Eighty-some exhibitors-from Patriots Point and the SC Department of Natural Resources to companies like Bosch and Boeing-will offer interactive learning experiences. In 2018, for example, kids played with ”roboroaches,” uncovered fossils, and built fitness trackers. after rolling on many floors across the USA. With it comes a new area just for younger children and an expanded Career Concourse. internet research of the music business suggests discovery zone will play mackimusicfestival july 2nd in. ![]() With last year’s event drawing more than 10,000 visitors to Brittlebank Park, organizers decided the sixth annual affair needed a bigger venue. “The Lowcountry STEM Collaborative wants to expose our community to the wealth of resources we have here in STEM careers,” says director Carmelina Livingston. After all, the Brookings Institution ranks Charleston 20th among the nation’s top 100 metro areas in terms of growth for advanced industries (think auto-making, aerospace, and computer system design). That’s the spirit behind the Charleston STEM Festival, showcasing the fun in science, technology, engineering, and math at Exchange Park Fairgrounds on March 9 (find full details at ). Remote Control, documentary and phantasmagoria, invites you within.You’re never too old to learn something new and never too young to start thinking about your future. In each of our pockets, a key, a holograph a cable and a knot a feather and an iron weight. Through the same trick of the light, it hides and demonstrates its capabilities at once. A mere surface containing the space it represents, at once illusion and real reproduction. A holograph: both less and more than it seems. A key, and a portal, for a key always implies its door the shape imbuing it with powers of ingress also portends enclosure and confinement. The cover of Remote Control is adorned with a holographic key. ![]() We navigate by stars that shift with every observation. Where once the physical thing might take on the role of symbol, now it is an active symbolizing-machine at play in an ocean of signification. Each one acts as a synecdoche for the whole it is connected to, whether by logistics chain or electromagnetic wave. In this quickly fastened world, our tools, the objects of our daily lives, take on a dual aspect, organic and virtual. ![]() Like Sophia, we are confronted with the question of whether our mediated encounters with the world leave us the same as we were before, remake us, or leave us somewhere in between – still 'Sophia', yet "Sophia Again." Do our expressions of wonder truly emerge from us, or are they programmed responses? We are also like Sophia because when want to understand more about happiness, our first impulse is to go look it up on the internet. We share with Sophia a certain existential uncertainty as we move through time, from one now to another. At the midpoint of Remote Control, Weihl provides an instrumental backing to a dialogue between the conversational robot dubbed Sophia and one of her creators. We can both control and be controlled by our technological enhancements in exercising the freedom of action that they promise us, we may strive to remake ourselves and find that we have made into a new self we did not intend. Here, where humanity and technics become so intermingled, we might call an object “such a simple machine” because it “breaks just like a heart.” (“Fall Apart.”)Ī remote control holds the alluring power to cast our will into the world but carries with it the implication we may too be controlled from afar. In this moment, the wonder and terror we find in the process of discovery intertwine with the thrilling and threatening affordances of the technical instruments that increasingly fill our everyday lives. In her hands, the limitations of the default setting form the territory of an unbounded experimentation, from the system-notification synth funk of “Dance II” to the trance incantations of “Blissful Morning Dream Interpretation Melody.” The result: Remote Control, a glowing, gorgeous meditation on our contradictory moment. On her solo debut as Discovery Zone, JJ Weihl lovingly reshapes these humble sonic elements (with assistance from producer ET and Fenster bandmate Lucas Ufo, a/k/a WORLD BRAIN) into a palette of chimes, chirps and shimmers. ![]() Ubiquitous copies define our world as much as marvels of innovation do the keyboard preset and drum machine default have just as much claim to being the sound of cybernetic pop as the algorithmic virtual instrument and the AI songwriting tool. But the future into which we have arrived, the technosocial now upon which we are unsteadily balanced, is built of more mundane stuff: mass-produced sensors and microprocessors, the endlessly proliferating plastics that link us together in a suprahuman web of communication and surveillance. When music attempts to evoke the cutting edge, it understandably tends to reach for sounds that seem totally novel: newly synthesized tones, impossibly glossy, surreal, alien.
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