Category: Arts & culture

Don’t trust video any more

You’ve probably seen the news about “deepfake porn,” in which the face of a porn actor can be replaced by the face of anyone for which you have a photoset. You can now download software to create deepfake porn, and you can run the software at home. As this technology becomes more widespread — very soon, in other words; in a matter of months or weeks — you’re going to see its use spread well beyond porn:

— Faked video is going to make the 2018 election cycle very interesting. You can pretty much visualize what the candidates are going to do to each other, to say nothing of their partisan followers. Next, start thinking about what Russia is going to do with this technology. You thought fake news dominated the 2016 elections? You ain’t seen nothing yet.

— People are going to be framed for crimes using faked videos from surveillance cameras. The cops and the courts will catch on before long, and soon video from surveillance cameras will lose evidentiary value. Someone will try to create secure video technology; someone else will hack it.

— Imagine what the Church of Scientology will try to do to its enemies; imagine what fundamentalist atheists will be tempted to do to denigrate religious figures; and surely faked video will spread throughout religion. It’s enough to make you want to convert to Old Order Amish and renounce technology.

You can spin out your own scenarios….

Yammer yammer

As I walked over to the science fiction section in the library, I could hear a resonant baritone voice in a far corner. Some idiot on their cell phone, I muttered under my breath. Let’s see, McCaffrey, nope further back, LeGuin, getting closer.

Yammer, yammer, yammer, said the resonant baritone voice, distracting me. Yammer yammer yammer.

Laidlaw, Laidlaw, Laidlaw, I repeated to myself, looking through the Ls. What, no Marc Laidlaw? Rats. OK, let’s try S.

yammer yammer give me seed money yammer yammer I’d be CTO yammer

I tried to shut the phone conversation out of my mind, but it was so full of Silicon Valley cliches that it leaked past my defenses. And every other word seems to be “I” or “me,” I said under my breath. I walked around the corner to get to the Ss, and there he was: a young white male, schlubbily dressed. I ignored him as best I could and looked for Stross, but the book I was looking for wasn’t there. Let’s try Matthew Hughes.

yammer what I want yammer I told the VC yammer I said I don’t let people quit my company yammer

The Hs were just around the corner from where the young man was talking. It took some effort to shut the loud self-important voice out of my head. No Hughes on the shelf, but I got distracted by an old Harry Harrison novel. Though I studiously paid no attention, I could sense the young man’s back looking at me with annoyance; I had entered his private space. He walked away, still talking loudly, his self-important voice fading to a distant but resonant whine.

The Harrison novel was not nearly as good as I remembered, so I left it on the shelf and went to look for Pratchett. It occurred to me that the young man with the self-important loud voice was very much like a character from a Terry Pratchett novel: one of those self-involved narrow characters who is certain he is saving the world (from something it doesn’t need saving from) and who is bewildered when he makes a giant mess out of everything.

May the gods preserve us from such people, I muttered to myself as I checked out my books, and then realized I was talking to myself a bit too much. Not a good sign.

Who gets to make a hymnal?

While working on a sabbatical project, I discovered that Louis F. Benson, in his book The English hymn: its development and use in worship (New York: Hodder & Stoughton, George H. Doran Co., 1915), lists nineteen U.S. Unitarian hymnals published in the thirty-four year period from 1830 to 1864. Nor does Benson claim this is an exhaustive list; indeed, he focuses almost exclusively on hymnals published in and near Boston (you can read this list below).

None of these hymnals was published by the American Unitarian Association (AUA). In some cases a large congregation compiled their own hymnal, which other congregations then adopted; more often, an individual editor or group of editors compiled a hymnal as a speculative venture, hoping that congregations would purchase it. In fact, the AUA didn’t publish its first hymnal until 1868.

In the twentieth century, the vast majority of Unitarian (and later Unitarian Universalist) hymnals were published by the AUA, and then from 1937 on by the Unitarians and Universalists together. In the post-World War II era, I’m only aware of two hymnals that were not published under denominational auspices (excluding one-author or one-composer hymn/song collections, such as those by Rick Masten).

So the vast majority of Unitarian Universalist congregations today use a denominationally-produced hymnal. Why is this? Partly I think it’s because copyright law has become much more strict in the past century; anything published after 1922 is probably covered by copyright, and it can be difficult and expensive to track down copyright owners and buy permission to reprint their text or music; it’s going to take a large-ish organization to have enough resources to deal with copyright challenges. But also I believe we have all bought into the notion that the only “real” hymnal is one published by the denomination.

What if one of the large Unitarian Universalist congregations put together a new hymnal? The hymnbook compilers would face significant challenges posed by copyright issues. To balance those challenges, the ease of self-publishing and the rise of print-on-demand would make layout, printing, and distribution extraordinarily easy. Technical and legal issues aside, wouldn’t it be nice if Unitarian Universalist congregations had a choice of hymnals? — at the very least, we could expand the number of our song choices.

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And for those who are interested, I’ll append a very incomplete list of Unitarian and then Unitarian Universalist hymnals, so you can get a sense of the great variety of hymnals that were once available. (I apologize for not researching Universalist hymnals, but this has been too much of a distraction from my sabbatical project as it is; I can’t justify procrastinating any longer.) Continue reading “Who gets to make a hymnal?”

The singularity as atheist religion

In a talk titled “Dude You Broke the Future,” science fiction author and atheist Charlie Stross takes on Ray Kurzweil and other advocates of the “singularity,” the moment when all our problems will be solved with the emergence of transhuman artificial intelligence:

“I think transhumanism is a warmed-over Christian heresy. While its adherents tend to be vehement atheists, they can’t quite escape from the history that gave rise to our current western civilization. … If it walks like a duck and quacks like a duck, it’s probably a duck. And if it looks like a religion it’s probably a religion. I don’t see much evidence for human-like, self-directed artificial intelligences coming along any time now, and a fair bit of evidence that nobody except some freaks in university cognitive science departments even want it. What we’re getting, instead, is self-optimizing tools that defy human comprehension but are not, in fact, any more like our kind of intelligence than a Boeing 737 is like a seagull. So I’m going to wash my hands of the singularity as an explanatory model without further ado — I’m one of those vehement atheists too — and try and come up with a better model for what’s happening to us. …”

I find it delightful to see a self-proclaimed “vehement atheist” calling out other atheists for doing religion. This is especially admirable, since those other atheists would doubtless insist that they are not doing religion at all; they would claim that they are doing science. Not only that, those other atheists are doing bad religion — transhumanism is as bad as the Prosperity Gospel, insofar as both types of religion are barely believable, have no redeeming social worth, do not engage in worthwhile cultural production, assert that the vast majority of humanity will not be “saved,” spread fear, and are stupid and hard to believe.

This is just a parenthetical remark in a much longer talk — and the rest of the talk is definitely worth reading, particularly for Charlie Stross’ take on corporations as AIs that are making global climate change accelerate.

Snapshots from the Garden of Eden

We went to the Contemporary Jewish Museum today, and I particularly enjoyed Dina Goldstein’s photographs, from a series she calls “Snapshots from the Garden of Eden”: large black and white photographs, maybe three feet by five feet, of staged tableaux showing characters from the Hebrew Bible and Jewish folklore. My favorites:

— King Solomon, looking debauched and slightly bilious, sitting up in a large bed on which are sprawled two partially clad women among disarranged bedclothes (the wicked thought that crept unbidden into my mind: King Solomon as a role model for Judge Roy Moore)

— An unsettling image of a child sitting on a bed completely absorbed in looking at a tablet computer while a strange lights circles around her (the photograph was titled “Ibbur,” but to me it looked more like a dybbuk)

— Rabbi Lowe wearing safety glasses and standing at a bench covered with electronic test equipment, putting the finishing touches on a Golem that maybe he’s going to exhibit at the next Maker Faire

If religion is another mode of cultural production, this is the sort of thing we should be doing: constantly re-imagining religious narratives and metaphors. And by re-imagining, I don’t mean a modernist literalism that, on the one hand erects large granite monuments representing the Ten Commandments in an Alabama courthouse, and on the other hand denies the validity of all religion because religious stories are not literally true; the modernist literalism of both fundamentalist Christians and fundamentalist atheists is unable to cope with the uncertainties of metaphor.

Instead of literalism, I like Dina Goldstein’s way of re-imagining religious narratives: both sincere and ironic, both reverent and irreverent.

Performing a poem

The poet Lew Welch wrote: “I like the idea of giving my readers a text they can perform, themselves. Far too many of our pleasures are spectator sports already…” (introduction to Ring of Bone). The way I like to perform poetry is to write out a fair copy of the poem.

A couple of weeks ago, Carol and I went to the city and stopped in at City Lights Bookstore. I sat in the Poetry Room leafing through books and found the poem “Global Warming Blues” by Mariahadessa Ekere Tallie, in The BreakBeat Poets: New American Poetry in the Age of Hip-Hop (Haymarket Books, 2015). I almost bought the book, but I just got rid of four hundred books so we could fit into our new apartment; no way I could justify buying a new book for just one poem. So I performed the poem by writing out a fair copy on some watercolor paper. I tucked the poem into my coat pocket and forgot about it.

I carried the poem around in my coat pocket. The paper got wrinkled, and the poem got smudged though it was still perfectly legible. Maybe that’s a metaphor for what’s supposed to happen to poetry: poems aren’t supposed to remain captive inside the pristine covers of a book sitting on a bookshelf; poems are supposed to be out in the world: objects of use rather than useless objets d’art. I re-read the last paragraph:

now my town is just a river
bodies floatin, water’s high
my town is just a river
but I’m too damn mad to cry
seem like for Big Men’s living
little folks has got to die

A minor deity

Here’s a small figure, probably a deity, from the Ifugao people of the Philippines. This figure sits on top of a small container used for holding agriculatural lime (a misture consisting primarily of calcium carbonate), one of the constituents used in preparing a mild stimulant from betel leaf (Piper betle) and the nut of the areca palm (Areca catechu).

This figure, made sometime in the first half of the twentieth century, is probably an ancestor deity, or a guardian deity — akin, perhaps, to the household gods of Rome, minor deities which have retained a place in the collective memory of the Western tradition.

In the West, we tend to assume that a deity by definition is unitary (or unitary-but-triune), and transcendent. We forget that for much of human history, there were a multiplicity of deities that lived quite close at hand; and we forget that a significant percentage of humans today still live in a world where many deities live close at hand. And perhaps these close-at-hand deities have never really left our collective consciousness; today we keep our glowing smartphones always with us, just as the ancient Romans kept the statues of their Lares or household gods close at hand so that they might consult them constantly, to ensure good fortune.

An Asian Mary

On a recent visit to the Asian Art Museum, I saw a beautiful mixed media sculpture of the Virgin Mary. The body of the sculpture was made of wood, the head and hands of ivory, a crown of stars of metal, and the hair of actual human hair.

When Westerners think of Asian religious art, they tend to think of Buddhas and Ganeshas and Guan Yins, forgetting that Christianity has had a presence in Asia for more than 1900 years. So of course there are Asian Christs and Asian Marys.

This Virgin Mary was made in the Philippines, to whence Christianity was brought by European Christians about five hundred years ago. The sculpture cannot be precisely dated, but was made sometime between 1650 and 1800.

Anyone familiar with European Christian art from the Middle Ages and the Renaissance will recognize the iconography of Mary standing on a crescent moon. But some of the details feel Asian. Mary’s facial features do not look stereotypically European, and according to the wall label next to the sculpture, “Early Spanish reports describe artists of Chinese descent as well as Filipino artists carving these images in the Philippines.” The treatment of the draped fabric feels non-European to me, especially Mary’s blue robe, which takes on a life of its own in a way that European Renaissance sculptures, based on classical models, never do; it feels more like the flowing, moving fabric found on some Chinese sculptures, or even on some Medieval European sculptures. I particularly like the use of human hair, a material that anchors Mary in the human realm, and keeps her from drifting into a realm of inaccessible transcendence.

In short, here is a deity that incorporates European iconography with Asian forms and sculptural traditions; she is a globalized deity who also links the human to the transcendent realms.

Singing

The 6th annual Palo Alto All Day Sacred Harp Singing… singers came from all over California, and from Oregon, Louisiana, and Vermont. The temperature in the room went over 90 degrees, so we ended a half an hour early to make sure no one passed out. Here’s what we looked like in full cry, with fans going full blast:

Trebles (L-R, F-B): Rebecca, Inder, Arnold; Greg, Leah, Ruth; ???, Terry
Tenors (L-R, F-B): Steve, Mark, Yuka; Pat, Gerardo, Paul, Erica, Mary
Basses (L-R, F-B): Ed, Bob, Alex; Peter
Altos (L-R, F-B): Erika, Leigh; Janet, Marsha, Lena, Lorraine
(More than a dozen singers are not visible in this photo.)

Political statement for geeks

You’ve seen those bumper stickers that some political progressives have, right? You know, there’s the word “Resist!” and under it or beside it the circuit diagram symbol for a resistor. (Though there’s a part of me that wants to know how many ohms of resistance I’m supposed to provide.) Now here’s a version of that meme aimed at geeks who are also politically progressive…

The middle two statements are nonsensical (is “capacitate” the opposite of “incapacitate”?). But the last statement is actually my preferred slogan for action in today’s political climate: I don’t want to resist, I want to transform (though let’s be clear that I do not mean this literally: I don’t want to transfer electrical energy through coupled inductors via a magnetic field, OK?).