Tag Archives: algorithm

Art And Algorithms And Code And Cash

June 3, 2015 Mike

#!/usr/bin/perl
# 472-byte qrpff, Keith Winstein and Marc Horowitz <sipb-iap-dvd@mit.edu>
# MPEG 2 PS VOB file -> descrambled output on stdout.
# usage: perl -I <k1>:<k2>:<k3>:<k4>:<k5> qrpff
# where k1..k5 are the title key bytes in least to most-significant order

s''$/=\2048;while(<>){G=29;R=142;if((@a=unqT="C*",_)[20]&48){D=89;_=unqb24,qT,@
b=map{ord qB8,unqb8,qT,_^$a[--D]}@INC;s/...$/1$&/;Q=unqV,qb25,_;H=73;O=$b[4]<<9
|256|$b[3];Q=Q>>8^(P=(E=255)&(Q>>12^Q>>4^Q/8^Q))<<17,O=O>>8^(E&(F=(S=O>>14&7^O)
^S*8^S<<6))<<9,_=(map{U=_%16orE^=R^=110&(S=(unqT,"\xb\ntd\xbz\x14d")[_/16%8]);E
^=(72,@z=(64,72,G^=12*(U-2?0:S&17)),H^=_%64?12:0,@z)[_%8]}(16..271))[_]^((D>>=8
)+=P+(~F&E))for@a[128..$#a]}print+qT,@a}';s/[D-HO-U_]/\$$&/g;s/q/pack+/g;eval

You know that hacking has gone mainstream when the WSJ features it on the from page. Further, you know it must be passé when the WSJ claims that the art world is now purveying chunks of code as, well, art. You have to love this country for its ~~entrepreneurial~~ capitalist acumen!

So, if you are an enterprising (ex-)coder and have some cool Fortran, C++, or better yet, Assembler, lying around, dust off the diskette (or floppy, or better, yet, a punch card) and make haste to your nearest art gallery. You could become the first Picasso of programming — onward to the Gagosian! My story began with PL/1, IMS and then C, so my code may only be worthy of the artistic C-list.

From WSJ:

In March, Daniel Benitez, a cinema executive in Miami, paid $2,500 for a necktie. It wasn’t just any strip of designer neckwear. Imprinted on the blue silk were six lines of computer code that once brought the motion picture industry to its knees.

To the unschooled eye, the algorithm script on the tie, known formally as “qrpff,” looks like a lengthy typographical error.

But to Mr. Benitez and other computer cognoscenti, the algorithm it encodes is an artifact of rare beauty that embodies a kind of performance art. He framed it.

The algorithm sets out a procedure for what copyright holders once deemed a criminal act: picking the software lock on the digital scrambling system that Hollywood uses to protect its DVDs. At the turn of the century, hackers encoded it in many ways and distributed them freely—as programs, lines of poetry, lyrics in a rock song, and a square dance routine. They printed it on T-shirts and ties, like the item Mr. Benitez purchased. They proclaimed it free speech. No matter how many times the entertainment industry sued, their lawyers found the algorithm as hard to eradicate as kudzu.

Now it is exhibit A in the art world’s newest collecting trend.

Dealers in digital art are amassing algorithms, the computerized formulas that automate processes from stock-market sales to social networks.

In March, the online art brokerage Artsy and a digital code gallery called Ruse Laboratories held the world’s first algorithm art auction in New York. The Cooper Hewitt, Smithsonian Design Museum, where the auction was held as a fundraiser, is assembling a collection of computer code. In April, the Museum of Modern Art convened a gathering of computer experts and digital artists to discuss algorithms and design.

It is a small step for technology but a leap, perhaps, for the art world. “It is a whole new dimension we are trying to grapple with,” said curatorial director Cara McCarty at the Cooper Hewitt museum. “The art term I keep hearing is code.”

Read the entire article here.

Code snippet: Qrpff. A Perl script for decoding DVD content scrambling.

Idea Soup, Technica

Computer Generated Reality

July 26, 2014 Mike

[tube]nLtmEjqzg7M[/tube]

Computer games have come a very long way since the pioneering days of Pong and Pacman. Games are now so realistic that many are indistinguishable from the real-world characters and scenarios they emulate. It is a testament to the skill and ingenuity of hardware and software engineers and the creativity of developers who bring all the diverse underlying elements of a game together. Now, however, they have a match in the form of computer system that is able to generate richly imagined and rendered world for use in the games themselves. It’s all done through algorithms.

From Technology Review:

Sean Murray, one of the creators of the computer game No Man’s Sky, can’t guarantee that the virtual universe he is building is infinite, but he’s certain that, if it isn’t, nobody will ever find out. “If you were to visit one virtual planet every second,” he says, “then our own sun will have died before you’d have seen them all.”

No Man’s Sky is a video game quite unlike any other. Developed for Sony’s PlayStation 4 by an improbably small team (the original four-person crew has grown only to 10 in recent months) at Hello Games, an independent studio in the south of England, it’s a game that presents a traversable universe in which every rock, flower, tree, creature, and planet has been “procedurally generated” to create a vast and diverse play area.

“We are attempting to do things that haven’t been done before,” says Murray. “No game has made it possible to fly down to a planet, and for it to be planet-sized, and feature life, ecology, lakes, caves, waterfalls, and canyons, then seamlessly fly up through the stratosphere and take to space again. It’s a tremendous challenge.”

Procedural generation, whereby a game’s landscape is generated not by an artist’s pen but an algorithm, is increasingly prevalent in video games. Most famously Minecraft creates a unique world for each of its players, randomly arranging rocks and lakes from a limited palette of bricks whenever someone begins a new game (see “The Secret to a Video Game Phenomenon”). But No Man’s Sky is far more complex and sophisticated. The tens of millions of planets that comprise the universe are all unique. Each is generated when a player discovers it, and is subject to the laws of its respective solar systems and vulnerable to natural erosion. The multitude of creatures that inhabit the universe dynamically breed and genetically mutate as time progresses. This is virtual world building on an unprecedented scale (see video below).

This presents numerous technological challenges, not least of which is how to test a universe of such scale during its development – the team is currently using virtual testers—automated bots that wander around taking screenshots which are then sent back to the team for viewing. Additionally, while No Man’s Sky might have an infinite-sized universe, there aren’t an infinite number of players. To avoid the problem of a kind of virtual loneliness, where a player might never encounter another person on his or her travels, the game starts every new player in the same galaxy (albeit on his or her own planet) with a shared initial goal of traveling to its center. Later in the game, players can meet up, fight, trade, mine, and explore. “Ultimately we don’t know whether people will work, congregate, or disperse,” Murray says. “I know players don’t like to be told that we don’t know what will happen, but that’s what is exciting to us: the game is a vast experiment.”

The game also bears the weight of unrivaled expectation. At the E3 video game conference in Los Angeles in June, no other game met with such applause. It is the game of many childhood science fiction dreams. For Murray, that is truer than for most. He was born in Ireland, but the family lived on a farm in the Australian outback, away from civilization. “At night you could see the vastness of space,” he says. “Meanwhile, we were responsible for our own electricity and survival. We were completely cut off. It had an impact on me that I carry through life.”

Murray formed Hello Games in 2009 with three friends, all of whom had previously worked at major studios. Hello Games’ first title, Joe Danger, let players control a stuntman. The game was, according to Murray, “annoyingly successful” in the sense that it locked him and his friends into a cycle of sequels that they had formed the company to escape. During the next few years the team made four Joe Danger games for seven different platforms. “Then I had a midlife game development crisis,” says Murray. “It changes your mindset when a single game’s development represents a significant chunk of life.”

Murray decided it was time to embark upon the game he’d imagined as a child, a game about frontiership and existence on the edge of the unexplored. “We talked about the feeling of landing on a planet and effectively being the first person to discover it, not knowing what was out there,” he says. “In this era in which footage of every game is recorded and uploaded to YouTube, we wanted a game where, even if you watched every video, it still wouldn’t be spoiled for you.”

When players discover a new planet, climb that planet’s tallest peak, or identify a new species of plant or animal, they are able to upload the discovery to the game’s servers, their name forever associated with the location, like a digital Christopher Columbus or Neil Armstrong. “Players will even be able to mark the planet as toxic or radioactive, or indicate what kind of life is there and then that then appears on everyone’s map,” says Murray.

Read the entire story here.

Video: No Man’s Sky. Courtesy of Hello Games.

Technica

Father of Distributed Computing

March 23, 2014 Mike

Distributed computing is a foundational element for most modern day computing. It paved the way for processing to be shared across multiple computers and, nowadays, within the cloud. Most technology companies, including IBM, Google, Amazon, and Facebook, use distributed computing to provide highly scalable and reliable computing power for their systems and services. Yet, Bill Gates did not invent distributed computing, nor did Steve Jobs. In fact, it was pioneered in the mid-1970s by an unsung hero of computer science, Leslie Lamport. Know aged 73 Leslie Lamport was recognized with this year’s Turing Award.

From Technology Review:

This year’s winner of the Turing Award—often referred to as the Nobel Prize of computing—was announced today as Leslie Lamport, a computer scientist whose research made possible the development of the large, networked computer systems that power, among other things, today’s cloud and Web services. The Association for Computing Machinery grants the award annually, with an associated prize of $250,000.

Lamport, now 73 and a researcher with Microsoft, was recognized for a series of major breakthroughs that began in the 1970s. He devised algorithms that make it possible for software to function reliably even if it is running on a collection of independent computers or components that suffer from delays in communication or sometimes fail altogether.

That work, within a field now known as distributed computing, remains crucial to the sprawling data centers used by Internet giants, and is also involved in coördinating the multiple cores of modern processors in computers and mobile devices. Lamport talked to MIT Technology Review’s Tom Simonite about why his ideas have lasted.

Why is distributed computing important?

Distribution is not something that you just do, saying “Let’s distribute things.” The question is ‘How do you get it to behave coherently?’”

My Byzantine Generals work [on making software fault-tolerant, in 1980] came about because I went to SRI and had a contract to build a reliable prototype computer for flying airplanes for NASA. That used multiple computers that could fail, and so there you have a distributed system. Today there are computers in Palo Alto and Beijing and other places, and we want to use them together, so we build distributed systems. Computers with multiple processors inside are also distributed systems.

We no longer use computers like those you worked with in the 1970s and ’80s. Why have your distributed-computing algorithms survived?

Some areas have had enormous changes, but the aspect of things I was looking at, the fundamental notions of synchronization, are the same.

Running multiple processes on a single computer is very different from a set of different computers talking over a relatively slow network, for example. [But] when you’re trying to reason mathematically about their correctness, there’s no fundamental difference between the two systems.

I [developed] Paxos [in 1989] because people at DEC [Digital Equipment Corporation] were building a distributed file system. The Paxos algorithm is very widely used now. Look inside of Bing or Google or Amazon—where they’ve got rooms full of computers, they’ll probably be running an instance of Paxos.

More recently, you have worked on ways to improve how software is built. What’s wrong with how it’s done now?

People seem to equate programming with coding, and that’s a problem. Before you code, you should understand what you’re doing. If you don’t write down what you’re doing, you don’t know whether you understand it, and you probably don’t if the first thing you write down is code. If you’re trying to build a bridge or house without a blueprint—what we call a specification—it’s not going to be very pretty or reliable. That’s how most code is written. Every time you’ve cursed your computer, you’re cursing someone who wrote a program without thinking about it in advance.

There’s something about the culture of software that has impeded the use of specification. We have a wonderful way of describing things precisely that’s been developed over the last couple of millennia, called mathematics. I think that’s what we should be using as a way of thinking about what we build.

Read the entire story here.

Image: Leslie Lamport, 2005. Courtesy of Wikipedia.