Physicists at the University of Geneva achieved the weird result by creating a pair of ‘entangled’ photons, separating them, then sending them down a fibre optic cable to the Swiss villages of Satigny and Jussy, some 18 kilometres apart.
The researchers found that when each photon reached its destination, it could instantly sense its twin’s behaviour without any direct communication. The finding does not violate the laws of quantum mechanics, the theory that physicists use to describe the behaviour of very small systems. Rather, it shows just how quantum mechanics can defy everyday expectation, says Nicolas Gisin, the researcher who led the study. “Our experiment just puts the finger where it hurts,” he says. (nature.com)
The world’s first known scientific instrument plotted the positions of celestial bodies nineteen years into the future — and as an added bonus, it kept track of upcoming Olympics.
"The maker took information about astronomical theories, and made a machine that could predict the future," said Tony Freeth, co-author of a study to be published in Nature this week. "And it would tell you, as a bit of an add-on, what Olympic games would be in progress at the time."
A dictionary-size assemblage of 37 interlocking dials crafted with the precision and complexity of a 19th century Swiss clock, the machine was recovered in 1900 from a shipwreck off the Greek island of Antikythera. Scientists dated it to 150 BC. (wired)
Avi Bryant and I worked out on paper an Ultimate Optimal Villager Strategy for a Small Village playing “no reveal” (12 or fewer players, with both a seer and a healer). This is basically a PERFECT strategy that would work ruthlessly well to detect and lynch all of the Werewolves every single game, in almost any circumstance. We did all the math, we ran all the scenarios, and then we tested it in a bunch of games with lots of different players. And in ~20 games, the villagers won every time… (avantgame.blogspot.com)
In June 2005 the prestigious international monthly architecture magazine Domus launched the Call for Ideas on architecture and geopolitics for the Ryugyong Hotel in Pyongyang (Boeri et al. 2005). This was the aftermath of Stefano Boeri, Armin Linke and Andrea Petrecca’s local investigation in North Korea’s capital – photographs of "emphatic sequences, portions of a standard city enriched with designed exceptions, subtitled with propaganda" (Petrecca 2005, p. 19) underlining several articles, one of which is significantly called "The Phantom Pyramid". At the end of this essay the invited delegation put it like that: "In requesting ideas conjuring up the future of this ‘ruin of the future’, we wanted to raise the game of replicas, analogies and visions of architecture […]" (Boeri 2005a). (ryugyong.org)
Related: Wikipedia: Ryugyong Hotel
Two recent EBR posts worth looking at when thinking about pervasive gaming: Jane McGonigal’s The Puppet Master Problem: Design for Real-World, Mission-Based Gaming…
The gamer’s exercise of free will has long been assumed to be a core and constant experiential aspect of gaming. But the rise of the puppet master in pervasive gaming suggests that in the new ubiquitous computing landscape, many gamers want to experience precisely the opposite phenomenon. They are learning the immersive pleasures of becoming actors in a gaming environment, of transforming themselves into physical vehicles for someone else’s digital vision. As game-actors, they become masters of interpretative embodiment; they accept as their mission the real-world incarnation of a digital design, much as stage actors in traditional theater have long served as the actual embodiment of virtual texts. For players, the pleasures and challenges of real-world gaming missions are the pleasures and challenges of dramatic performance. And for puppet masters, writing real-world mission scripts is very much the same process as writing dramatic texts; redesigning them in real time is very much the process of directing live actors on stage. (EBR)
…and Christy Dena’s “riposte,” The Designer-Academic Problem:
The term ‘puppet master,’ it should be noted, is not necessarily regarded anymore as a power dynamic. ARG player ‘Konamouse’ recently explained the history and current perception of the term: “The term Puppet Master harkens back to the start of ARGs when it was felt the game authors were “pulling the strings of the players” (so to speak). Over the years, we have just habitually used PMs as an all encompassing term referring to the folks behind the curtain. Of course they are interacting with the players – through their characters (or making themselves a character in telling the story). It’s a well established nomenclature and has nothing to do with elitism or otherwise” (Konamouse 2008). . . . then why does McGonigal – a designer on many of the games she cites – also describe the genre of game as a ‘power play’? Is McGonigal describing the characteristics of the genre through the eyes of the players? Through the eyes of her own game design philosophy? Or through the eyes of an academic who believes the relationship between designers and players is such a power dynamic? The next question of course is: can a researcher, and a reader, distinguish these possible approaches? (EBR)
A new energy concept called a solar tower could generate enough electricity for 200,000 homes. Looking like a giant smokestack, it would release no noxious fumes — just sun-heated air. Demonstrated more than 20 years ago, the basic design calls for solar collectors to warm the air near Earth’s surface and then channel it up the tall central tower. Turbines placed at the bottom make electricity from the updraft.
"It’s a combination chimney, windmill, greenhouse," said Kim Forté of EnviroMission Limited in South Melbourne, Australia. EnviroMission has designed a kilometer-high solar tower (0.62 miles) and is now looking at possible sites in the southwestern United States. (livescience.com)
The Trons are an all-robot band, composed of little machines named Ham, Wiggy, Swamp and FiFi. They have a MySpace page and play gigs in their native New Zealand. Here’s a poster featuring them from an upcoming show:
Naturally, magnetic fields are invisible, but the scientists from Space Sciences Laboratory at NASA have made animated photographs to make them visible. To create this, they use 3D compositing along with sound-controlled CGI, that make the fields dance in an “absolutely gorgeous movie”, called the Magnetic Movie. (devicedaily.com)
Some early findings on running a global ARG are coming in from Lost Ring puppetmaster Jane McGonigal. If this thesis statement grabs you, then read the full article on designing and playing in “chaotic communities” here:
…in videogames, sandbox mode is an intensely personal style of gameplay, and if you’re the player, you don’t have to worry about other players arguing with you about the experience you decide to create for yourself. Even if you’re playing online, the virtual world is big enough that other players will leave you alone to play however you want. But in ARGs, because gameplay is often so collaborative, and there’s supposed to be very little experience that a player can have alone, sandbox mode can create interesting — and sometimes contentious — intersections of personal gameplay style. That’s because some players might be building an elaborate sand castle, and other players might be racing through the box to make supercrazy tunnels, and other players might just want to squish the sand between their toes. And when your castle meets my tunnel and their toes, well it takes a bit of paying attention to let everyone have their fun. (avant game)