The information explosion is the rapid increase in the amount of published information or data and the effects of this abundance. As the amount of available data grows, the problem of managing the information becomes more difficult, which can lead to information overload. The earliest use of the phrase seems to have been in an IBM advertising supplement to the ‘New York Times’ published on April 30, 1961, and by Frank Fremont-Smith, Director of the American Institute of Biological Sciences Interdisciplinary Conference Program. Techniques to gather knowledge from an overabundance of electronic information (e.g., data fusion may help in data mining) have existed since the 1970s.
Since ‘information’ in electronic media is often used synonymously with ‘data,’ the term ‘information explosion’ is closely related to the concept of ‘data flood’ (also dubbed ‘data deluge’), the ever-increasing amount of electronic data exchanged per time unit. The awareness about non-manageable amounts of data grew along with the advent of ever more powerful data processing since the mid-1960s. By August 2005, there were over 70 million web servers. Two years later there were over 135 million web servers. According to ‘Technorati,’ the number of blogs doubles about every 6 months with a total of 35.3 million blogs as of April 2006. This is an example of the early stages of logistic growth, where growth is approximately exponential, since blogs are a recent innovation. As the number of blogs approaches the number of possible producers (humans), saturation occurs, growth declines, and the number of blogs eventually stabilizes.
Information Explosion
Blue Skies Research
Blue skies research is scientific research in domains where ‘real-world’ applications are not immediately apparent. It has been defined as ‘research without a clear goal’ and ‘curiosity-driven science.’ It is sometimes used interchangeably with the term ‘basic research.’ Proponents of this mode of science argue that unanticipated scientific breakthroughs are sometimes more valuable than the outcomes of agenda-driven research, heralding advances in genetics and stem cell biology as examples of unforeseen benefits of research that was originally seen as purely theoretical in scope. Because of the inherently uncertain return on investment, blue-sky projects are politically and commercially unpopular and tend to lose funding to more reliably profitable or practical research.
Raytheon founder Vannevar Bush’s 1945 report, ‘Science: The Endless Frontier,’ made the argument for the value of basic research in the postwar era, and was the basis for many appeals to the federal funding of basic research. The 1957 launch of Sputnik prompted the United States Air Force Office of Scientific Research to sponsor basic science research into the 1960s. By the 1970s, financial strains brought pressure on public expenditure on the sciences, first in the UK and the Netherlands, and by the 1990s in Germany and the US.
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Galápagos Syndrome
‘Galápagos syndrome‘ (‘Garapagosu-ka’) is a term of Japanese origin, which refers to an isolated development branch of a globally available product. The term is a reference to similar phenomena Charles Darwin encountered in the Galápagos Islands, with its isolated flora and fauna, which were key observations in the development of Evolutionary Theory. The term was originally coined to refer to Japanese 3G mobile phones, which had developed a large number of specialized features and dominated Japan, but were unsuccessful abroad. The term arose as part of the dialog about Japan’s position as an island nation, and related anxiety about being isolated from the world at large. A derived term is ‘gara-kei’ (‘Galápagos cellphone’), used to refer to Japanese feature phones, which remain popular despite the emergence of smartphones.
The term has since been used for similar phenomena in other markets, such as the outdated usage of magnetic stripe for credit cards in the US, as everywhere else has moved onto using EMV smart cards. ‘It has been claimed that the indigenous American automotive industry has suffered from the Galapagos Syndrome – its products have evolved separately from the rest of the world.’ ‘The Galapagosization of Japan continues. A shocking two-thirds of the country’s white-collar workers said they didn’t want to work abroad…ever.’
As We May Think
‘As We May Think‘ is an essay by engineer and Raytheon founder Vannevar Bush, first published in ‘The Atlantic’ in July 1945, and republished again as an abridged version two months later — before and after the atomic bombings of Hiroshima and Nagasaki. Bush expresses his concern for the direction of scientific efforts toward destruction, rather than understanding, and explicates a desire for a sort of collective memory machine with his concept of the memex that would make knowledge more accessible, believing that it would help fix these problems. Through this machine, Bush hoped to transform an information explosion into a knowledge explosion.
The article was a reworked and expanded version of Bush’s 1939 essay ‘Mechanization and the Record’ where he described a machine that would combine lower level technologies to achieve a higher level of organized knowledge (like human memory processes). Shortly after the publication of this essay, Bush coined the term ‘memex’ in a letter written to the editor of ‘Fortune’ magazine. That letter became the body of ‘As We May Think,’ adding only an introduction and conclusion.
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Susan Kare
Susan Kare (b. 1954) is an artist and graphic designer who created many of the interface elements for the Apple Macintosh in the 1980s. She left Apple with Steve Jobs in 1985 to be the Creative Director at his new company NeXT.
Kare was born in Ithaca, New York, and is the sister of noted aerospace engineer Jordin Kare. She graduated from Harriton High School in 1971, received her B.A., summa cum laude, in Art from Mount Holyoke College in 1975 and her Ph.D. from New York University in 1978. She next moved to San Francisco and worked for the Museum of Modern Art. Today, the MOMA store in New York City carries stationery and notebooks featuring her designs.
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Swarm Intelligence
Swarm Intelligence (SI) refers to numerous, simple units working in concert to solve complex problems. It is field in computer science and artificial intelligence based on examples from nature such as an ant colony, made of many animals that communicate with each other to achieve unified goals. In computer models the ‘animals,’ or individual units, are called ‘agents.’ Swarm intelligence emerges from decentralized, self-organizing systems, natural or artificial. The expression was introduced by electrical engineers Gerardo Beni and Jing Wang in 1989, in the context of cellular robotic systems. The application of swarm principles to robots is called ‘swarm robotics,’ while ‘swarm intelligence’ refers to the more general set of algorithms. ‘Swarm prediction’ has been used in the context of forecasting problems.
SI systems consist typically of a population of simple agents or ‘boids’ (named for a 1986 artificial life program that simulates the flocking behavior of birds) interacting locally with one another and with their environment. A number of natural systems have been used as models (e.g. animal herding, bacterial growth, fish schooling and microbial intelligence). The agents follow very simple rules, and although there is no centralized control structure dictating how each unit should behave, local, and to a certain degree random, interactions between such agents lead to the emergence of ‘intelligent’ global behavior, unknown to the individuals.
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Train Pulling into a Station
L’arrivée d’un train en gare de La Ciotat (‘The Arrival of a Train at La Ciotat Station,’ known in the UK as ‘Train Pulling into a Station’) is an 1895 French short black-and-white silent documentary film directed and produced by filmmaking pioneers Auguste and Louis Lumière. Contrary to myth, it was not shown at the Lumières’ first public film screening on December 28th, 1895 in Paris (the first public showing took place in January 1896). The train moving directly towards the camera was said to have terrified spectators at the first screening, a claim that has been called an urban legend.
This 50-second silent film shows the entry of a train pulled by a steam locomotive into a train station in the French coastal town of La Ciotat. Like most of the early Lumière films it consists of a single, unedited view illustrating an aspect of everyday life. There is no apparent intentional camera movement, and the film consists of one continuous real-time shot. This 50-second movie was filmed by means of the Cinématographe, an all-in-one camera, which also serves as a printer and film projector. As with all early Lumière movies, this film was made in a 35 mm format with an aspect ratio of 1.33:1.
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Comedy of the Commons
The Comedy of the Commons is an economic concept, developed as an opposite model to the tragedy of the commons (where individuals acting in their own self interest cooperatively deplete a shared resource, to the detriment of the group). In the ‘comedy’ individuals contribute knowledge and content for the good of the community rather than extracting resources for their own personal gain. Examples of this are free and open source software and Wikipedia. This phenomenon is linked to ‘viral’ effects and increases in prominence as individuals contribute altruistically and for social gain. The term appears to have originated in any essay by Yale law professor Carol M. Rose in 1986.
This outcome is more likely when the cost of the contribution is much less than its value over time. Information has this property. For example, it costs very little for a Wikipedia contributor to enter knowledge from their experience into Wikipedia’s servers, and very little for Wikipedia to serve that information over and over again to readers, generating great value over time. Unlike the pasture of a physical commons, information isn’t degraded by use. Thus the value of Wikipedia increases over time, attracting more readers of whom some become contributors, forming a virtuous cycle.
Cyberspace
Cyberspace is ‘the notional environment in which communication over computer networks occurs.’ The word became popular in the 1990s when the uses of the internet, networking, and digital communication were all growing dramatically. The parent term is ‘cybernetics,’ derived from an Ancient Greek word meaning ‘steersman,’ ‘governor,’ ‘pilot,’ or ‘rudder’ (coined by American mathematician Norbert Wiener for his pioneering work in electronic communication and control science).
According to programmer Chip Morningstar and game developer F. Randall Farmer, cyberspace is defined more by the social interactions involved rather than its technical implementation. In their view, the computational medium in cyberspace is an augmentation of the communication channel between real people; the core characteristic of cyberspace is that it offers an environment that consists of many participants with the ability to affect and influence each other. They derive this concept from the observation that people seek richness, complexity, and depth within a virtual world.
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Black Mirror
Black Mirror is a British television anthology series created by English broadcaster Charlie Brooker that features speculative fiction with dark and sometimes satirical themes that examine modern society, particularly with regard to the unanticipated consequences of new technologies. Regarding the program’s content and structure, Brooker noted, ‘each episode has a different cast, a different setting, even a different reality. But they’re all about the way we live now – and the way we might be living in 10 minutes’ time if we’re clumsy.’
He explained the series’ title to ‘The Guardian,’ noting: ‘If technology is a drug – and it does feel like a drug – then what, precisely, are the side-effects? This area – between delight and discomfort – is where ‘Black Mirror,’ my new drama series, is set. The ‘black mirror’ of the title is the one you’ll find on every wall, on every desk, in the palm of every hand: the cold, shiny screen of a TV, a monitor, a smartphone.’ The first series has been acclaimed as being innovative and shocking with twists-in-the-tale reminiscent of ‘The Twilight Zone.’ ‘The Daily Telegraph’ described the first episode as ‘a shocking but ballsy, blackly comic study of the modern media. A reporter from ‘The Beijing News’ thought the show was ‘an apocalypse of modern world,’ ‘desperate but profound.’
Sensory Substitution
Sensory substitution means to transform the characteristics of one sensory modality (e.g. light, sound, temperature, taste, pressure, smell) into stimuli of another sensory modality (e.g. Tactile–Visual, converting video footage into into tactile information, such as vibration). These systems can help handicapped people by restoring their ability to perceive aspects of a defective physical sense.
A sensory substitution system consists of three parts: a sensor, a coupling system, and a stimulator. The sensor records stimuli and gives them to a coupling system which interprets the signals and transmits them to a stimulator. If the sensor obtains signals of a kind not originally available to the bearer it is called ‘sensory augmentation’ (e.g. implanting magnets under the fingertips imparts magnetoception, sensation of electromagnetic fields). Sensory substitution is based on research in human perception (the organization, identification, and interpretation of sensory information in order to represent and understand the environment) and neuroplasticity (how entire brain structures, and the brain itself, can change from experience).
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Galvanic Vestibular Stimulation
Galvanic [gal-van-ik] vestibular [ve-stib-yuh-ler] stimulation (GVS) is the process of sending electric messages to a nerve in the ear that maintains balance. This technology has been investigated for both military and commercial purposes, and is being applied in Atsugi, Japan, the Mayo Clinic in the US, and a number of other research institutions around the world for use in biomedical engineering, pilot training, and entertainment.
A patient undergoing GVS noted: ‘I felt a mysterious, irresistible urge to start walking to the right whenever the researcher turned the switch to the right. I was convinced — mistakenly — that this was the only way to maintain my balance. The phenomenon is painless but dramatic. Your feet start to move before you know it. I could even remote-control myself by taking the switch into my own hands.’



















