Douglas Heaven in Nature:
A self-driving car approaches a stop sign, but instead of slowing down, it accelerates into the busy intersection. An accident report later reveals that four small rectangles had been stuck to the face of the sign. These fooled the car’s onboard artificial intelligence (AI) into misreading the word ‘stop’ as ‘speed limit 45’.
Such an event hasn’t actually happened, but the potential for sabotaging AI is very real. Researchers have already demonstrated how to fool an AI system into misreading a stop sign, by carefully positioning stickers on it1. They have deceived facial-recognition systems by sticking a printed pattern on glasses or hats. And they have tricked speech-recognition systems into hearing phantom phrases by inserting patterns of white noise in the audio.
These are just some examples of how easy it is to break the leading pattern-recognition technology in AI, known as deep neural networks (DNNs).
More here.

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Whether or not she believes them, Chu’s initial theses lead her into a series of chapters in which she theorizes, among other things, gender transition according to the recuperated principles of her personally curated second-wave feminism. Chu quotes her icon Solanas on Candy Darling (1944–1974), an actor and trans woman associated with Warhol’s Factory scene: “[A] perfect victim of male suppression.” (Chu says the epithet was spoken “admiringly”; it’s hard to see how.) Females inclines toward this view, with a twist. Trans women come across as the dupes of patriarchal gender norms, consuming and reproducing the stereotyped and anti-feminist images of the beauty industry. In that mode, Chu describes the YouTube makeup artist Gigi Gorgeous as “in the most technical sense of this phrase, a dumb blonde.” She only recuperates this, frankly, sexist jeer by universalizing its principle: “From the perspective of gender, then, we’re all dumb blondes.” Trading on an alt-right lexicon borrowed from The Matrix, she refers to hormone therapy as “plugging […] back into the simulation.” The charge that gender transition reinforces sexist stereotypes and retrograde gender norms is an old accusation; it doesn’t get more convincing when the person saying it happens to be trans herself. Chu updates this anti-trans feminism by generalizing its theses: she agrees with the accusation that transition sustains the objectification of women, and submits that there’s no way out, for trans people or anybody else.
Lucy Ellmann’s new novel, Ducks, Newburyport, does not, despite the claims of some reviewers, consist of a single sentence (I counted 880). But it does contain one very long one: a comma-strewn stream that follows the thoughts of an Ohioan housewife during the first few months of 2017. While she bakes the pies she sells to local diners she worries about her four children, considers language usage (the difference between ‘envy’ and ‘jealousy’ and ‘affect’ and ‘effect’; the misuse of ‘enormity’), thinks lovingly about her husband, Leo, mourns her dead parents, and despairs over the state of the environment, Trump’s presidency, mass shootings, and the historic genocides of indigenous people. ‘A lot of people think all I think about is pie,’ she thinks, ‘when really it’s my spinal brain doing most of the peeling and caramelising and baking and flipping, while I just stand there spiralling into a panic about my mom and animal extinctions and the Second Amendment just like everybody else.’
Everyone wants to know how this is going to end, but no one has an answer. I know this: We are going to be living with the consequences of trauma for years. They can scrub the walls clean of the graffiti, but the horrific images will continue to eat away at us: a protester shot at point-blank range; a tear-gas canister erupting onto someone’s back, burning the flesh blue-black; a man pressed to the ground, bleeding profusely and teeth knocked out; a pair of punctured eye goggles. The trials for those who participated in the 79-day Umbrella Movement in 2014 have only just ended. We will spend the next couple of years watching the government throw hundreds, if not thousands, in jail.
On Aug. 15, 1914, a servant set fire to Taliesin, Frank Lloyd Wright’s sprawling estate in Spring Green, Wis. Julian Carlton also took up an ax and murdered seven people, among them Wright’s mistress, Mamah Cheney, and her two children. Wright was already famous, as this country’s preeminent architect, and notorious, for leaving his wife and children for Cheney, with whom he lived openly and, by contemporary standards, shamelessly. The massacre made headlines around the country, and though Carlton’s motives remain obscure and unknowable to this day, the carnage was held up by many as divine retribution for Wright’s marital misbehavior.
In one important way, the recipient of a heart transplant ignores its new organ: Its nervous system usually doesn’t rewire to communicate with it. The 40,000 neurons controlling a heart operate so perfectly, and are so self-contained, that a heart can be cut out of one body, placed into another, and continue to function perfectly, even in the absence of external control, for a decade or more. This seems necessary: The parts of our nervous system managing our most essential functions behave like a Swiss watch, precisely timed and impervious to perturbations. Chaotic behavior has been throttled out.
The so-called Muscovy duck is so called not in view of its homeland in the vicinity of Moscow –for in fact it is native to Central and South America– but rather in mistranslation of its Latin designation, Anas moschata, the “musky duck”, thus “not transferred from Muscovia,” as the English naturalist John Ray writes in 1713, “but from the rather strong musk odour it exudes.”
An infinite number of things happen; we bring structure and meaning to the world by making art and telling stories about it. Every work of literature created by human beings comes out of an historical and cultural context, and drawing connections between art and its context can be illuminating for both. Today’s guest, Stephen Greenblatt, is one of the world’s most celebrated literary scholars, famous for helping to establish the New Historicism school of criticism, which he also refers to as “cultural poetics.” We talk about how art becomes entangled with the politics of its day, and how we can learn about ourselves and other cultures by engaging with stories and their milieu.
We are being told of the evils of “cancel culture,” a new scourge that enforces purity, banishes dissent and squelches sober and reasoned debate. But cancel culture is not new. A brief accounting of the illustrious and venerable ranks of blocked and dragged Americans encompasses Sarah Good, Elijah Lovejoy, Ida B. Wells, Dalton Trumbo, Paul Robeson and the Dixie Chicks. What was the Compromise of 1877, which ended Reconstruction, but the cancellation of the black South? What were the detention camps during World War II but the racist muting of Japanese-Americans and their basic rights?
The male glance is how comedies about women become chick flicks. It’s how discussions of serious movies with female protagonists consign them to the unappealing stable of “strong female characters.” It’s how soap operas and reality television become synonymous with trash. It tricks us into pronouncing mothers intrinsically boring, and it quietly convinces us that female friendships come in two strains: conventional jealousy or the even less appealing non-plot of saccharine love. The third narrative possibility, frenemy-cum-friend, is an only slightly less shallow conversion myth. Who consumes these stories? Who could want to?
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Pinckney’s emphasis on the interpolation of class and race can make him appear closer to the leftist Afro-Caribbean tradition of race theorists—exemplified by thinkers such as Paul Gilroy and Stuart Hall—who reject mythical or essentialist theories of racism in favor of a concrete economic analysis, in which racial distinctions have been created and maintained primarily for the sake of capitalist exploitation. For Pinckney, blackness is not an essential quality found in the blood, the spirit, or even the genes (“I’d never liked that way of assigning innate behavioral characteristics to whole nations or groups. The work of every serious social scientist militated against it.”) but a conceptual framework subject to history, like everything else. “The Irish used to be black socially, meaning at the bottom,” he writes in one example. “The gift of being white helped to subdue class antagonism.”
As Thanksgiving approaches, would-be chefs and hosts, including apparently my editors, are perfecting their techniques for making the all-important gravy for the turkey and potatoes. I have my moments as a cook — come over for my stardust waffles some Sunday morning — but I have never had the patience or skill to master gravy, so it usually comes out lumpy. This is a problem at the dinner table. On the grandest possible scale, however, lumps are a good thing. During the Big Bang 14 billion years ago, a fizzy stew of energy and gas emerged that became, and still suffuses, the universe. Astronomers initially thought this cosmic gravy was perfectly uniform, like something Julia Child might have whipped up. But not even Einstein’s “Old One” can make a perfect gravy, apparently, and in 1992 astronomers discovered that the cosmic gravy is, like mine, lumpy. And that’s a reason to be thankful this year, or any year, because without those lumps there would be no us. “If you’re religious, it’s like seeing God,” George Smoot, an astronomer at the University of California’s Lawrence Berkeley National Laboratory who won a Nobel Prize for the 1992 discovery, said at the time.
Rates of squamous cell carcinoma of the anus and related mortality have risen sharply over the past 15 years, according to results of a retrospective study published in Journal of the National Cancer Institute. The findings reflect an urgent need for improved anal cancer awareness and prevention strategies, according to researchers. “Given the historical perception that anal cancer is rare, it is often neglected,” Ashish A. Deshmukh, PhD, MPH, assistant professor of medicine at UTHealth School of Public Health in Houston, said in a press release. “Our findings of the dramatic rise in incidence among black millennials and white women, rising rates of distant-stage disease, and increases in anal cancer mortality rates are very concerning.” More than 90% of cases of squamous cell carcinoma of the anus are
Ensign Spock, a young half-Vulcan science officer fresh out of Starfleet Academy and newly posted to the Enterprise, found himself alone in a turbolift with the ship’s formidable first officer, a human woman known as Number One. They were waiting for me to rescue them from the silence that reigns in all elevators, as universal as the vacuum of space.