Expect more of this:

The man police say shot and killed six people in Kalamazoo, Mich., last month told officers that he was being controlled by the Uber app on his phone at the time of the rampage, according to authorities. […] … Dalton told detectives that he believed the Uber app controlled him, and said he invoked his Fifth Amendment right to avoid self-incrimination earlier in the interview to avoid coming across as a crazy person, Moorian wrote. The accused gunman went on to tell police that a symbol appeared — a devil-like image with horns — and said it would give him an assignment that he would follow while seeing himself from outside of his body, Moorian wrote. […] He went on to tell detectives “about the Masons and the Eastern Star symbol” that he said popped up on the phone, but what he said “didn’t make any sense,” Moorian added. In an interview with another detective, Dalton said when he saw the Uber app shift from a red color to black, that is when he would get taken over “like a puppet.”



“… despite the connotations of the word ‘twin’, a dodecahedron actually has 5 twins. […] But here’s something deeper that Ocneanu claims to have proved, in unpublished work. Suppose you take one of these twins. It, too, will have 5 twins. One of these will be the dodecahedron you started with. But the other 4 will be new dodecahedra: that is, dodecahedra rotated in new ways. […] How many different dodecahedra can you get by continuing to take twins? Infinitely many! This image by Roice Nelson shows the vertices of a dodecahedron, its twins, the twins of its twins, the twins of the twins of its twins, the twins of the twins of the twins of its twins, and the twins of the twins of the twins of the twins of its twins …”

Underlinings (#46)

From Nandita Biswas Mellamphy’s Ghost in the Shell-Game:

Technical objects are ‘mediators’ (mediations) between ‘man’ and ‘nature’ not only in an ‘instrumental’ sense but also in an altogether ‘constitutive’ sense; from this vantage (as Oshii, for instance, suggests), rather than ‘bodies’ and ‘souls’ we see instead ‘shells’ and ‘ghosts’. In Oshii’s Inosensu, death is not the cessation of life; rather, bodily life is the technical animation, individuation and articulation of death (inertia). Life (æmæth in the Hebrew text at the heart of Inosensu: the animating ‘truth’) is portrayed as an artifice of death (mæth) embodied in the ningyō — literally ‘human-shaped figures’, anthropoid forms — without consciousness. “By inscribing æmæth upon the Golem’s brow, the clay man lived, drawing energy from the word for ‘truth’. But simply removing the æ to form mæth or ‘death’ returned the Golem back to inanimate clay” (Hebrew Kabbalah paraphrased in Oshii’s Inosensu). Only the puppet truly experiences both life and death: life as the animation of death (something impossible for human self-consciousness). “People die simply because it is inevitable. But death is a condition of life for a doll.”