Category Archives: Technology

Going, Going, Gone: Strategy Game Icon Capitulates to Computer! #artificialintelligence

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Filed under Sport, Technology

Knowing Me, Knowing YouTube: Are Video Algorithms Silently Recasting Us?

In recent years, it has become almost passé – and all-too-easy – to blame the ever-encroaching behemoths of social media for a whole host of problems. Because of the continued weight given to matters of state, scrutiny of these corporations has overwhelmingly focused on their alleged capacity to engender electoral upsets and remove entrenched power elites – often at the cost of installing a yet more freakish, less predictable iteration of the departing political class.

However, this relentless focus on a single apparent consequence of mass social media adoption has effectively obviated discussion of considerably more profound impacts that these historically new technologies are having on both society and the individual; in this context, the YouTube algorithms which suggest new video clips to the end user based on previously-viewed content merit serious attention.

In the late twentieth and early twenty-first centuries, video has assumed a primacy within the media sector such that it is in an unparalleled position to shape human consciousness. Digital television, the evergreen DVD format and streaming services together now dominate how we perceive the world beyond our immediate surroundings. But just a single streaming website – YouTube, which Google acquired back in November 2006 – can claim to be making the next leap: guiding us, whether consciously or otherwise, into new and deeply personal cultural realms.

Uniquely amongst video content portals, YouTube possesses a truly enormous and phenomenally diverse back catalogue of televisual fragments – and a truly massive community which is continually uploading content, fusty and fresh, to its servers.

On a basic level, what this means is that only YouTube has the ability to continually present hyper-customised video recommendations to its users. This may sound borderline innocuous. But the consequences of this go far beyond the conventional platitudes of monetisation and engagement (although these are certainly encompassed by its emerging business model). Much more interesting is the fact that YouTube can effectively curate the cultural preferences and overall evolution of nothing less than the individual citizen – and maybe even the individual soul, particularly if recommended videos pertain to spirituality – to a remarkable degree.

Should this worry us? This is enormously difficult to state with any certainty, partly because no two users will experience YouTube in quite the same way. Additionally, the relevant algorithms are still quite clunky and easy to game – though whether they are broadly perceived as such is another matter entirely. But at the very least, this is a debate that should enjoy much greater prominence, both in regulatory circles and far beyond.

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Filed under Culture, Psychology, Spirituality, Technology

Someone to Talk to: British Teenagers in Sex Therapy Stampede!

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Filed under Parenting, Psychology, Technology

Left to Their Own Devices: British Children ‘Now Indistinguishable from Screens’!

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Filed under Parenting, Technology

Summer Nights Latest: What’s Happening at Mediolana® HQ?

As June gives way to July and the first half of 2019 yields unceasingly to the second, we at Mediolana are assembling product components from all across Europe; running logistics tests; and generally doing everything possible to ensure a blissful summer ahead. Something very exciting is about to happen – be sure to stay tuned!

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Filed under Education, News, Technology

Going Live: #China #Livestreaming Market Attains Critical Mass!

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Filed under Media, Technology

Musical Footnotes: Pro Evolution Soccer and Artistic Validation

With the Pro Evolution Soccer (‘PES’) series having struggled for so long – and in all plausibility, so needlessly, given the preexisting code – to regain its exhilarating essence, we at Mediolana have recently been reflecting on the Konami Digital Entertainment franchise at its imperious best: the years from 2003 to 2006 which gave the world what are still probably the greatest iterations of computer soccer ever created.

The strengths of Pro Evolution Soccer editions 3 to 6 inclusive were many, but beyond the oft-mentioned game dynamics and stunning replication of individual footballers’ playing styles, the sheer attention to detail and devotion to quality oozed from these products’ every pore. And while later versions simply did not contain the core of what made PES raise the pulse of every soccer devotee who ever had the privilege of experiencing it, certain more peripheral elements still contained traces of glories past.

One of these elements in particular – the credits music which would accompany PES’ long and illustrious list of contributors, headed up by no less a figure than fabled producer Shingo ‘Seabass’ Takatsuka – has long fascinated us, and set us thinking about how some artistic works end up being perceived as great works while yet others languish in obscurity.

The credits music for Pro Evolution Soccer 2010 is perfect illustration of this dynamic. A deeply melancholy and contemplative piece tinged with liberating aggression, it is built around a group of ten recurring notes of relative complexity. (Comparisons with the opening notes of Ludwig van Beethoven’s Symphony No. 5 may prima facie appear far-fetched, but the parallels are nevertheless discernible.)

And yet the deeper paradox of this profoundly moving composition is that it is buried in an optional mini-movie within a video game which is the best part of a decade old. Someone has had the vision to upload this short film to YouTube, where it has amassed barely 1,000 views and will likely continue to exist as an unloved digital museum exhibit.

It is of course widely recognised – at least in some circles – that human systems often function in a highly imperfect manner; the world of culture is certainly no exception to this rule, and at best can be said to work as a semi-meritocracy. However, the chasm between the beauty of PES’ credits compositions and their frankly non-existent critical reception places even this characterisation under suspicion, and leads one to wonder how many more brilliant musical works are destined to remain – to all intents and purposes – anonymous.

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Filed under Culture, Technology