What do the terms ‘life’, ‘love’, ‘art’ and ‘god’ look like to an algorithm?

An unusually inventive instance of digital art, A Brief History of Almost Everything in Five Minutes is a sped-up excerpt from the hour-long multichannel video installation Deep Meditations. The London-based, Turkish-born visual artist Memo Akten created the piece by entering broad and abstract search terms such as ‘everything’, ‘life’, ‘love’, ‘art’, ‘god’ and ‘nature’ into the popular photo-sharing website Flickr. He then filtered the dataset through a deep-neural network, which used the inputs to summon what it understood to be visual expressions of these subjective human concepts, resulting in otherworldly and uncanny evolving images. The visuals were then paired with audio generated by another algorithm that absorbed the sounds of spiritual rituals from across the world. According to Akten, the piece ‘is intended for both introspection and self-reflection, as a mirror to ourselves, our own mind and how we make sense of what we see; and also as a window into the mind of the machine, as it tries to make sense of its observations and memories’.  For more digital wizardry from Akten, watch Gloomy Sunday.

Who is ‘looting’ and who is ‘finding food’? How image gatekeepers shape the news

In August 2005, Alysia Burton Steele was just two months into her job as a photo editor on The Dallas Morning News when she decided to dispatch the photographer Irwin Thompson to New Orleans to document the impact of Hurricane Katrina. Her newspaper’s bold journalistic work went on to win a Pulitzer Prize for Breaking News Photography in 2006. In this short interview, Burton Steele describes how her team approached their coverage of the storm and its aftermath, and discusses the telling disparity between how news outlets presented African Americans and white people affected by the tragedy. This video is part of Topic’s Frame by Frame series, in which ‘celebrated photojournalists explore images of the people and events that helped shape the American experience, and discuss how working with photographs impacts them personally’.

When a deafblind woman from Denmark met a woman like her in Nepal

‘I dreamt I was the deafblind woman we visited … And there was no information, nothing, just isolation.’

Sensory experience, cultural differences and degrees of privilege collide in a meeting between two deafblind women: Dorte Eriksen from Denmark and Budhi Maya Gurung from Nepal. Commissioned by the Danish Deafblind Association to document a trip to help deafblind people in Nepal, the Mexican-Danish filmmaker Isabel Morales Bondy found herself filming the two women’s remarkable encounter. A Woman Like Me is assembled entirely without spoken words. Instead, viewers get to see as if through Eriksen’s eyes and hear only what the director does as witness to the women’s language of touch. Acknowledging the opacity of this experience, Morales Bondy chose not to subtitle the women’s meeting, prompting profound questions about language, communication and human connection. 

A quantum odyssey from the tip of a pen to the dark side of human knowledge

The classic short film Powers of Ten (1977) propelled viewers on a journey from a Chicago park into deep space and then back down to the scale of a single proton. In The Super Zoom, the Brazil-based graphic designer Pedro Machado’s visualisation dives even deeper into the realm of the subatomic and theoretical. While the original film by Charles and Ray Eames zoomed in to a scale of 10^-16 metres at most, Machado’s film draws on 40 years of quantum research – not to mention significant advances in 3D rendering technology – to drill down to the unfathomably small scale of 10^-33 metres, brushing up against the limits of human knowledge and imagination. The mindbending animation uses a framework of quantum gravity in which a gravitational field exists at these smallest conceivable scales.

Is ‘tech addiction’ really akin to drug addiction? Here’s what the research says

Over the past two decades or so, industries have sprung up to treat ‘addictions’ to everything from excessive eating or sex to video games. And colloquially, use of the word ‘addictive’ seems to have reached a peak, used in headlines and casual conversations to describe everything from Nutella to the latest streaming series. In this short video from BBC Ideas, Andrew Przybylski, a professor of experimental psychology at the Oxford Internet Institute, examines the phrase ‘technology addiction’, offering a brief history of the term, and ultimately arguing that, unlike research on addictions to gambling, drugs or alcohol, the research on technology addictions is inconclusive. For Przybylski, it’s more than a matter of semantics: given the lack of conclusive research, new ‘addiction’ treatment markets have become fertile ground for opportunists looking to make a quick buck. Also, like conflating sadness with clinical depression, pairing ‘tech addiction’ with medically proven conditions risks minimising very serious brain disorders.