life, thought and computation.
Apps should collaboratively extend common metaphores, not incompatible recreate the same objects over and over.
The iPhone, one of the smartest devices in the world, doesn't comprehend that a phone number and a snapchat account could represent the same person. Contacts should be a metaphor for other tools and services to extend, not an app.
Tools and Builders should be able to work with extendable metaphors to the OS.
One uses messenger to send messages to people.
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Every aspect of life is going digital. Not overnights, gradual for the last 20yrs
Our attention is being directed into the digital world
In the same ways cars became an universal technology, phones will too. When cars became an universal technology, people started to question what it meant for everyone to have a car.
Phones and computers will soon become an universal technology. What does it mean that everyone has a computer?
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writing is thinking and thinking is writing.
You cannot do anything with a computer except to write, and computers are the today's most expressive writing technology.
⤷ AI is the search to evolve writing again.
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Information lives in space and time. Digital revolution → information is global ∴ information lives in + space but - time.
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George Boole (1815-1864) is often considered a mathematician but he saw himself as a philosopher. He wanted to represent Aristotle's logic with formulas, like Descartes had done with Euclides's ideas.
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Gottlob Frege (1848-1925)
Turing's 1936 paper "On Computable Numbers, with an application to the Entscheidungsproblem" was a response to Hilbert's decision problem, which asked if there's an algorithm capable of determining if any arbitrary mathematical statement is true or false.
The significance of Turing's paper lies not in its answer but in the blueprint for computer design Turing provided along the way.
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notes on david deutsch's (fascinating) the beginning of infinity (2011), about infinity & universality, memetics and philosophy of science.
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curiosity: thinking existing explanations don't fully capture the ideas behind them, being unsatisfied with current stories.
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creativity: ability to create and replicate ideas to increase the amount of usable knowledge.
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ideas: information that can be stored in human brains and affects behaviour.
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culture: set of ideas that cause holders to behave alike.
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some aspects of nature (night sky, waterfalls, sunsets) seem to be beautiful to humans but show no signs of being designed with this intention. However, flowers do seem to have an apparent design for beauty.
humans recognizing that flowers are beautiful even though they evolved this way for unrelated purposes is evidence that some beauty is objective: it can be found in all places from the flower's genome to human minds.
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enlightenment: 1688 (English Enlightenment), inconceivable a century earlier.
static societies: people could expect to die under the same values, lifestyles, technology and patterns of economic production.
humans alone are authors of explanatory knowledge, the human behaviour called history.
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nature of science can be understood with theories=misconceptions
scientific method: increasingly difficult to ignore philosophical implications of the fact that nature had been understood in unprecedented depth, and of the methods of science and reason by which it was done.
evolution: optimizes neither good of species or individual, but the relative ability of surviving variants to spread through population. it favours only genes that spread best.
genetic code as language for organisms has shown phenomenal reach.
evolution of biological adaptations and creation of human knowledge are similar (ideas and genes are replicators, knowledge and adaptation hard to vary) yet distinct (human knowledge as explanatory and with reach, contrary to adaptations.)
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quantum physics
quantum theory discovered independently by Heisenberg and Schrödinger between 1935 and 1927.
issue: not consistent when applied to the case of an observer performing quantum measurements on another observer.
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computational universality should have happened with Babbage's Difference Engine (1820s), which had rules of arithmetic built into hardware to to automate log, cos, sin (used in navigation and engineering).
193# electrical relays for the analytical engine were just being used for the first applications of electromagnetism and were about to be mass produced for the telegraphy revolution.
Turing Test: The general-purpose sense of Intelligence that Turing meant (constellation of attributes of the human mind) puzzled philosophers for a millennia. (others are consciousness, free will and meaning).
Quantum computation: Computation in which the flow of information is not confined to a single history.
History is often shaped by small groups of forward-looking innovators rather than by the backward-looking masses.
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Most people are happy to acknowledge that ancient Greek gods exist only in the imagination. Yet we don’t want to accept that our God, our nation or our values are mere fictions, because these are the things that give meaning to our lives.
Catholic Church was responsible for important economic/technological innovations
In the 18th century, humanism sidelined God by shifting from a deo-centric to a homo-centric world view. In the 21st century, Dataism may sideline humans by shifting from a homo-centric to a data-centric world view (idea that 'organisms are algorithms').
science needs religious assistance to create viable human institutions: it describes facts but lacks ethical guidance.
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DVDs' disappearance → films mainly profit from ticket sales
Streaming now an accessible alternative, but profits = time spent on service
internet speed and phone camera improvements → global increase in social media's influence
≈ 2014: platforms shifted to algorithm-based content presentation → birth of viralization.
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Recent trends describe the current state of cinema as fragile and in decline. Industry figures have expressed this opinion, notably Martin Scorsese who in 2019 wrote an essay arguing that "the situation at this moment is brutal and inhospitable to art." Many of these statements blame franchise films and the modern way of producing them as the main drivers behind cinema becoming increasingly homogeneous and formatted, resulting in a market saturated with movies that look and feel the same. ⠀
Studios today have the option to release a movie in cinemas, but since the disappearance of DVDs, movies have lost most of their ability to make money after leaving theaters. Revenue now comes almost entirely from the number of tickets sold, which means that maximizing profits now means maximizing audiences. A movie is more accessible across cultures if it has a simple style, an easy-to-follow plot and few cultural or ideological references. This explains why many studios now consider following a repetitive (but successful) formula as more important when making a movie than the individual creative talent behind it.
Streaming releases have become an alternative to theatrical ones now that every major studio has launched its own platform. This is not always a bad option since it allows smaller movies and filmmakers to instantly reach an audience of millions without having to worry about selling tickets. But streaming platforms need users to consume as much content as possible to be profitable, and since hours spent on the service justify subscription prices, many of their productions are designed to be consumed passively, while users cook, clean, or browse their phone. These movies are not cinematic experiences but rather ambient ones, where results are "as negligible as they are interesting," as Brian Eno wrote when defining ambient music in 1978.
These two recent tendencies have helped studios and the film industry grow, but sequels, remakes, and movies based on existing material now capture most of Cinema's profits. Only 3 of the top 50 highest-grossing worldwide films of the 2010s were original stories.¹ Additionally, "good" (or at least recognized) Cinema is still struggling. The Oscars, arguably still today's biggest event and celebration of popular cinema, have seen their viewership steadily decline for decades. 55 million people watched the awards in 1998, compared to 41 million people in 2010 and just 10 million in 2021. Recent Academy Award winners have also grossed less money as time goes by. The combined Best Picture winners from the 1990s made around $5 billion worldwide, while combined winners of the 2000s made $3.4 billion and those of the 2010s, $2 billion.
This is the main idea behind recent statements and opinions on cinema: While globalization has strengthened the film industry, movies have lost economic and cultural influence. Cinema now risks not being the most popular form of storytelling in the 21st century, and newer forms of artistic expression could take its place.
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Even if the modern way of making movies is partly responsible, it would seem that new consumption patterns are also at the heart of this situation. Internet speeds started to increase globally in the early 2010s and the primary way people express themselves online evolved from text and photos to eventually, video. As phone cameras got better, photo-sharing services like Instagram started pushing ordinary people to take and share pictures, not only professional photographers. Snapchat pushed this even further by making the camera, not content, be the first thing users see when opening the app.
A collective of ordinary people became the main authors of mass amounts of content and media that started to be uploaded, shared, and consumed online. Social media companies soon needed to show posts based on popularity to keep users longer on their apps and make their platforms more attractive. This began in 2009 with the introduction of likes and retweets as tools for finding the most engaging posts, but rapidly escalated. By 2014, most social media platforms showed content based on their engagement, not in chronological order. This marked the first time that algorithms chose what people saw and the beginning of viralization, which allowed content from anyone on earth to reach an audience of millions (now billions) of people.
Recent companies like TikTok have thrived by taking these new dynamics even further. Since the only way to browse content is by swiping up or down, TikTok's algorithm can learn about users' interests with every single interaction they make –if something's not interesting, the user will swipe quicker. Combined with its near-infinite supply of videos from all cultures and languages, only a couple of minutes are needed to learn and personalize content for anyone on earth. Since algorithms are also set as the main referees of what people see, TikTok helps people go viral without the need for network effects. Any user can reach millions of views without fame, status, followers, or even friends on the app. The implementation of these dynamics into the design and mechanics of the app is partly responsible for TikTok's huge success. The company seems to also understand their impact, stating in April 2022 that they didn't see themselves as a social media platform, but rather an "entertainment company."
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Cinema then found itself in the middle of this new changing world, but failed to adapt. It soon started to be consumed like every other form of online media, getting transformed in the way: as movies became available anytime and could be paused, they lost some of Cinema's continuousness. Since movies also became available anywhere, people started watching them alone or with few others, which broke Cinema's locality and collectiveness. And as phones and computer screens become the primary ones for most people, Cinema lost the big screen.
This is where Cinema lost its grandeur and got transformed into simple content. Without these qualities, movies risk not being the primary storytelling vehicle for the 21st century. But I don't think this means cinema is dying, but rather that it is evolving. There is an old saying that "the first 50 years of the car industry were about creating and selling cars, but the second 50 years were about what happened once everyone had a car." After a majority of people owned one, they transformed businesses, suburbs, cities, people, and culture. Access to the internet is on track to become a human right, and the number of smartphone users is rising rapidly, with 83% of the world population owning one in 2022 (!).
As these technologies become universal like cars before them and algorithms determine more and more of popular culture, it seems like we're entering a democratization of media creation that allows anyone's voice to reach a global audience. But content chosen by algorithms only represents the average of everyone's tastes and interests. This is where filmmakers have the opportunity to think about how they could play with these new formats and adapt the cinematic experience. To do so, Cinema might need to move away from some of its traditional characteristics and embrace other new dynamics.
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In this sense, TikTok's success could mean that short-form portrait video is an initial evolution and answer to the question "what happens to Cinema when everyone has a phone and Internet?" But as movies, technology, and people keep changing, short-form video might evolve even more and resemble Cinema even less. At that point, will it still be cinema, or something new? What comes after cinema?
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¹ Frozen (2013), Zootopia (2016), Secret Life of Pets (2016).
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bob iger's 2019 memoir of +15 years as Disney's CEO.
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