Here lies a nearly-complete archive of Whole Earth publications, a series of journals and magazines descended from the Whole Earth Catalog, published by Stewart Brand and the POINT Foundation between 1970 and 2002. They are made available here for scholarship, education, and research purposes.

Rest of World challenges expectations about whose experiences with technology matter. We connect the dots across a rapidly evolving digital world, through on-the-ground reporting in places typically overlooked and underestimated.

Even though prohibition limiting the exportation, re-exportation, sale, and supply of Apple products to Cuba was eased in 2015, getting a hold of, operating, and maintaining them can still be a challenge. This is in part because basic replacement parts are difficult to import, since they cannot be purchased directly from Apple. It’s not just hardware, either: Downloading apps or software updates is tricky because Cuban IP addresses are blocked. And setting up a new Apple ID with two-factor verification requires a phone number from outside Cuba.

This corporate gathering full of artists’ drab, desperate attempts to get bought by clueless rich collectors has domesticated contemporary art and thus killed it

With the king, the door, the thief, the window, the stranger, the camera, Judy Radul transforms Witte de With’s exhibition spaces into a dynamic set for live image production. Radul sets out to explore the poetic and social agency of doors, windows, entrances, and exits by means of her multi-camera, live-feed “present system” – the backbone of the exhibition. Cameras become agents that steer the visitor’s behavior; architecture is performed through multiple points of view. the king, the door, the thief, the window, the stranger, the camera creates an architecture of the lens where the portals and vistas, the apertures of Witte de With’s exhibition floor, are brought to the fore as reality-producing media.

Micro Events is a series of cinematic experiences for one person at a time, each comprising of a table, a microscope and a small mechanical stage. A soundtrack accompanies the partial view onto tiny fragments, remains and broken pieces, leading you through a maze of detailed descriptions, questions and unstable verifications.

The collaborative work was initially developed during a residency at Timelab and started with the discovery of two very similar collections of images found in both Tom’s and Britt’s reference material. The images of relatively small, often seemingly insignificant bits of chalk, string or stone and their descriptions found in Museum collections or other scientific research archives became the inspiration for Micro Events. It is informed by a mutual curiosity in the mechanics of knowledge production, wanting to tentatively question the authority of scientific classification and allowing a sense of awe for the inexplicable.

Unofficial Bitwarden compatible server written in Rust, formerly known as bitwarden_rs

We evaluate our technique on the task of unlearning the Harry Potter books from the Llama2-7b model (a generative language model recently open-sourced by Meta).

Because of this misconception, we proposed we should drop the usage of the term “Artificial Intelligence” and adopt a more appropriate and scoped-limited terminology for these technologies which better describe what these technologies are: Systematic Approaches to Learning Algorithms and Machine Inferences.

Now we have redefined the name, will we still support the idea that SALAMI will develop some form of consciouness ?

As Mollick explained, visitors to a foreign country have "an irresistible urge" to say something in that language, and whatever they say (a cited example being along the lines of "Where is the bathroom?") usually marks them as tourists immediately. Saying "I can eat glass, it does not hurt me", however, ensures that the speaker "will be viewed as an insane native, and treated with dignity and respect".[9]

After inflating the myth of Elon Musk, the media has a responsibility to break their dependence on him and tear him down. That doesn’t necessary mean going on the offensive, but simply giving more attention to the many ways Musk feels he’s beyond accountability and above the law. It means digging into his right-wing ideology and the false promises they once praised him for making. But even more, it means never falling for another tech grifter trying to do the same thing and applying that scrutiny to every startup founder and public company CEO in the tech industry. They owe the public nothing less.

Introducing Bark! Low-latency multi-receiver live-sync lossless audio streaming for local networks. It's like Sonos, but open source, so nobody can brick your devices remotely. It's also written in Rust :)

https://github.com/haileys/bark

It sends 48khz uncompressed float32 data over UDP multicast. It can achieve playback sync to within hundreds of microseconds in ideal conditions, and usually to within a millisecond.

The Sotheby's auction house has been named as a defendant in a lawsuit filed by investors who regret buying Bored Ape Yacht Club NFTs that sold for highly inflated prices during the NFT craze in 2021. A Sotheby's auction duped investors by giving the Bored Ape NFTs "an air of legitimacy... to generate investors' interest and hype around the Bored Ape brand," the class-action lawsuit claims.

The boost to Bored Ape NFT prices provided by the auction "was rooted in deception," said the lawsuit filed in US District Court for the Central District of California. It wasn't revealed at the time of the auction that the buyer was the now-disgraced FTX, the lawsuit said.

"Sotheby's representations that the undisclosed buyer was a 'traditional' collector had misleadingly created the impression that the market for BAYC NFTs had crossed over to a mainstream audience," the lawsuit claimed. Lawsuit plaintiffs say that harmed investors bought the NFTs "with a reasonable expectation of profit from owning them."

"un site qui permet d’essayer une belle pelletée de distributions Linux depuis un navigateur"

Ever wanted your desktop windows to jiggle around on-beat? This Winamp plugin might be for you.

In times of turboacademia, we feel this mobiliza-
tion and desire to share the responsibility to look
around and underneath digital infrastructures. Such a
responsibility involves resisting compliance with in-
formatics of domination in order to make space for the
praxis of ongoing transdisciplinary critique. Part of
this is trying and combining space-times, using on-
or off-line tools, developing methods and semiotic-
material tricks in order to organize situated formats.
These trove of tactics are based on references that
come from worlds beyond the webinar-Oh-sphere, and
they engage forms of teachings that can assist the on-
going mobilization.
Curated as an anti-solutionist collection, the
Catalog of Formats is an attempt to document the
plausibility of such practices and to encourage af-
firmative counter-forces. The Catalog may work as a
device for trying emergent formats and hopefully
destabilizing too comfortable articulations of online
gatherings. It is an invitation to do so while enjoying
the rigourous, engaging and creative formats for and
by communities themselves.
The modes of using the Catalog are as diverse as
the types of gatherings it might be useful for. This is
why we do not necessarily recommend reading it in a
linear fashion, but to try out oblique and fragmented
approaches. We defined nine vectors as possible lines
of consideration for anyone interested in setting up
an online meeting, and a tenth one is on-topic for the
Obfuscation series of events the Catalog was born
into. We composed the structure so that the user of
the Catalog can cross its sections: these vectors can
operate as entry-points to then be combined, inter-
sected and adjusted depending on the needs or
desires of organizers.

In Mannheim, an automated system reports hugs to the police
by Josephine Lulamae
Mannheim, a large city on the Rhine, deployed a video system that claims to automatically detect physical violence in some streets. It can confuse hugging with strangling, and it is unclear whether it can actually prevent violence.

In Russia, May 9 is Victory Day, a national holiday. It’s also the birthday of Dave Gahan, lead singer with Depeche Mode, and a group of Muscovite fans have declared it Dave Day, gathering together to celebrate the group with homemade banners, mass sing-alongs and club nights. In Russia and countries of the former Soviet Union, the band’s music has been treasured since it was only available on illegal bootlegged cassettes in the 1980s, and it formed the soundtrack of the march toward freedom those countries embarked upon following the fall of the Berlin Wall. This situation is mirrored in Tehran, where fans take huge risks in listening to their music in a country that has banned all Western music since the Islamic Revolution. In the UK, the church of St Edward King and Martyr in Cambridge holds services for goths where they play Depeche Mode records. Turner Prize-winning artist Jeremy Deller and filmmaker Nicholas Abrahams tell these and other stories of faith and devotion from around the world in this fascinating and inspired documentary about fandom, which is at turns bizarre, funny, sad and often touching.