The Image Book: A Review

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Jean-Luc Godard released Le livre d’image in 2018. It is a montage film that stitches together brief film images – from the history of cinema, from the news and from his own films.

While it uses the same strange score editing as Farwell to Language, the overall effect is much more hypnotic – and beautiful.

The quick edits are overlaid with narration by Godard himself. At a certain point, his reflections turn to France’s relationship to the middle east and there is some original footage that Godard shot.

Montage films are kind of wonderful. There’s Wong Kar-wai’s film Hua yang de nian hua that stitches clips from Asian cinema totally unfamiliar to Western audiences. Watching it feels like glimpsing into a secret world. The beautiful scene in Cinema Paradiso that collects all the scenes deemed by the Catholic censors to be too explicit is a celebration of life, sexuality and cinema all at once. A recent discovery for me was The Road Movie from 2016, which basically takes dashcam footage uploaded by Russians and serializes it. Most of the footage involves car crashes. The best parts of it, though, are the moments before the sudden car crashes where you listen in on friends chatting, spouses fighting or the Russian version of AM talk radio. There’s a strange feeling of normalcy to those moments that makes one feel that we are all the same, wherever we are, whatever language we speak.

And then the crash happens.

The Image Book doesn’t contain any crashes. Instead it feels like a journey through Jean-Luc Godard’s mind while looking at the world through the eyes of one of cinema’s great masters.

Goodbye to Language: A Review

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I’ve watched Godard’s Goodbye to Language (“Adieu au Langage”, 2014) once so far. It deserves and requires multiple viewings. It is a montage film, shot with multiple cameras (including a Go Pro) and covering multiple overlapping and unrelated story lines. There are also lots of shots of Jean-Luc Godard’s dog.

The movie is purposefully annoying. Take for instance the use of fast cutting. Fast cutting comes from music video editing and is used to convey forceful action. But the fast editing is still tied together with an underlying soundtrack to provide a sense of continuity and to bracket a series of related footage. Godard, on the other hand, undermines this by starting a piece of the score and then chopping it unceremoniously like a record player losing its groove. And then he does this over and over with the same piece of unsatisfyingly broken music in different places throughout the film.

If there’s a clue to what the film is “about” (and does it really need to be about anything) it’s in a line in the last third of the film, about a couple on the verge of breaking up, where both characters say that they understand what their partner is saying but cannot understand what they themselves are saying. It’s like a reverse gaslighting. Which, to be fair, is what marital fights feel like.

Other parts of the film include ponderous philosophical monologues and dialogues about the “tyranny of the image” – the tendency of myth and magical thinking to displace discursive reason. Godard also has lots of scenes of people interacting with their phones in book stalls and standing next to other people, highlighting something that has become so common that we no longer comment on it, but which can still shock when we see it on film. Smartphones and internet culture are in their own way manifestations of the tyranny of the image, since they replace long-form thinking with easily digestible memes. To the point that we now take for granted that long-form is a  waste of time and assume that it is normal (or even possible) to absorb complex thoughts in a few minutes.

Naturally there is irony in the title and concept of the film since film itself is a replacement of discursive thought with images and syllogistic reasoning is replaced with a musical score to move us from one narrative moment to the next. Except in Godard’s hands, the film resists us and makes even the simplest things hard. It fucks up the score. It limits the beautiful long shots. It uses gritty camera footage at a time when high quality digital images are cheap and easy. The handling of the sex scene is bleehhhh. Worst of all, the central story is anti-ship in a medium that requires sexually appropriate relationship building to ensure commercial success.

The overall effect of the movie on me is that I struggled to watch it but can’t stop thinking about it even weeks later. And parts of the movie I thought were pretentious and had less there than met the eye – I now think contain infinite depth.

An extra feature of the film is that it was originally shot in 3D and was exhibited at Cannes in 3D. I watched it in 2D but now will try to track down the 3D DVD. Like other amazing films – such as Bi Gan’s masterpiece Long Day’s Journey Into Night  — it uses a cinematic medium that has since fallen out of favor.  I fortunately still have an old 3D flatscreen and a 3D DVD player to watch it on.

Other movies, like Ang Lee’s Gemini Man, which is ultimately a technical master’s experiment in 3D cinema, isn’t even available in 3D DVD format. Given the current death of the movie theater in America, there’s even a chance that we won’t ever be able to see it in its intended form again.

The Future of Cinema and Reader Response Theory

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One of the great burdens and pleasures of being at home is filling a lot of down time with streaming content. I currently stream from Amazon Prime, Netflix, Comcast, Disney, Shudder, Criterion Channel, Crunchyroll, Hulu, Master Class and HBO Max. Of these, Amazon Prime seems to be the least curated. You find the weirdest things.

Prime has a lot of Sasquatch movies. My early fascination with Bigfoot starts with the Leonard Nimoy In Search of … series and continues through Harry and the Hendersons, multiple The X-Files episodes, Abominable (the bigfoot movie based on Alfred Hitchcock’s Rear Window) and more recently The Man Who Killed Hitler and then the Bigfoot starring Sam Elliott and Aidan Turner.

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None of this had prepared me, however, for the experience that is Bigfoot Tales of Darkness. Here is the irresistible synopsis provided by Amazon:

This is a series of tales of Bigfoot, of a mythical creature from heaven that once was a arch angel named Lucifer has come to earth and man knows him as Bigfoot. As he kills and rampages humans through all the tales in this story.

I couldn’t get through more than ten minutes of it. The film seems to be pieced together out of stock video purchased online with some homemade electronic music layered over the top.

But I still want to give it the attention it may not deserve because it is so crazy and someone somewhere, using the tools available to them, went to the trouble of making a movie about Bigfoot being the devil and somehow got it onto Amazon Prime. Plus I have lots of extra non-commuting time these days.

There’s a theory of literature called Reader-response criticism that fits well into the way we currently consume media. It rejects modernist theories of authorial intent and concerns itself more with the experience of the reader. This was a precursor of the “death of the author” movements that came in the 80’s.

In our own times, the way people access media and the rise of cult followings has dramatically changed the way films are created, marketed and distributed. Audiences are balkanized in such a way that content marketed to small groups and genre fans can be highly profitable and can even afford to alienate large swathes of people. This is in contrast to massive budget superhero films that can only achieve profitability by killing on opening day as well as in overseas markets (esp China) and then in the cable, streaming and DVD aftermarkets as well as product tie-ins and merchandising.

Following some of Umberto Eco’s ideas, this made me wonder if I could make myself an ideal reader for this movie. An audience of one.

To accomplish this (and overcome my physical response to the first 10 minutes of Bigfoot Tales of Darkness, a combination of lethargy and nausea) I need to put it in a different intellectual context.

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Because it might be some kind of highly experimental film that plays on genres and narrative structure, eschewing actors for stock video clips, I decided the avant-garde French film director Jean-Luc Godard might be a good reference for understanding (or creating an understanding) of what the ideal author of this Bigfoot movie is trying to say.

Godard’s last two films, in particular, have adopted a bricolage style of film-making, clipping together images and fragments, using both high quality film and low quality video, with often confusing sound editing that breaks up the continuity instead of tying it together like a normal movie score would do.

Over the next week I plan to watch and report on Godard’s 2014 award-winning film Goodbye to Language, about a couple’s breakup interspersed with shots of a dog playing, and his 2018 film The Image Book about the misrepresentation of Arab culture in Western movie making.

They both have poor reviews on IMDB. Critics, amirite?

I’ll follow this with a fair attempt to assess Bigfoot Tales of Darkness on its own terms.

How I Lost 139 Pounds Following Animal Crossing Workout Routine

While the worldwide pandemic has been hard from many angles, one of the hardest has been being forced to sit around slothfully at home. The pounds seemed to just accrue of their own accord. And then I found Animal Crossing: New Horizons.

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My children had been talking about it incessantly but it had mostly been background noise for me as I was pre-occupied with the health of friends and family and the future of work in a changed economic hellscape. Then in a bout of late-night insomnia I hooked up their switch to the living room TV and started playing. Before I knew it I was obsessed. A couple months later, I found I had lost 139 pounds. Here’s how:

1) The first thing is you have to find ways to stay active while you are playing Animal Crossing. One good way is to heavily use the A button when you are walking around in-game. The A button generally makes you sneak, but if you swiftly release it, it makes you swing your net. Spam the A button so while you are walking, you are also constantly swinging your net and building up those biceps and triceps.

2) Another important thing to do is to shake every tree vigorously, especially on mystery islands. You will burn a lot of calories by shaking trees. Additionally, shaking trees will occasionally cause a wasp nest to drop from the tree. You can then spam your A button to whip out your net and get some extra reps for your biceps and triceps.

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3) The A button isn’t just for nets. By pressing the A button repeatedly, you can speed past those crafting animations. In addition, pressing B will let you zoom past conversations with the creatures in Animal Crossing. Basically, if you have no idea what is going on because you keep skipping past things with your A and B buttons, it means you are getting a good workout. No pain, no gain.

4) Break tools. Tools break easily in Animal Crossing so break as many as you can. This will afford you the opportunity to craft more tools and spam that A button.

5) Don’t spend all your time collecting turnips for the stalk  market. Time travel is a better way to make quick money anyways. Instead, you should be spending most of your time collecting rocks and wood. Why? Because you can then use these rocks and wood to craft tools which you can then break while spamming the A button to speed through animations.

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6) Combine these game playing strategies with a sensible diet and take reasonable breaks from the game. I typically start the morning with a breakfast bar, with nuts but no dairy components, and preferably hazelnut but dark chocolate will work in a pinch. Then I play Animal Crossing for about six hours. I take a sensible break in the afternoon during which I run eight miles through the deer crossing that starts in my backyard. When I get back, I don’t bathe because I find that the smell of my own sweat helps me stay sharp, and I play for another eight hours and finish the day with a simple meal involving a single non-GMO turnip flavored with half a teaspoon of margarine, accompanied by a simple glass of tap water dosed with Ex-Lax. Rinse, repeat.

I can’t guarantee that you’ll achieve the same results. I’m legally obligated to say that. But you might, if you fully commit yourself  to the Animal Crossing Workout. What have you got to lose?

Tech means never having to say you’re sorry

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There have been a series of amazing turns of event in the mixed reality world lately. The big headliners for me are:

1) Magic Leap laid off about a thousand employees due to diminishing funds but then was able to get a lifeline of $350 million, which will save the jobs of the remaining 300-400 engineers. The creative teams and sales teams appear to have been gutted in the first round of layoffs, unfortunately.

2) Microsoft HoloLens announced general availability of the HoloLens 2 on the Microsoft Store starting in July. Also availability in more countries starting in the fall.

3) The Unity XR SDK is getting closer to shipping, or has already shipped but is only working well with some platforms for now? Obviously some things need to be ironed out, but this appears to be the future of cross-platform AR development.

4) Spatial.io, the cross-platform XR collaboration platform, has made its product free.

Along with these there have been a series of refreshingly honest video interviews with some of the central people in the current evolution of mixed reality that help to frame our understanding of what has been going on at Microsoft and at Magic Leap over the past five years.

The XR Talk podcast is always great (thanks Roland for introducing me to it). This meandering interview with Graeme Devine, post-Leap, is particularly fascinating. There’s a great story of how he delivered the blade Orcrist (or was it Glamdring?) to Neal Stephenson in order to tempt him to come work with Magic Leap.

This week also saw the hosting of MR Dev Days conference on altspaceVR, which was a fascinating and wonderfully international experience.  Big thanks to Jesse McCulloch and everyone else responsible for throwing it together. The highlight of the show was a very frank conversation between Rene Schulte and Alex Kipman which I can’t recommend enough.

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During the fireside chat (and the keynote the previous day) Kipman acknowledged the drawn out distribution of the HoloLens 2 and thanked developers for their patience. He also discussed the bucket problem (I think that’s what it’s called?) in which losing a a bucket of credibility requires a lot of buckets to regain that same level of credibility (pretty sure I messed up that metaphor).

We’ve seen a lot of that in the MR world this month. The financial problems at Magic Leap will have put a lot of people off. The fact that all the laid off employees have refrained from criticizing the company in the aftermath has been  surprising and probably speaks well for the company culture.

Meanwhile in the HoloLens world, public and private message boards indicate a lot of frustration with the product team. Original messaging suggested the devices would be out in early 2019, but over a year later, individual devs still have problems getting devices.

Looked at objectively, it’s pretty clear that if the HoloLens team could have gotten more devices to indie devs they would have and that the delays were not intentional. But knowing that also doesn’t necessarily make the bad feelings go away, given the difference between knowing and feeling, and this  in turn may have a depressing effect on any excitement around the wider release in July and then in the fall.

For what it’s worth, I think an apology goes a long way, and a heartfelt, personalized acknowledgment of the people who might feel slighted will go the greatest way. The difficulty here is that in a corporate culture like Microsoft’s, acknowledgement of mistakes is as alien to the normal way of doing things as – well, to be honest – as it is in the Trump administration. The culture of the Trump administration, after all, comes out of common practice in the modern corporation.

This isn’t always the case, though, and I have two pieces of evidence. Microsoft is very good at giving out chachkas, and even sent out an impressive gift pack for their online Build conference. The two best things I ever got from Microsoft, though, were personalized notes.

The first is a note from the Ben Lower / Heather Mitchell days of the Kinect program. Somebody wrote this out by hand, providing both an acknowledgment of who I am and what I had done (and to be honest, I was surprised they even knew who I was at the time):

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The next is a card from the early days of the HoloLens program (Venessa Arnauld / Aileen Mcgraw).

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These are my two most prized possessions from Microsoft over the past decade. Friends and associates have similar mementos they memorialize at home. The lesson from these two examples, for me, is that in tech you don’t always have to say you are sorry. It is often good enough, and probably more meaningful,  to acknowledge the legitimate concerns, understandable feelings,  and obvious humanity of the people who make you successful.

That’s a lot of personalized messages, but also the sort of thing that can easily repair broken or damaged relationships with your developer community.

TCSG Leadership Conference and Deepfakes

I’d like to thank the Technical College System of Georgia for inviting me to deliver the talk “Who’s Afraid of Deepfakes” at their 2019 Leadership conference in Savannah, GA. It is a great pleasure to be able to deliver this material to people who are not already familiar with it. It was also a privilege to speak after Jason Poovey of Georgia Tech, who provided a fascinating overview of the current state of AI research and his vision for bringing business, math and technology together.

I also want to thank Adie Shimandle, Billie Izard and Steven Ferguson for organizing the talks. Thank you Elizabeth Strickler, Director, Media Entrepreneurship and Innovation at GSU, for introducing me to Adie.

Imposter Syndrome Reconsidered

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The term “imposter syndrome” is a meme that has captured the imagination of the technology sector – and for good reason; we are insecure people. The term may have made its way into the tech world in an illegitimate manner, however. This illegitimate use of the term is what I want to explore in this post, coupled with the rather obvious conclusion that “insecurity” is the better term in the vast majority of cases, despite its relative un-sexiness.

“Imposter syndrome” was first clinically described in 1978 in my adopted home city Atlanta, Georgia by Pauline Rose Clance and Suzanne Ament Imes in their paper The Impostor Phenomenon in High Achieving Women: Dynamics and Therapeutic Intervention. There are several salient features in the way it was originally understood which distinguish it from the way imposter syndrome is used today by software engineers.

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First, the diagnosis was originally meant to describe the unique situation of professional women in a predominantly male-dominated professional world. In the 70’s we didn’t ask if men felt like phony’s, too. That would have been missing the point.

Second, the phenomenon covered successful women in particular – that is, women whose accomplishments were publicly recognized and not merely a matter of self-esteem. Today when we talk about  imposter syndrome, by contrast (for instance in Scott Hanselman’s famous post I’m a Phony), the point is always that unaccomplished people should not feel like imposters because even successful people like X, Y and Z feel this way. In the original article, obviously, the term could only be applied to X, Y and Z. Other people, male or female, who felt unearned confidence without visible accomplishments, simply were imposters.

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Third, imposter syndrome was a phenomenon tied to early family dynamics and requiring therapy to overcome. Today, no one says if you have imposter syndrome you should look for professional help to deal with it. Instead, recognizing the condition is meant to be in itself an instantaneous form of self-therapy, because if everyone has imposter syndrome then no one has imposter syndrome.

In 2019 imposter syndrome has moved well beyond its original carefully circumscribed bounds, to the point that 70% of professionals acknowledge feeling like imposters from time to time (this is an often cited statistic I have been completely unable to source). If this large number is meant to make us feel better about our own insecurities, it should nevertheless concern us that the people who run our banks, fill out our taxes, prescribe our medications, perform surgery on us, cook our food, fix our cars and run our government aren’t always sure they know what they are doing. I would question whether this is actually a good thing.

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Imposter syndrome has found a home in technical communities. There are several obvious reasons for this. The sort of people who go into tech tend to be beset by social anxiety. At the same time, the most common communication strategy used in technology is bombastic and overconfident – sometimes described as bro culture. These two things together will cause a frequent sense of inadequacy in the face of often meaningless processes like behavioral interviews, fadish architectural trends and cargo-cult adherence to agile processes. And if agile isn’t working for you, then you are doing it wrong, so you should feel inadequate about that, too.

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At the same time, the software industry is a young industry with characteristics that make it susceptible to real imposters. It is a complex profession lacking recognized standards of education or certification. After all, even hair dressers have to be licensed. The guy who writes your banking software, on the other hand, doesn’t. For a set of peculiar linguistic social and linguistic reasons, however, we have no easy way for technologists and business people to talk to each other and judge the relative merits of different approaches to writing software. This leaves the unlicensed software developers in a position of needing to police themselves, with mixed success. In philosophy, this is generally known as the crisis of legitimation.

Another problem is that software is very important in our current world. A lot of time and money is determined by whether we make good or poor software solution decisions. In the case of medical software, lives are literally at stake.

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A third characteristic compounded by the crisis of legitimation and the high stakes involved is a tendency to love shiny new technology. Whenever things don’t go well with a project, we gravitate toward unknown and untested new platforms, frameworks and processes to fix our problems. This creates an inverted success strategy where the technology industry prefers mysterious, poorly understood solutions over acquired experience.

All of this leads to lots of tech people normalizing the process of talking about things they do not know anything about. Whereas in established professions, people know not to speak when they have that vertiginous sense that they are out of your depth, in technology, if no one contradicts us we accept this as license to continue bullshitting. Fake it till you make it.

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Because other people’s money and potentially lives are on the line, however, we should recognize that this is dangerous behavior.

Moreover, the notion that everyone has imposter syndrome fails to recognize that in previous generations, that sense of being out of one’s depth is how professionals discovered their weaknesses in order to move from journeymen to experts in their craft.

In fact, there is a whole genre of literature known as Bildungsroman dedicated to exploring this basic aspect of the transition to adulthood. Novels as diverse as Twain’s Huckleberry Finn, Dickens’s Great Expectations, Jane Austen’s Emma and Hurston’s Their Eyes Were Watching God and Salinger’s Catcher in the Rye cover this difficult journey from naivete and unearned confidence to nuanced understanding and expertise. The most common hallmark of his genre is the recognition that error, misspeaking and insecurity are milestones in our path towards self-mastery. Being insecure is a good thing, not a bad thing, because it drives us to be better.

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Insecurity is normal and good. This feature of the human condition tends to be masked and smoothed over by terms like imposter syndrome which helps us to ignore these moments of doubt, which is a shame.

For this reason, I prefer that people just say they feel unconfident about an idea or approach. When someone tells me this, I can help them evaluate their idea and potentially refine it so we both learn something.

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When someone tells me they have imposter syndrome I don’t really know what I’m supposed to do. They obviously want me to say that everyone has imposter syndrome and so they should believe in themselves. But when the stakes are as high as they are in software engineering, this feels like a cop out. 

If you are feeling like an imposter in tech, maybe that’s something worth exploring more deeply.

Zao’s Next Gen DeepFakes

The Zao app, by Changsha Shenduronghe Network Technology Co Ltd, was released on the Chinese iTunes store a week ago and was popularized in a tweet by Allan Xia.

It is not currently available through iTunes in the U.S. but with a bit of hard work I was finally able to install a copy. I was concerned that the capabilities of the app might be exaggerated but it actually exceeded my expectations. As a novelty app, it is fascinating. As an indicator of the current state and future of deepfakes, it is a moment of titanic proportions.

As of a year ago, when the machine learning tool Fake App was released, a decent deepfake took tens of hours and some fairly powerful hardware to generate. The idea of being able to create one in less than 30 seconds on a standard smartphone seemed a remote possibility at the time. Even impossible.

The Zao app also does some nice things I’ve never gotten to work well with deepfakes/faceswap or deepfacelab – for instance like handling facial hair.

… or even no hair. (This is also a freaky way  to see what you’ll look like in 15-20 years.)

What is particularly striking is the way it handles movement and multiple face angles as with this scene from Trainspotting and a young Obi Wan Kenobi. In the very first scene, it even skips over several faces and just automatically targets the particular one you specify. (In other snippets that include multiple characters, the Zao app allows you to choose which face you want to swap out.)

All this indicates that the underlying algos are quite different from the autoencoder based ones from last year. I have some ideas about how they have managed to generate deepfakes so quickly and with a much smaller set of data.

Back in the day, deepfakes required a sample of 500 source faces and 500 target faces to train the model. In general, the source images were rando and pulled out of internet posted videos. For the Zao app, there is a ten second process in which selfies are taken of you in a few different poses: mouth closed, mouth open, raised head, head to the left and blinking. By ensuring that the source images are the “correct” source images rather than random ones, they are able to make that side of the equation much more efficient.

While there is a nice selection of “target” videos and gifs for face swapping, its is still a limited number (I’d guess about 200). Additionally, there is no way to upload your own videos (as far as I could tell with the app running on one phone and Bing translator running on a second phone in the other – the app is almost entirely in simplified Chinese). The limited number of short target videos may simply be part of a curation process to make sure that the face angles are optimized for this process, mostly facing forward and with good lighting. I suspect, though, that the quantity is limited because the makers of the Zao app have also spent a good amount of time feature mapping the faces in order to facilitate the process. It’s a clever sleight of hand, combined with amazing technology, used to create a social app people are afraid of.

The deeper story is that deepfakes are here to stay and they have gotten really, really good over the past year. And deepfakes are like a box of chocolates. You can try to hide them because they are potentially bad for you. Or you can try to understand it better in order to 1) educate others about the capabilities of deepfakes and 2) find ways to spot them either through heuristics or CV algorithms.

Consider what happened with Photoshopping. We all know how powerful this technology is and how easy it is, these days, to fake an image. But we don’t worry about it today because we all know it can be done. It is not a mysterious process anymore.

Making people more aware of this tech, even popularizing it as a way of normalizing and then trivializing it, may be the best way to head off a deepfake October surprise in the 2020 U.S. elections. Because make no mistake: we will all be seeing a lot of deepfakes in October, 2020.