The Null Device
This year is the 50th anniversary of Helvetica, the sans-serif typeface which was designed by Swiss typographer Max Miedinger in 1957 and has since become ubiquitous, and synonymous with a very Swiss modernist aesthetic: clean, fastidious and businesslike, if perhaps somewhat bland:
As Wildenberg notes, its Swissness is part of the appeal. The land where clocks run meticulously and the streets are spotless carries the kind of cultural resonance that the logo makers and brand masters of the major corporations might like a bit of. For others, its neutrality is a platform for daring design.Some love it (there is a glossy coffee-table book and a documentary for its anniversary), while others hate it. Among the haters is designer and typographer Neville Brody, who was responsible for a lot of its use in the 1980s:
"When people choose Helvetica they want to fit in and look normal. They use Helvetica because they want to be a member of the efficiency club. They want to be a member of modernism. They want to be a member of no personality. It also says bland, unadventurous, unambitious."Though while Helvetica is not universally loved, it is nowhere near as despised as that idiot of the typographical village, Comic Sans
A blog calling itself Psychotic Leisure Music has posted MP3 copies of the ultra-rare Japanese CD release of the Dogs In Space soundtrack. The Japanese version is equivalent to the "PG-rated" vinyl release, in that the songs aren't overdubbed with snippets of film dialogue.
A funny thing happened during a recent test of a military mine-disposal robot:
This is not the only incident of a curious camaraderie developing between soldiers and robots; the article describes other stories of US troops in Afghanistan and Iraq (where robots are being widely deployed) befriending their mechanical compatriots, ascribing quirks of individual robots to personalities, giving them names and (virtual) battlefield honours, and even going fishing with their robot buddies.
At the Yuma Test Grounds in Arizona, the autonomous robot, 5 feet long and modeled on a stick-insect, strutted out for a live-fire test and worked beautifully, he says. Every time it found a mine, blew it up and lost a limb, it picked itself up and readjusted to move forward on its remaining legs, continuing to clear a path through the minefield.
Finally it was down to one leg. Still, it pulled itself forward. Tilden was ecstatic. The machine was working splendidly.
The human in command of the exercise, however -- an Army colonel -- blew a fuse.
The colonel ordered the test stopped.
Why? asked Tilden. What's wrong?
The colonel just could not stand the pathos of watching the burned, scarred and crippled machine drag itself forward on its last leg.
This test, he charged, was inhumane.
Which could be more evidence that the human mind automatically perceives anything whose actions show signs of intention to have psychological states. An example (in the book Mind Hacks) describes children being shown a display with two shapes moving on a screen, one after the other, and when asked what was happening, describing one as chasing the other. Could it be that when a machine tries to defuse a bomb, its operators, even though they know it is a machine, can't help but mentally classify it as being "alive"?