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CryptoKeyhole / #Urb #Report
C-K / UR : 40°40’15.2″N 73°55’08.1″W
#Brooklyn #CrownHeights

TODAY, FEBRUARY 11TH, 2014
THE DAY WE FIGHT BACK
AGAINST MASS SURVEILLANCE

The Day We Fight Back

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DEAR USERS OF THE INTERNET,

In January 2012 we defeated the SOPA and PIPA censorship legislation with the largest Internet protest in history. Today we face another critical threat, one that again undermines the Internet and the notion that any of us live in a genuinely free society: mass surveillance.

In celebration of the win against SOPA and PIPA two years ago, and in memory of one of its leaders, Aaron Swartz, we are planning a day of protest against mass surveillance, to take place this February 11th.

Together we will push back against powers that seek to observe, collect, and analyze our every digital action. Together, we will make it clear that such behavior is not compatible with democratic governance. Together, if we persist, we will win this fight.

https://thedaywefightback.org

Depuis quelques mois, je suis les aventures de deux blogueuses très sympas expatriées à Detroit dans le Michigan (et là tu te dis : il est gentil mais il fait comment ? ).
Clique ici mon copain ! http://detroitjetaime.com/
J’ai tellement eu d’échanges avec elles sur Twitter et Facebook que j’ai complètement oublié d’en faire un billet.
1 – Ce n’est pas galant.
2 – Elles méritent bien mieux qu’un article dans Le Monde, le HuffPost ou les Inrocks.
3 –
Je les ai trouvées AVANT (héhéhé) Usbek & Rica ( ce qui signifie que j’ai enfin la cool credibility et que mes lectures sont plus belles que vos bruits…) et AVANT Glamour Magazine ( je me laisse pousser les cheveux ! y’a quoi ? )
Donc je suis dans l’obligation de faire mon mea culpa…

^_^
Nora Mandray et Hélène Bienvenu préparent un documentaire interactif sur le DIY (Do It Yourself), la bidouille urbaine et la débrouille des habitants.
Le lieu donc c’est Detroit, ville ravagée par le chômage, la crise et la mort des services publics.
Si vous aimez les fermes urbaines, le vélo et le hacking comme moi alors vous allez aimer le projet de ces fraîches surdouées du journalisme (Sciences Po, école de cinéma de l’UCLA, plusieurs langues dans le cerveau et je m’arrête là car si vous voulez leur CV, je serais encore en train d’écrire cet article demain…).


Voici une ITW de Grace lee Boggs, une petite dame rigolote de 66 ans mon ainée !
J’ai 31 ans…donc :


Vous avez trouvé, elle à 97 ans.
Arrivée à Detroit en 1953, elle à vu la population passer de 2 millions d’habitants à 713 777 aujourd’hui ! Elle nous parle de chats morts, de terrains vagues, de survival, de justice réparatrice et des prisonniers de la machine.
C’est sous-titré en français donc… enjoy !

« Dans les ruines de l’ancien monde se bâtit la société de demain », vous pouvez lire sur le blog de mon ami 2.0 Matthieu Duperrex (« urbain-trop-urbain » ) une description du projet ainsi qu’un appel à contribution via le site Kickstarter, pour faire cracher votre carte bancaire dans la joie et la bonne humeur ! (si, si ! )
C’est ici : Détroit je t’aime, ou la révolution urbaine «DIY».

Sources : http://detroitjetaime.com // Facebook // Twitter.

~ Via The Funambulist ~

Rikers Island in New York City

Prison Map is a project developed by Josh Begley, a graduate student studying Interactive Telecommunications at New York University. Thanks a small script and geo-coordinates, he obtained a google earth snapshot of each of the 4,916 incarceration facilities in the United States. Let’s recall here that a bit less than 2.5 millions people are living in prison in this country. Such a project illustrates therefore a sort of hidden urbanism in which 0.8% of the American population live for a given time. Of course, these photographs are interesting to observe the architecture of incarceration, but more importantly in my opinion, is the relationship they develop with their direct environment as they illustrate a geography of exclusion.

Many of these facilities use the obvious strategy of remoteness to engage this will of exclusion. In this regard, from the cartographic point of view, they often ironically appear similar to European palaces with well-ordered classical plans. Others are situated on islands (like Rikers in New York) or piers in order to use water as a buffer zone between the included society and the excluded one. Finally, others are situated in the center of some cities like the Metropolitan Correctional Center in Chicago (see previous post) or the Brooklyn Detention Complex using the verticality of their architecture to implement the exclusionary status.

The page Prison Map is only displaying 700 facilities for convenience reasons but the 4,216 others can be seen by following this link. Josh Begley also have another page entitled Prison Count which establishes a photographic inventory of California State Adult Prisons.

<< Léopold Lambert.

Check this : http://prisonmap.com

William Higginbotham, an American physicist, designed in 1958 by an oscilloscope and an analog computer video game called Tennis for Two.

William Higinbotham, an American physicist, designed in 1958 by an oscilloscope and an analog computer video game called Tennis for Two.

La gestion mondiale du conflit a migré vers le Complexe Militaro-Divertissement (Militaro-Entertainment Complex), le domaine de la culture, les médias et les industries créatives.
Un réseau postindustriel liant armée, médias et divertissement a pris le pouvoir et a créé de nouveaux seigneurs de la guerre et des sorciers de la domination symbolique et du maintien de la paix informationnelle. Basé sur l’expérience subjective de l’instabilité et de l’insécurité, le désir est transféré vers l’appareil de sécurité informationnelle et façonne la société pour la mener à des implications autoritaires de régression et de dépendance psychologique.
La collaboration de Walt Disney et de Wernher von Braun, l’expert de Disney sur le « Monde de demain » (World of Tomorrow), visant à vendre aux publics terrestres l’idée de l’espace à l’aide de programmes télévisuels traitant de l’Homme dans l’espace (Man in Space) ou de l’Homme sur la Lune (Man and the Moon), était hautement symbolique.
Il s’agit d’un moment historique qui marque le commencement d’une nouvelle ère de domination géopolitique, la convergence de la sécurité et de la culture et la montée du Complexe de Militaro-Divertissement. Par le mariage des cieux et de la Terre fusionnent le spectacle militaire total et la culture du maintien de la paix. Ceci marque les noces chymiques des technologies de guerre et de l’imagination, la naissance du nouveau moonchild du militaro-divertissement et la conception de l’art de la guerre cosmique. Pong (Tennis For Two : ndlr), le tout premier jeu vidéo et sans doute le premier jeu sur ordinateur, a été développé au Laboratoire National de Brookhaven en 1958 en se basant sur les graphiques des trajectoires de missiles. Il s’agissait d’un sous-produit de la DARPA , alors que Chase, le premier jeu vidéo joué sur un téléviseur en 1967, avait été écrit par Ralph Baer en tant que membre de la compagnie électronique militaire Sanders Associates et était destiné à l’entraînement militaire.
Dès le début, des jeux tels que Space Invaders ou Pac-Man ont essentiellement mis en scène des scénarios d’invasion d’aliens ou de profanateurs et, aujourd’hui, le divertissement numérique a pu nous être proposé grâce des investissements de grande envergure de la recherche militaire dans le domaine des sciences informatiques durant la Guerre Froide. Depuis, les technologies des jeux de guerre, des simulations et des jeux récréatifs sur ordinateur ont convergé, et aujourd’hui les jeux vidéos et autres divertissements informatiques sont en train de prendre le pas sur la prépondérance culturelle et économique de l’industrie du cinéma. La Guerre Virtuelle se déroule à Hollywood où les frontières entre les simulations par ordinateur menées à des fins militaires, les jeux vidéo et la création graphique sont depuis longtemps abolies au profit d’une coopération mutuelle.
Ce que John Naisbitt a nommé le Complexe Militaro-Nintendo fait référence à une collaboration sans cesse grandissante de secteurs tels que les high-techs, les médias, le militaire et les renseignements, et impliquant du personnel et des technologies issues à la fois de l’industrie sécuritaire et de l’industrie du divertissement dans des entreprises de coopération.
Un mariage païen entre le complexe sécuritaire et l’industrie du divertissement a donné naissance à ce que les experts considèrent désormais comme le futur de la gestion du conflit post-humain.
Ce développement crée une fusion entre la simulation numérique et le factuel, entre le virtuel et le réel et, par conséquent, la disparition des frontières existant entre fantaisie et réalité.

Konrad Becker, chercheur.
Article publié dans Planète Laboratoire N°4, octobre 2011 (page 16).

Using NASA satellite data, scientists have produced a first-of-its kind map that details the height of the world’s forests. Although there are other local- and regional-scale forest canopy maps, the new map is the first that spans the entire globe based on one uniform method.

The work — based on data collected by NASA’s ICESat, Terra, and Aqua satellites — should help scientists build an inventory of how much carbon the world’s forests store and how fast that carbon cycles through ecosystems and back into the atmosphere. Michael Lefsky of the Colorado State University described his results in the journal Geophysical Research Letters.

› View larger image
A first-of-its-kind global map shows forest canopy height in shades of green from 0 to 70 meters (230 feet). For any patch of forest, the height shown means that 90 percent or more of the trees in the patch are that tall or taller. Areas without forest are shown in tan. Credit: NASA Earth Observatory/Image by Jesse Allen and Robert Simmon/Based on data from Michael Lefsky.

Where’s the Carbon?
Scientific interest in the new map goes far beyond curiosities about tree height. The map has implications for an ongoing effort to estimate the amount of carbon tied up in Earth’s forests and for explaining what sops up 2 billion tons of “missing” carbon each year.
Humans release about 7 billion tons of carbon annually, mostly in the form of carbon dioxide. Of that, 3 billion tons end up in the atmosphere and 2 billion tons in the ocean. It’s unclear where the last two billion tons of carbon go, though scientists suspect forests capture and store much of it as biomass through photosynthesis.

There are hints that young forests absorb more carbon than older ones, as do wetter ones, and that large amounts of carbon end up in certain types of soil. But ecologists have only begun to pin down the details as they try to figure out whether the planet can continue to soak up so much of our annual carbon emissions and whether it will continue to do so as climate changes.

“What we really want is a map of above-ground biomass, and the height map helps get us there,” said Richard Houghton, an expert in terrestrial ecosystem science and the deputy director of the Woods Hole Research Center.

One of Lefsky’s colleagues, Sassan Saatchi of NASA’s Jet Propulsion Laboratory, has already started combining the height data with forest inventories to create biomass maps for tropical forests. Complete global inventories of biomass, when they exist, can improve climate models and guide policymakers on how to minimize the human impact on climate with carbon offsets.

More immediately, said University of Maryland remote sensing expert Ralph Dubayah, tree canopy heights can be plugged into models that predict the spread and behavior of fires, as well as ecological models that help biologists understand the suitability of species to specific forests.

› View larger image
A forest canopy height map of the contiguous United States. Credit: NASA Earth Observatory/Image by Jesse Allen and Robert Simmon/Based on data from Michael Lefsky.

Seeing Lasers through the Trees
Lefsky used data from a laser technology called LIDAR that’s capable of capturing vertical slices of surface features. It measures forest canopy height by shooting pulses of light at the surface and observing how much longer it takes for light to bounce back from the ground surface than from the top of the canopy. Since LIDAR can penetrate the top layer of forest canopy, it provides a fully-textured snapshot of the vertical structure of a forest — something that no other scientific instrument can offer.

“LIDAR is unparalleled for this type of measurement,” Lefsky said, noting it would have taken weeks or more to collect the same amount of data in the field by counting and measuring tree trunks that LIDAR can capture in seconds.

He based his map on data from more than 250 million laser pulses collected during a seven year period. That may sound like an enormous amount of data, but each pulse returns information about just a tiny portion of the surface. Overall, the LIDAR offered direct measurements of 2.4 percent of the Earth’s forested surfaces.

To create his global map forest height map, Lefsky combined the LIDAR data with information from the Moderate Resolution Imaging Spectroradiometer (MODIS), a satellite instrument aboard both the Terra and Aqua satellites that senses a much broader swath of Earth’s surface, even though it doesn’t provide the vertical profile.

“This is a really just a first draft, and it will certainly be refined in the future,” said Lefsky.

Fusing the two sets of data proved difficult, and Lefsky spent years honing quantitative techniques to make the combination possible. Part of the difficulty was that the LIDAR data Lefsky used came from an instrument aboard ICESat, a mission optimized to study the topography of ice sheets, not vegetation.

The next generation LIDAR measurements of forests and biomass, which will improve the resolution of the map considerably, could come from NASA’s Deformation, Ecosystem Structure and Dynamics of Ice (DESDynI) satellite, proposed for the latter part of this decade.

“We’ve never been able to look at a map and say here’s how tall the canopy is before,” said Dubayah, one of the DESDynI project scientists. “This map is a big step forward, and it really helps set the stage for DESDynI and shows what’s possible.”

Adam Voiland
NASA’s Earth Science News Team

http://www.nasa.gov

CAMBRIDGE, Mass.
The Massachusetts Institute of Technology officially opened the doors to its MIT Media Lab Complex, the school’s most famous interdisciplinary program.

The new building, designed by architect Fumihiko Maki and his « Maki and Associates » firm, broke ground in 2007.
Influences on the building’s design included the artists Piet Mondrian and George Seurat, as well as the art of Japanese paper lanterns. The white, glass, and aluminum building includes touches of the primary colors red, blue, and yellow, which are often found in Mondrian’s paintings.


 » The model is literally open collaboration between industry and academia. Research here at the Media Lab is highly creative but finds its way into the world via industry. The idea of designing serendipity, this building was designed to promote this type of thinking and capturing in an uncanny way this magic, » said Frank Moss.

The MIT Media Lab Complex design, which MIT had originally requested consist entirely of glass walls, had to be tempered to fit Cambridge energy requirements that restrict the use of glass construction in buildings. To accommodate the codes, Maki and his team integrated translucent aluminum screens over the building’s many glass and solid walls.
The screens over glass create a slightly pixelated view of the Charles River and Boston skyline when looking outside from within the building. It’s a nod to both the Media Lab’s digital world, as well as a pointillist adaption of landscape as seen in the paintings of Impressionist George Seurat.
Looking in at the Media Lab Complex at night, those same screens are lit from behind by the building’s interior lights and create semi-translucent views into some labs. The effect hints that a giant Japanese paper lantern has been plopped down on the corner of Ames and Amherst Streets in Cambridge.
It’s a distinct contrast to the dim and cozy den atmosphere of « the Cube, » the MIT Media Lab’s old space in the I.M. Pei-designed Wiesner Building. That space consisted of a series of rooms overlooking a multistory common area with minimal outside light. Keeping « the Cube » as inspiration, the new six-story building is connected to the Wiesner Building and consists of seven cubes awash in white walls, glass, and natural light. The staggered double-height units with glass walls allow various groups to look across, down, or up at one another. The cubes then form another cube around a common atrium.

Maki and his team have created a series of literal think tanks filled with professors, students, computers, and robots all working in tandem on future technology.
The cubes themselves, now referred to as labs, have retained the same creative and colorful preschool feel of the original Wiesner cube, with many of the usual players and odd projects-in-progress that the Media Lab has come to be known for.

In addition to housing new labs and offices for the MIT Media Lab organization, the building will also be home to several programs belonging to MIT’s School of Architecture and Planning, the Jerome Lemelson Center for Inventive Thinking and the Okawa Center for Future Children. It also has a digital fabrication and machine shop, a lecture hall, a winter garden, a cafe, and conference rooms.

http://web.mit.edu
http://www.maki-and-associates.co.jp

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