Author Archives

Julia Wick
Julia Wick is a contributing editor for Longreads.

Technology, Privacy, and Searchable Text

The Defense Department, through its Defense Advanced Research Projects Agency (DARPA), started funding academic and commercial research into speech recognition in the early 1970s.

What emerged were several systems to turn speech into text, all of which slowly but gradually improved as they were able to work with more data and at faster speeds.

In a brief interview, Dan Kaufman, director of DARPA’s Information Innovation Office, indicated that the government’s ability to automate transcription is still limited.

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Experts in speech recognition say that in the last decade or so, the pace of technological improvement has been explosive. As information storage became cheaper and more efficient, technology companies were able to store massive amounts of voice data on their servers, allowing them to continually update and improve the models. Enormous processors, tuned as “deep neural networks” that detect patterns like human brains do, produce much cleaner transcripts.

And the Snowden documents show that the same kinds of leaps forward seen in commercial speech-to-text products have also been happening in secret at the NSA, fueled by the agency’s singular access to astronomical processing power and its own vast data archives.

In fact, the NSA has been repeatedly releasing new and improved speech recognition systems for more than a decade.

Dan Froomkin writing for The Intercept about how the NSA converts spoken words into searchable text.

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The Boy Who Loved Transit

Photo via mtaphotos (Edited)

Jeff Tietz | Harper’s | May 2002 | 35 minutes (8,722 words)

 

This essay by Jeff Tietz first appeared in the May 2002 issue of Harper’s and was later anthologized in The Best American Crime Writing: 2003 Edition. Tietz has written for Rolling Stone, Harper’s, The New Yorker, The Atlantic and Vanity Fair. He has been a finalist for the National Magazine Award, the Pushcart Prize, and the Livingston Journalism Award. His work has appeared in Best American Magazine Writing, Best American Crime Writing, Best American Business Writing, and The CAFO Reader. Our thanks to Tietz for allowing us to reprint it here. For those interested in an update on Darius McCollum’s story, see this 2013 The Wall Street Journal piece (subscription req’d).

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Before leaving his girlfriend’s apartment in Crown Heights, on the morning of his nineteenth arrest for impersonating and performing the functions of New York City Transit Authority employees, Darius McCollum put on an NYCTA subway conductor’s uniform and reflector vest. Over his feet he pulled transit-issue boots with lace guards and soles designed to withstand third-rail jolts. He took transit-issue work gloves and protective goggles. He put a transit-issue hard hat on his head. In his pockets he carried NYCTA work orders and rerouting schedules and newspaper clippings describing his previous arrests: for driving subway trains and buses and various other vehicles without authorization, possessing stolen property, flagging traffic around NYCTA construction sites, forging documents. He also carried a signed letter on NYCTA letterhead:

To: All Concerned Departments

From: Thomas Calandrella Chief Track Officer

Re: Darius McCollum Effective this date of January 10, 2000, Darius McCollum is a member of a special twelve member Special Study Group; and will analyze the operations of track safety and track operations. SSG will report directly to this office and will be issued all related gear for the respected purposes of this department and will receive assistance of any relating department.

To his belt Darius clipped a flashlight and a key ring the size of a choker. From this ring six smaller rings hung like pendants. Along the curves of the small rings, 139 keys climbed symmetrical and fanlike. Each key granted access to a secure area of the train, bus, or subway system of the New York City Transit Authority. The collection was equivalent to the number of keys an employee would acquire through forty years of steady promotions. Just before he left the apartment, Darius picked up an orange emergency-response lantern.

Six weeks earlier, Darius had been paroled from the Elmira Correctional Facility, near Binghamton, New York, where he had served two years for attempted grand larceny—”attempted” because he had signed out NYCTA vehicles for surface use (extinguishing track fires, supervising maintenance projects) and then signed them back in according to procedure. Darius has never worked for the NYCTA; he has never held a steady job. He is thirty-seven and has spent a third of his adult life in prison for victim-less offenses related to transit systems. Read more…

The Price We Pay for Mass Incarceration

Put another way, the supposition on which our mass incarceration is premised—namely, that it materially reduces crime—is, at best, a hunch. Yet the price we pay for acting on this hunch is enormous. This is true in the literal sense: it costs more than $80 billion a year to run our jails and prisons. It is also true in the social sense: by locking up so many young men, most of them men of color, we contribute to the erosion of family and community life in ways that harm generations of children, while creating a future cadre of unemployable ex-cons many of whom have learned in prison how better to commit future crimes. And it is even true in the symbolic sense: by locking up, sooner or later, one out of every three African-American males, we send a message that our society has no better cure for racial disparities than brute force.

Federal judge Jed S. Rakoff, writing in the New York Review of Books about mass incarceration.

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Romantic Love: The Dominant Subject Matter of Western Popular Music

[Ted] Gioia shows that song lyrics about love, sex, marriage, and fertility can be traced all the way back to the ancient Egyptians and Sumerians, and that once Jewish and Christian religious leaders came to terms with the iron determination of their own people to write and sing about romantic love, it quickly emerged as the dominant subject matter of Western popular music.

This tendency became overwhelming in 20th-century America. Both in the freestanding commercial pop songs of Tin Pan Alley and in musical-comedy lyrics, love is the near-universal theme. One can almost count on the fingers of both hands the number of standard ballads written between 1920 and 1960 that are not about romantic love, whether failed or successful. Even among such chronically disillusioned lyricists as Lorenz Hart, it is the singer’s desirable but unattainable ideal: This funny world/Makes fun of the things that you strive for/This funny world/Can laugh at the dreams you’re alive for. What is more, most of these perennially popular songs presuppose marriage as the natural consequence of love, sometimes implicitly but just as often explicitly, as in Ira Gershwin’s “The Man I Love”: He’ll build a little home,/Just meant for two,/From which I’ll never roam,/Who would, would you?

Terry Teachout writing in Commentary about love songs, and music historian Ted Gioia’s new book Love Songs: The Hidden History.

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Why People Get Tattoos

OK, changing the subject a little: Tattooing has been around for thousands of years, we’re even finding early humans with tattoos. Do you think there is something inherent to human nature that makes us want to tattoo ourselves?
Sure. The cadaver that was found frozen and preserved in the Alps, which I think is about 5,000 years old—he’s in a museum in Italy, you can drop by and say hello—the latest research shows that his body has quite a few tattoos on his skin. They tend to be abstract designs. Based on their locations, it’s been hypothesized that they were there to distract from uncomfortable physical things like arthritis. Or possibly, that they have some kind of magical significance. If you think about it, from a certain point of view, as all of our behavior tends to be very magical in some ways. Imagine that there’s some special power in your symbols, in your tagline, in your brand, that somehow elevates your mood, makes you feel stronger, more capable, better about yourself.

Do you think that’s something inherent to humanity?
Sure. As people, we are regularly on the edge of an existential panic. Becker said that if you were to see the world realistically; just how vulnerable and totally insignificant you are, in terms of the cosmos, you’d go crazy. So you constantly need stories that build up your self esteem and make you feel significant, which is, of course, what culture provides.

Jules Suzdaltsev interviewing Dr. Kirby Farrell about why people get bad tattoos for Vice.

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How Art Critic Jerry Saltz Fell in Love with Museums

I’ve spent much of my life in and in love with museums. When I was 10 years old, there was no mention of art in my home. But then my mother began driving me from the suburbs to the Art Institute of Chicago. There, she looked at art on her own for hours, leaving me to do the same. At the time, I liked being alone but hated museums. I felt they were old and dead, places where people just stood and stared. But one day, waiting, bored, brooding, I found myself absorbed by two beautifully colored adjacent old paintings. On the left, a pair of men standing outside a jail cell talk to a haloed man, inside the cell, while an incredible leopard guards nearby. After a long time, I looked at the right-hand panel, where the setting was the same but the time was different. In place of the leopard, there is a man returning a huge bloody sword to its sheath; the haloed man inside the cell stoops down, both hands on the sill to support his body, extending his neck, which has been severed, through the bars. His head is on the ground, on a platter, as blood spurts all over. I looked back and forth; left, then right. Then something gigantic hit me. These images were telling a story. The paintings were from the 15th century, just when Renaissance painters were beginning to understand perspective. And yet they were not dead, they were alive, at least when I looked at them. Two paintings from the 1450s, still working their magic on me. Amazed, I looked around the gallery and saw gates open. I thought each work was the same — a voice, yearning or in pain or proud, but speaking to me, in visual tongues, down through history. Maybe everything in this suddenly amazing building was telling a story, I thought, a story I could discern just by looking (and without going to school). I wanted to spend forever in this cacophony, this living catacomb. A few months later, my mother committed suicide. I didn’t return to a museum until I was in my 20s.

Jerry Saltz writing for New York Magazine about the newly redesigned Whitney Museum.

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The Debate Over Alternative Medicine

Photo by Pixabay

The Laidlers’ story is a microcosm of the changing debate over so-called alternative medicine and its cousin, integrative medicine. In 2007, Americans spent $2.9 billion on homeopathic medicine, a treatment based on the belief that minuscule amounts of what causes symptoms in a healthy person will alleviate symptoms in someone who is ill. From nutritional supplements to energy healing to acupuncture, treatments outside the medical mainstream are big business. But the vast majority of scientists find much of alternative medicine highly problematic.

The supposed mechanisms of energy healing, homeopathy, and acupuncture are unscientific and violate basic laws of physics and chemistry. Other alternative treatments, including many nutritional supplements, are unproven, unregulated, and occasionally dangerous. This month, the fight came to a very public head when a group of doctors sent an open letter to Columbia University, demanding the school remove Dr. Mehmet Oz, who has used his syndicated TV show to promote integrative medicine, including nutritional regimens, homeopathy, and reiki—a form of energy healing that claims to use “universal life force energy” to “detoxify the body” and “increase the vibrational frequency on physical, mental, emotional and spiritual levels.” But at the same time, integrative medicine has pushed such techniques into the mainstream.

Alan Levinovitz, writing in Wired about the fight over alternative medicine, and Jim Laidler, a man who first turned to alternative medicine after both of his sons were diagnosed with autism.

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How To Get Appointed to the Senate

In late 2008, Democratic Colorado Governor Bill Ritter received a political stick of dynamite when President-elect Obama announced his intention to appoint U.S. Senator Ken Salazar as his Secretary of the Interior. Ritter would have to replace Salazar, a respected Latino legislator and a popular figure throughout the state. Ritter was inundated with resumés from prominent Democrats, including Andrew Romanoff, outgoing speaker of the Colorado House; then Denver mayor John Hickenlooper; U.S. Representative Ed Perlmutter; and others. Ritter ultimately interviewed about 15 candidates for the post.

[Michael] Bennet was considered a long shot. Then the superintendent of Denver Public Schools, he was best-known for his attempts to reform the district. He had never run for office, and his political name recognition was nil. The field to replace Salazar was so rich and contentious that when Bennet met with the governor, he immediately mentioned his anonymity. “He started by saying, ‘I’m the one person that if you don’t appoint me, nobody will be mad at you,’ ” Ritter says.

Patrick Doyle writing in 5280 about Michael Bennet. Bennet was appointed to the Senate in 2009, won his seat in 2010, and is now rumored to be in consideration as a potential running mate for Hillary Clinton.

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Stereotyping in 170 Milliseconds

During a Skype conversation, Quadflieg explained that MRI-based brain studies show stereotypes are activated in about 170 milliseconds. No matter how open-minded we fancy ourselves, these biases kick in without our realizing it, she says.

In a 2011 study in the journal Neuro­image, Quadflieg reported that the areas of the brain associated with body recognition had to work much harder when the test subject was shown a person who didn’t fit his or her expectations — for instance, a woman in a pilot’s uniform.

Quadflieg says a process known as “implicit stereotyping” allows these split-second biases to kick in despite political or personal beliefs. When a woman defies these biased expectations, “You’re very good at coming up with reasons for why that might be: ‘Oh, her dad was a professor, too.’” But with a man, “They just think, ‘OK, yeah, there’s a man who’s good in math. Big deal.’”

Jessica P. Ogilvie writing for LA Weekly about the difficulties faced by women in Hollywood.

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Stevie Nicks, Feminist

Stevie Nicks: The legend from Fleetwood Mac is a rock star, because she’s always been ruthlessly honest and fearless. The first time she picked up a guitar and wrote a song, it was about heartbreak, and when she wrote for Fleetwood Mac, many of those songs were about her doomed relationship with guitarist Lindsey Buckingham. But through all the struggle, Nicks was sexy and sophisticated, and strove for equality by embodying the equal. 

“We fought very hard for feminism, for women’s rights,” Nicks told a crowd at South by Southwest in 2013, according to Rolling Stone. “What I’m seeing today is a very opposite thing. I don’t know why, but I see women being put back in their place. And I hate it. We’re losing all we worked so hard for, and it really bums me out.”

Nicks completely owned her femininity and her vulnerability, all while proving that she could hold her own as a creative contributor to a high-powered popular band. She completely disproved the “man behind the music” myth.

Kate Beaudoin writing for Mic about the fate of the female rock star. For Beaudoin, feminism and female rock stardom are deeply intertwined; she expands on that thesis with a look at four of rock’s greatest feminists.

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See Also: “Stevie Nicks, The Fairy Godmother of Rock” (Jada Yuan, New York Magazine, June 2013)