// r/The_Donald – r/politics = r/fatpeoplehate | Su…

// Trailerfest: Spider-Man: Homecoming, A Ghost Story, Below her Mouth, Rupture, Casting JoBenet, Evil Nanny, Ghost in the Shell

Gepostet 15:58 in #Movies #Spiderman #Trailer

Neuer und ziemlich toller Spidey-Trailer mit jeder Menge Avengers, Iron Man und einem großartigen Michael Keaton als Vulture.

Außerdem Clips und Teaser zum Indie-Drama A Ghost Story, zum Erotik-Thriller Below Her Mouth, zum Crime-Doku-Drama Casting JoBenet, zu den Horrorschlocks Rupture und Evil Nanny sowie nochmal ein finaler Trailer zu Ghost in the Shell.

Spiderman: Homecoming

A young Peter Parker/Spider-Man (Tom Holland), who made his sensational debut in Captain America: Civil War, begins to navigate his newfound identity as the web-slinging super hero in Spider-Man: Homecoming. Thrilled by his experience with the Avengers, Peter returns home, where he lives with his Aunt May (Marisa Tomei), under the watchful eye of his new mentor Tony Stark (Robert Downey, Jr.). Peter tries to fall back into his normal daily routine – distracted by thoughts of proving himself to be more than just your friendly neighborhood Spider-Man – but when the Vulture (Michael Keaton) emerges as a new villain, everything that Peter holds most important will be threatened.

Newsbits:

Gib mir den Rest, Baby…

// Mini-Herz und Koronar-Arterien aus Spinat-Blättern

Gepostet 13:10 in #Science #Tech #Anatomy #Blood #Medics #Plants


Wissenschaftler haben Spinatblätter von Pflanzenzellen befreit, haben auf dem übriggebliebenen Skelett Herzmuskel gezüchtet und dann haben sie die Zellulose als Koronar-Arterien benutzt, um Blut durch das Miniatur-Spinatblattherz zu pumpen. Popeye would be proud: Spinach Leaf Transformed Into Beating Human Heart Tissue.

One of the defining traits of a leaf is the branching network of thin veins that delivers water and nutrients to its cells. Now, scientists have used plant veins to replicate the way blood moves through human tissue. The work involves modifying a spinach leaf in the lab to remove its plant cells, which leaves behind a frame made of cellulose.

“Cellulose is biocompatible [and] has been used in a wide variety of regenerative medicine applications, such as cartilage tissue engineering, bone tissue engineering, and wound healing,” the authors write in their paper.

The team then bathed the remaining plant frame in live human cells, so that the human tissue grew on the spinach scaffolding and surrounded the tiny veins. Once they had transformed the spinach leaf into a sort of mini heart, the team sent fluids and microbeads through its veins to show that blood cells can flow through this system.

// Battle of the Air-Ink-Markers mit Feinstaub-Tinte in Berlin (Werbung)

Morgen ab 18:30 Uhr (hier das Facebook-Event) zeigen die Street Artists Andrea Wan, Gogoplata, Kera1, Cren & Akte One und Steffen Seeger während eines Artist-Battles im Friedrichshainer Kunsthaus Urban Spree, was man mit den Markern und Cans voller Air-Ink-Tinte so anstellen kann, die ich hier jetzt schon ein paar mal vorgestellt hatte.

Zusammen mit Tiger Beer, dem Premium-Lager aus Asien, bringt Air-Ink, die weltweit erste Farbe, die aus Diesel-Abgasen gewonnen wird, die zukunftsweisende Zusammenarbeit mit aufstrebenden Street Art Künstlern in die Metropolen der Welt. Gemeinsam möchte man damit in zahlreichen Städten einzigartige Street-Art-Kunstwerke erschaffen und so die Aufmerksamkeit auf die Air-Ink Technologie lenken. Kick-off der globalen Air-InkTM Initiative ist am 27. März in London, gefolgt am 28. März von Berlin, New York und Singapur.

Tiger Air-Ink Live Painting Event

Mit den Street Artists: Andrea Wan, Gogoplata, Kera1, Cren & Akte One,
Steffen Seeger.

28. März 2017 ab 18:30 Uhr, Urban Spree, Revaler Str. 99, 10245 Berlin-Friedrichshain

PAINTING BATTLE: 4 Artists, 90 Minutes, 4 Artworks
Musikalischer Support kommt an den Decks vom Berliner Produzenten Suff Daddy und Hazeem am Mic.

Der Artist-Battle morgen Abend ist Teil einer mehrtägigen Event-Reihe rund um den Air-Ink-Hub im Urban Spree, in denen die Marker und die Tinte auf ihre Straßentauglichkeit erprobt werden können. Hier alle Dates und Adressen:

28.3.2017
18:30–23h - Artist Battle | Urban Spree, Revaler Straße 99
20–23h - Live-Painting | Chapel Bar, Sonntagstraße 30

29.3.2017
12-21h - Collaborate - Make your own Art | Urban Spree, Revaler Straße 99

30.3.2017
20–23h - Live-Painting | Mivadu, Rosenthaler Straße 69

31.3.2017
20–23h - Live-Painting | Belushi's, Rosa Luxemburg Straße 39–41

Digital Map: http://tinyurl.com/llxmvgx

Über Air-Ink: Die besten Ideen entstehen oft auf der Straße – so auch die Idee zu Air-Ink von Anirudh Sharma.

Im Jahr 2015 entwickelte der an Zukunftstechnologien forschende MIT-Absolvent das weltweit erste Verfahren, mit dem hochwertige, vielfältig einsetzbare Farbe und Tinte aus gefilterten Diesel-Abgasen hergestellt werden kann. Damit ist es möglich, bis zu 95% der durch Autos in die Luft abgegebenen Rußpartikel einem kreativen Verwendungszweck zuzuführen. So konnten in der aktuell laufenden Beta-Phase bereits über 770 Liter Air-InkTM gewonnen werden – dies entspricht dem CO2-Emissionsäquivalent eines Dieselfahrzeugs bei ununterbrochenem Fahren über 2,3 Jahre. Seit 2016 unterstützt und fördert Tiger die Mission von Anirudh Sharma.

Disclosure: Sponsored by Tiger.

// r/The_Donald – r/politics = r/fatpeoplehate | Subreddit-Algebra

Großartige und hochinteressante und indeed sehr erhellende Spielerei von Trevor Martin auf FiveThirtyEight:Dissecting Trump’s Most Rabid Online Following. Die haben Machine Learning-Algorithmen auf r/The_Donald angesetzt und eine „latent semantic analysis“ durchgeführt. Damit konnten sie dann Subreddit-Algebra spielen, genau wie das bei visuellen Neural Networks auch funktioniert (Pic Street + Pic Car = Pic Street+Car).

Die Erkenntnisse sind erstmal nicht überraschend:

the subreddits that are most similar to r/The_Donald
r/Conservative and r/AskTrumpSupporters top the list, followed by r/HillaryForPrison, a subreddit that refers to Hillary Clinton by the pronoun “it” and notes in bold on the sidebar that “Putting It behind bars is fun!” After that it’s r/uncensorednews, a subreddit started by white nationalist moderators who found the existing, extremely popular r/news subreddit to be too liberal.

Und dann werden sie sehr erhellend: Wenn man das politische Interesse abzieht und die verwandten Subreddits betrachtet, ergibt sich die größte Schnittmenge bei r/fatpeoplehate, ein vor zwei Jahren gelöschtes Subreddit, in dem fette Menschen gemobbt wurden. Tja.

Subreddit algebra isn’t quite as simple as A – B = C. It’s more like A – B is closer to C than anything else, but it’s also pretty similar to D and not far off from E. So when you subtract r/politics from r/The_Donald, you actually get a list of every subreddit in our analysis, ranked in order of their similarity to the result of that subtraction. We’re showing just the top five.

// RechtsLinks 24.3.2017: Meme-Magic, The Problem With Facts, Le Pens Online Army und PC als Campus-Religion

Whitney Phillips (deren Troll-Buch hier rumliegt), Jessica Beyer und Gabriella Coleman (deren Troll-Buch hier ebenfalls rumliegt), über den Anteil der Meme-Magic bei Trumps Wahlsieg: Trolling Scholars Debunk the Idea That the Alt-Right’s Shitposters Have Magic Powers.

Ich halte ihren Meme-Begriff dabei für ein wenig zu eingeschränkt, niemand denkt wirklich, die Rightwing-Trolle hätten Trump den Sieg gebracht, aber sie waren die Bakterien im Acker von Goldenboy und haben sein Land zumindest mit fruchtbar gemacht und ich bin mir daher nicht ganz so sicher, ob sie nicht doch ihren Anteil daran hatten, „to create this energy“.

Sie befassen sich in ihrem Text mit dem weit herumgereichten und von mir ebenfalls halbkritisierten Artikel von Dale Beran: 4chan: The Skeleton Key to the Rise of Trump.

The first and most basic point to contest is the idea that "trolling" is an appropriate descriptor for the white nationalist alt-right. […] the term has been applied to so many different kinds of behaviors in so many different contexts over the last ten years that big and small, damaging and harmless, progressive and reactionary, are now flattened into one slippery category vaguely suggesting disruptiveness. […]

The second claim warranting pushback is the false assumption that alt-right "trolling" is equally interchangeable with 4chan and Anonymous, an assumption that posits static, ahistorical framings of both. Making this claim, either explicitly or implicitly, obscures the one basic, unifying fact of 4chan and Anonymous: that they change, both in terms of demographics and ideologically .

Certain vernacular norms have, of course, persisted over time; components of geek culture, meme culture, and rhetorical strategies associated with early trolling subculture and other forms of transgressive humor can still be found on contemporary 4chan and within groups of Anons, although the same could be said for many spaces and communities steeped in the broader category of internet culture, such as reddit (which itself is home to a number of pro-Trump alt-right boards—most notably r/the_donald—often discussed alongside 4chan's "politically incorrect" /pol/ board).

But beyond these more aesthetic—and sometimes rhetorical—through-lines, the 4chan and Anonymous of 2017 is not the same as the 4chan and Anonymous of 2008. On 4chan, this shift is most directly attributable to changes within its userbase.

That white supremacists from Stormfront decided to recruit on 4chan's /pol/ board, for example, in the process drawing new participants into the 4chan fold, speaks to this variability. So too does the exodus of many users in 2014 to places such as 8chan, when Chris Poole (aka moot), the site's founder and head administrator, decided to ban all discussion of the GamerGate hate and harassment campaign.

Even if the individuals using 4chan had remained absolutely invariable, however, those who were 20 in 2008 would be nearly 30 today, precipitating its own kind of change. […]

Contrary to Beran's account, which grossly minimizes Anonymous' role in Occupy Wall Street, the Anonymous of 2008-2015 displayed an ever growing commitment to social justice issues.

As Beyer's and Coleman's work chronicles, contributions made by Anonymous from this period were substantial, legion, and reverberated around the world: along with assisting every single occupation and revolution in 2011, from the 15-M movement gripping Spain to the first Tunisian flickering of the Arab and African Spring, members of Anonymous ruthlessly hacked governments and corporations, and eventually embraced domestic social justice, drawing attention both to rape culture and police brutality across North America.

These political behaviors, in full swing by 2011, even predated Anonymous' emergence as an activist force in 2008. In 2006, for example, Anons famously attacked the racist radio host Hal Turner, and over the next few years engaged in a number of proto-political raids that blurred the line between trolling and political action.

This faction was never a "skeleton key" to Donald Trump's Presidential ascension —but they sure as hell want people to think they were […] The idea that 4chan and its presumably interchangeable spawn Anonymous is fundamentally "united by a common culture and set of values, fuzzy around the edges, but solid at the core," as Beran argues, just doesn't hold up in the face of the verifiable historical record. […]

The third issue to address is the seemingly explanatory (and, admittedly, tidily appealing) idea that 4chan—and its alt-right trolls—were the lynchpin for securing Trump's Presidential victory.

It is certainly true that the alt-right's pro-Trump "shitposting"—the act of flooding social media with memes and commentary designed to bolster their "God Emperor" Trump—raised the public visibility of the alt-right and its memetic handiwork. And it is also true that this uptick in public visibility forced people to focus on Trump more than they would have otherwise. […] To assert that alt-right shitposters were a deciding factor in Trump's victory risks minimizing the broader cultural, societal, and media trends that influenced their influence. […]

"Trolls" and the alt-right may have played a prominent role in the 2016 election, but that fact is dependent upon and cannot be untangled from journalistic coverage that amplified their messaging—shitpost memes very much included. Phillips describes how media coverage—even coverage condemning alt-right antagonisms—helped conjure this monster, and how that conjuring, in turn, helped amplify Trump's overall platform (which itself was a series of memes).

The fact that alt-right participants received so much coverage speaks to an even deeper issue, perhaps the weightiest issue, influencing Donald Trump's rise. More than fake news, more than filter bubbles, more than insane conspiracy theories about child sex rings operating out of the backs of Washington DC pizza shops, the biggest media story to emerge from the 2016 election was the degree to which far-right media were able to set the narrative agenda for mainstream media outlets. […]

What Breitbart did, what conspiratorial far-right radio programs did, what Donald Trump himself did (to say nothing of what the silent contributors to the political landscape did), was ensure that what far-right pundits were talking about became what everyone was talking about, what everyone had to talk about, if they wanted to keep abreast of the day's news cycle. Alt-right antagonisms—their "trolling"—was one cloud among many in this gathering storm, one roaring towards the mainstream from the far-far right. Shitpost participants adeptly harnessed this energy, were thrust into prominence because of this energy, and were able to transfer greater attention to Trump through this energy. But they didn't create this energy.


Dritter Teil von Michael Seemanns Essay über „Das Regime der demokratischen Wahrheit“: It’s the Culture, Stupid. Ich bin gespannt, wo Michael mit seiner „Theorie der demokratischen Wahrheit“ insgesamt landet und werde da sicher nochmal länger drauf eingehen, denn mit allem einverstanden bin ich nicht, von Terminologie bis Schlußfolgerungen, aber der ist insgesamt auf ’nem guten Weg zur Entwirrung der Dinge.

Seine 1-Satz-Zusammenfassung von Gamergate als „gewaltsame[r] Abstoßungsprozess der vornehmlich männlich dominierten Hardcore-Gamerszene gegen den kulturellen Wandel in der Spieleindustrie“ halte ich übrigens für ziemlich treffend, weil sie die Komplexität der Vorgänge damals zumindest nicht ausschließt wie etwa eindimensionale „Hategroup“-Kampfbegriffe, siehe auch Pansy Kathleen Duncan über „Hate as a Political Category: „the genre of 'hate-attribution' has a rare rhetorical power. In identifying 'hate' as the source of a particular position, gesture or speech-act, we effectively drain said position, gesture or speech-act of political agency or representational power—reducing it from an at-least-potentially polemical action in or response to the world, to the histrionic expression of a reprehensible personhood.“

Zu einem der prominentesten Vorkämpfer und Idolen der Gamergater wurde Milo Yiannopoulos, der auf Breitbart News das Geschehen zeitnah und scharf kommentierte und die Gamergate-Massen wieder und wieder aufhetzte. Seitdem gilt er als “Meistertroll” und Wunderwaffe gegen Feminismus und alles Progressive. Jedenfalls bis zu seinem Fall vor ein paar Wochen. Man kann sagen, dass Gamergate das entscheidende Politisierungsmoment der jungen, amerikanischen Nerdgeneration war, das zum Aufstieg dessen geführt hat, was wir heute Alt-Right nennen.

Als dann im Sommer 2015 Donald Trump mit seiner Präsidentschaftskampagne an den Start ging, stand eine militante, rechts politisierte Nerdkultur bereits in den Startlöchern. Breitbart hatte sich früh auf Trump als favorisierten Kandidaten eingeschoßen und spätestens durch die euphorische Ironisierung auf r/The_Donald wurde er schließlich zum Helden der Gamergater erkoren. Dass Steve Bannon ab Mitte 2016 dann das Kampagnenmanagement übernahm, war nur noch folgerichtig. Trump war Profiteur von etwas geworden, dass er selbst gar nicht verstand. Aber das rechte Mediensystem und die rechte Netzkultur verstanden ihn, darauf kam es an. Sie verstanden sein Überschreiten jeglicher Normen, seine Ablehnung von Political Correctness, seine kaum getarnter Rassismus und seine öffentlich zelebrierter Sexismus. Ohne Frage: Er war ihr Kandidat.


Excellent Piece by Tim Harford on The Problem With Facts:

We need some agreement about facts or the situation is hopeless. And yet: will this sudden focus on facts actually lead to a more informed electorate, better decisions, a renewed respect for the truth? The history of tobacco suggests not. The link between cigarettes and cancer was supported by the world’s leading medical scientists and, in 1964, the US surgeon general himself. The story was covered by well-trained journalists committed to the values of objectivity. Yet the tobacco lobbyists ran rings round them.

In the 1950s and 1960s, journalists had an excuse for their stumbles: the tobacco industry’s tactics were clever, complex and new. […]

With this in mind, consider the Leave campaign’s infamous bus-mounted claim: “We send the EU £350m a week.” Simple. Memorable. False. But how to rebut it? A typical effort from The Guardian newspaper was headlined, “Why Vote Leave’s £350m weekly EU cost claim is wrong”, repeating the claim before devoting hundreds of words to gnarly details and the dictionary definition of the word “send”. This sort of fact-checking article is invaluable to a fellow journalist who needs the issues set out and hyperlinked. But for an ordinary voter, the likely message would be: “You can’t trust politicians but we do seem to send a lot of money to the EU.” Doubt suited the Leave campaign just fine.

This is an inbuilt vulnerability of the fact-checking trade. Fact checkers are right to be particular, to cover all the details and to show their working out. But that’s why the fact-checking job can only be a part of ensuring that the truth is heard.

Andrew Lilico, a thoughtful proponent of leaving the EU, told me during the campaign that he wished the bus had displayed a more defensible figure, such as £240m. But Lilico now acknowledges that the false claim was the more effective one. “In cynical campaigning terms, the use of the £350m figure was perfect,” he says. “It created a trap that Remain campaigners kept insisting on jumping into again and again and again.”

Quite so. But not just Remain campaigners — fact-checking journalists too, myself included. The false claim was vastly more powerful than a true one would have been, not because it was bigger, but because everybody kept talking about it. […]

There’s a second reason why facts don’t seem to have the traction that one might hope. Facts can be boring. The world is full of things to pay attention to, from reality TV to your argumentative children, from a friend’s Instagram to a tax bill. Why bother with anything so tedious as facts?

Last year, three researchers — Seth Flaxman, Sharad Goel and Justin Rao — published a study of how people read news online. The study was, on the face of it, an inquiry into the polarisation of news sources. The researchers began with data from 1.2 million internet users but ended up examining only 50,000. Why? Because only 4 per cent of the sample read enough serious news to be worth including in such a study. (The hurdle was 10 articles and two opinion pieces over three months.) Many commentators worry that we’re segregating ourselves in ideological bubbles, exposed only to the views of those who think the same way we do. There’s something in that concern. But for 96 per cent of these web surfers the bubble that mattered wasn’t liberal or conservative, it was: “Don’t bother with the news.”

In the war of ideas, boredom and distraction are powerful weapons. […]

There’s a final problem with trying to persuade people by giving them facts: the truth can feel threatening, and threatening people tends to backfire. “People respond in the opposite direction,” says Jason Reifler, a political scientist at Exeter University. This “backfire effect” is now the focus of several researchers, including Reifler and his colleague Brendan Nyhan of Dartmouth.

In one study, conducted in 2011, Nyhan, Reifler and others ran a randomised trial in which parents with young children were either shown or not shown scientific information debunking an imaginary but widely feared link between vaccines and autism. At first glance, the facts were persuasive: parents who saw the myth-busting science were less likely to believe that the vaccine could cause autism. But parents who were already wary of vaccines were actually less likely to say they’d vaccinate their children after being exposed to the facts — despite apparently believing those facts.

What’s going on? “People accept the corrective information but then resist in other ways,” says Reifler. A person who feels anxious about vaccination will subconsciously push back by summoning to mind all the other reasons why they feel vaccination is a bad idea. The fear of autism might recede, but all the other fears are stronger than before.

It’s easy to see how this might play out in a political campaign. Say you’re worried that the UK will soon be swamped by Turkish immigrants because a Brexit campaigner has told you (falsely) that Turkey will soon join the EU. A fact checker can explain that no Turkish entry is likely in the foreseeable future. Reifler’s research suggests that you’ll accept the narrow fact that Turkey is not about to join the EU. But you’ll also summon to mind all sorts of other anxieties: immigration, loss of control, the proximity of Turkey to Syria’s war and to Isis, terrorism and so on. The original lie has been disproved, yet its seductive magic lingers. […]

The problem here is that while we like to think of ourselves as rational beings, our rationality didn’t just evolve to solve practical problems, such as building an elephant trap, but to navigate social situations. We need to keep others on our side. Practical reasoning is often less about figuring out what’s true, and more about staying in the right tribe.


Eher spezieller (und/aber kritischer und guter) Text über Identitätspolitik im Literaturbetrieb im 3AM Mag: (identity) politics & prose.

We can hardly help it: we belong to an age not of politics, but of politicization––not a country, but a set of “cultures” constantly in conflict with one another. Such that something as basically ethical as being vegetarian has been deemed Liberal. The twenty-four hour news cycle means that every second of life that is being lived is also being reported, debated, narrated. Indeed, between social justice movements like, “Black Lives Matter” and struggles of the LGBTQ, a GOP that obsessively tries to regulate women’s reproductive rights, a crotch-grabbing President who has threatened to deport millions of Mexican immigrants and place all Muslims on a national register, it is hard to be as apolitical as one would like. Our consciousness is inundated with reminders of injustice against any group, and one can’t help but feel forced to takes sides, or join in the fight.

George Orwell, in writing about the politics of his age––one of concentration camps, war and totalitarianism––observed that it was impossible to banish these thoughts from one’s mind, let alone one’s writing: “When you’re on a sinking ship, your thoughts will be about sinking ships.” A sinking ship is not a bad metaphor for contemporary culture, or at least, the view from the present, which is that things are always getting worse. Indeed, the word “culture” itself, wherever it is applied (pop culture, gun culture, rape culture, culture war, etc.) seems intrinsically bound to decadence and decline. And in a climate of such hyperawareness, the infusion of identity politics into the products of that culture feels like more and more of an inevitability.

Gib mir den Rest, Baby…

// 25m Tons of Spiders exist 🕷

Gepostet vor 5 Tagen in #Science #Animals #Insects

Neue Studie von Martin Nyffelervon der Uni Basel und Klaus Birkhofer von der Uni Lund in Schweden, die den Verzehr an Biomasse durch Spinnen ausgerechnet haben und dazu die Masse der Viecher ermittelten. Es gibt 25 Millionen Tonnen Spinnen auf der Welt, die genau soviel Tiere verspeisen, wie der Mensch (und wie Wale), 400 bis 800 Tonnen. Die im Bild abgebildeten Tiere essen davon ungefähr die Hälfte, darunter Hundewelpen, Ratten und Koalas. Now you know. (Also, Koalas suck. [But they don't suck as much as spiders. Spiders suck most.] via Marginal Revolution)

In research published this week in the Science of Nature, Martin Nyffeler of the University of Basel, in Switzerland, and Klaus Birkhofer of Lund University, in Sweden, attempt to put some numbers on spiders’ dining habits. Starting with the available data on the mass of spiders found per square metre in Earth’s main habitat types—forests, grasslands, fields of crops and so on, they calculated the amount of prey required in each habitat to support the weight of spiders there, based on spiders’ known food requirements per unit of body weight. That done, they extrapolated their habitat-based results to the whole planet, in light of what is known about the total areas of such habitats.

Their conclusion was that there are 25m tonnes of spiders around the world and that, collectively, these arachnids consume between 400m and 800m tonnes of animal prey every year. This puts spiders in the same predatory league as humans as a species, and whales as a group. Each of these consumes, on an annual basis, in the region of 400m tonnes of other animals.

Hier ein erwägenswerter Teil der 25 Millionen Tonnen an Spinnengezeucht: Gib mir den Rest, Baby…

// Trump-Interview about Truth minus Lies

Das Time-Mag hatte die Woche ein bemerkenswertes Interview mit Trump über die Wahrheit und seine Lügen am Start. Eigentlich war das Interview nicht weiter bemerkenswert, denn es ist dasselbe dumme Gestammel wie immer und nichts davon ist in irgendeiner Weise überraschend oder neu. (Ich habe überlegt, ob man das besser formulieren kann, aber nö – es ist exakt das: dummes Gestammel.)

Ellie Shechet hat sich dem nun angenommen und ganz konsequent die Lügen und nicht haltbaren Behauptungen zensiert, denn in diesem Interview sollte es ja eigentlich von der Wahrheit handeln und nach der Schwärzung aller „Alt-Facts“ bleibt nur noch diese übrig. Nichts als die Wahrheit: We Redacted Everything That's Not a Verifiably True Statement From Trump's Time Interview About Truth.

In the full transcript of the interview published by Time, Trump lies a lot, says a number of half-true things, does not admit he was incorrect to link Ted Cruz’s father with Lee Harvey Oswald, foists responsibility for his inaccuracies onto media reports that he misrepresents, says the word “Brexit” 11 times, and forms sentences like “Brussels, I said, Brussels is not Brussels.” But, listen, some of it was fine! In the transcript below, we have redacted everything that is not verifiably true. What remains is everything the president said that is definitely true.

Gib mir den Rest, Baby…

// Next Level, photorealistic Style-Transfer

In ihrem neuen Paper stellen Fujun Luan, Sylvain Paris, Eli Shechtman und Kavita Bala eine neue Style-Transfer-Methode vor:

Figure 1: Given a reference style image (a) and an input image (b), we seek to create an output image of the same scene as the input, but with the style of the reference image. The Neural Style algorithm [5] (c) successfully transfers colors, but also introduces distortions that make the output look like a painting, which is undesirable in the context of photo style transfer. In comparison, our result (d) transfers the color of the reference style image equally well while preserving the photorealism of the output.

Ihr Ansatz erzeugt massiv bessere und auch perspektivische Detail-Erhaltung, die in dieser Form zumindest rudimentär auch bereits für professionelle Retusche brauchbar ist, siehe das Ergebnis bei der Skyline hier:

Die Style-Transfer-Apps (wie Prisma letzten Sommer) dürften schon sehr bald sehr viel besser werden und da Adobe ohnehin bereits an der Implementation von Style-Transfer (und der 3D-Variante Stylit) in Photoshop arbeitet, dürfte AI-gestützte Retusche schon sehr bald normales Arbeitswerkzeug sein.

This paper introduces a deep-learning approach to photographic style transfer that handles a large variety of image content while faithfully transferring the reference style. Our approach builds upon recent work on painterly transfer that separates style from the content of an image by considering different layers of a neural network. However, as is, this approach is not suitable for photorealistic style transfer. Even when both the input and reference images are photographs, the output still exhibits distortions reminiscent of a painting. Our contribution is to constrain the transformation from the input to the output to be locally affine in colorspace, and to express this constraint as a custom CNN layer through which we can backpropagate. We show that this approach successfully suppresses distortion and yields satisfying photorealistic style transfers in a broad variety of scenarios, including transfer of the time of day, weather, season, and artistic edits.

Gib mir den Rest, Baby…

// Trailerfest: Three Billboards Outside Ebbing Missouri, Fargo, The Handmaidens Tale, Death Note, Ghost in the Shell, Battle of Memories, Mystery Science Theater 3000, Jungle, Baywatch

Gepostet vor 6 Tagen in #Movies #Trailer

Hier erstmal die erste fünfminütige Action-Sequenz und alle jüngst veröffentlichten Filmclips zusammengeschnitten zu 10 Minuten Ghost in the Shell, die schon ziemlich geil aussehen:

Ghost in the Shell – All Film Clips

Außerdem ein erster Trailer zu Martin McDonaghs (In Brugges) neuem, fantastisch aussehenden Film mit dem großartigen Titel Three Billboards Outside Ebbing, Missouri mit Frances McDormand, Peter Dinklage und Woody Harrelson, dazu neue Clips zu Netflix' Manga-Adaption Death Note, der Atwood-Adaption The Handmaidens Tale, der neuen Staffel des Mystery Science Theater 3000, zur dritten Fargo-Staffel, dem chinesischen SciFi-Dings Battle of Memories, zum Thriller Jungle mit Daniel Radcliffe, sowie zu, ähm, Baywatch.

Gib mir den Rest, Baby…

// Gaslamp Killer in Kubricks 2001-Bedroom

Designer Simon Birch und Architekt Paul Kember haben das Schlafzimmer aus Kubricks 2001 nachgebaut und einer der ersten Besucher war niemand geringeres als der unvergleichliche Gaslamp Killer. Zwei Onkel von Kember hatten als Bühnenarbeiter für den Film genau dieses Schlafzimmer gebaut:

Here’s why this is so dope. Kubrick was notoriously cagey with his work. Once he finished a film, most of the elements that went into creating it (sets, costumes, props, storyboards, etc.) were promptly destroyed. Birch dreamt of recreating the room for the exhibition, but he had no set designs off of which to work; According to the South China Morning Post, Birch showed the project’s architect, a guy named Paul Kember, a series of stills from the film hoping he’d be able to recreate it. Then Paul goes, and I’m paraphrasing here, “Oh, Si, didn’t I tell you? My uncle and great-uncle—you know, Tony and John?—were draughtsman on that movie, and they literally—literally!—worked on that exact room! Isn’t that bonkers?!”

Der Raum ist Teil der Ausstellung 14th Factory, die auf Joseph Campbells Heldenreise.

Gib mir den Rest, Baby…

// Perfektes Timing für einen Reifenwechsel mit eBay (Werbung)

Gepostet vor 6 Tagen in #Misc #ncadv

eBay läutet die Reifenwechsel-Saison 2017 ein und zeigt mit einem spektakulären Stunt-Video, wie viel Spaß so ein Reifenwechsel machen kann:

Von O bis O – von Oktober bis Ostern beherrschen Winterreifen die deutschen Straßen. Pünktlich zum Frühjahr bietet eBay jetzt genau das richtige Angebot für alle Autobesitzer: einen 10 Prozent-Gutschein auf das gesamte Reifen-Sortiment – bei Bezahlung mit PayPal und bis zu einem maximalen Rabatt von 100 Euro.

Das Angebot gilt ab sofort bis einschließlich 29. März 2017. Einfach den Gutscheincode PSOMMER17 verwenden und bei jedem Reifenkauf 10 Prozent sparen. Das große Reifen-Sortiment bei eBay ist über folgenden Link zu erreichen: http://www.ebay.de/reifen.

Disclosure: Sponsored by eBay.

// David Cronenberg Audiobooks

Gepostet vor Eine Woche in #Kultur #Movies #Audiobooks #DavidCronenberg #Horror

Audiobooks for the Damned liest die billigen Buch-zum-Film-Romane vor, die ich als Kind oft gelesen habe und für die ich bis heute 'nen Soft Spot habe, auch wenn sie allermeistens ganz großer Schrott und nur 'ne marginale Stufe über Pulp stehen. (Neulich auf Ebay geschnatzt: Vier Max Headroom-Taschenbücher, allesamt scheiße aber geil.) (via Swen)

Der YT-Channel zur Site ist voller Buch-Trash-Juwelen mit Poltergeist, Blade Runner, Mad Max, Dark Star oder Time Bandits und dann noch das Audiobook zum Buch zum Film zum Game Super Mario Brothers und die sind sich auch nicht zu schade, das Buch zum Hundefilm Benji vorzulesen. Beide Teile!

Die Knaller der Sammlung dürften aber ihre Serie von Audiobooks zu den Filmbüchern von David Cronenberg sein. Die Vorstellung eines auftrags-geschriebenen, billigen Romans zu Cronenbergs Grenzen austestenden und Körperkomplexität sprengenden Sujets ist schon absurd genug – jetzt neu auch als Audioversion. Happy exploding!

Audiobooks for the Damned is an all-volunteer project to make obscure, out-of-print novelizations and other neglected literature widely available in audiobook format. Books from the shelves of Purgatory read aloud for your listening pleasure. Unabridged and unauthorized.

Gib mir den Rest, Baby…

// Epilepsie induzierendes Troll-GIF von Gericht zu „tödlicher Waffe“ erklärt

Vor ein paar Monaten bloggte ich den ersten Fall einer erfolgreichen physischen Troll-Attacke durch ein Flacker-GIF, das einen Epilepsie-Anfall bei einem Journalisten verursachte. Der „Troll“, John Rayne Rivello, wurde vergangene Woche am Freitag verhaftet und bislang handelt die Berichterstattung vor allem von den technischen Details des polizeilichen Zugriffs, die mich nicht weiter interessieren, that's Fefe-Stuff.

Was mich allerdings sehr interessiert: Die Texas Grand Jury hat das Flacker-GIF in diesem Fall nun zu einer „tödlichen Waffe“ erklärt.

A Texas grand jury has decided that a GIF can be just as deadly as a gun or knife.

The U.S Department of Justice and a Dallas grand jury issued indictments Monday against John Rayne Rivello, who is accused of intentionally tweeting a Graphic Interchange Format (GIF) animation designed to Newsweek journalist Kurt Eichenwald in order to provoke an epileptic seizure.

The grand jury's indictment refers to the GIF as "a deadly weapon," along with a tweet, an "electronic device," and Rivello's hands.

Hier die Erklärung der Jury im Wortlaut:

Man geht jetzt davon aus, dass sich Rivello auf eine Free Speech-Verteidigung zurückziehen wird und das GIF zur „künsterisch gestaltete Rede“ erklären wird. Was keinen Erfolg haben dürfte, denn Rivello hat auf dem GIF selbst die Absicht der physischen Attacke erklärt („You deserve a seizure“) und dabei gleichzeitig eine potentielle Todesfolge in Kauf genommen.

Jedenfalls ist es nun amtlich: Ein animiertes GIF taugt als tödliche Waffe. Neuland, indeed.

"I'm unaware of anybody being criminally prosecuted for this," defense attorney Tor Ekeland, who represents clients accused of federal cyber crimes, told NBC News. "If it's not the first time, it's one of the first times this has happened."

Ekeland, who is not involved in the case, noted that Rivello is being charged with a federal cyberstalking law that is frequently the subject of criticism from First Amendment advocates. The law criminalizes using electronic communication "with the intent to kill, injure, harass, [or] intimidate" a victim, but it's typically used in relation to images (like revenge porn) or speech (like emailed death threats).

// Trailerfest: Dave Chapelle: The Age of Spin, Prevenge, Tonight She Comes, Monolith, Interchange, Unicorn Wars, Game of Death, Let The Corpses Tan, Valley of Ditches

Gepostet vor 8 Tagen in #Movies #Trailer

Nochmal 'ne dicke Packung Trailer, gleich erstmal ein neuer zu Dave Chapelles Comedy-Specials auf Netflix. (Die streamen bereits, ich hab allerdings noch nicht reingesehen, dürfte aber Knaller werden, weil is' Chapelle.)

Außerdem Clips zum Preg-Slasher Prevenge, zum billig aber immer noch toll aussehenden Tonight She Comes, zum Auto-Horror Monolith, zum malaysischen Fantasy-Grusel Interchange, zum Animations-Film Unicorn Wars, zu den Horror-Schlocks Game of Death und Valley of Ditches, sowie ein erster Mini-Teaser zum neuen Film von Bruno Forzani und Helene Cattet, Let The Corpses Tan (Laissez Bronzer Les Cadavres), die sich mit Amer und The Strange Color Of Your Body's Tears auf Retro-Giallo spezialisierten und jetzt einen auf Italo-Western machen.

Dave Chapelle: The Age of Spin

He's back. And with plenty on his mind. Dave Chappelle returns with two stand-up specials from his personal comedy vault that are now streaming on Netflix.

Newsbits:

Gib mir den Rest, Baby…

// Jay „Garbage Pail Kids“ Lynch R.I.P.

Jay Lynch ist bereits am 5. März im Alter von 72 Jahren an Lungenkrebs verstorben.

Lynch war eine der wichtigsten Protagonisten der Underground Comix-Scene in den 60er und 70er Jahren und ihr kennt seine Arbeiten wahrscheinlich vor allem von den Garbage Pail Kids. Noch vor den Garbage Pail Kids kannte ich seine Zeichnungen allerdings aus den Bazooka Joe Bubblegum-Comics. In meiner sehr, sehr kurzen Kaugummi-Phase irgendwann mit 8 oder 9 oder so kaufte ich regelmäßig Bazooka Joes – nur um die Kaugummis am Ende wegzuschmeißen, weil mich nur die Comics interessierten. Ich hasse Kaugummi und liebe Bazooka Joe (und die Garbage Pail Kids natürlich), bis heute. Danke für den ganzen Unfug, Jay!

Mr. Lynch, who had a wry, deadpan sense of humor, held strong views about the importance of underground comics, which differentiated themselves from the mainstream through raunchy and grotesque depictions of sex, drugs and violence. “Underground comix were the most important art movement of the 20th century,” he wrote […]

Mr. Lynch’s comics never reached as broad an audience as some of his more famous brethren’s. Mr. Rosenkranz suggested that this might have been because he did not use sex as much in his work as others and was not part of the so-called “slash and drip” school of underground cartoonists. “He was more interested in intellectual ideas,” he said.

Some of Mr. Lynch’s work reached the mainstream — through Playboy in the 1980s, but more regularly through Topps, the trading card company, which provided an income for artists like Mr. Spiegelman and Mr. Lynch. “They were our Medicis,” Mr. Spiegelman said. Over a few decades, Mr. Lynch illustrated Bazooka Joe comics; Garbage Pail Kids, which began as a satire of Cabbage Patch Kids; and Wacky Packages, which parodied consumer culture. He recalled that he was told which food conglomerates not to mock, but with a list of products that he could parody, “I would go to the supermarket and buy those products.”

Gib mir den Rest, Baby…