Stephen Baker: The Numerati (2008)

An urgent look at how a global math elite is predicting and altering our behavior — at work, at the mall, and in bed.

Every day we produce loads of data about ourselves simply by living in the modern world: we click web pages, flip channels, drive through automatic toll booths, shop with credit cards, and make cell phone calls. Now, in one of the greatest undertakings of the twenty-first century, a savvy group of mathematicians and computer scientists is beginning to sift through this data to dissect us and map out our next steps. Their goal? To manipulate our behavior — what we buy, how we vote — without our even realizing it.

In this tour de force of original reporting and analysis, journalist Stephen Baker provides us with a fascinating guide to the world we’re all entering — and to the people controlling that world. The Numerati have infiltrated every realm of human affairs, profiling us as workers, shoppers, patients, voters, potential terrorists — and lovers. The implications are vast. Our privacy evaporates. Our bosses can monitor and measure our every move (then reward or punish us). Politicians can find the swing voters among us, by plunking us all into new political groupings with names like “Hearth Keepers” and “Crossing Guards.” It can sound scary. But the Numerati can also work on our behalf, diagnosing an illness before we’re aware of the symptoms, or even helping us find our soul mate. Surprising, enlightening, and deeply relevant, The Numerati shows how a powerful new endeavor — the mathematical modeling of humanity — will transform every aspect of our lives.

Publisher Mariner Books, Boston/New York, 2008
ISBN 0618784608, 9780618784608
256 pages

review (Marcus du Sautoy, The Guardian)
review (Rob Walker, The New York Times)
review (Tim Walker, The Independent)

author
google books

PDF

Florian Hoenig: Computational Aesthetics and Visual Preference: An Experimental Approach (2006)

Computational Aesthetics is a term which has been frequently used by scientists interested in quantitative approaches towards the concept of aesthetics during the last century. A review of both past and recent works attempting to quantify aesthetic preference of various stimuli is given, which shows that aesthetics was described as some function of complexity and order in many theories.

Since most measures were hardly relating to knowledge of human perception, complexity is reinterpreted in the context of a currently accepted model of visual perception and a hypothesis is formulated which states that human visual preference is not independent of complexity (cell excitation) at the very first stage of visual processing.

An estimate representative for cell activity in early visual processing is presented: Multivariate Gabor Filter Responses. Additionally, image properties such as aspect ratio, resolution and JPEG compressibility are used to sanity-check any correlations.

The estimate calculated, compared against human preference ratings of photographs, shows statistically significant but low correlations. However, the machine learning experiments performed, fail to predict any better than one would by taking the mean value of the data.

Even though these results only loosely relate to aesthetic perception, it’s motivating further research and closer inspection of image features and their relation to perceptual properties and visual (aesthetic) preference.

Thesis
Computer Science, JKU Linz, Austria
Supervisor Josef Scharinger
118 pages

PDF
View online (Scribd.com)

Christopher Alex McLean: Artist-Programmers and Programming Languages for the Arts (2011)

“We consider the artist-programmer, who creates work through its description as source code. The artist-programmer grandstands computer language, giving unique vantage over human-computer interaction in a creative context. We focus on the human in this relationship, noting that humans use an amalgam of language and gesture to express themselves. Accordingly we expose the deep relationship between computer languages and continuous expression, examining how these realms may support one another, and how the artist-programmer may fully engage with both.

Our argument takes us up through layers of representation, starting with symbols, then words, language and notation, to consider the role that these representations may play in human creativity. We form a cross-disciplinary perspective from psychology, computer science, linguistics, human-computer interaction, computational creativity, music technology and the arts.

We develop and demonstrate the potential of this view to inform arts practice, through the practical introduction of software prototypes, artworks, programming languages and improvised performances. In particular, we introduce works which demonstrate the role of perception in symbolic semantics, embed the representation of time in programming language, include visuospatial arrangement in syntax, and embed the activity of programming in the improvisation and experience of art.”

Doctoral thesis
Goldsmiths, University of London, October 2011
Supervisor Geraint Wiggins
Co-supervisor Mark d’Inverno
172 pages

Author
Publisher

PDF