtssprechung sieht eine Demokratisierung von geistiger Eigentümerschaft bislang nicht vor und ich freue mich schon auf die erste Mickey Mouse-Copyright-Klage von Disney, weil irgendjemand ein unauslöschliches NFT auf der Blockchain verewigte und man sich dann vor Gericht mit “ABER DIE CREATOR ECONOMY11!ELF!!!” verteidigt. Tatsächliche Fluid Intellectual Property würde von den Konzernen ein echtes Mitspracherecht der Rezipienten erfordern, die gleichzeitig per Crypto zu Eignern gemacht werden sollen. Das kann man ja mal versuchen, Disney klarzumachen.

• Meines Erachtens leidet die Kreativität darunter. Das klingt zunächst paradox: Warum sollte eine Vermehrung von Kreativität an der User-Base durch Mitspracherechte und Demokratisierung der IPs zu einer Minderung der Kreativität führen? Um es harsch zu formulieren: Weil ein großer Teil des User-Generated-Contents mittelmäßíger Kram ist. Demokratisierte Kreativität bringt keine Stanley Kubricks hervor, sondern Helene Fischers, die entweder aalglatt und mainstreamtauglich produzieren ohne den Hauch eines Experiments, oder aber durch Outrage-Mechanismen und Provokation Erfolge einfahren. Eine Boulevardisierung der Kreativität wäre die Folge, außergewöhnliche und künstlerisch wertvolle Arbeiten wären in einer solchen demokratisierten Creator Economy die Ausnahme und nicht die Regel. (Ob das nun ein großer Unterschied zum Kapital-getriebenen Kultur-Markt wäre, sei an dieser Stelle dahingestellt.)

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TRAILERFEST

Neuer Trailer zu Neill Blomkamps Demonic ❤❤❤ und er sieht ganz, ganz großartig aus. Simulation-Horror ahead!

From the director of DISTRICT 9 and ELYSIUM, a young woman unleashes terrifying demons when supernatural forces at the root of a decades old rift between mother and daughter are revealed.

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Teddy ❤❤❤ Großartig aussehender Newschool-Werwolf-Horror aus Frankreich.

Twentysomething Teddy lives in a foster home and works as a temp in a massage parlor. Rebecca, his girlfriend, will soon graduate. A scorching hot summer begins. But Teddy is scratched by a beast in the woods: the wolf that local angry farmers have been hunting for months. As weeks go by, animal impulses soon start to overcome the young man. Directed by Ludovic Boukherma and Zoran Boukherma. Starring Anthony Bajon (The Prayer), Ludovic Torrent, Christine Gautier, Noémie Lvovsky, Guillaume Mattera, Jean-Paul Fabre, Alexis Orlandini, Gérard Pau and Jean-Michel Ricart.

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Ich mag Sandra Oh nicht besonders, aber The Chair sieht trotzdem sauwitzig aus. Ich werde mal reinsehen.

The Chair follows Dr. Ji-Yoon Kim (Sandra Oh) as she navigates her new role as the Chair of the English department at prestigious Pembroke University. Ji-Yoon is faced with a unique set of challenges as the first woman to chair the department, and as one of the few staff members of color at the university. Starring Sandra Oh, Jay Duplass, Holland Taylor, Bob Balaban, Nana Mensah, David Morse, and Everly Carganilla, The Chair premieres on Netflix August 20th.

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TECH

Wow. Someone coded a Demo that runs on a Floppy-Drive 1541 (Öffnet in neuem Fenster). NOT C64, *only* the 1541. This is some next level shit right there.

Freespin is a Commodore 1541 demo, released in 2021. It runs on the Commodore floppy drive. It is is the first demo on this device.

Freespin generates sound/music using the floppy drive mechanic (in particular, the stepper motor responsible for moving the head to the right track). Video is generated through the serial bus. The video signal needs to be connected to the drive's two output lines as shown in the following diagram.

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Japan Shattered Internet Speed Record at 319 Terabits per Second (Öffnet in neuem Fenster)

That’s a bunch of movies per second:

Engineers in Japan just shattered the world record for the fastest internet speed, achieving a data transmission rate of 319 Terabits per second (Tb/s), according to a paper presented at the International Conference on Optical Fiber Communications in June. The new record was made on a line of fibers more than 1,864 miles (3,000 km) long. And, crucially, it is compatible with modern-day cable infrastructure.

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Welcome to Simulation City, the virtual world where Waymo tests its autonomous vehicles - The Verge (Öffnet in neuem Fenster)

Waymo is unique among autonomous vehicle operators in that it has not one but two simulation programs it uses to train its vehicles. The first is CarCraft, which has been in use since at least 2017, and in which Waymo says it has driven over 5 billion miles. Simulation City is the latest virtual world in which the company trains, tests, and validates its “Waymo driver” software in order to ensure its vehicles are better prepared to meet all of the challenges of the open road. Waymo is sharing details about Simulation City for the first time exclusively with The Verge.

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Cheat-maker brags of computer-vision auto-aim that works on “any game” (Öffnet in neuem Fenster): Capture cards, input hardware, and machine learning get around system-level lockdowns.

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GOOD YOUTUBE

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Skateboarding Is Now an Olympic Sport—and Lizzie Armanto Is Going for Gold (Öffnet in neuem Fenster)

How to Photograph a Black Hole | The Space Show (Öffnet in neuem Fenster)

Wool-Stopmotion by Andrea Georgia (Öffnet in neuem Fenster)

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OUTRAGE MACHINE

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Das neue Morals & Machines-Journal (Öffnet in neuem Fenster), über das ich bereits geschrieben hatte, stellt nun alle wissenschaftlichen Fachartikel aus seiner ersten Ausgabe online (Öffnet in neuem Fenster).

Ich habe alle Artikel grade runtergeladen, die sind allesamt empfehlenswert, hier ein Auszug aus dem Inhaltsverzeichnis:

• Hybrid Reality: The Rise of Deepfakes and Diverging Truths

• Clout Chasing for the Sake of Content Monetization: Gaming Algorithmic

• Architectures with Self-Moderation Strategies

• On The Verge of the Hybrid Mind

• Beyond the Binary: Building a Quantum Future

• Addressing the Legal Dimensionof Quantum Computers

• Research in AI has Implications for Society: How do we Respond?

• Tackling the Grand Challenge of Algorithmic Opacity Through Principled Robust Action

• Experimental Regulations for AI: Sandboxes for Morals and Mores

Aus dem Editorial:

With Morals & Machines, we want to provide a forum for informed debate around which type of social contract we want to construct for living well with these increasingly capable machines. Set against the backdrop of ubiquitous applications of autonomous systems, Morals & Machines provides a space for a curious community seeking to explore the intersections and dissolving boundaries between moral reasoning and technological creation, between machine behavior and social implications, between conceptual frameworks, regulations, and practical implementation of technologies. This journal will be based on two overarching guideposts: the agency of machines, and the morals we want to instill them with, if any.

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Beautiful piece about how the content industry creates pure stream of stimulants without any narrative framework (Öffnet in neuem Fenster), a constant slog of crap without end, destroying any attempt at “art” within the contents of social media.

the new “content” monopoly portends a dark future indeed for the narrative arts. Nowhere is this clearer to me than in the “Skip Intro” option that a viewer is given at the start of a new episode of any made-for-binge-watching series. To skip the intro is not just to “get on with things”, as an innocent viewer might imagine. It is rather to opt out of the transition into ritual time that storytelling requires, and to permit us to misapprehend the nature of the material with which we are engaging. I believe this is an inevitable rather than a merely unfortunate consequence of the reconception of the narrative art as “content”: the hooks and incentives that keep you attentive to it need be no different from the non-narrative gratification mechanisms built into video games and social media.

Social media is pure temporality unstructured by narrative. You move from stimuli to lulls to stimuli, from lulls to lulz and back again, but there is no development or progression or conceivable sense of possible completion. In this sense, social media is also the opposite of poetry, again conceived as the condensing of an idea, perhaps an idea with some narrative dimension to it, into a single instant or point. When we zoom out from the stimuli embedded in “content”, whether the likes of social media or the plot conventions of made-for-binging television, what we see is a uniform mass, a homoeomery, something that has neither the atemporal perfection of poetry nor the purposive temporal structure of prose, but only the unstructured lapsing of time — pure purposeless chronophagy.

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Oh god please no just die already ‘PizzaGate’ Conspiracy Theory Thrives Anew in the TikTok Era (Öffnet in neuem Fenster).

Immer daran erinnern bitte: Pizzagate ist vor allem die Erfindung eines einzelnen Typen, der damals bei Gamergate als fadenscheiniger Anwalt Karmapoints gesammelt hatte, ein paar Pickup-Bücher geschrieben hat und im Zuge von Trumps Präsidentschaft auf einmal als “Journalist” in den Pressekonferenzen im Weißen Haus saß.

Mike Cernovich ist die Mutter aller inkompetenten Internet-Hacks, die sich sich irgendwie mit Glück, großer Fresse und einer Menge Dunning-Kruger dank Social Capital, das sie sich in der Aufmerksamkeitsökonomie erschleichen, an die Spitze der Informationsdistribution setzen können.

Und die Memes dieses Kretins leben ihr dämliches, saudummes Eigenleben:

This time, PizzaGate is being fueled by a younger generation that is active on TikTok, which was in its infancy four years ago, as well as on other social media platforms. The conspiracy group QAnon is also promoting PizzaGate in private Facebook groups and creating easy-to-share memes on it. Driven by these new elements, the theory has morphed.

PizzaGate no longer focuses on Mrs. Clinton and has taken on less of a political bent. Its new targets and victims are a broader assortment of powerful businesspeople, politicians and celebrities, including Mr. Bieber, Bill Gates, Ellen DeGeneres, Oprah Winfrey and Chrissy Teigen, who are lumped together as part of the global elite. For groups like QAnon, PizzaGate has become a convenient way to foment discontent.The theory has also gone global. While it previously found traction mainly in the United States, videos and posts about it have racked up millions of views in Italy, Brazil and Turkey.

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Anti-vaccine groups changing into 'dance parties' on Facebook to avoid detection (Öffnet in neuem Fenster)

Classic tactics from actual dissident groups in e.g. China are adopted by idiots. Great.

Some anti-vaccination groups on Facebook are changing their names to euphemisms like “Dance Party” or “Dinner Party,” and using code words to fit those themes in order to skirt bans from Facebook, as the company attempts to crack down on misinformation about Covid-19 vaccines.

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The most funny-but-totally-annoying genre of online journalism might be journos writing about how totally shitty twitter is, while also being totally addicted to twitter gossiping there all the time. It must be related to net-activists' articles about #deletefacebook - and then they publish these creeds on facebook.

However, this is a good headline about hate-reading on the Twitters: "Wow! This Woman Just Spent 40 Minutes Investigating A Twitter Beef Even Though She Has but One Life on God’s Green Earth (Öffnet in neuem Fenster)"

In another life, an aeon of 6 years ago, I wrote a lengthy essay about how negativity and rage eats the web through simple human psychology, because we are hardwired to spot danger. We as a species are totally addicted to shitty crap and gossip, and this, accelerated through the masses of people on social media and speed, creates an ever growing firestorm and there's no "overcoming surveillance capitalism" that will change that, I'm sorry.

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How the Far Right in Italy Is Manipulating Twitter and Discourse (Öffnet in neuem Fenster): "outrage can be used strategically to invite media coverage (and coverage of the coverage), further expanding the meme’s message."

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U.S. extremists dabble in #FreeBritney conspiracy theories (Öffnet in neuem Fenster) - Wo ist Chris Crocker wenn man ihn braucht?

Among successful attempts to merge Spears coverage with extremist ideologies has been Infowars, the media operation of Texas-based anti-government conspiracy theorist Alex Jones. On a web platform built and maintained by Infowars, a producer for the network named Greg Reese has accumulated nearly 300,000 views on a video (Öffnet in neuem Fenster) that, among other things, claims that Spears was “groomed” to appear on a Disney television show “during a time the company was rife with pedophiles,” echoing a handful of conspiracy theories about widespread child abuse in the entertainment industry. Reese alleges that Spears may have been a victim of government-conducted “trauma-based mind-control programs” like MK-Ultra (Öffnet in neuem Fenster).Another video (Öffnet in neuem Fenster) posted on Infowars’ platform featured attorney Robert Barnes, who alternates between advocating for Jones in defamation lawsuits and appearing as a personality on Jones’ network. He claimed that billionaires Bill Gates and George Soros “want to treat all of us the way those conservators have treated Britney Spears” and will use “things like COVID as a pretext and a predicate” for oppression. Spears, Barnes claims, is a “red flag of what’s to come.” The video featuring Barnes received more than 250,000 views at the time of publication.

Liz Crokin, a notorious promoter of QAnon and Pizzagate (Öffnet in neuem Fenster) conspiracy theories, has also shown interest in Spears’ conservatorship situation and has been explicit in her desires to spin the situation to validate her own outlandish theories. Crokin has gone so far as to create a Telegram channel dedicated to Spears content, which amassed thousands of followers in its first day alone.

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AND THEN THIS HAPPENED

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Fuck Hedonism. I never bought into the idea anyways and the past 3 years teached me that hedonists are bad, cruel and mean people anyways so who gives a damn and now here's science: There is no temporal relationship between hedonic values and life satisfaction: A longitudinal study spanning 13 years (Öffnet in neuem Fenster).

Hedonism is defined as valuing the personal experience of pleasure and comfort as a guiding principle in one’s life. Cross-sectional research shows null or weak positive associations between hedonism and life satisfaction. (...) The results also showed that whereas hedonism steadily decreased over time, life satisfaction showed a quadratic trend over the course of the study.

Wanna be happy? Don't be a hedonist.

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Schöner Podcast über das vergessene Konzept der Rache, das vom modernen Rechtsstaat in das Unzivilisatorische verdrängt wurde, obwohl unsere ganze moderne Mythologieschreibung (also Geschichtenerzählung in Film und Literatur) voll sind von Revenge Stories und auch unsere privaten Gedanken nicht frei sind von Gedanken der Rache.

DLF: Philosophie der Rache - Die verdrängte Seite der Moderne (Öffnet in neuem Fenster)

Wie du mir, so ich dir? Rache hat im modernen Selbstbild nichts zu suchen – Rachegefühle sind uns aber keineswegs fremd, sagt der Philosoph Fabian Bernhardt. Er fordert, die Rache unvoreingenommen zu betrachten, um sie besser zu verstehen.

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There’s a bear at the Olympic Softball Venue just so you know (Öffnet in neuem Fenster) 🐻

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Swedish inmates in a high-security prison took 2 guards hostage and demanded [kebap] pizza as ransom (Öffnet in neuem Fenster)

Two Swedish inmates in a high-security prison took two guards hostage for nine hours on Wednesday and eventually released their captives after a request for [kebap] pizza was answered, reported Swedish daily newspaper Aftonbladet (Öffnet in neuem Fenster).

According to Aftonbladet, the pair initially demanded a helicopter but later negotiated down to 20 kebab shop pizzas for themselves and other inmates.The pizzas were delivered to the inmates at 4:30 p.m. By 9:30 p.m., they had released both guards, bringing a close to the nine-hour-long hostage drama."Yes, the pizzas were delivered," Prison Spokesman Stina Lyles told AFP. (Öffnet in neuem Fenster)

She also added that the guards were not hurt "and were able to return safely to their family."

Here’s some Kebap Pizza.

To be fair, this looks like ordinary Döner sans salad, but on a pizza bread instead of flatbread. Whatever, I’d eat the shit out of Döner Pizza all the time (if I weren’t on a strict diet).

😶