alyaza

joined 3 years ago
MODERATOR OF
 

Over the past year, we’ve completely rebuilt the Namesake app. It has a new design, more accessible forms, improved security, and is now open source. This new app builds a foundation for us to support name changes in many more locations and for different types of activities. You can sign up today.

 

Esther Fallick wants her comedy to be an escape from the horrors. But that escape has a purpose: to make it easier to face these times for what they are. By poking fun at something that can feel so heavy, like the president pitting his administration against transgender people, Fallick wants to find ways to bring people together and laugh off the darkness creeping in on everyday life.

“We could be having a little more fun as a community, as a country. I just feel like so much of what we’re talking about as trans people right now is so dire. There’s reason for that, but I just wanted a space to be intentionally silly,” she said. Intentions aside, she still spent the first episode of her podcast — aptly titled, “Having Fun” — joking about fleeing anti-trans violence in America with fellow comedian Ella Yurman. The gallows humor is inescapable.

Her weekly variety show in Brooklyn, titled “While We’re Here,” is also a dark joke: We’re only here, alive and on this planet, for so long. And life is only getting harder. So what should we do in the meantime? Fallick suggests laughter, to start, followed by music, reading and teach-ins on topics ranging from transmisogyny — how trans women are hurt by both misogyny and transphobia — to demilitarizing New York City’s police force, especially in Brooklyn.

 

You may hear the phrase “electronic music” and think of superstar dubstep DJs in funny helmets at beachside celebrity parties. Alternatively, you may think of the mercurial compositions of Karlheinz Stockhausen, the musique concrete of Pierre Henry, or the otherworldly experimentalism of François Bayle. If you’re in that latter camp of music nerd, then this post may bring you very glad tidings indeed. Ubuweb—that stalwart repository of all things 20th-century avant-garde—now hosts an extraordinary compilation: the 476-song History of Electronic/Electroacoustic Music, originally a 62 CD set. (Hear below Stockhausen’s “Kontact,” Henry’s “Astrologie,” and Bayle’s spare “Theatre d’Ombres” further down.)

Spanning the years 1937–2001, the collection should especially appeal to those with an avant-garde or musicological bent. In fact, the original uploader of this archive of experimental sound, Caio Barros, put these tracks online in 2009 while a student of composition at Brazil’s State University of São Paulo. Barros’ “initiative,” as he writes at Ubuweb, “became some sort of legend” among musicophiles in the know.

 

Nowadays we associate the word “prodigy” with precocious children, but in centuries past the word was used to describe anything monstrous. Victor Stott clearly qualifies as a prodigy in the modern sense, but he qualifies in the older sense too: Not only does he frighten the ignorant and superstitious, he induces a profound terror in the educated and intellectual. Seen in this light, the first novel about superintelligence is actually a work of horror SF, a cautionary tale about the dangers of knowing too much.

 

Berlin-based advocates are one step closer to creating a car-free zone in their city that's bigger than the entirety of Manhattan.

A decision on Wednesday by the Berlin Constitutional Court allows a long-stalled initiative by the advocacy group Volksentscheid Berlin Autofrei ("Ballot Measure for an Auto-Free Berlin) to continue gathering signatures for a referendum to create a zone in the center of the German capital that would be free of almost all private automobiles.

The group's efforts had already reached the initial, 50,000-signature threshold before a series of procedural impediments threw a wrench in their effort. Wednesday's court decision pushes the long-delayed process forward, beginning with a debate at the Berlin House of Representatives, followed by another round of signature collection that would allow the referendum to take place in 2026, the group said.

The "ban" would still allow up to 12 uses of a private automobile per year per person. It would also include exceptions for rental vehicles, people with disabilities, and service vehicles like delivery vans and garbage trucks.

 

With the backing of DSA, Somerville City Councilor-at-Large and democratic socialist Willie Burnley Jr. is challenging two-term incumbent Mayor Katjana Ballantyne.

Burnley’s campaign comes as Zohran Mamdani’s upset in the New York City mayoral race stunned the world. Mamdani made international headlines on June 24th by defeating a powerful ex-Governor born into a political dynasty and backed by the entire Democratic Party establishment.

Mamdani and Burnley are DSA-endorsed members of their local chapters, and their political styles are similar. They are both self-described organizers. Both have employed creative campaign techniques and developed robust field operations on a scale that addresses the needs of two very different cities, while tackling broadly felt working-class issues. For Zohran, it was freezing the rent, making buses fast and free, and universal childcare. For Burnley, it’s affordable social housing, uplifting union rights and tenants’ rights, and increasing resources for K-12 students. The campaign has hosted creative events like a cannabis-infused fundraiser, and its volunteers are already knocking on doors five days a week.

Working Mass spoke with Willie over video call to ask him about his background, his historic campaign, his work on Somerville City Council so far, and – of course – his views on what is most important for Somerville’s future.

 

Denzel has deep roots in this city. He is a lifelong Detroiter. He has been an activist since his college days at Michigan State University. He is a founding member of Black Youth Project 100, an organization that fights against the “school-to-prison pipeline” that undermines the futures of young people of color. Denzel was also an elected Detroit City Charter Commissioner, and served as communications director and advisor for U.S. Congresswoman Rashida Tlaib.

DSA has already backed him in the past, in his run for Detroit City Clerk in 2021. This time DSA members are pouring a lot of resources and time into his campaign, in the Electoral Committee and beyond. Denzel is a self-identified and unapologetic socialist, and a lot of us are looking at the current political climate as an opportunity to elect such candidates, a climate which is reflected in our growing membership in the last year.

Americans are crying out for representation that openly addresses their economic anxiety instead of gaslighting them that everything is just great, as Joe Biden and Kamala Harris did in 2024. Voters want something different. And many of them are open to listening to someone willing to say, for example, that billionaires shouldn’t exist, and that immigrants are a vital part of our community who should not be rounded up like dogs. Denzel is one of these candidates.

 

In the 1990s, a small cir­cle of inter­sex peo­ple came to know one anoth­er. They met face-to-face and con­nect­ed over the inter­net (then a nov­el­ty). As they shared life expe­ri­ences, med­ical records, and per­spec­tives on the injuries and neglect they endured, a con­sen­sus quick­ly arose. They found shared strug­gles, caused not sole­ly by wide­spread igno­rance of ordi­nary human vari­ance in repro­duc­tive devel­op­ment, but also by the ways they were known over.

At worst, this know­ing over meant surg­eries and oth­er treat­ments car­ried out with lit­tle regard for their con­sent, then usu­al­ly con­cealed from them. Med­ical jar­gon and vague euphemism had been lay­ered along with scar tis­sue. The truth of their treat­ments was left impos­si­ble for inter­sex peo­ple to reach indi­vid­u­al­ly — but was eas­i­ly recog­nised when they gath­ered. Then, they could intu­itive­ly grasp the shared wound­ing and neglect that pre­vi­ous­ly iso­lat­ed inter­sex peo­ple (that had caused them to know them­selves only as med­ical freaks — best off cor­rect­ed and hid­den away — and not as their own cat­e­go­ry of human, who might under­stand themselves).

Inter­sex advo­cates first focused on dia­logue, both inter­nal and exter­nal, by rais­ing con­scious­ness at small com­mu­ni­ty meet­ings and on pur­pose-made web forums and devel­op­ing con­nec­tions with allies in fem­i­nist schol­ar­ship and the LGBTQ+ move­ment. Inter­sex advo­ca­cy of this era had an unmis­tak­able imprint of both the fem­i­nist and les­bian and gay move­ments. Inter­sex peo­ple drew slo­gans, strate­gies, insights, and approach­es from ear­li­er twen­ti­eth-cen­tu­ry coun­ter­cul­ture – and merg­ing with the pre­vail­ing provoca­tive style of ​’90s queer campaigners.

After just three years of under­ground con­scious­ness-rais­ing organ­i­sa­tion, inter­sex advo­ca­cy took to the streets (first in Boston in 1996, then quick­ly world­wide). Their first protest fea­tured signs read­ing ​“SILENCE = DEATH”. Just two inter­sex demon­stra­tors were flanked by trans­sex­u­als, hold­ing a flam­boy­ant pick­et to con­front doc­tors with ​“feed­back” from those who they’d harmed. From 1996 to today, advo­cates began con­fronting the pro­fes­sion­als respon­si­ble for the harms done to inter­sex chil­dren, with the hope that future gen­er­a­tions could be spared the devel­op­men­tal injuries that so many in the move­ment had endured.

 

We are standing on a precipice.

At its simplest level, our job as artists is to respond to the human experience. But the art we make is a commodity, and our world wants things quickly, cheaply, and on demand. We are rushing toward a future where our novels, our biographies, our poems and our memoirs—our records of the human experience—are “written” by artificial intelligence models that, by definition, cannot know what it is to be human. To bleed, or starve, or love.

AI may give the appearance of understanding our humanity, but the truth is, only a human being can speak to and understand another human being. Every time a prompt is entered into AI, the language that bot uses to respond was created in part through the synthesis of art that we, the undersigned, have spent our careers crafting. Taken without our consent, without payment, without even the courtesy of acknowledgment.

In our writing, we drew on our lives: the losses of our parents, the births of our children, every love affair we’ve lived or imagined. Stories of human heroism and human depravity. These stories were stolen from us and used to train machines that, if short-sighted capitalistic greed wins, could soon be generating the books that fill our bookstores. Is this the end goal—to fully remove us from the equation so that those at the very top of the capitalist structure can profit even further off our labor than they already do? Rather than paying writers a small percentage of the money our work makes for them, someone else will be paid for a technology built on our unpaid labor.

The writing that AI produces feels cheap because it is cheap. It feels simple because it is simple to produce. That is the whole point. AI is an enormously powerful tool, here to stay, with the capacity for real societal benefits—but the replacement of art and artists isn’t one of them.

 

Looking back, my subscription-ending journey—or perhaps more accurately, subscription-consciousness journey—was a product, at least in part, of post-COVID lockdown reflections on what I really need and how I’d really like to spend my time. The excess of my subscriptions had started to feel akin to hoarding, and I needed to clear space, even if most of that space was intangible. There was also the lightbulb realization that has become more and more common amongst Millennials, that, despite our monthly investments in accessing various forms of media, we don’t actually own most of the culture that we consume. What’s more, should the companies that do own that media go defunct or be sold to entities that we may prefer not to do business with, we really wouldn’t have much recourse—except to unsubscribe.

This could mean years and years of playlists and TV shows and films that we would no longer have access to because they were never really ours to begin with, ultimately leaving us with nothing. And while I’m not interested in owning many things from culture, save for books and some fashions, I do think ownership of culture in its various forms serves more than capitalistic desire. Our things can be physical memories of what we love or once did, what has been passed on and gifted to us, and sometimes, reminders of what we saved and scraped for—emblems of hard-fought earnings. We are robbed of this when we choose to rent something out of convenience or compulsion instead of mindfully acquiring things that are truly meaningful to us.

 

Though they're not yet dominating the charts, disturbingly realistic AI songs are slowly but surely creeping into our headphones - and you may even be listening to them without realizing what you're hearing. Smuggled into popular playlists and hidden in plain sight among authentic, well-known tracks, AI-generated artists with fake photos, ChatGPT-generated biographies and no genuine fans to speak of are picking up hundreds of thousands of streams.

One such artist is The Velvet Sundown, a band with almost 350,000 monthly Spotify listeners but no discernible online presence or social media accounts. ("There's not a shred of evidence on the internet that this band has ever existed," as one Redditor put it.) While we can't confirm that the band's music is AI-generated, a glance at their artist image and bio should be enough to persuade even the least skeptical observer.

"The Velvet Sundown don't just play music — they conjure worlds," reads the group's Spotify profile, which we're about 99% certain has been authored by ChatGPT. "Somewhere between the ghost of Laurel Canyon and the echo of a Berlin warehouse, this four-piece band bends time, fusing 1970s psychedelic textures with cinematic alt-pop and dreamy analog soul."

The biography tellingly states that the band's music "feels like a hallucination you want to stay lost in," their live shows playing like "lucid dreams" and their albums "unfolding like lost soundtracks to films that were never made". There's even a seemingly bogus quote from Billboard rounding things off, claiming that the band "sound like the memory of something you never lived, and somehow make it feel real".

 

NEW YORK (AP) — Europeans still aren’t buying Teslas with figures out Wednesday showing sales plunged for a fifth month in a row in May, a blow to investors who had hoped anger toward Elon Musk would have faded by now.

Tesla sales fell 28% last month in 30 European countries even as the overall market for electric vehicles expanded sharply, according to the European Automobile Manufacturers’ Association. The poor showing comes after Tesla’s billionaire CEO had promised a “major rebound” was coming last month, adding to a recent buying frenzy among investors.

[–] alyaza@beehaw.org 3 points 6 days ago

for more on this, see the New York Times article on the observatory: How Astronomers Will Deal With 60 Million Billion Bytes of Imagery

Each image taken by Rubin’s camera consists of 3.2 billion pixels that may contain previously undiscovered asteroids, dwarf planets, supernovas and galaxies. And each pixel records one of 65,536 shades of gray. That’s 6.4 billion bytes of information in just one picture. Ten of those images would contain roughly as much data as all of the words that The New York Times has published in print during its 173-year history. Rubin will capture about 1,000 images each night.

As the data from each image is quickly shuffled to the observatory’s computer servers, the telescope will pivot to the next patch of sky, taking a picture every 40 seconds or so.

It will do that over and over again almost nightly for a decade.

The final tally will total about 60 million billion bytes of image data. That is a “6” followed by 16 zeros: 60,000,000,000,000,000.

[–] alyaza@beehaw.org 7 points 1 week ago

the study: Majority support for global redistributive and climate policies

We study a key factor for implementing global policies: the support of citizens. The first piece of evidence is a global survey on 40,680 respondents from 20 high- and middle-income countries. It reveals substantial support for global climate policies and, in addition, for a global tax on the wealthiest aimed at financing low-income countries’ development. Surprisingly, even in wealthy nations that would bear the burden of such globally redistributive policies, majorities of citizens express support for them. To better understand public support for global policies in high-income countries, the main analysis of this Article is conducted with surveys among 8,000 respondents from France, Germany, Spain, the UK and the USA. The focus of the Western surveys is to study how respondents react to the key trade-off between the benefits and costs of globally redistributive climate policies. In our survey, respondents are made aware of the cost that the GCS [a global carbon price funding equal cash transfers] entails for their country’s people, that is, average Westerners would incur a net loss from the policy. Our main result is that the GCS is supported by three quarters of Europeans and more than half of Americans.

Overall, our results point to strong and genuine support for global climate and redistributive policies, as our experiments confirm the stated support found in direct questions. They contribute to a body of literature on attitudes towards climate policy, which confirms that climate policy is preferred at a global level17,18,19,20, where it is more effective and fair. While 3,354 economists supported a national carbon tax financing equal cash transfers in the Wall Street Journal21, numerous surveys have shown that public support for such policy is mixed22,23,24,25,26,27. Meanwhile, the GCS— the global version of this policy—is largely supported, despite higher costs in high-income countries. In the Discussion, we offer potential explanations that could reconcile the strong support for global policies with their lack of prominence in the public debate.

[–] alyaza@beehaw.org 2 points 2 weeks ago

this is going over hilariously on social media, despite the insistence by the Grammy's that it has nothing to do with Beyonce's win last year:

Recording Academy CEO Harvey Mason Jr. told Billboard that the proposal for the two new categories was submitted previously several times before it passed this year. The new categories “[make] country parallel with what’s happening in other genres,” he explained, pointing to the other genres which separate traditional and contemporary. “But it is also creating space for where this genre is going.”

Traditional country now focuses on “the more traditional sound structures of the country genre, including rhythm and singing style, lyrical content, as well as traditional country instrumentation such as acoustic guitar, steel guitar, fiddle, banjo, mandolin, piano, electric guitar, and live drums,” the 68th Grammys rulebook explains.

[–] alyaza@beehaw.org 10 points 2 weeks ago

i think this topic has about run its course in terms of productiveness, and has mostly devolved into people complaining about being held to (objectively correct) vegan ethics. locking

[–] alyaza@beehaw.org 21 points 3 weeks ago (1 children)

someone on Bluesky analogized what is happening to how QAnon transpired for most people, which is that the crazification it was causing simmered under the surface until January 6, when it all publicly exploded and the influence it had over a non-trivial block of the population became undeniable. hard to disagree with that!

[–] alyaza@beehaw.org 15 points 3 weeks ago
[–] alyaza@beehaw.org 27 points 1 month ago (1 children)

just a nightmarish headline. get these two the fuck out of here

[–] alyaza@beehaw.org 15 points 1 month ago

Art rock legend Brian Eno has called on Microsoft to sever its ties with the government of Israel, saying the company's provision of cloud and AI services to Israel's Ministry of Defense "support a regime that is engaged in actions described by leading legal scholars and human rights organizations, the United Nations experts, and increasing numbers of governments from around the world, as genocidal."

Eno's connection with Microsoft goes back 30 years—he composed the famous boot-up jingle for Windows 95 that was recently inducted into the National Recording Registry at the US Library of Congress.

"I gladly took on the project as a creative challenge and enjoyed the interaction with my contacts at the company," Eno wrote in an open letter posted to Instagram (via Stereogum). "I never would have believed that the same company could one day be implicated in the machinery of oppression and war."

Regardless, Eno clearly isn't interested in Microsoft's protestations of innocence: "Selling and facilitating advanced AI and cloud services to a government engaged in systematic ethnic cleansing is not 'business as usual'. It is complicity. If you knowingly build systems that can enable war crimes, you inevitably become complicit in those crimes."

[–] alyaza@beehaw.org 14 points 1 month ago (3 children)

and the press release from Fandom, which previously owned them for some reason:

San Francisco, CA - May 10, 2025 - Fandom, the world's largest fan platform, is selling Giant Bomb to long-time Giant Bomb staff and gaming content creators Jeff Bakalar and Jeff Grubb. Financials of the deal were not disclosed. Giant Bomb's programming, which was paused in order to work out the terms of this deal, will resume as quickly as possible. More details will be communicated soon by Giant Bomb's new owners.

Statement from Fandom

"Fandom has made the strategic decision to transition Giant Bomb back to its independent roots and the brand has been acquired by longtime staff and content creators, Jeff Bakalar and Jeff Grubb, who will now own and operate the site independently. Fans are at the core of everything we do at Fandom and we're committed to not only serving them but also supporting the creators they love, and the sale of Giant Bomb represents a natural extension of that mission. We're confident Giant Bomb is in good hands and its legacy will live on with Jeff and Jeff."

Joint Statement from Jeff Bakalar and Jeff Grubb

"Giant Bomb is now owned by the people who make Giant Bomb, and it would not have been possible without the speedy efforts of Fandom and our mutual agreement on what's best for fans and creators. The future of Giant Bomb is now in the hands of our supporting community, who have always had our backs no matter what. We'll have a lot more to say about what this looks like soon, but for now, everyone can trust that all the support we receive goes directly to this team."

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