“John Mulaney Presents: Everybody’s in L.A.” (Netflix) är som en populärkulturell version av Rosrecrans Baldwins Everything Now.

Il Campionato Mondiale di Umari är en hyllning till den pensionerade (oftast, alltid?) mannen som står med händerna på ryggen och observerar hur ett bygge fortskrider eller hur ett vägarbete går framåt. En umarell. Bidragen bedöms av en jury i tre kategorier (som höjer insatsen jämfört med den klassiskt observerande umarellismen): 1) skiss av en byggarbetsplats; 2) korta noteringar om en byggarbetsplats, eller 3) en prosatext eller poesi om en byggarbetsplats. (via: Scope of Work)

Iiiiii

Det finns en lätt överdrift i det här stycket, men det är ändå något att fundera över:

In AI, we are in this odd situation where a technology of larger impact than anything built before itself (possible exception: fire) is being speed-delivered into the world and those that are building it are calling out its issues as quickly as it is being developed, but relatively few people are available to work on it.

Jack Clark, “Import AI 370: 213 AI safety challenges; everything becomes a game; Tesla’s big cluster“, 29 april 2024

Apropå ett större papper där ett stort antal forskare har identifierat och sammanställt utmaningar och frågor att besvara för att stora språkmodeller ska bli säkra och pålitliga i en samhällskontext.

Subtil process

Adam Moss bok The Work of Art inleds med att konstnären Kara Walker berättar om hur hennes verk “A Subtlety, or the Marvelous Sugar Baby, an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant” kom till.

Från en tidig PowerPoint-skiss:

It was a way of synthesizing material, but it also has a rhythm and poetry to it. I was gathering images that included the chickens but then went into voodoo and rum and sugar and the transatlantic slave trade. I started to read about the process of sugar refining, and that it’s not a given that sugar should exist in the world.

Något som gjorde uppdragsgivarna lite nervösa, givet att verket skulle bo i en gigantisk lagerlokal tidigare använd som sockerfabrik:

And so the PowerPoint is what I gave Creative Time. I said, “I think I’m getting closer.” And they were like, “What is it, exactly? Is it going to be a slideshow?” And I said, “No, no, this isn’t the piece!”

Om insikten vad det skulle bli:

And here’s what happened: I was on the Q train. And I was reading the Sidney Mintz book [“Sweetness and Power: The Place of Sugar in Modern History” från 1985]. And there’s a section where he talks about the “subtleties” – these special decorative [sugar ornaments] exclusively for kings, for the celebration of weddings…and you know, we’re so used to fucking sugar we don’t even realized how special sugar is…

And I was just like, Oh, it’s a sugar sculpture!

And I realized the Sphinx was the perfect sort of ruin. And that was the big moment.

Och sluresultatet: