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From 3 to 8 p.m., the San Francisco venue will be outfitted with rows of different types of consoles, and attendees are invited to roll up any time to get in on the action.\u003c/p>\n\u003cp>Some of the games at Day of the Devs haven’t been released yet, and the event is a prime opportunity to find your next favorite before it becomes an indie darling. Highlights include Amanita Design’s \u003ca href=\"https://amanita-design.net/games/phonopolis.html\">\u003cem>Phonopolis\u003c/em>\u003c/a>, a puzzle game where the objective is to thwart an authoritarian ruler who exercises mind control over the townsfolk, rendered in 2D, steam punk-inspired animation. From a very different aesthetic universe, Blue Manchu’s \u003ca href=\"https://store.steampowered.com/app/1660840/Wild_Bastards/\">\u003cem>Wild Bastards\u003c/em>\u003c/a>, a technicolor first-person shooter set in a world of intergalactic outlaws, promises “heart-pounding” combat.\u003c/p>\n\u003cp>While some games test players’ strategy and speed, others like \u003ca href=\"https://store.steampowered.com/app/1685740/Surf_Club/\">\u003cem>Surf Club\u003c/em>\u003c/a> are more about the emotional journey. The adorably animated (think Sanrio meets \u003cem>Animal Crossing\u003c/em>), nostalgia-fueled game follows Holly, who moves back to her hometown of Olive Bay to try to reconnect with her former partner and best friend while catching waves in an idyllic seaside setting.\u003c/p>\n\u003cp>While not all recent video game news has been positive, with \u003ca href=\"https://www.polygon.com/gaming/24074767/video-game-industry-layoffs-explainer\">layoffs sweeping the industry\u003c/a>, Day of the Devs offers a space for small developers to connect IRL with their most passionate players, and for casual gamers to get to know new studios and platforms. There will be 50 games in total at the event, and many of the creators will be in attendance and available to answer questions. A selection of food trucks will be on hand so players can refuel during screen breaks, and DJ Doseone will provide a soundtrack while folks mingle.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.eventbrite.com/e/day-of-the-devs-2024-san-francisco-edition-in-person-celebration-tickets-797078512287?aff=oddtdtcreator\">\u003cem>Day of the Devs is free with RSVP\u003c/em>\u003c/a>.\u003c/p>\n\n","blocks":[],"excerpt":"The Midway will showcase artistic, quirky and alternative video games on March 17.","status":"publish","parent":0,"modified":1710281458,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":328},"headData":{"title":"50 Indie Video Games Are Free to Play at SF’s Day of the Devs | KQED","description":"The Midway will showcase artistic, quirky and alternative video games on March 17.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13953925/day-of-the-devs-indie-video-games-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a plethora of quirky, artistic and alternative video games to play at Day of the Devs, a free event celebrating indie games at the Midway on Sunday, March 17. From 3 to 8 p.m., the San Francisco venue will be outfitted with rows of different types of consoles, and attendees are invited to roll up any time to get in on the action.\u003c/p>\n\u003cp>Some of the games at Day of the Devs haven’t been released yet, and the event is a prime opportunity to find your next favorite before it becomes an indie darling. Highlights include Amanita Design’s \u003ca href=\"https://amanita-design.net/games/phonopolis.html\">\u003cem>Phonopolis\u003c/em>\u003c/a>, a puzzle game where the objective is to thwart an authoritarian ruler who exercises mind control over the townsfolk, rendered in 2D, steam punk-inspired animation. From a very different aesthetic universe, Blue Manchu’s \u003ca href=\"https://store.steampowered.com/app/1660840/Wild_Bastards/\">\u003cem>Wild Bastards\u003c/em>\u003c/a>, a technicolor first-person shooter set in a world of intergalactic outlaws, promises “heart-pounding” combat.\u003c/p>\n\u003cp>While some games test players’ strategy and speed, others like \u003ca href=\"https://store.steampowered.com/app/1685740/Surf_Club/\">\u003cem>Surf Club\u003c/em>\u003c/a> are more about the emotional journey. The adorably animated (think Sanrio meets \u003cem>Animal Crossing\u003c/em>), nostalgia-fueled game follows Holly, who moves back to her hometown of Olive Bay to try to reconnect with her former partner and best friend while catching waves in an idyllic seaside setting.\u003c/p>\n\u003cp>While not all recent video game news has been positive, with \u003ca href=\"https://www.polygon.com/gaming/24074767/video-game-industry-layoffs-explainer\">layoffs sweeping the industry\u003c/a>, Day of the Devs offers a space for small developers to connect IRL with their most passionate players, and for casual gamers to get to know new studios and platforms. There will be 50 games in total at the event, and many of the creators will be in attendance and available to answer questions. A selection of food trucks will be on hand so players can refuel during screen breaks, and DJ Doseone will provide a soundtrack while folks mingle.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.eventbrite.com/e/day-of-the-devs-2024-san-francisco-edition-in-person-celebration-tickets-797078512287?aff=oddtdtcreator\">\u003cem>Day of the Devs is free with RSVP\u003c/em>\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13953925/day-of-the-devs-indie-video-games-san-francisco","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_71","arts_70"],"tags":["arts_10278","arts_1146","arts_585","arts_4149"],"featImg":"arts_13953943","label":"arts_140"},"arts_13938398":{"type":"posts","id":"arts_13938398","meta":{"index":"posts_1591205157","site":"arts","id":"13938398","score":null,"sort":[1700680022000]},"guestAuthors":[],"slug":"arcade-stream-classical-california-video-game-music","title":"Video Game Music Finds a Home on Classical California","publishDate":1700680022,"format":"standard","headTitle":"Video Game Music Finds a Home on Classical California | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Jennifer Miller Hammel’s musical tastes draw from classical maestros like Mozart to more recent ones, like Mario, the eponymous plumber of Nintendo’s flagship Super Mario franchise. \u003c/p>\n\u003cp>“I just thought about the games that have stuck with me since I was four or five years old that have affected me personally, since my earliest days playing Pac-Man on the Atari. So within an hour, I had put together 12 hours of music,” she says.\u003c/p>\n\u003cp>[aside postID='arts_13826120']Hammel, an opera expert who studied piano in college, curated the massive playlist to show proof of concept for a new streaming channel focused on video game music for \u003ca href=\"https://www.kdfc.com/\">Classical California\u003c/a>, a classical music radio network that includes KDFC in San Francisco and KUSC in Los Angeles. Hammel is the host and producer of the KUSC Morning Show and The Opera Show. \u003c/p>\n\u003cp>Hammel says she got the green light after her producers suggested that she add classical music to her video game-focused concept.\u003c/p>\n\u003cp>“There’s been so much classical music used in video games,” she says. Integrating those pieces into the program was a no-brainer, allowing her, as Hammel says, to show “how these incredibly important cornerstones of classical music have then served to heighten the experience for a gamer.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The effort eventually led to \u003ca href=\"https://classicalcalifornia.org/kdfc/streams/arcade\">Arcade\u003c/a>, a free, 24-hour streaming channel, which launched around a month ago. Listeners tune in to Hammel hosting and curating a medley of video game music from the 1980s to the present — including marquee series like Final Fantasy and Fallout alongside lesser known indie darlings — interspersed with classical music featured in games.\u003c/p>\n\u003cfigure id=\"attachment_13938414\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/ArcadeArt_1080.png\" alt=\"Magenta, navy and purple logo for Arcade, with graphic of sound bar and a neon-effect rainbow\" width=\"600\" height=\"600\" class=\"size-full wp-image-13938414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ArcadeArt_1080.png 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ArcadeArt_1080-160x160.png 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Arcade streams 24/7 on Classical California, boasting ‘music that takes you from Mozart’s Vienna to The Mushroom Kingdom.’ \u003ccite>(Courtesy Classical California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The creation of this kind of program is a natural result of how entertainment and popular culture have evolved in recent years: Known IP reigns supreme, driving some of the biggest film and television releases in recent years — just look at the commercial and critical success of \u003ci>Barbie\u003c/i>.\u003c/p>\n\u003cp>There’s also a long track record of adapting video games into film and television. Earlier this year, HBO premiered the first season of \u003ci>The Last of Us\u003c/i>, which originated as a video game series created by Naughty Dog, about survival in a near-future post-apocalyptic Earth. Last year, \u003ci>Uncharted\u003c/i>, another video game franchise by the same producers, became a film starring Tom Holland and Mark Wahlberg.\u003c/p>\n\u003cp>We expect visual media to perform in this way. But classical music? There’s a lot of historical and classist baggage connected to the genre, some of it hundreds of years in the making. The difference now is that film and video game music has evolved beyond 8-bit soundtracks — and gotten the attention of the concert halls. So says Steve Horowitz, who’s composed for video games and teaches a class on game scoring at San Francisco State University.\u003c/p>\n\u003cp>“What’s happening with game music is just an extension of what happened with film music coming into the concert hall,” he says.\u003c/p>\n\u003cp>Events calendars for major concert halls, including the SF Symphony, Carnegie Hall and the Walt Disney Concert Hall in Los Angeles now feature live performances by groups like Video Games Live.\u003c/p>\n\u003cp>“For years and years, the symphonies, and especially the established large groups, have been looking for ways to tap into younger audiences, to bring more diverse audiences into their concerts,” Horowitz says.\u003c/p>\n\u003cp>Hammel points to what she describes as a watershed moment from just this summer, when the Hollywood Bowl celebrated the 10th anniversary of the Game Awards. After over a 15-year hiatus, \u003ca href=\"https://www.latimes.com/entertainment-arts/story/2023-04-20/hogwarts-legacy-last-of-us-among-those-to-be-highlighted-by-the-game-awards-at-hollywood-bowl-concert\">video game music returned to the storied venue\u003c/a>, led by composer Lorne Balfe. The concert included a \u003ca href=\"https://www.youtube.com/watch?v=poWhmUIwBmQ\">moving performance by Gustavo Santaolalla\u003c/a>, the acclaimed Argentine musician and composer who wrote the music for both the video game and television versions of The Last of Us.\u003c/p>\n\u003cp>https://youtu.be/poWhmUIwBmQ?feature=shared&t=87\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>“It’s been really validating to see how this music is affecting people in the concert halls just as much as it’s affecting them when they’re sitting at home and they’re playing in front of their console,” Hammel says. She hopes Arcade reaches a variety of audiences: fans of classical music; fans of video games; and those who are new to both worlds. She said the response has been positive so far.\u003c/p>\n\u003cp>“We have a major donor at KDFC in San Francisco who’s in her 70s. She has just fallen in love with Arcade,” Hammel says. “She listens to it nonstop and she’s never picked up a video game in her life.”\u003c/p>\n\u003cp>Anthony Guarino, who runs the retro video game store \u003ca href=\"https://www.gameshopdownstairs.com/\">Gameshop Downstairs\u003c/a> in downtown San José, says he hasn’t heard of Arcade but he’s interested in checking out. At his store, he often puts on background music from older Donkey Kong and Bomberman titles.\u003c/p>\n\u003cp>Guarino, who describes himself a fan of Playstation One and other early console games from the ’90s and early 2000s, says he’d want to hear songs that capture that era. \u003c/p>\n\u003cp>“There’s just sort of an inherent quality in it,” he explains. “I think we’ve gotten to a point where we can sort of look at them as not old or obsolete technology but just sort of like a different flavor.”\u003c/p>\n\u003cp>Hammel said she has gotten music requests like these since Arcade launched. She has plenty of pieces that will make their way into future iterations of the streaming channel on a quarterly basis.\u003c/p>\n\u003cp>“I didn’t want to just pull music down from a certain generation of gamer,” she says. “This is all, in general, a test of getting people outside of their comfort zones.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/03/VideoGame.Break_.jpg\" alt=\"\" width=\"800\" height=\"43\" class=\"aligncenter size-full wp-image-13826333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_-160x9.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_-768x41.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_-520x28.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"On Arcade, a new streaming channel hosted by Jennifer Miller Hammel, Mozart plays alongside Super Mario.\r\n","status":"publish","parent":0,"modified":1705003064,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":1015},"headData":{"title":"Video Game Music Finds a Home on Classical California | KQED","description":"On Arcade, a new streaming channel hosted by Jennifer Miller Hammel, Mozart plays alongside Super Mario.\r\n","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/5a67f9fe-acda-4464-84e9-b0c8011cc03f/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13938398/arcade-stream-classical-california-video-game-music","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jennifer Miller Hammel’s musical tastes draw from classical maestros like Mozart to more recent ones, like Mario, the eponymous plumber of Nintendo’s flagship Super Mario franchise. \u003c/p>\n\u003cp>“I just thought about the games that have stuck with me since I was four or five years old that have affected me personally, since my earliest days playing Pac-Man on the Atari. So within an hour, I had put together 12 hours of music,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13826120","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Hammel, an opera expert who studied piano in college, curated the massive playlist to show proof of concept for a new streaming channel focused on video game music for \u003ca href=\"https://www.kdfc.com/\">Classical California\u003c/a>, a classical music radio network that includes KDFC in San Francisco and KUSC in Los Angeles. Hammel is the host and producer of the KUSC Morning Show and The Opera Show. \u003c/p>\n\u003cp>Hammel says she got the green light after her producers suggested that she add classical music to her video game-focused concept.\u003c/p>\n\u003cp>“There’s been so much classical music used in video games,” she says. Integrating those pieces into the program was a no-brainer, allowing her, as Hammel says, to show “how these incredibly important cornerstones of classical music have then served to heighten the experience for a gamer.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The effort eventually led to \u003ca href=\"https://classicalcalifornia.org/kdfc/streams/arcade\">Arcade\u003c/a>, a free, 24-hour streaming channel, which launched around a month ago. Listeners tune in to Hammel hosting and curating a medley of video game music from the 1980s to the present — including marquee series like Final Fantasy and Fallout alongside lesser known indie darlings — interspersed with classical music featured in games.\u003c/p>\n\u003cfigure id=\"attachment_13938414\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/ArcadeArt_1080.png\" alt=\"Magenta, navy and purple logo for Arcade, with graphic of sound bar and a neon-effect rainbow\" width=\"600\" height=\"600\" class=\"size-full wp-image-13938414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ArcadeArt_1080.png 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ArcadeArt_1080-160x160.png 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Arcade streams 24/7 on Classical California, boasting ‘music that takes you from Mozart’s Vienna to The Mushroom Kingdom.’ \u003ccite>(Courtesy Classical California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The creation of this kind of program is a natural result of how entertainment and popular culture have evolved in recent years: Known IP reigns supreme, driving some of the biggest film and television releases in recent years — just look at the commercial and critical success of \u003ci>Barbie\u003c/i>.\u003c/p>\n\u003cp>There’s also a long track record of adapting video games into film and television. Earlier this year, HBO premiered the first season of \u003ci>The Last of Us\u003c/i>, which originated as a video game series created by Naughty Dog, about survival in a near-future post-apocalyptic Earth. Last year, \u003ci>Uncharted\u003c/i>, another video game franchise by the same producers, became a film starring Tom Holland and Mark Wahlberg.\u003c/p>\n\u003cp>We expect visual media to perform in this way. But classical music? There’s a lot of historical and classist baggage connected to the genre, some of it hundreds of years in the making. The difference now is that film and video game music has evolved beyond 8-bit soundtracks — and gotten the attention of the concert halls. So says Steve Horowitz, who’s composed for video games and teaches a class on game scoring at San Francisco State University.\u003c/p>\n\u003cp>“What’s happening with game music is just an extension of what happened with film music coming into the concert hall,” he says.\u003c/p>\n\u003cp>Events calendars for major concert halls, including the SF Symphony, Carnegie Hall and the Walt Disney Concert Hall in Los Angeles now feature live performances by groups like Video Games Live.\u003c/p>\n\u003cp>“For years and years, the symphonies, and especially the established large groups, have been looking for ways to tap into younger audiences, to bring more diverse audiences into their concerts,” Horowitz says.\u003c/p>\n\u003cp>Hammel points to what she describes as a watershed moment from just this summer, when the Hollywood Bowl celebrated the 10th anniversary of the Game Awards. After over a 15-year hiatus, \u003ca href=\"https://www.latimes.com/entertainment-arts/story/2023-04-20/hogwarts-legacy-last-of-us-among-those-to-be-highlighted-by-the-game-awards-at-hollywood-bowl-concert\">video game music returned to the storied venue\u003c/a>, led by composer Lorne Balfe. The concert included a \u003ca href=\"https://www.youtube.com/watch?v=poWhmUIwBmQ\">moving performance by Gustavo Santaolalla\u003c/a>, the acclaimed Argentine musician and composer who wrote the music for both the video game and television versions of The Last of Us.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/poWhmUIwBmQ'\n title='//www.youtube.com/embed/poWhmUIwBmQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>“It’s been really validating to see how this music is affecting people in the concert halls just as much as it’s affecting them when they’re sitting at home and they’re playing in front of their console,” Hammel says. She hopes Arcade reaches a variety of audiences: fans of classical music; fans of video games; and those who are new to both worlds. She said the response has been positive so far.\u003c/p>\n\u003cp>“We have a major donor at KDFC in San Francisco who’s in her 70s. She has just fallen in love with Arcade,” Hammel says. “She listens to it nonstop and she’s never picked up a video game in her life.”\u003c/p>\n\u003cp>Anthony Guarino, who runs the retro video game store \u003ca href=\"https://www.gameshopdownstairs.com/\">Gameshop Downstairs\u003c/a> in downtown San José, says he hasn’t heard of Arcade but he’s interested in checking out. At his store, he often puts on background music from older Donkey Kong and Bomberman titles.\u003c/p>\n\u003cp>Guarino, who describes himself a fan of Playstation One and other early console games from the ’90s and early 2000s, says he’d want to hear songs that capture that era. \u003c/p>\n\u003cp>“There’s just sort of an inherent quality in it,” he explains. “I think we’ve gotten to a point where we can sort of look at them as not old or obsolete technology but just sort of like a different flavor.”\u003c/p>\n\u003cp>Hammel said she has gotten music requests like these since Arcade launched. She has plenty of pieces that will make their way into future iterations of the streaming channel on a quarterly basis.\u003c/p>\n\u003cp>“I didn’t want to just pull music down from a certain generation of gamer,” she says. “This is all, in general, a test of getting people outside of their comfort zones.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/03/VideoGame.Break_.jpg\" alt=\"\" width=\"800\" height=\"43\" class=\"aligncenter size-full wp-image-13826333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_-160x9.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_-768x41.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_-520x28.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13938398/arcade-stream-classical-california-video-game-music","authors":["11724"],"categories":["arts_1","arts_71","arts_69"],"tags":["arts_1312","arts_10342","arts_4149"],"featImg":"arts_13938406","label":"arts"},"forum_2010101881171":{"type":"posts","id":"forum_2010101881171","meta":{"index":"posts_1591205157","site":"forum","id":"2010101881171","score":null,"sort":[1607965200000]},"guestAuthors":[],"slug":"holiday-books-2020-edition","title":"Holiday Books 2020 Edition","publishDate":1607730104,"format":"audio","headTitle":"Holiday Books 2020 Edition | KQED","labelTerm":{"term":3,"site":"forum"},"content":"\u003cp>As the winter solstice approaches, nights grow long, and you’re stuck at home because of the pandemic, it’s a good time to curl up with a book. New York Times Book Review editor Pamela Paul joins us to share her favorite books of 2020. We’ll also hear from some local authors to get their picks, and open the phone lines for listener recommendations for a great read.\u003c/p>\n\u003cp>\u003cstrong>Pamela Paul’s Suggestions: \u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cspan style=\"font-weight: 400\">“A Children’s Bible” by Lydia Millet\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Black Women, Black Love: America’s War on African American Marriage” \u003c/span>\u003cspan style=\"font-weight: 400\">by Dianne M. Stewart\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Blacktop Wasteland” by S.A. Cosby\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003cspan style=\"font-weight: 400\">Catching the Wind: Edward Kennedy and the Liberal Hour\u003c/span>\u003cspan style=\"font-weight: 400\">” by Neal Gabler\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Deacon King Kong” by James McBride\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“The Dead Are Rising” by Les Payne, Tamara Payne\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Dear Child” by Romy Hausmann\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Eleanor” by David Michaelis\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“The End of October” by Lawrence Wright\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Felon: Poems” by Reginald Dwayne Betts\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Hamnet” by Maggie O’Farrell \u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Homeland Elegies” by Ayad Akhtar\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Homie: Poems” by Danez Smith\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“How to Be Anti-Racist” by Ibram X. Kendi\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Jack” by Marilynne Robinson\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“JFK: Coming of Age in the American Century, 1917-1956” by Fredrik Logevall\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Just Us: An American Conversation” by Claudia Rankine\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Less” by Andrew Sean Greer\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Promised Land” by Barack Obama\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Ready Player Two” by Ernest Cline\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Shuggie Bain” by Douglas Stewart\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“The Trespasser” by Tana French\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“The Vanishing Half” by Brit Bennett\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“White Fright: \u003c/span>\u003cspan style=\"font-weight: 400\">The Sexual Panic at the Heart of America’s Racist History” by Jane Dailey\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“White Tears/Brown Scars: How White Feminism Betrays Women of Color” by Ruby Hamad\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Michael Krasny’s Suggestions: \u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cspan style=\"font-weight: 400\">“A Time for Mercy” by John Grisham\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Begin Again” by Eddie Glaude\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“The Best of Me” by David Sedaris\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Caste” by Isabel Wilkerson\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Children of the Land” by Marcelo Hernandez Castillo\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Dogs of the Times: From the Archives of the New York Times” by M. Ryan Murphy, Jennifer Parrucci & Jim Mones\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Good Blood: A Doctor, a Donor, and the Incredible Breakthrough that Saved Millions of Babies” by Julian Guthrie\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“The Plague” by Albert Camus\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“The Queen’s Gambit” by Walter Tevis\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Seize the Time: The Story of the Black Panther Party and Huey P. Newton” by Bobby Seale\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“The Splendid and the Vile” by Erik Larson\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Trial by Fire” by Scott James\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Vanessa Hua’s Suggestions: \u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Fiebre Tropical” by Juli Delgado Lopera\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“A Good Family” by A.H. Kim\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Interior Chinatown” by Charles Yu\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“She Votes: How U.S. Women Won Suffrage, and What Happened Next” by Bridget Quinn\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“The Son of Good Fortune” by \u003c/span>\u003cspan style=\"font-weight: 400\">Lysley Tenorio\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Unforgetting: A Memoir of Family, Migration, Gangs, and Revolution in the Americas” by Roberto Lovato\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Why We Swim” by Bonnie Tsui\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Tanya Foster’s Suggestions:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cspan style=\"font-weight: 400\">“DMZ Colony” by Don Mee Choi\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Jump the Clock: New and Selected Poems” by Erica Hunt\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Memorial Drive: A Daughter’s Memoir” by Natasha Tretheway\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Postcolonial Love Poem” by Natalie Diaz\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Shrapnel Maps” by Philip Metres\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Women in the Waiting Room” by Kirun Kapur\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Listener Suggestions (Mentioned on Air):\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cspan style=\"font-weight: 400\">“All We Can Save: Truth, Courage, and Solutions for the Climate Crisis: Collected Essays” Edited by Ayana Elizabeth Johnson and Katherine K. Wilkinson\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Beyond Words: What Animals Think and Feel” by Carl Safina\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Children of Time” by Adrian Tchaikovsky\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“A Crack in Creation: The New Power to Control Evolution” by Jennifer Doudna and Samuel H. Sternberg\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Breath: The New Science of a Lost Art” by James Nestor\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Code Name Hélène” by Ariel Lawho \u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Divergent Mind: Thriving in a World That Wasn’t Designed for You” by Jenara Nerenberg\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Everyone Brave is Forgiven” by Chris Cleave\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Failure To Appear: Resistance, Identity and Loss” by Emily L. Quint Freeman\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Frederick Douglass: Prophet of Freedom” by David W. Blight\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“A Geologic and Natural History Tour through Nevada and Arizona along U.S. Highway 93, with GPS Coordinates” by Joseph Tingley\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Hiding in Plain Sight: The Invention of Donald Trump and the Erosion of America” by Sarah Kendzior\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Leave the World Behind” by Rumaan Alam\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Ledger: Poems” by Jane Hirshfield\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“The Ministry for the Future” by Kim Stanley Robinson\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Murder Goes to Market” by Daisy Bateman\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Phenomena: The Secret History of the U.S. Government’s Investigations into Extrasensory Perception and Psychokinesis” by Annie Jacobsen\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“The Story of More: How We Got to Climate Change and Where to Go from Here” by Hope Jahren\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“The System: Who Rigged It, How We Fix It” by Robert Reich\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">“This is Happiness” by Niall Williams\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Travel Stories of Wonder and Change” by Bay Area Travel Writers \u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">The Wallender Series by Henning Mankell\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Wolf Hall,” “Bring the Bodies Up” and “The Mirror & The Light” by Hilary Mantel \u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1704424195,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":947},"headData":{"title":"Holiday Books 2020 Edition | KQED","description":"As the winter solstice approaches, nights grow long, and you’re stuck at home because of the pandemic, it’s a good time to curl up with a book. New York Times Book Review editor Pamela Paul joins us to share her favorite books of 2020. We’ll also hear from some local authors to get their picks,","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"audioUrl":"https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC3963589991.mp3","airdate":1607965200,"forumGuests":[{"name":"Pamela Paul","bio":"editor, New York Times Book Review"},{"name":"Tonya Foster","bio":"poet and author of \"A Swarm of Bees in High Court\""},{"name":"Vanessa Hua","bio":"columnist, San Francisco Chronicle - author of \"Deceit and Other Possibilities\""}],"sticky":false,"path":"/forum/2010101881171/holiday-books-2020-edition","audioDuration":null,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the winter solstice approaches, nights grow long, and you’re stuck at home because of the pandemic, it’s a good time to curl up with a book. New York Times Book Review editor Pamela Paul joins us to share her favorite books of 2020. We’ll also hear from some local authors to get their picks, and open the phone lines for listener recommendations for a great read.\u003c/p>\n\u003cp>\u003cstrong>Pamela Paul’s Suggestions: \u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cspan style=\"font-weight: 400\">“A Children’s Bible” by Lydia Millet\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Black Women, Black Love: America’s War on African American Marriage” \u003c/span>\u003cspan style=\"font-weight: 400\">by Dianne M. Stewart\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Blacktop Wasteland” by S.A. Cosby\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003cspan style=\"font-weight: 400\">Catching the Wind: Edward Kennedy and the Liberal Hour\u003c/span>\u003cspan style=\"font-weight: 400\">” by Neal Gabler\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Deacon King Kong” by James McBride\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“The Dead Are Rising” by Les Payne, Tamara Payne\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Dear Child” by Romy Hausmann\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Eleanor” by David Michaelis\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“The End of October” by Lawrence Wright\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Felon: Poems” by Reginald Dwayne Betts\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Hamnet” by Maggie O’Farrell \u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Homeland Elegies” by Ayad Akhtar\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Homie: Poems” by Danez Smith\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“How to Be Anti-Racist” by Ibram X. Kendi\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Jack” by Marilynne Robinson\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“JFK: Coming of Age in the American Century, 1917-1956” by Fredrik Logevall\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Just Us: An American Conversation” by Claudia Rankine\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Less” by Andrew Sean Greer\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Promised Land” by Barack Obama\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Ready Player Two” by Ernest Cline\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Shuggie Bain” by Douglas Stewart\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“The Trespasser” by Tana French\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“The Vanishing Half” by Brit Bennett\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“White Fright: \u003c/span>\u003cspan style=\"font-weight: 400\">The Sexual Panic at the Heart of America’s Racist History” by Jane Dailey\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“White Tears/Brown Scars: How White Feminism Betrays Women of Color” by Ruby Hamad\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Michael Krasny’s Suggestions: \u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cspan style=\"font-weight: 400\">“A Time for Mercy” by John Grisham\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Begin Again” by Eddie Glaude\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“The Best of Me” by David Sedaris\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Caste” by Isabel Wilkerson\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Children of the Land” by Marcelo Hernandez Castillo\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Dogs of the Times: From the Archives of the New York Times” by M. Ryan Murphy, Jennifer Parrucci & Jim Mones\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Good Blood: A Doctor, a Donor, and the Incredible Breakthrough that Saved Millions of Babies” by Julian Guthrie\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“The Plague” by Albert Camus\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“The Queen’s Gambit” by Walter Tevis\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Seize the Time: The Story of the Black Panther Party and Huey P. Newton” by Bobby Seale\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“The Splendid and the Vile” by Erik Larson\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Trial by Fire” by Scott James\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Vanessa Hua’s Suggestions: \u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Fiebre Tropical” by Juli Delgado Lopera\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“A Good Family” by A.H. Kim\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Interior Chinatown” by Charles Yu\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“She Votes: How U.S. Women Won Suffrage, and What Happened Next” by Bridget Quinn\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“The Son of Good Fortune” by \u003c/span>\u003cspan style=\"font-weight: 400\">Lysley Tenorio\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Unforgetting: A Memoir of Family, Migration, Gangs, and Revolution in the Americas” by Roberto Lovato\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Why We Swim” by Bonnie Tsui\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Tanya Foster’s Suggestions:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cspan style=\"font-weight: 400\">“DMZ Colony” by Don Mee Choi\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Jump the Clock: New and Selected Poems” by Erica Hunt\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Memorial Drive: A Daughter’s Memoir” by Natasha Tretheway\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Postcolonial Love Poem” by Natalie Diaz\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Shrapnel Maps” by Philip Metres\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Women in the Waiting Room” by Kirun Kapur\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Listener Suggestions (Mentioned on Air):\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cspan style=\"font-weight: 400\">“All We Can Save: Truth, Courage, and Solutions for the Climate Crisis: Collected Essays” Edited by Ayana Elizabeth Johnson and Katherine K. Wilkinson\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Beyond Words: What Animals Think and Feel” by Carl Safina\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Children of Time” by Adrian Tchaikovsky\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“A Crack in Creation: The New Power to Control Evolution” by Jennifer Doudna and Samuel H. Sternberg\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Breath: The New Science of a Lost Art” by James Nestor\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Code Name Hélène” by Ariel Lawho \u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Divergent Mind: Thriving in a World That Wasn’t Designed for You” by Jenara Nerenberg\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Everyone Brave is Forgiven” by Chris Cleave\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Failure To Appear: Resistance, Identity and Loss” by Emily L. Quint Freeman\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Frederick Douglass: Prophet of Freedom” by David W. Blight\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“A Geologic and Natural History Tour through Nevada and Arizona along U.S. Highway 93, with GPS Coordinates” by Joseph Tingley\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Hiding in Plain Sight: The Invention of Donald Trump and the Erosion of America” by Sarah Kendzior\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Leave the World Behind” by Rumaan Alam\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Ledger: Poems” by Jane Hirshfield\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“The Ministry for the Future” by Kim Stanley Robinson\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Murder Goes to Market” by Daisy Bateman\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Phenomena: The Secret History of the U.S. Government’s Investigations into Extrasensory Perception and Psychokinesis” by Annie Jacobsen\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“The Story of More: How We Got to Climate Change and Where to Go from Here” by Hope Jahren\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“The System: Who Rigged It, How We Fix It” by Robert Reich\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">“This is Happiness” by Niall Williams\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Travel Stories of Wonder and Change” by Bay Area Travel Writers \u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">The Wallender Series by Henning Mankell\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">“Wolf Hall,” “Bring the Bodies Up” and “The Mirror & The Light” by Hilary Mantel \u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/forum/2010101881171/holiday-books-2020-edition","authors":["11247"],"programs":["forum_3"],"categories":["forum_1623"],"tags":["forum_29","forum_455"],"featImg":"forum_2010101874706","label":"forum_3"},"arts_13889311":{"type":"posts","id":"arts_13889311","meta":{"index":"posts_1591205157","site":"arts","id":"13889311","score":null,"sort":[1605549440000]},"guestAuthors":[],"slug":"among-us-its-every-little-space-sausage-for-themselves","title":"'Among Us,' It's Every Little Space Sausage For Themselves","publishDate":1605549440,"format":"standard","headTitle":"‘Among Us,’ It’s Every Little Space Sausage For Themselves | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>I was in Mira HQ and all the lights were out. The reactor was failing. No one was doing any tasks because the doors were on the fritz and there were only three of us left: Brown, Pink and me. We ran in tiny circles in the dark, rotating around each other in small, panicked orbits, waiting to see who would make the final move …\u003c/em>\u003c/p>\n\u003cp>So have you played \u003cem>Among Us \u003c/em>yet? Millions of you have. Millions of you sitting in dark rooms, on lazy afternoons, socially distanced, bored, frustrated, furious. It is a simple game that is deceptively complex. There are 10 players dressed as spacemen — colorful little sausages with funny hats and little pets — all running around a map, frantically trying to complete a bunch of make-work tasks. They’re emptying trash and calibrating the engines, blasting asteroids (almost certain death, in my experience) and fixing the wiring. And all the while, one or two or three of their fellow space-sausages are secretly aliens. impostors, who live only to murder.\u003c/p>\n\u003cp>\u003cem>… There was one impostor left. Two crewmates. It was three in the morning, my time, and I should’ve been asleep but instead, I was staring at the screen, waiting, while the klaxons blared and the emergency lights flashed …\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13889313\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/amongus-chat_custom-c762954c5729e8b51910b6fd691dd81665c08a7f.png\" alt=\"The chat function offers only limited communication in Among Us.\" width=\"200\" height=\"149\" class=\"size-full wp-image-13889313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/amongus-chat_custom-c762954c5729e8b51910b6fd691dd81665c08a7f.png 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/amongus-chat_custom-c762954c5729e8b51910b6fd691dd81665c08a7f-160x119.png 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">The chat function offers only limited communication in Among Us. \u003ccite>(InnerSloth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You’ve heard of this game before, even if not in this format. The game — the \u003cem>basics\u003c/em> of the game, its spine and format — has been around since 1986. Called \u003ca href=\"https://www.kqed.org/pop/10178/how-to-play-mafia-an-in-depth-guide-to-the-perfect-holiday-game\" rel=\"noopener noreferrer\" target=\"_blank\">Mafia\u003c/a> (or Werewolf, depending on the particular flavor), it was a party game invented by Dimitry Davidoff, a psychology student at Moscow University, as a way to mess with a bunch of high school students he was tutoring. You take a bunch of players and have them draw cards. Most of them will be peaceful townsfolk, but a couple will secretly be members of the mafia who can kill other players every night. At night, everyone puts their heads down while the mafia decide who to murder. In daylight, everyone is heads-up and arguing over who they believe are the killers. The townsfolk win if they can correctly identify the mafia. The mafia win when they finally kill everyone else.\u003c/p>\n\u003cp>It is a deduction game, a psychology game. You read the room, ask your questions, make your accusations and see how each player reacts. Only a majority vote of players can indict a murderer and, at least in the early going, most of those votes are wrong. \u003cem>Among Us\u003c/em> is the latest variant, launched to virtually no acclaim back in 2018 by an indie shop called InnerSloth with no particular talent for marketing, but a dogged determination to make this game work.[aside postID='pop_10178']\u003c/p>\n\u003cp>\u003cem>… 20 seconds left. \u003c/em>\u003cem>Then 15. Someone was going to have to do something soon…\u003c/em>\u003c/p>\n\u003cp>The mechanics are slight — you run around, do your tasks, try not to die. You stalk the players you think are suspicious, trying to stay in groups, in plain view. If you’re an impostor, you try to look innocent until the moment you find yourself alone with another player. Then, you stabby-stab and run away. Impostors can use vents on the map to jump from one section to another. They can sabotage vital ship systems, sealing the doors, killing the lights, turning off the oxygen. As the game goes on, these sabotages stack up. In a good game, \u003cem>everything\u003c/em> starts going wrong, and the bodies are everywhere. And the only time players are allowed to speak to each other — the only time they’re able to point the finger and accuse someone of being an impostor — is during emergency meetings. Text chat is not a great vehicle for psychological subtlety. But it is all the little sausages have. And even within the limited framework of chat, there are tricks, gimmicks, ways to deflect and manipulate.\u003c/p>\n\u003cp>[pullquote align='right']Most players don’t do much but accuse … The great ones roleplay. They overact like Brando chewing the scenery or act goofy or ally themselves with rando players, overwhelming the chat with detail.[/pullquote]\u003c/p>\n\u003cp>Most players don’t do much but accuse, shout “Sus!” over and over (meaning \u003cem>suspicious\u003c/em>) or say some version of “No way, bro! Wuz w/blue the whole time!!” And that’s fine. Sometimes that works. The good ones try to use math: Who was watching who, when, and who was unwatched long enough to do a murder? The great ones roleplay. They overact like Brando chewing the scenery or act goofy or ally themselves with rando players, overwhelming the chat with detail.\u003c/p>\n\u003cp>\u003cem>Not me, dud. Me an white an blue in lower engine watching red. He wuz gone for 2 secs, then meeting. Self report???\u003c/em>\u003c/p>\n\u003cp>\u003cem> \u003c/em>If you’re a crewmate, you win by identifying all the impostors and blowing them out the airlock before the various sabotages and murderers end up killing everyone. If you’re one of the impostors, you win when everyone else is dead. The voting can be cruel, capricious, reflexive. You’re choosing based on faulty, incomplete data. There’s an age-of-the-internet angle to it that makes people decide fast on the truth they want to believe and stick by it fiercely. That isn’t always great for the game, but these days it seems … apt.\u003c/p>\n\u003cp>\u003cem>…With 15 seconds before meltdown, Brown made a break for the reactor. Pink and I stood there, watching each other, waiting …\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Honestly, it kind of took the pandemic to make a game like \u003cem>Among Us\u003c/em> work. It took Twitch streamers (first Korean, then Brazilian and Mexican long before it caught fire in the U.S.) screaming and plotting their way through games watched by tens of thousands of stuck-at-home kids (and parents). It took a wild night where Rep. Alexandria Ocasio-Cortez went on Twitter and \u003ca href=\"https://www.npr.org/2020/10/21/926329321/alexandria-ocasio-cortez-and-ilhan-omar-play-on-twitch-to-engage-young-voters\" rel=\"noopener noreferrer\" target=\"_blank\">asked if anyone wanted to play\u003c/a>, then brought along Rep. Ilhan Omar and used the stream (watched by 439,000 people) to get out the vote. A game that, almost by definition, requires staring your opponents and fellows in the eye to decide who among them is lying seems a poor fit for small screens and fast fingers. And yet, there’s something undeniably fun in the free-for-all of accusation and defense that happens in the chat. There’s something weirdly engaging about the mechanics of the thing — the required tasks, the suspicious stalking, the little bits of help that exist for crewmates (like watching cams or tracking players on the map).\u003c/p>\n\u003cp>Yes, there are problems. \u003cem>Among Us\u003c/em> is a game with its own quirky rhythms that you have to settle into. It takes time to learn the basics of movement and the mini-game tasks. (I can’t tell you how long I stared at that stupid gas can in Supply, not able to figure out how to fill it, missing the giant button I had to push just to the right of the can.) You may have to go through a dozen failed games (ones that crash, ones that kick you out, ones that end suddenly for no good reason, ones where no one talks or where half the players leave before the first vote) before you find a good one with a good crew. Recently, there was a hacking problem that made the game essentially un-playable for a few days unless you were in a private game with a group of trusted friends, but that seems largely resolved.\u003c/p>\n\u003cp>Even with these issues, though, \u003cem>Among Us \u003c/em>is still the ideal pandemic pastime. The stakes are low. The games are fast. They’re frantic. They’re a perfect bite-sized distraction from, well, everything, really.\u003c/p>\n\u003cp>\u003cem>… I could afford to wait. The lights, the sirens, they meant nothing to me. With just a few seconds left, I made my move. Killed Pink.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Game over.\u003c/em>\u003c/p>\n\u003cp>The impostors win again.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Jason Sheehan knows stuff about food, video games, books and Starblazers\u003cem>. He is currently the restaurant critic at \u003c/em>\u003ca href=\"http://www.phillymag.com/\">Philadelphia\u003c/a> \u003cem>magazine, but when no one is looking, he spends his time writing books about giant robots and ray guns.\u003c/em> Tales From the Radiation Age\u003cem> is his latest book.\u003c/em>\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Among+Us%2C%27+It%27s+Every+Little+Space+Sausage+For+Themselves&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The social deduction game, where you play a funny-shaped little spaceman trying to uncover murderous impostors, originally came out in 2018 — but it's having a moment now.","status":"publish","parent":0,"modified":1705019851,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1421},"headData":{"title":"'Among Us,' It's Every Little Space Sausage For Themselves | KQED","description":"The social deduction game, where you play a funny-shaped little spaceman trying to uncover murderous impostors, originally came out in 2018 — but it's having a moment now.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"Jason Sheehan","nprImageAgency":"InnerSloth/screenshot by Jason Sheehan","nprStoryId":"931304349","nprApiLink":"http://api.npr.org/query?id=931304349&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2020/11/12/931304349/among-us-its-every-little-space-sausage-for-themselves?ft=nprml&f=931304349","nprRetrievedStory":"1","nprPubDate":"Thu, 12 Nov 2020 10:00:00 -0500","nprStoryDate":"Thu, 12 Nov 2020 10:00:25 -0500","nprLastModifiedDate":"Thu, 12 Nov 2020 10:00:25 -0500","templateType":"standard","featuredImageType":"standard","path":"/arts/13889311/among-us-its-every-little-space-sausage-for-themselves","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>I was in Mira HQ and all the lights were out. The reactor was failing. No one was doing any tasks because the doors were on the fritz and there were only three of us left: Brown, Pink and me. We ran in tiny circles in the dark, rotating around each other in small, panicked orbits, waiting to see who would make the final move …\u003c/em>\u003c/p>\n\u003cp>So have you played \u003cem>Among Us \u003c/em>yet? Millions of you have. Millions of you sitting in dark rooms, on lazy afternoons, socially distanced, bored, frustrated, furious. It is a simple game that is deceptively complex. There are 10 players dressed as spacemen — colorful little sausages with funny hats and little pets — all running around a map, frantically trying to complete a bunch of make-work tasks. They’re emptying trash and calibrating the engines, blasting asteroids (almost certain death, in my experience) and fixing the wiring. And all the while, one or two or three of their fellow space-sausages are secretly aliens. impostors, who live only to murder.\u003c/p>\n\u003cp>\u003cem>… There was one impostor left. Two crewmates. It was three in the morning, my time, and I should’ve been asleep but instead, I was staring at the screen, waiting, while the klaxons blared and the emergency lights flashed …\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13889313\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/amongus-chat_custom-c762954c5729e8b51910b6fd691dd81665c08a7f.png\" alt=\"The chat function offers only limited communication in Among Us.\" width=\"200\" height=\"149\" class=\"size-full wp-image-13889313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/amongus-chat_custom-c762954c5729e8b51910b6fd691dd81665c08a7f.png 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/amongus-chat_custom-c762954c5729e8b51910b6fd691dd81665c08a7f-160x119.png 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">The chat function offers only limited communication in Among Us. \u003ccite>(InnerSloth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You’ve heard of this game before, even if not in this format. The game — the \u003cem>basics\u003c/em> of the game, its spine and format — has been around since 1986. Called \u003ca href=\"https://www.kqed.org/pop/10178/how-to-play-mafia-an-in-depth-guide-to-the-perfect-holiday-game\" rel=\"noopener noreferrer\" target=\"_blank\">Mafia\u003c/a> (or Werewolf, depending on the particular flavor), it was a party game invented by Dimitry Davidoff, a psychology student at Moscow University, as a way to mess with a bunch of high school students he was tutoring. You take a bunch of players and have them draw cards. Most of them will be peaceful townsfolk, but a couple will secretly be members of the mafia who can kill other players every night. At night, everyone puts their heads down while the mafia decide who to murder. In daylight, everyone is heads-up and arguing over who they believe are the killers. The townsfolk win if they can correctly identify the mafia. The mafia win when they finally kill everyone else.\u003c/p>\n\u003cp>It is a deduction game, a psychology game. You read the room, ask your questions, make your accusations and see how each player reacts. Only a majority vote of players can indict a murderer and, at least in the early going, most of those votes are wrong. \u003cem>Among Us\u003c/em> is the latest variant, launched to virtually no acclaim back in 2018 by an indie shop called InnerSloth with no particular talent for marketing, but a dogged determination to make this game work.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_10178","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>… 20 seconds left. \u003c/em>\u003cem>Then 15. Someone was going to have to do something soon…\u003c/em>\u003c/p>\n\u003cp>The mechanics are slight — you run around, do your tasks, try not to die. You stalk the players you think are suspicious, trying to stay in groups, in plain view. If you’re an impostor, you try to look innocent until the moment you find yourself alone with another player. Then, you stabby-stab and run away. Impostors can use vents on the map to jump from one section to another. They can sabotage vital ship systems, sealing the doors, killing the lights, turning off the oxygen. As the game goes on, these sabotages stack up. In a good game, \u003cem>everything\u003c/em> starts going wrong, and the bodies are everywhere. And the only time players are allowed to speak to each other — the only time they’re able to point the finger and accuse someone of being an impostor — is during emergency meetings. Text chat is not a great vehicle for psychological subtlety. But it is all the little sausages have. And even within the limited framework of chat, there are tricks, gimmicks, ways to deflect and manipulate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"Most players don’t do much but accuse … The great ones roleplay. They overact like Brando chewing the scenery or act goofy or ally themselves with rando players, overwhelming the chat with detail.","name":"pullquote","attributes":{"named":{"align":"right","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Most players don’t do much but accuse, shout “Sus!” over and over (meaning \u003cem>suspicious\u003c/em>) or say some version of “No way, bro! Wuz w/blue the whole time!!” And that’s fine. Sometimes that works. The good ones try to use math: Who was watching who, when, and who was unwatched long enough to do a murder? The great ones roleplay. They overact like Brando chewing the scenery or act goofy or ally themselves with rando players, overwhelming the chat with detail.\u003c/p>\n\u003cp>\u003cem>Not me, dud. Me an white an blue in lower engine watching red. He wuz gone for 2 secs, then meeting. Self report???\u003c/em>\u003c/p>\n\u003cp>\u003cem> \u003c/em>If you’re a crewmate, you win by identifying all the impostors and blowing them out the airlock before the various sabotages and murderers end up killing everyone. If you’re one of the impostors, you win when everyone else is dead. The voting can be cruel, capricious, reflexive. You’re choosing based on faulty, incomplete data. There’s an age-of-the-internet angle to it that makes people decide fast on the truth they want to believe and stick by it fiercely. That isn’t always great for the game, but these days it seems … apt.\u003c/p>\n\u003cp>\u003cem>…With 15 seconds before meltdown, Brown made a break for the reactor. Pink and I stood there, watching each other, waiting …\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Honestly, it kind of took the pandemic to make a game like \u003cem>Among Us\u003c/em> work. It took Twitch streamers (first Korean, then Brazilian and Mexican long before it caught fire in the U.S.) screaming and plotting their way through games watched by tens of thousands of stuck-at-home kids (and parents). It took a wild night where Rep. Alexandria Ocasio-Cortez went on Twitter and \u003ca href=\"https://www.npr.org/2020/10/21/926329321/alexandria-ocasio-cortez-and-ilhan-omar-play-on-twitch-to-engage-young-voters\" rel=\"noopener noreferrer\" target=\"_blank\">asked if anyone wanted to play\u003c/a>, then brought along Rep. Ilhan Omar and used the stream (watched by 439,000 people) to get out the vote. A game that, almost by definition, requires staring your opponents and fellows in the eye to decide who among them is lying seems a poor fit for small screens and fast fingers. And yet, there’s something undeniably fun in the free-for-all of accusation and defense that happens in the chat. There’s something weirdly engaging about the mechanics of the thing — the required tasks, the suspicious stalking, the little bits of help that exist for crewmates (like watching cams or tracking players on the map).\u003c/p>\n\u003cp>Yes, there are problems. \u003cem>Among Us\u003c/em> is a game with its own quirky rhythms that you have to settle into. It takes time to learn the basics of movement and the mini-game tasks. (I can’t tell you how long I stared at that stupid gas can in Supply, not able to figure out how to fill it, missing the giant button I had to push just to the right of the can.) You may have to go through a dozen failed games (ones that crash, ones that kick you out, ones that end suddenly for no good reason, ones where no one talks or where half the players leave before the first vote) before you find a good one with a good crew. Recently, there was a hacking problem that made the game essentially un-playable for a few days unless you were in a private game with a group of trusted friends, but that seems largely resolved.\u003c/p>\n\u003cp>Even with these issues, though, \u003cem>Among Us \u003c/em>is still the ideal pandemic pastime. The stakes are low. The games are fast. They’re frantic. They’re a perfect bite-sized distraction from, well, everything, really.\u003c/p>\n\u003cp>\u003cem>… I could afford to wait. The lights, the sirens, they meant nothing to me. With just a few seconds left, I made my move. Killed Pink.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Game over.\u003c/em>\u003c/p>\n\u003cp>The impostors win again.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Jason Sheehan knows stuff about food, video games, books and Starblazers\u003cem>. He is currently the restaurant critic at \u003c/em>\u003ca href=\"http://www.phillymag.com/\">Philadelphia\u003c/a> \u003cem>magazine, but when no one is looking, he spends his time writing books about giant robots and ray guns.\u003c/em> Tales From the Radiation Age\u003cem> is his latest book.\u003c/em>\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Among+Us%2C%27+It%27s+Every+Little+Space+Sausage+For+Themselves&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13889311/among-us-its-every-little-space-sausage-for-themselves","authors":["byline_arts_13889311"],"categories":["arts_1","arts_71"],"tags":["arts_10278","arts_4149"],"featImg":"arts_13889312","label":"arts"},"arts_13886528":{"type":"posts","id":"arts_13886528","meta":{"index":"posts_1591205157","site":"arts","id":"13886528","score":null,"sort":[1600446258000]},"guestAuthors":[],"slug":"u-s-to-bar-downloads-of-tiktok-wechat","title":"U.S. To Ban New Downloads Of TikTok, WeChat","publishDate":1600446258,"format":"standard","headTitle":"U.S. To Ban New Downloads Of TikTok, WeChat | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cstrong>Updated 10:41 a.m. ET Friday \u003c/strong>\u003c/p>\n\u003cp>The Trump administration is banning Americans from downloading popular video-sharing app TikTok and limiting the use of WeChat because of national security concerns, the Commerce Department announced on Friday. \u003c/p>\n\u003cp>As of Sunday, TikTok will not be able to receive system updates, which could affect its functionality, including slowing down the app, but the app’s current version will still work for American users.\u003c/p>\n\u003cp>Talks are still underway among parties including software company Oracle and Walmart to come up with a plan to rescue TikTok, which has more than 100 million users in the U.S. and 700 million globally. \u003c/p>\n\u003cp>Parties have until Nov. 12 to finalize a deal or the administration will fully ban TikTok, White House officials said. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The federal action will also limit the use of WeChat for transferring money or conducting payments inside the U.S\u003c/p>\n\u003cp>Commerce Secretary Wilbur Ross said in a \u003ca href=\"https://www.commerce.gov/news/press-releases/2020/09/commerce-department-prohibits-wechat-and-tiktok-transactions-protect\">statement\u003c/a> that the restrictions on TikTok — which arose from President Trump’s executive order issued last month targeting the app — will take effect on Sunday.\u003c/p>\n\u003cp>“Today’s actions prove once again that President Trump will do everything in his power to guarantee our national security and protect Americans from the threats of the Chinese Communist Party,” Ross said in a statement. \u003c/p>\n\u003cp>TikTok, in a statement, called the Trump administration’s action “unjust” and vowed to keep to fighting the order in federal court.\u003c/p>\n\u003cp>“In our proposal to the US Administration, we’ve already committed to unprecedented levels of additional transparency and accountability well beyond what other apps are willing to do, including third-party audits, verification of code security, and US government oversight of US data security,” a TikTok spokesperson said. “Further, an American technology provider would be responsible for maintaining and operating the TikTok network in the US, which would include all services and data serving US consumers.”\u003c/p>\n\u003cp>Kirsten Martin, professor of technology ethics at the University of Notre Dame, said the Trump administration’s enforcement action will not do much to address any national security concerns White House officials have with the Beijing-owned TikTok. \u003c/p>\n\u003cp>“TikTok was never a national security risk. In many ways, an app like TikTok is better than most apps in that they don’t sell user data to third parties. That actually may end when Oracle gets involved given their work in digital marketing,” Martin said. \u003c/p>\n\u003cp>Also starting Sunday, it will become illegal to provide Internet hosting and other network services for WeChat.\u003c/p>\n\u003cp>TikTok is owned by ByteDance. WeChat, a messaging and social media app that also lets users conduct payments, is owned by Tencent. \u003c/p>\n\u003cp>Under TikTok’s terms of service, user data can be shared with ByteDance. That has made officials in Washington worry about the possibility of China gaining access to U.S. user data. The amount of data TikTok collects on Americans is on par with what other apps collect, including ones owned by Facebook and Google. \u003c/p>\n\u003cp>Trump has insisted that ByteDance must lose its majority stake in TikTok, triggering a flurry of activity from U.S. companies interested in acquiring or partnering with the video-sharing service. \u003c/p>\n\u003cp>Oracle beat out Microsoft as the top U.S. suitor. The current proposal on the table from Oracle would give it a majority stake in TikTok, but ByteDance would retain a significant minority stake and also maintain a strong position on the company’s board. It is not clear whether Trump will support the deal. \u003c/p>\n\u003cp>Oracle has ties to Trump. Larry Ellison, a top Oracle executive, is one of the few tech leaders in Silicon Valley who support the president. He held a fundraiser for Trump in February. \u003c/p>\n\u003cp>TikTok’s 1,500 employees \u003ca href=\"https://www.npr.org/2020/08/29/907316522/tiktok-workers-feel-anxiety-anger-and-rage-amid-trump-crackdown\">were worried \u003c/a>Trump clamping down on the app would deprive them of their wages, but the administration recently clarified in a court filing that TikTok workers, and anyone working for a subsidiary of ByteDance, will not be affected by the August executive order.\u003c/p>\n\u003cp>TikTok is \u003ca href=\"https://www.npr.org/2020/08/24/901776584/tiktok-sues-trump-to-block-u-s-ban\">challenging\u003c/a> the order in federal court, arguing it deprives the company of due process.\u003c/p>\n\u003cp>Vanessa Pappas, TikTok’s interim global chief, said Trump’s ban will be bad for the tech industry. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We invite Facebook and Instagram to publicly join our challenge and support our litigation,” Pappas \u003ca href=\"https://twitter.com/v_ness/status/1306956276761415681\">wrote on Twitter\u003c/a>. “This is a moment to put aside our competition and focus on core principles like freedom of expression and due process of law.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=U.S.+To+Bar+Downloads+Of+TikTok%2C+WeChat&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"Come Sunday, no U.S. mobile app store may distribute or maintain the popular Chinese-owned apps, the Commerce Department says.","status":"publish","parent":0,"modified":1705020112,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":771},"headData":{"title":"U.S. To Ban New Downloads Of TikTok, WeChat | KQED","description":"Come Sunday, no U.S. mobile app store may distribute or maintain the popular Chinese-owned apps, the Commerce Department says.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprImageCredit":"Brent Lewin","nprByline":"Bill Chappell","nprImageAgency":"Bloomberg via Getty Images","nprStoryId":"914322620","nprApiLink":"http://api.npr.org/query?id=914322620&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2020/09/18/914322620/u-s-to-bar-downloads-of-tiktok-wechat?ft=nprml&f=914322620","nprRetrievedStory":"1","nprPubDate":"Fri, 18 Sep 2020 11:58:00 -0400","nprStoryDate":"Fri, 18 Sep 2020 09:48:27 -0400","nprLastModifiedDate":"Fri, 18 Sep 2020 11:58:08 -0400","templateType":"standard","featuredImageType":"standard","path":"/arts/13886528/u-s-to-bar-downloads-of-tiktok-wechat","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated 10:41 a.m. ET Friday \u003c/strong>\u003c/p>\n\u003cp>The Trump administration is banning Americans from downloading popular video-sharing app TikTok and limiting the use of WeChat because of national security concerns, the Commerce Department announced on Friday. \u003c/p>\n\u003cp>As of Sunday, TikTok will not be able to receive system updates, which could affect its functionality, including slowing down the app, but the app’s current version will still work for American users.\u003c/p>\n\u003cp>Talks are still underway among parties including software company Oracle and Walmart to come up with a plan to rescue TikTok, which has more than 100 million users in the U.S. and 700 million globally. \u003c/p>\n\u003cp>Parties have until Nov. 12 to finalize a deal or the administration will fully ban TikTok, White House officials said. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The federal action will also limit the use of WeChat for transferring money or conducting payments inside the U.S\u003c/p>\n\u003cp>Commerce Secretary Wilbur Ross said in a \u003ca href=\"https://www.commerce.gov/news/press-releases/2020/09/commerce-department-prohibits-wechat-and-tiktok-transactions-protect\">statement\u003c/a> that the restrictions on TikTok — which arose from President Trump’s executive order issued last month targeting the app — will take effect on Sunday.\u003c/p>\n\u003cp>“Today’s actions prove once again that President Trump will do everything in his power to guarantee our national security and protect Americans from the threats of the Chinese Communist Party,” Ross said in a statement. \u003c/p>\n\u003cp>TikTok, in a statement, called the Trump administration’s action “unjust” and vowed to keep to fighting the order in federal court.\u003c/p>\n\u003cp>“In our proposal to the US Administration, we’ve already committed to unprecedented levels of additional transparency and accountability well beyond what other apps are willing to do, including third-party audits, verification of code security, and US government oversight of US data security,” a TikTok spokesperson said. “Further, an American technology provider would be responsible for maintaining and operating the TikTok network in the US, which would include all services and data serving US consumers.”\u003c/p>\n\u003cp>Kirsten Martin, professor of technology ethics at the University of Notre Dame, said the Trump administration’s enforcement action will not do much to address any national security concerns White House officials have with the Beijing-owned TikTok. \u003c/p>\n\u003cp>“TikTok was never a national security risk. In many ways, an app like TikTok is better than most apps in that they don’t sell user data to third parties. That actually may end when Oracle gets involved given their work in digital marketing,” Martin said. \u003c/p>\n\u003cp>Also starting Sunday, it will become illegal to provide Internet hosting and other network services for WeChat.\u003c/p>\n\u003cp>TikTok is owned by ByteDance. WeChat, a messaging and social media app that also lets users conduct payments, is owned by Tencent. \u003c/p>\n\u003cp>Under TikTok’s terms of service, user data can be shared with ByteDance. That has made officials in Washington worry about the possibility of China gaining access to U.S. user data. The amount of data TikTok collects on Americans is on par with what other apps collect, including ones owned by Facebook and Google. \u003c/p>\n\u003cp>Trump has insisted that ByteDance must lose its majority stake in TikTok, triggering a flurry of activity from U.S. companies interested in acquiring or partnering with the video-sharing service. \u003c/p>\n\u003cp>Oracle beat out Microsoft as the top U.S. suitor. The current proposal on the table from Oracle would give it a majority stake in TikTok, but ByteDance would retain a significant minority stake and also maintain a strong position on the company’s board. It is not clear whether Trump will support the deal. \u003c/p>\n\u003cp>Oracle has ties to Trump. Larry Ellison, a top Oracle executive, is one of the few tech leaders in Silicon Valley who support the president. He held a fundraiser for Trump in February. \u003c/p>\n\u003cp>TikTok’s 1,500 employees \u003ca href=\"https://www.npr.org/2020/08/29/907316522/tiktok-workers-feel-anxiety-anger-and-rage-amid-trump-crackdown\">were worried \u003c/a>Trump clamping down on the app would deprive them of their wages, but the administration recently clarified in a court filing that TikTok workers, and anyone working for a subsidiary of ByteDance, will not be affected by the August executive order.\u003c/p>\n\u003cp>TikTok is \u003ca href=\"https://www.npr.org/2020/08/24/901776584/tiktok-sues-trump-to-block-u-s-ban\">challenging\u003c/a> the order in federal court, arguing it deprives the company of due process.\u003c/p>\n\u003cp>Vanessa Pappas, TikTok’s interim global chief, said Trump’s ban will be bad for the tech industry. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We invite Facebook and Instagram to publicly join our challenge and support our litigation,” Pappas \u003ca href=\"https://twitter.com/v_ness/status/1306956276761415681\">wrote on Twitter\u003c/a>. “This is a moment to put aside our competition and focus on core principles like freedom of expression and due process of law.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=U.S.+To+Bar+Downloads+Of+TikTok%2C+WeChat&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13886528/u-s-to-bar-downloads-of-tiktok-wechat","authors":["byline_arts_13886528"],"categories":["arts_1","arts_835","arts_71","arts_69","arts_235","arts_75"],"tags":["arts_746","arts_2137","arts_1935","arts_8017"],"featImg":"arts_13886529","label":"arts"},"arts_13883524":{"type":"posts","id":"arts_13883524","meta":{"index":"posts_1591205157","site":"arts","id":"13883524","score":null,"sort":[1595012411000]},"guestAuthors":[],"slug":"w-kamau-bell-gets-political-with-new-animated-youtube-series","title":"W. Kamau Bell Gets Political with New Animated YouTube Series","publishDate":1595012411,"format":"standard","headTitle":"W. Kamau Bell Gets Political with New Animated YouTube Series | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Comedian W. Kamau Bell often uses humor to shed light on various forms of inequality, and his new series of animated shorts, \u003cem>Talk Boring to Me\u003c/em>, is no exception. The new project premiered today on his \u003ca href=\"https://www.youtube.com/channel/UCauTAKMR6G3CUVksoOexuUw\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube channel\u003c/a>, and in it Bell breaks down economic and political issues such as the gig economy, commercial farming and homelessness in five-minute segments animated by Idle Hands Productions.\u003c/p>\n\u003cp>Co-created with Jacob Kornbluth, these videos provide zoomed-out, big-picture takes on \u003cem>why\u003c/em> life in the United States is the way it is. Bell unpacks the political decisions that have disenfranchised workers, small farmers, renters and public school students, especially those of color. With jokes and digestible talking points, he explains the policies that made America the land of unequal opportunity.\u003c/p>\n\u003cp>If you’re a diehard news consumer, the subjects covered in \u003cem>Talk Boring to Me \u003c/em>might already be familiar. But the series is perfect for those who want to understand the historical context of the issues that shape our world, especially young people who aren’t taught about systemic inequality in their school curricula. Fans of \u003cem>The Daily Show\u003c/em> and \u003cem>Last Week Tonight with John Oliver\u003c/em>, take note.\u003c/p>\n\u003cp>https://youtu.be/XjH_vhLBpKg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"‘Talk Boring to Me’ uses humor to explain widening inequality in America. ","status":"publish","parent":0,"modified":1705020413,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":205},"headData":{"title":"W. Kamau Bell Gets Political with New Animated YouTube Series | KQED","description":"‘Talk Boring to Me’ uses humor to explain widening inequality in America. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13883524/w-kamau-bell-gets-political-with-new-animated-youtube-series","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comedian W. Kamau Bell often uses humor to shed light on various forms of inequality, and his new series of animated shorts, \u003cem>Talk Boring to Me\u003c/em>, is no exception. The new project premiered today on his \u003ca href=\"https://www.youtube.com/channel/UCauTAKMR6G3CUVksoOexuUw\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube channel\u003c/a>, and in it Bell breaks down economic and political issues such as the gig economy, commercial farming and homelessness in five-minute segments animated by Idle Hands Productions.\u003c/p>\n\u003cp>Co-created with Jacob Kornbluth, these videos provide zoomed-out, big-picture takes on \u003cem>why\u003c/em> life in the United States is the way it is. Bell unpacks the political decisions that have disenfranchised workers, small farmers, renters and public school students, especially those of color. With jokes and digestible talking points, he explains the policies that made America the land of unequal opportunity.\u003c/p>\n\u003cp>If you’re a diehard news consumer, the subjects covered in \u003cem>Talk Boring to Me \u003c/em>might already be familiar. But the series is perfect for those who want to understand the historical context of the issues that shape our world, especially young people who aren’t taught about systemic inequality in their school curricula. Fans of \u003cem>The Daily Show\u003c/em> and \u003cem>Last Week Tonight with John Oliver\u003c/em>, take note.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XjH_vhLBpKg'\n title='//www.youtube.com/embed/XjH_vhLBpKg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13883524/w-kamau-bell-gets-political-with-new-animated-youtube-series","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_71"],"tags":["arts_4262","arts_10278","arts_585","arts_2450"],"featImg":"arts_13883529","label":"arts_140"},"arts_13878050":{"type":"posts","id":"arts_13878050","meta":{"index":"posts_1591205157","site":"arts","id":"13878050","score":null,"sort":[1594750042000]},"guestAuthors":[],"slug":"punk-fest-burger-boogaloo-postponed-to-halloween-weekend","title":"Punk Fest Burger Boogaloo Postponed to 2021","publishDate":1594750042,"format":"standard","headTitle":"Punk Fest Burger Boogaloo Postponed to 2021 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003cem>\u003cstrong>Update, July 14: \u003c/strong>\u003c/em> \u003cem>Burger Boogaloo has been postponed once again, this time to July 10 and 11, 2021. The lineup remains the same. Any ticketing concerns can be sent to burgerboogaloo@gmail.com.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.eventbrite.com/e/burger-boogaloo-11-tickets-65083832495\" target=\"_blank\" rel=\"noopener noreferrer\">Burger Boogaloo\u003c/a>, the garage rock and punk fest that comes to Oakland’s Mosswood Park each summer, announced today it’s postponing festivities to Halloween weekend, Oct. 31–Nov. 1, from its original July dates.\u003c/p>\n\u003cp>With shelter-in-place orders extended in the Bay Area through May 3, and national uncertainty about when the coronavirus will be contained enough to gather in groups again, the move is a public safety no-brainer. The \u003ca href=\"https://www.kqed.org/arts/13871212/bikini-kill-to-headline-burger-boogaloo-2020\" target=\"_blank\" rel=\"noopener noreferrer\">full lineup\u003c/a> is still intact, with Bikini Bill topping the bill. The festival will be the recently reunited riot grrrl group’s first Bay Area show in 25 years, and they’ll be joined by the Circle Jerks, Alice Bag, Flipper, the Rubinoos, Shannon Shaw and more. Filmmaker John Waters hosts.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Bikini Kill, the Circle Jerks, Alice Bag and the rest of the artists are confirmed for the new dates. ","status":"publish","parent":0,"modified":1705020441,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":165},"headData":{"title":"Punk Fest Burger Boogaloo Postponed to 2021 | KQED","description":"Bikini Kill, the Circle Jerks, Alice Bag and the rest of the artists are confirmed for the new dates. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13878050/punk-fest-burger-boogaloo-postponed-to-halloween-weekend","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Update, July 14: \u003c/strong>\u003c/em> \u003cem>Burger Boogaloo has been postponed once again, this time to July 10 and 11, 2021. The lineup remains the same. Any ticketing concerns can be sent to burgerboogaloo@gmail.com.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.eventbrite.com/e/burger-boogaloo-11-tickets-65083832495\" target=\"_blank\" rel=\"noopener noreferrer\">Burger Boogaloo\u003c/a>, the garage rock and punk fest that comes to Oakland’s Mosswood Park each summer, announced today it’s postponing festivities to Halloween weekend, Oct. 31–Nov. 1, from its original July dates.\u003c/p>\n\u003cp>With shelter-in-place orders extended in the Bay Area through May 3, and national uncertainty about when the coronavirus will be contained enough to gather in groups again, the move is a public safety no-brainer. The \u003ca href=\"https://www.kqed.org/arts/13871212/bikini-kill-to-headline-burger-boogaloo-2020\" target=\"_blank\" rel=\"noopener noreferrer\">full lineup\u003c/a> is still intact, with Bikini Bill topping the bill. The festival will be the recently reunited riot grrrl group’s first Bay Area show in 25 years, and they’ll be joined by the Circle Jerks, Alice Bag, Flipper, the Rubinoos, Shannon Shaw and more. Filmmaker John Waters hosts.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13878050/punk-fest-burger-boogaloo-postponed-to-halloween-weekend","authors":["11387"],"programs":["arts_140"],"categories":["arts_71"],"tags":["arts_7264","arts_1693"],"featImg":"arts_13863823","label":"arts_140"},"arts_13881761":{"type":"posts","id":"arts_13881761","meta":{"index":"posts_1591205157","site":"arts","id":"13881761","score":null,"sort":[1591837380000]},"guestAuthors":[],"slug":"artist-made-tools-resist-algorithmic-racism-and-empower-communities","title":"Artist-Made Tools Resist Algorithmic Racism and Empower Communities","publishDate":1591837380,"format":"standard","headTitle":"Artist-Made Tools Resist Algorithmic Racism and Empower Communities | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Last week Eric Yuan, CEO of the now \u003ca href=\"https://www.kqed.org/arts/13877597/have-you-accepted-zoom-as-your-lord-and-savior\" rel=\"noopener noreferrer\" target=\"_blank\">exhaustingly ever-present\u003c/a> video conference company Zoom, told investors that Zoom would not offer \u003ca href=\"https://www.theverge.com/2020/6/3/21279355/zoom-end-encryption-calls-fbi-police-free-users\" rel=\"noopener norefferrer noreferrer\" target=\"_blank\">encryption services\u003c/a> to free users. Why? Because of Zoom’s commitment to supporting and aiding the FBI and local police officers. \u003c/p>\n\u003cp>As social distancing requires unprecedented reliance on the internet, and the ongoing Black Lives Matter protests bring people’s attention to the importance of digital security, Zoom’s decision is a reminder that technology is never neutral.\u003c/p>\n\u003cp>Last week Rafael Lozano-Hemmer, a digital artist, \u003ca href=\"https://www.instagram.com/tv/CBB9uuag11M/\" rel=\"noopener noreferrer\" target=\"_blank\">posed\u003c/a> a simple but fundamental question in regard to the unfolding political movement: “How can I be useful as an artist?” Many contemporary artists are critically engaging with technology to answer that question. Here are five artist-made tools that support protests on the ground, resist surveillance’s biased gaze, fight back against social alienation and combat technologies imbued with anti-Blackness.\u003c/p>\n\u003cfigure id=\"attachment_13881779\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ImageScrubber_1200.jpg\" alt=\"\" width=\"1200\" height=\"893\" class=\"size-full wp-image-13881779\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ImageScrubber_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ImageScrubber_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ImageScrubber_1200-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ImageScrubber_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ImageScrubber_1200-1020x759.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Screen shot of Image Scrubber.\u003c/figcaption>\u003c/figure>\n\u003ch2>Image Scrubber\u003c/h2>\n\u003cp>Artist \u003ca href=\"http://everest-pipkin.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Everest Pipkin\u003c/a>’s \u003ca href=\"https://everestpipkin.github.io/image-scrubber/\" rel=\"noopener noreferrer\" target=\"_blank\">Image Scrubber\u003c/a> removes metadata from digital photographs and allows users to selectively blur faces and other identifiable features. With so much concern over images of protests potentially being used to make arrests, this tool protects the identities of those fighting for change, while still leaving space for the documentation of their actions. \u003c/p>\n\u003cp>While many of the artist’s other projects are more poetic in nature, Pipkin designated this particular technology as a tool, not as a piece of art. This decision is reflected in Image Scrubber’s practicality: it works offline, can be accessed on a phone, and does not save or store any user information. \u003c/p>\n\u003cfigure id=\"attachment_13881768\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/autonets-we-already-know-2.png\" alt=\"\" width=\"862\" height=\"574\" class=\"size-full wp-image-13881768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/autonets-we-already-know-2.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/autonets-we-already-know-2-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/autonets-we-already-know-2-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/autonets-we-already-know-2-768x511.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">‘Autonets: We Already Know and We Don’t Yet Know,’ São Paulo, Brazil, January 2013, with micha cárdenas, Alessandra Renzi, Frantz Jerome, Benjamin Lundberg, Lily Mengesha, Aisha Jordan, Joana Fittipaldi and Tomaz Capobanco. \u003ccite>(Photo by Macarena Gomez-Barris; courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Autonets\u003c/h2>\n\u003cp>To empower communities that regularly face systemic violence, \u003ca href=\"https://michacardenas.sites.ucsc.edu/\" rel=\"noopener noreferrer\" target=\"_blank\">micha cárdenas\u003c/a>, an artist, poet and professor at UCSC, designed wearable mesh-networked electronic clothing, which she calls \u003cem>Autonets\u003c/em>, that radiate private communication servers. When groups of people wear these pieces of electronic fashion they join ad-hoc autonomous communities, within which they can set their own communication codes and conducts. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>cárdenas imagines myriad ways this technology could be useful. She envisions it as a possible tool for sex workers organizing to protect each other, a mechanism for information to be dispersed at protests, or a way for communities of color to come to each other’s aid in the event of police harassment. It’s a digital tool that empowers people to make collective decision-making to combat not just emergencies, but a larger sense of alienation caused by forces like capitalism, white supremacy and neo-colonialism.\u003c/p>\n\u003cfigure id=\"attachment_13881770\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/1956_2056_composite.jpg\" alt=\"\" width=\"1200\" height=\"660\" class=\"size-full wp-image-13881770\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/1956_2056_composite.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/1956_2056_composite-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/1956_2056_composite-800x440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/1956_2056_composite-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/1956_2056_composite-1020x561.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Screenshots of the ‘1956/2056’ app.\u003c/figcaption>\u003c/figure>\n\u003ch2>‘1956/2056’\u003c/h2>\n\u003cp>In a recent interview, \u003ca href=\"https://americanartist.us/\" rel=\"noopener noreferrer\" target=\"_blank\">American Artist\u003c/a>, the artist, writer and publisher who changed their name to become unsearchable on the web, said, “I think the best way to understand how high technology is anti-Black is to consider how the United States is anti-Black.” Their work interrogates the way technology racializes visibility and uses predictive algorithms to police the future.\u003c/p>\n\u003cp>As a part of their 2019 Queens Museum exhibition \u003cem>My Blue Window\u003c/em>, American Artist built \u003cem>\u003ca href=\"https://americanartist.us/app\" rel=\"noopener noreferrer\" target=\"_blank\">1956/2056\u003c/a>\u003c/em>, an app that imagines the visual experience of an AI tool which dispatches officers to areas deemed high-risk crime zones. No crimes ever appear in their footage, the resulting video is almost banal. In this critique of predictive policing, the imagined future of Black criminality is not realized. The app also allows users to take notes and receive notifications about new articles on predictive policing, doubling as a community resource. \u003c/p>\n\u003cfigure id=\"attachment_13881771\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/raw-oversight-machine-finding.png\" alt=\"\" width=\"1280\" height=\"720\" class=\"size-full wp-image-13881771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/raw-oversight-machine-finding.png 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/raw-oversight-machine-finding-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/raw-oversight-machine-finding-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/raw-oversight-machine-finding-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/raw-oversight-machine-finding-1020x574.png 1020w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Abram Stern, ‘Oversight Machine finding 1.’ \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Oversight Machines’\u003c/h2>\n\u003cp>For the past six years, artist and UCSC PhD candidate \u003ca href=\"https://aphid.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Abram Stern\u003c/a> has focused on alternatively visualizing censorship in surveillance footage made public by the government. In one version of this series, which he calls \u003cem>Oversight Machines\u003c/em>, he worked with FBI aerial surveillance footage of the 2015 Baltimore uprising to remove the video’s pixels and leave only information produced by the infrared and LIDAR (Light Detection and Ranging) sensors; Stern says this “conceals the surveilled while retaining the apparatus of surveillance” and replaces absence with a form of transparency “rich in politics, in aesthetics, in poetics.” \u003c/p>\n\u003cp>To illustrate the transformed surveillance footage’s poetic and political potential, Stern has collaborated with UC Davis professor and performing artist Margaret Laurena Kemp to overlay media generated by the \u003cem>Oversight Machine\u003c/em> over video documentation of Kemp’s five-hour durational performance, \u003cem>Surveillance Like a Hollywood Movie\u003c/em>, which incorporates movements from African American vernacular dance and manual labor. Their collaboration, Stern writes, “explicitly makes visible a racialized body who consciously meets the surveillant gaze.” \u003c/p>\n\u003ch2>Future Technologies\u003c/h2>\n\u003cp>In an interview, Dorothy R. Santos, Filipina American writer, artist and educator who co-founded the collaborative and politically engaged arts platform \u003ca href=\"https://refreshart.tech/\" rel=\"noopener noreferrer\" target=\"_blank\">REFRESH\u003c/a>, and is the program manager of the \u003ca href=\"https://processingfoundation.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Processing Foundation\u003c/a>, shed light on many of the artists included in this piece. In addition, she emphasized the importance of thinking about the technologies that don’t yet exist.\u003c/p>\n\u003cp>“When people think of political tools,” she says, “they too often go straight to protest. I want to also think about tools for healing, and tools that aren’t being created because it’s assumed that they aren’t needed. The grief in the air right now, it won’t just dissipate. Where are the technologies that enable a process of care?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After protest, there is care work. After action, there is reflection and mediation. As we move into this next phase of action and change, it’s important to support artists, specifically Black artists, indigenous artists and artists of color, working with technology. Questioning just who is making the digital tools of our future is necessary—not just now, during a time of national focus, but always.\u003c/p>\n\n","blocks":[],"excerpt":"Technology is never neutral. These five artists are building and supporting tools for an equitable future.","status":"publish","parent":0,"modified":1705020603,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1038},"headData":{"title":"Artist-Made Tools Resist Algorithmic Racism and Empower Communities | KQED","description":"Technology is never neutral. These five artists are building and supporting tools for an equitable future.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13881761/artist-made-tools-resist-algorithmic-racism-and-empower-communities","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week Eric Yuan, CEO of the now \u003ca href=\"https://www.kqed.org/arts/13877597/have-you-accepted-zoom-as-your-lord-and-savior\" rel=\"noopener noreferrer\" target=\"_blank\">exhaustingly ever-present\u003c/a> video conference company Zoom, told investors that Zoom would not offer \u003ca href=\"https://www.theverge.com/2020/6/3/21279355/zoom-end-encryption-calls-fbi-police-free-users\" rel=\"noopener norefferrer noreferrer\" target=\"_blank\">encryption services\u003c/a> to free users. Why? Because of Zoom’s commitment to supporting and aiding the FBI and local police officers. \u003c/p>\n\u003cp>As social distancing requires unprecedented reliance on the internet, and the ongoing Black Lives Matter protests bring people’s attention to the importance of digital security, Zoom’s decision is a reminder that technology is never neutral.\u003c/p>\n\u003cp>Last week Rafael Lozano-Hemmer, a digital artist, \u003ca href=\"https://www.instagram.com/tv/CBB9uuag11M/\" rel=\"noopener noreferrer\" target=\"_blank\">posed\u003c/a> a simple but fundamental question in regard to the unfolding political movement: “How can I be useful as an artist?” Many contemporary artists are critically engaging with technology to answer that question. Here are five artist-made tools that support protests on the ground, resist surveillance’s biased gaze, fight back against social alienation and combat technologies imbued with anti-Blackness.\u003c/p>\n\u003cfigure id=\"attachment_13881779\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ImageScrubber_1200.jpg\" alt=\"\" width=\"1200\" height=\"893\" class=\"size-full wp-image-13881779\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ImageScrubber_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ImageScrubber_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ImageScrubber_1200-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ImageScrubber_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ImageScrubber_1200-1020x759.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Screen shot of Image Scrubber.\u003c/figcaption>\u003c/figure>\n\u003ch2>Image Scrubber\u003c/h2>\n\u003cp>Artist \u003ca href=\"http://everest-pipkin.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Everest Pipkin\u003c/a>’s \u003ca href=\"https://everestpipkin.github.io/image-scrubber/\" rel=\"noopener noreferrer\" target=\"_blank\">Image Scrubber\u003c/a> removes metadata from digital photographs and allows users to selectively blur faces and other identifiable features. With so much concern over images of protests potentially being used to make arrests, this tool protects the identities of those fighting for change, while still leaving space for the documentation of their actions. \u003c/p>\n\u003cp>While many of the artist’s other projects are more poetic in nature, Pipkin designated this particular technology as a tool, not as a piece of art. This decision is reflected in Image Scrubber’s practicality: it works offline, can be accessed on a phone, and does not save or store any user information. \u003c/p>\n\u003cfigure id=\"attachment_13881768\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/autonets-we-already-know-2.png\" alt=\"\" width=\"862\" height=\"574\" class=\"size-full wp-image-13881768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/autonets-we-already-know-2.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/autonets-we-already-know-2-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/autonets-we-already-know-2-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/autonets-we-already-know-2-768x511.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">‘Autonets: We Already Know and We Don’t Yet Know,’ São Paulo, Brazil, January 2013, with micha cárdenas, Alessandra Renzi, Frantz Jerome, Benjamin Lundberg, Lily Mengesha, Aisha Jordan, Joana Fittipaldi and Tomaz Capobanco. \u003ccite>(Photo by Macarena Gomez-Barris; courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Autonets\u003c/h2>\n\u003cp>To empower communities that regularly face systemic violence, \u003ca href=\"https://michacardenas.sites.ucsc.edu/\" rel=\"noopener noreferrer\" target=\"_blank\">micha cárdenas\u003c/a>, an artist, poet and professor at UCSC, designed wearable mesh-networked electronic clothing, which she calls \u003cem>Autonets\u003c/em>, that radiate private communication servers. When groups of people wear these pieces of electronic fashion they join ad-hoc autonomous communities, within which they can set their own communication codes and conducts. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>cárdenas imagines myriad ways this technology could be useful. She envisions it as a possible tool for sex workers organizing to protect each other, a mechanism for information to be dispersed at protests, or a way for communities of color to come to each other’s aid in the event of police harassment. It’s a digital tool that empowers people to make collective decision-making to combat not just emergencies, but a larger sense of alienation caused by forces like capitalism, white supremacy and neo-colonialism.\u003c/p>\n\u003cfigure id=\"attachment_13881770\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/1956_2056_composite.jpg\" alt=\"\" width=\"1200\" height=\"660\" class=\"size-full wp-image-13881770\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/1956_2056_composite.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/1956_2056_composite-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/1956_2056_composite-800x440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/1956_2056_composite-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/1956_2056_composite-1020x561.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Screenshots of the ‘1956/2056’ app.\u003c/figcaption>\u003c/figure>\n\u003ch2>‘1956/2056’\u003c/h2>\n\u003cp>In a recent interview, \u003ca href=\"https://americanartist.us/\" rel=\"noopener noreferrer\" target=\"_blank\">American Artist\u003c/a>, the artist, writer and publisher who changed their name to become unsearchable on the web, said, “I think the best way to understand how high technology is anti-Black is to consider how the United States is anti-Black.” Their work interrogates the way technology racializes visibility and uses predictive algorithms to police the future.\u003c/p>\n\u003cp>As a part of their 2019 Queens Museum exhibition \u003cem>My Blue Window\u003c/em>, American Artist built \u003cem>\u003ca href=\"https://americanartist.us/app\" rel=\"noopener noreferrer\" target=\"_blank\">1956/2056\u003c/a>\u003c/em>, an app that imagines the visual experience of an AI tool which dispatches officers to areas deemed high-risk crime zones. No crimes ever appear in their footage, the resulting video is almost banal. In this critique of predictive policing, the imagined future of Black criminality is not realized. The app also allows users to take notes and receive notifications about new articles on predictive policing, doubling as a community resource. \u003c/p>\n\u003cfigure id=\"attachment_13881771\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/raw-oversight-machine-finding.png\" alt=\"\" width=\"1280\" height=\"720\" class=\"size-full wp-image-13881771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/raw-oversight-machine-finding.png 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/raw-oversight-machine-finding-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/raw-oversight-machine-finding-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/raw-oversight-machine-finding-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/raw-oversight-machine-finding-1020x574.png 1020w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Abram Stern, ‘Oversight Machine finding 1.’ \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Oversight Machines’\u003c/h2>\n\u003cp>For the past six years, artist and UCSC PhD candidate \u003ca href=\"https://aphid.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Abram Stern\u003c/a> has focused on alternatively visualizing censorship in surveillance footage made public by the government. In one version of this series, which he calls \u003cem>Oversight Machines\u003c/em>, he worked with FBI aerial surveillance footage of the 2015 Baltimore uprising to remove the video’s pixels and leave only information produced by the infrared and LIDAR (Light Detection and Ranging) sensors; Stern says this “conceals the surveilled while retaining the apparatus of surveillance” and replaces absence with a form of transparency “rich in politics, in aesthetics, in poetics.” \u003c/p>\n\u003cp>To illustrate the transformed surveillance footage’s poetic and political potential, Stern has collaborated with UC Davis professor and performing artist Margaret Laurena Kemp to overlay media generated by the \u003cem>Oversight Machine\u003c/em> over video documentation of Kemp’s five-hour durational performance, \u003cem>Surveillance Like a Hollywood Movie\u003c/em>, which incorporates movements from African American vernacular dance and manual labor. Their collaboration, Stern writes, “explicitly makes visible a racialized body who consciously meets the surveillant gaze.” \u003c/p>\n\u003ch2>Future Technologies\u003c/h2>\n\u003cp>In an interview, Dorothy R. Santos, Filipina American writer, artist and educator who co-founded the collaborative and politically engaged arts platform \u003ca href=\"https://refreshart.tech/\" rel=\"noopener noreferrer\" target=\"_blank\">REFRESH\u003c/a>, and is the program manager of the \u003ca href=\"https://processingfoundation.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Processing Foundation\u003c/a>, shed light on many of the artists included in this piece. In addition, she emphasized the importance of thinking about the technologies that don’t yet exist.\u003c/p>\n\u003cp>“When people think of political tools,” she says, “they too often go straight to protest. I want to also think about tools for healing, and tools that aren’t being created because it’s assumed that they aren’t needed. The grief in the air right now, it won’t just dissipate. Where are the technologies that enable a process of care?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After protest, there is care work. After action, there is reflection and mediation. As we move into this next phase of action and change, it’s important to support artists, specifically Black artists, indigenous artists and artists of color, working with technology. Questioning just who is making the digital tools of our future is necessary—not just now, during a time of national focus, but always.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13881761/artist-made-tools-resist-algorithmic-racism-and-empower-communities","authors":["11696"],"categories":["arts_1","arts_71"],"tags":["arts_10278","arts_1935"],"featImg":"arts_13881773","label":"arts"},"arts_13880898":{"type":"posts","id":"arts_13880898","meta":{"index":"posts_1591205157","site":"arts","id":"13880898","score":null,"sort":[1590703440000]},"guestAuthors":[],"slug":"9-eyes-is-a-journey-around-the-world-one-strange-snapshot-at-a-time","title":"‘9-Eyes’ is a Journey Around the World, One Strange Snapshot at a Time","publishDate":1590703440,"format":"standard","headTitle":"‘9-Eyes’ is a Journey Around the World, One Strange Snapshot at a Time | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>A young boy runs across a white sandy beach. A huge truck burns at the side of the highway. Cherry blossoms bloom. Military personnel brandish automatic weapons in the back of a jeep. A monkey sits on a wall and admires the view.\u003c/p>\n\u003cp>Welcome to \u003ca href=\"https://9-eyes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">9-Eyes\u003c/a>, a blog by artist \u003ca href=\"https://jonrafman.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jon Rafman\u003c/a> that collects screenshots from Google Street View and presents them without context or analysis.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881006 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/tumblr_924f7cb353d97b1bcd060a4b96663b10_6207f015_1280-800x500.jpg\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_924f7cb353d97b1bcd060a4b96663b10_6207f015_1280-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_924f7cb353d97b1bcd060a4b96663b10_6207f015_1280-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_924f7cb353d97b1bcd060a4b96663b10_6207f015_1280-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_924f7cb353d97b1bcd060a4b96663b10_6207f015_1280-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_924f7cb353d97b1bcd060a4b96663b10_6207f015_1280.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881008 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/tumblr_7fa9a52df868c83413d2a16b84d305a4_3b696778_1280-800x500.png\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_7fa9a52df868c83413d2a16b84d305a4_3b696778_1280-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_7fa9a52df868c83413d2a16b84d305a4_3b696778_1280-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_7fa9a52df868c83413d2a16b84d305a4_3b696778_1280-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_7fa9a52df868c83413d2a16b84d305a4_3b696778_1280-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_7fa9a52df868c83413d2a16b84d305a4_3b696778_1280.png 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881005 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/tumblr_1de5dda6806649bec1f4168408c9d395_cabc9666_1280-800x500.png\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_1de5dda6806649bec1f4168408c9d395_cabc9666_1280-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_1de5dda6806649bec1f4168408c9d395_cabc9666_1280-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_1de5dda6806649bec1f4168408c9d395_cabc9666_1280-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_1de5dda6806649bec1f4168408c9d395_cabc9666_1280-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_1de5dda6806649bec1f4168408c9d395_cabc9666_1280.png 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Because these shots are captured by equipment that doesn’t look like a traditional camera or camcorder (the multi-lens devices are most often mounted to the roofs of cars), the people caught on the other side of the lens remain, for the most part, entirely unselfconscious and uninterrupted. The resulting images provide an unfiltered view of humanity that is as perplexing and disturbing as it is captivating.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881088 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/tumblr_b3a97c000580fd991384779f1cd0f053_02570407_1280-800x500.png\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_b3a97c000580fd991384779f1cd0f053_02570407_1280-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_b3a97c000580fd991384779f1cd0f053_02570407_1280-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_b3a97c000580fd991384779f1cd0f053_02570407_1280-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_b3a97c000580fd991384779f1cd0f053_02570407_1280-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_b3a97c000580fd991384779f1cd0f053_02570407_1280.png 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881089 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/tumblr_e825dacd72b00651e18e52ac0d084a86_be626666_1280-800x500.png\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_e825dacd72b00651e18e52ac0d084a86_be626666_1280-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_e825dacd72b00651e18e52ac0d084a86_be626666_1280-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_e825dacd72b00651e18e52ac0d084a86_be626666_1280-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_e825dacd72b00651e18e52ac0d084a86_be626666_1280-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_e825dacd72b00651e18e52ac0d084a86_be626666_1280.png 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881087 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/tumblr_832d89f34d4797ec74945058d6b93e1e_cf56f85b_1280-800x500.png\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_832d89f34d4797ec74945058d6b93e1e_cf56f85b_1280-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_832d89f34d4797ec74945058d6b93e1e_cf56f85b_1280-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_832d89f34d4797ec74945058d6b93e1e_cf56f85b_1280-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_832d89f34d4797ec74945058d6b93e1e_cf56f85b_1280-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_832d89f34d4797ec74945058d6b93e1e_cf56f85b_1280.png 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>While this collection can’t help but appeal to the inner voyeur in all of us, 9-Eyes also shines a starker light on the privacy issues associated with Google Maps’ Street View feature. Men are caught urinating, sex workers are immortalized in various states of undress and young children are often completely alone, or getting up to no good.\u003c/p>\n\u003cp>Though Google does blur out faces and license plates (and even does additional \u003ca href=\"https://www.google.com/streetview/policy/\" target=\"_blank\" rel=\"noopener noreferrer\">blurring by request\u003c/a>), you can’t help but wonder how many people know their likeness has been captured in this way. 9-Eyes effectively demonstrates the enormous gulf in behavior between those unaware of the cameras, and those who recognize the strange contraption filming them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881094 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/tumblr_0d81280527bc689d2540e1ddcbae4064_17078921_1280-800x500.png\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_0d81280527bc689d2540e1ddcbae4064_17078921_1280-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_0d81280527bc689d2540e1ddcbae4064_17078921_1280-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_0d81280527bc689d2540e1ddcbae4064_17078921_1280-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_0d81280527bc689d2540e1ddcbae4064_17078921_1280-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_0d81280527bc689d2540e1ddcbae4064_17078921_1280.png 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881095 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/tumblr_a9d98e466b283e28bbeb4227b22fb5fc_72dcdacd_1280-800x500.png\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_a9d98e466b283e28bbeb4227b22fb5fc_72dcdacd_1280-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_a9d98e466b283e28bbeb4227b22fb5fc_72dcdacd_1280-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_a9d98e466b283e28bbeb4227b22fb5fc_72dcdacd_1280-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_a9d98e466b283e28bbeb4227b22fb5fc_72dcdacd_1280-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_a9d98e466b283e28bbeb4227b22fb5fc_72dcdacd_1280.png 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13881093\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/tumblr_d98ccc75980c8a3a809f2ae59eb6522e_10a18d4c_1280-800x500.png\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_d98ccc75980c8a3a809f2ae59eb6522e_10a18d4c_1280-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_d98ccc75980c8a3a809f2ae59eb6522e_10a18d4c_1280-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_d98ccc75980c8a3a809f2ae59eb6522e_10a18d4c_1280-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_d98ccc75980c8a3a809f2ae59eb6522e_10a18d4c_1280-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_d98ccc75980c8a3a809f2ae59eb6522e_10a18d4c_1280.png 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In \u003ca href=\"https://jonrafman.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rafman\u003c/a>’s other work, the artist explores spatial realities in the post-internet world. 9-Eyes began as a Tumblr back in 2008—the year after Google Maps launched Street View. In 2016, New Documents published \u003ca href=\"https://new-documents.org/books/jon-rafman-nine-eyes\" target=\"_blank\" rel=\"noopener noreferrer\">a collection\u003c/a> of the site’s images, contextualizing them within the history of photography and surveillance. These days, Rafman’s site undergoes only sporadic updates, the most recent of which started in March and stopped a couple of weeks ago. But for those unfamiliar with the archive, 9-Eyes’ back catalog can provide hours of vicarious, enthralling experience.\u003c/p>\n\u003cp>Rafman frequently uses digital technology to illustrate how modern tools alienate humanity from itself. Fittingly, the rare moments of calm and beauty on 9-Eyes are almost always devoid of people. Rural locations act as a relief from the concrete chaos that dominates much of the collection.\u003c/p>\n\u003cp>Once human beings are removed from the picture, a sense of peace emerges.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881092 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/tumblr_a7cb6de582cedd9ab2d39bfa9e7a582e_c9359c87_1280-800x500.jpg\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_a7cb6de582cedd9ab2d39bfa9e7a582e_c9359c87_1280-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_a7cb6de582cedd9ab2d39bfa9e7a582e_c9359c87_1280-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_a7cb6de582cedd9ab2d39bfa9e7a582e_c9359c87_1280-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_a7cb6de582cedd9ab2d39bfa9e7a582e_c9359c87_1280-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_a7cb6de582cedd9ab2d39bfa9e7a582e_c9359c87_1280.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881098 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/tumblr_70162d46f40345b6a4993d3a6b7bc494_9cdbd48a_1280-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_70162d46f40345b6a4993d3a6b7bc494_9cdbd48a_1280-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_70162d46f40345b6a4993d3a6b7bc494_9cdbd48a_1280-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_70162d46f40345b6a4993d3a6b7bc494_9cdbd48a_1280-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_70162d46f40345b6a4993d3a6b7bc494_9cdbd48a_1280-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_70162d46f40345b6a4993d3a6b7bc494_9cdbd48a_1280.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13881099\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/tumblr_0ce21a5552a56dca6d1b28a1a355238d_26330001_1280-800x500.jpg\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_0ce21a5552a56dca6d1b28a1a355238d_26330001_1280-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_0ce21a5552a56dca6d1b28a1a355238d_26330001_1280-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_0ce21a5552a56dca6d1b28a1a355238d_26330001_1280-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_0ce21a5552a56dca6d1b28a1a355238d_26330001_1280-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_0ce21a5552a56dca6d1b28a1a355238d_26330001_1280.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In 2019, \u003ca href=\"https://impakt.nl/events/screening/co-opting-entities/disasters-under-the-sun/\" target=\"_blank\" rel=\"noopener noreferrer\">Rafman said\u003c/a> of his work: “What concerns me is the general sense of entrapment and isolation felt by many as social and political life becomes increasingly abstracted and experience dematerialized.” In the age of COVID-19, as people around the world have become more isolated and more reliant on technology, Rafman’s concepts have taken on additional depth and power.\u003c/p>\n\n","blocks":[],"excerpt":"Jon Rafman’s 9-Eyes project takes us to the most scenic and squalid places on Earth, then asks us what we’re doing there.","status":"publish","parent":0,"modified":1705020657,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":484},"headData":{"title":"‘9-Eyes’ is a Journey Around the World, One Strange Snapshot at a Time | KQED","description":"Jon Rafman’s 9-Eyes project takes us to the most scenic and squalid places on Earth, then asks us what we’re doing there.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13880898/9-eyes-is-a-journey-around-the-world-one-strange-snapshot-at-a-time","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A young boy runs across a white sandy beach. A huge truck burns at the side of the highway. Cherry blossoms bloom. Military personnel brandish automatic weapons in the back of a jeep. A monkey sits on a wall and admires the view.\u003c/p>\n\u003cp>Welcome to \u003ca href=\"https://9-eyes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">9-Eyes\u003c/a>, a blog by artist \u003ca href=\"https://jonrafman.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jon Rafman\u003c/a> that collects screenshots from Google Street View and presents them without context or analysis.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881006 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/tumblr_924f7cb353d97b1bcd060a4b96663b10_6207f015_1280-800x500.jpg\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_924f7cb353d97b1bcd060a4b96663b10_6207f015_1280-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_924f7cb353d97b1bcd060a4b96663b10_6207f015_1280-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_924f7cb353d97b1bcd060a4b96663b10_6207f015_1280-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_924f7cb353d97b1bcd060a4b96663b10_6207f015_1280-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_924f7cb353d97b1bcd060a4b96663b10_6207f015_1280.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881008 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/tumblr_7fa9a52df868c83413d2a16b84d305a4_3b696778_1280-800x500.png\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_7fa9a52df868c83413d2a16b84d305a4_3b696778_1280-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_7fa9a52df868c83413d2a16b84d305a4_3b696778_1280-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_7fa9a52df868c83413d2a16b84d305a4_3b696778_1280-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_7fa9a52df868c83413d2a16b84d305a4_3b696778_1280-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_7fa9a52df868c83413d2a16b84d305a4_3b696778_1280.png 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881005 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/tumblr_1de5dda6806649bec1f4168408c9d395_cabc9666_1280-800x500.png\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_1de5dda6806649bec1f4168408c9d395_cabc9666_1280-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_1de5dda6806649bec1f4168408c9d395_cabc9666_1280-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_1de5dda6806649bec1f4168408c9d395_cabc9666_1280-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_1de5dda6806649bec1f4168408c9d395_cabc9666_1280-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_1de5dda6806649bec1f4168408c9d395_cabc9666_1280.png 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Because these shots are captured by equipment that doesn’t look like a traditional camera or camcorder (the multi-lens devices are most often mounted to the roofs of cars), the people caught on the other side of the lens remain, for the most part, entirely unselfconscious and uninterrupted. The resulting images provide an unfiltered view of humanity that is as perplexing and disturbing as it is captivating.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881088 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/tumblr_b3a97c000580fd991384779f1cd0f053_02570407_1280-800x500.png\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_b3a97c000580fd991384779f1cd0f053_02570407_1280-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_b3a97c000580fd991384779f1cd0f053_02570407_1280-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_b3a97c000580fd991384779f1cd0f053_02570407_1280-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_b3a97c000580fd991384779f1cd0f053_02570407_1280-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_b3a97c000580fd991384779f1cd0f053_02570407_1280.png 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881089 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/tumblr_e825dacd72b00651e18e52ac0d084a86_be626666_1280-800x500.png\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_e825dacd72b00651e18e52ac0d084a86_be626666_1280-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_e825dacd72b00651e18e52ac0d084a86_be626666_1280-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_e825dacd72b00651e18e52ac0d084a86_be626666_1280-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_e825dacd72b00651e18e52ac0d084a86_be626666_1280-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_e825dacd72b00651e18e52ac0d084a86_be626666_1280.png 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881087 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/tumblr_832d89f34d4797ec74945058d6b93e1e_cf56f85b_1280-800x500.png\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_832d89f34d4797ec74945058d6b93e1e_cf56f85b_1280-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_832d89f34d4797ec74945058d6b93e1e_cf56f85b_1280-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_832d89f34d4797ec74945058d6b93e1e_cf56f85b_1280-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_832d89f34d4797ec74945058d6b93e1e_cf56f85b_1280-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_832d89f34d4797ec74945058d6b93e1e_cf56f85b_1280.png 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>While this collection can’t help but appeal to the inner voyeur in all of us, 9-Eyes also shines a starker light on the privacy issues associated with Google Maps’ Street View feature. Men are caught urinating, sex workers are immortalized in various states of undress and young children are often completely alone, or getting up to no good.\u003c/p>\n\u003cp>Though Google does blur out faces and license plates (and even does additional \u003ca href=\"https://www.google.com/streetview/policy/\" target=\"_blank\" rel=\"noopener noreferrer\">blurring by request\u003c/a>), you can’t help but wonder how many people know their likeness has been captured in this way. 9-Eyes effectively demonstrates the enormous gulf in behavior between those unaware of the cameras, and those who recognize the strange contraption filming them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881094 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/tumblr_0d81280527bc689d2540e1ddcbae4064_17078921_1280-800x500.png\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_0d81280527bc689d2540e1ddcbae4064_17078921_1280-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_0d81280527bc689d2540e1ddcbae4064_17078921_1280-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_0d81280527bc689d2540e1ddcbae4064_17078921_1280-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_0d81280527bc689d2540e1ddcbae4064_17078921_1280-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_0d81280527bc689d2540e1ddcbae4064_17078921_1280.png 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881095 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/tumblr_a9d98e466b283e28bbeb4227b22fb5fc_72dcdacd_1280-800x500.png\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_a9d98e466b283e28bbeb4227b22fb5fc_72dcdacd_1280-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_a9d98e466b283e28bbeb4227b22fb5fc_72dcdacd_1280-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_a9d98e466b283e28bbeb4227b22fb5fc_72dcdacd_1280-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_a9d98e466b283e28bbeb4227b22fb5fc_72dcdacd_1280-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_a9d98e466b283e28bbeb4227b22fb5fc_72dcdacd_1280.png 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13881093\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/tumblr_d98ccc75980c8a3a809f2ae59eb6522e_10a18d4c_1280-800x500.png\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_d98ccc75980c8a3a809f2ae59eb6522e_10a18d4c_1280-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_d98ccc75980c8a3a809f2ae59eb6522e_10a18d4c_1280-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_d98ccc75980c8a3a809f2ae59eb6522e_10a18d4c_1280-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_d98ccc75980c8a3a809f2ae59eb6522e_10a18d4c_1280-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_d98ccc75980c8a3a809f2ae59eb6522e_10a18d4c_1280.png 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In \u003ca href=\"https://jonrafman.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rafman\u003c/a>’s other work, the artist explores spatial realities in the post-internet world. 9-Eyes began as a Tumblr back in 2008—the year after Google Maps launched Street View. In 2016, New Documents published \u003ca href=\"https://new-documents.org/books/jon-rafman-nine-eyes\" target=\"_blank\" rel=\"noopener noreferrer\">a collection\u003c/a> of the site’s images, contextualizing them within the history of photography and surveillance. These days, Rafman’s site undergoes only sporadic updates, the most recent of which started in March and stopped a couple of weeks ago. But for those unfamiliar with the archive, 9-Eyes’ back catalog can provide hours of vicarious, enthralling experience.\u003c/p>\n\u003cp>Rafman frequently uses digital technology to illustrate how modern tools alienate humanity from itself. Fittingly, the rare moments of calm and beauty on 9-Eyes are almost always devoid of people. Rural locations act as a relief from the concrete chaos that dominates much of the collection.\u003c/p>\n\u003cp>Once human beings are removed from the picture, a sense of peace emerges.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881092 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/tumblr_a7cb6de582cedd9ab2d39bfa9e7a582e_c9359c87_1280-800x500.jpg\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_a7cb6de582cedd9ab2d39bfa9e7a582e_c9359c87_1280-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_a7cb6de582cedd9ab2d39bfa9e7a582e_c9359c87_1280-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_a7cb6de582cedd9ab2d39bfa9e7a582e_c9359c87_1280-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_a7cb6de582cedd9ab2d39bfa9e7a582e_c9359c87_1280-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_a7cb6de582cedd9ab2d39bfa9e7a582e_c9359c87_1280.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881098 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/tumblr_70162d46f40345b6a4993d3a6b7bc494_9cdbd48a_1280-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_70162d46f40345b6a4993d3a6b7bc494_9cdbd48a_1280-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_70162d46f40345b6a4993d3a6b7bc494_9cdbd48a_1280-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_70162d46f40345b6a4993d3a6b7bc494_9cdbd48a_1280-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_70162d46f40345b6a4993d3a6b7bc494_9cdbd48a_1280-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_70162d46f40345b6a4993d3a6b7bc494_9cdbd48a_1280.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13881099\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/tumblr_0ce21a5552a56dca6d1b28a1a355238d_26330001_1280-800x500.jpg\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_0ce21a5552a56dca6d1b28a1a355238d_26330001_1280-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_0ce21a5552a56dca6d1b28a1a355238d_26330001_1280-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_0ce21a5552a56dca6d1b28a1a355238d_26330001_1280-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_0ce21a5552a56dca6d1b28a1a355238d_26330001_1280-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/tumblr_0ce21a5552a56dca6d1b28a1a355238d_26330001_1280.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In 2019, \u003ca href=\"https://impakt.nl/events/screening/co-opting-entities/disasters-under-the-sun/\" target=\"_blank\" rel=\"noopener noreferrer\">Rafman said\u003c/a> of his work: “What concerns me is the general sense of entrapment and isolation felt by many as social and political life becomes increasingly abstracted and experience dematerialized.” In the age of COVID-19, as people around the world have become more isolated and more reliant on technology, Rafman’s concepts have taken on additional depth and power.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13880898/9-eyes-is-a-journey-around-the-world-one-strange-snapshot-at-a-time","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_71","arts_75"],"tags":["arts_9695","arts_2304","arts_822","arts_585"],"featImg":"arts_13881149","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png","officialWebsiteLink":"http://freakonomics.com/","airtime":"SUN 1am-2am, SAT 3pm-4pm","meta":{"site":"radio","source":"WNYC"},"link":"/radio/program/freakonomics-radio","subscribe":{"npr":"https://rpb3r.app.goo.gl/4s8b","apple":"https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519","tuneIn":"https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/","rss":"https://feeds.feedburner.com/freakonomicsradio"}},"fresh-air":{"id":"fresh-air","title":"Fresh Air","info":"Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.","airtime":"MON-FRI 7pm-8pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/fresh-air/","meta":{"site":"radio","source":"npr"},"link":"/radio/program/fresh-air","subscribe":{"npr":"https://rpb3r.app.goo.gl/4s8b","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/Fresh-Air-p17/","rss":"https://feeds.npr.org/381444908/podcast.xml"}},"here-and-now":{"id":"here-and-now","title":"Here & Now","info":"A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. 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