Chiara C. Rizzarda's Blog, page 23
November 6, 2024
AEC Data Model API: Set Up and First Experiments
Yesterday, we took a look at a brief introduction to the new AEC Data Model API, which targets data within files on your Autodesk Construction Cloud instead of drawing all of them and sifting through them later (which isn’t half bad when a system is paid per credit, let me tell you). Today we’ll try to get it started.
To start using the AEC Data Model API, you’ll need a few essentials in place, from getting an Autodesk Platform Services (APS) account to setting up your development environment and authenticating your API requests. Let’s dive into the necessary steps for a smooth setup, with a few tips along the way.
First things first: to access the AEC Data Model API, you’ll need an Autodesk Platform Services (APS) account. Signing up is pretty straightforward, and once you’re in, you can create an APS app that will generate your unique Client ID and Client Secret — the keys to unlocking API access. You’ll need to store these keys securely since they’re essential for every API call you’ll make.
Think of your Client ID and Client Secret as your “ID badge” to Autodesk’s data house, only you can’t fill it with LEGO — and you’ll need to be careful not to lose it at the first virtual party you hit.A comprehensive step-by-step guide can be found on Autodesk’s own Before You Begin page, but here are the basics:
Sign Up on Autodesk: visit Autodesk’s APS portal and sign up for an account if you haven’t already;Create an APS App: after logging in, go to the “Apps” section in the APS dashboard and click on “Create App”, name your app and set permissions based on your project needs;Get API Credentials: once your app is created, Autodesk generates a Client ID and Client Secret. Store these safely (no, a post-it on the side of the screen is not “safe”): they’ll be needed for API authentication;Enable the Required Scopes: choose the scopes (permissions) needed for your app based on your project requirements. For AEC Data Model API, select data and project-related scopes for adequate access.
To interact with the AEC Data Model API, next you’ll need to authenticate using OAuth 2.0, a common standard for secure access to APIs. It may sound technical, but it’s essentially about confirming your identity and permission level to Autodesk’s servers.
Here’s how it works:
You send a request to Autodesk’s authentication endpoint with your Client ID and Client Secret;If all goes well, Autodesk’s server sends you an access token, which is like a time-limited “pass” to make API calls.You’ll use this token in the authorization header of your API requests, so hang onto it for the duration of your session (like holding a backstage pass while it’s valid). Once the token expires, security will kick you out and you’ll need to request a new one. For details, see the full guide on setting up OAuth.
3. Setting Up a Local Development Environment
With authentication out of the way, it’s time to set up a development environment where you can start making API calls and playing around with your data. Most developers use Node.js or Python to make HTTP requests to APIs, so pick your favourite programming language and get comfortable (if there’s any such thing).
Here’s a quick example to get your environment ready:
Install your preferred language (Node.js or Python);Set up an IDE (like Visual Studio Code or PyCharm) to write and test your scripts;Install any necessary packages for making HTTP requests, such as axios for Node.js or requests for Python.If all this sounds a bit intense, remember: it’s kind of like setting up your own “command centre” before a space mission. You’ll want everything in place to explore that universe of data. For detailed configuration and troubleshooting tips, see the Autodesk tutorial setup guide.
For instance, this is how the steps might look like if you’re picking Node.js and VSCode as your environment of choice:
Install Node.js in the latest version from nodejs.org.Set Up Visual Studio Code (VS Code): VS Code is a versatile IDE for writing and testing your scripts. Download it from Visual Studio Code’s site, then install it on your machine;Install Git: Git is crucial for managing your code and accessing Autodesk sample repositories. Install it from Git’s official site;Download and Configure ngrok (Optional): Ngrok is a tunnelling tool useful for testing webhook integrations locally. It provides a secure URL to your local server, allowing APS to send callbacks to your local machine. Download ngrok from ngrok.com and configure it as per the instructions in the Autodesk setup guide;Clone the Sample Repository: For a head start, you can clone Autodesk’s tutorials repository from Autodesk’s GitHub page to access example code for common tasks.Install Required Packages: Open the project in VS Code and run npm install to install all dependencies. These will typically include packages for making HTTP requests, handling authentication, and parsing JSON data.
Now that you’re ready to make API calls, it’s time to get familiar with hubs and projects in Autodesk’s world. Think of hubs as the parent containers that house projects, which in turn contain your folders and files.
Start with the getHubs endpoint to list all available hubs associated with your account. You can then use the getProjects endpoint to drill down into a specific hub and retrieve its projects. You’re officially down the rabbit hole — you’re pulling data from Autodesk’s cloud. For code samples, check out Autodesk’s tutorials on getting hubs and retrieving projects.
4.1. Get your HubFor instance, on the Getting Hubs matter, the AEC Data Model API gives us the tools to access a top-level view of our project data across Autodesk’s cloud. As said, a hub acts as a container for projects, and each organization using Autodesk has its own. It’s the one you need to decide the geographic location for. To retrieve a list of hubs, you’ll need to make an authenticated API request to the getHubs endpoint, which will return details like hub ID, name, and type (account, project, etc.).
Here’s a step-by-step guide to making a getHubs request:
Set Up Your Access Token: ensure your API request includes the OAuth 2.0 access token in the headers. Without this, Autodesk’s servers will politely decline your request.Make the API Call: send a GET request to the AEC Data Model API’s getHubs endpoint (https://developer.api.autodesk.com/pr...). In Node.js, for example, my developer tells me this would look like:const axios = require('axios');async function getHubs() {
const response = await axios.get('https://developer.api.autodesk.com/pr...', {
headers: {
Authorization: `Bearer ${ACCESS_TOKEN}`,
},
});
console.log(response.data);
}Review the Response: a successful call will return a JSON object listing each hub with details such as id, name, and type. The id is crucial because it’s the key to accessing specific projects and data within each hub.
This endpoint provides a valuable starting point to explore your organization’s project data. It’s like opening the front door to the Autodesk data ecosystem — from here, you can start exploring project structures, files, and deeper elements.
One hub…4.2. Getting ProjectsOnce you’ve accessed your hubs, the next step is to dig into each project within them. Each hub can contain multiple projects with their different size and scope as it’s typical for our industry. To retrieve a list of projects within a specific hub, use the getProjects endpoint by passing the hub ID.
Here’s how, to the best of my knowledge, this might look like:
Set Up Your Request: send a GET request to https://developer.api.autodesk.com/pr..., replacing {hub_id} with the actual hub ID from your previous call to getHubs.const axios = require('axios');async function getProjects(hubId) {
try {
const response = await axios.get(`https://developer.api.autodesk.com/pr...`, {
headers: {
Authorization: `Bearer ${ACCESS_TOKEN}`,
},
});
console.log(response.data);
} catch (error) {
console.error('Error fetching projects:', error);
}
}Explore the Response: the response will provide an array of projects within the hub, each with its unique project ID, name, and type. The project ID is crucial for navigating further into project data.
By listing projects within a hub, you’ll begin to see the full scope of activities and design data available for each specific project, setting the stage for deeper data exploration.
…to rule them all. The projects, I mean.5. Navigating Project ElementsAfter accessing a project, the AEC Data Model API lets you dive deeper into its elements—the specific building blocks that make up your design. From walls and windows to complex HVAC systems, each element is categorized and organized hierarchically, as Revit users better know (Generic Model fans, I’m looking at you). The nav-elements endpoint is your gateway to this detailed project data, helping you visualize the structural layout and understand the relationships between different components. You can take a look here to see what Elements actually are in this context.
Autodesk’s tutorial on navigating elements is a great resource for getting started with this step, but let me try and guide you through it.
Use the nav-elements Endpoint: send a GET request to https://developer.api.autodesk.com/da..., substituting {project_id} and {folder_id} with the project and folder IDs relevant to your project.Explore Hierarchical Structure: each response includes details on the element hierarchy, showing each component’s type, category, and its relationships to other elements. You might see structural groups like “Architecture” or “Electrical” that you can expand for more detailed views of individual elements within each category.Filter for Specific Data: the response also supports filtering, letting you pull just the elements relevant to your task. This is particularly handy when focusing on specific categories, such as only structural or mechanical components, which helps simplify data handling. Remember that this is why we’re using GraphQL in the first place.A request example might look like this:
const axios = require('axios');async function getProjectElements(projectId, folderId) {
try {
const response = await axios.get(`https://developer.api.autodesk.com/da...`, {
headers: {
Authorization: `Bearer ${ACCESS_TOKEN}`,
},
});
console.log(response.data);
} catch (error) {
console.error('Error fetching project elements:', error);
}
}
This API call gives you an organized view of all project elements, making it easy to find what you need and navigate between different layers of your model. For detailed instructions on navigating project elements, see Autodesk’s Navigating Project Elements tutorial.
And we all know what navigating that data might look like.6. Testing Your API CallsAs you begin making API requests, it’s essential to test each call to ensure you’re receiving the correct data. Autodesk suggests using tools like Postman or cURL for quick testing. These tools allow you to interact with the API endpoints directly, making it easy to debug issues or fine-tune your queries.
Testing with Postman can be as simple as pasting your endpoint URL, adding the necessary headers (like your access token), and clicking “Send.” This immediate feedback lets you see the JSON response and confirm that you’re on the right track before diving into code.
A Final Note: Embrace ExperimentationSetting up your environment may seem like a lot, but once everything’s in place, you’re free to explore the vast capabilities of the AEC Data Model API. Autodesk has designed the API to be flexible and accessible, so don’t be afraid to experiment with different requests, try out new endpoints, or dig into complex data. Whether you’re pulling data for reporting, setting up automation, or just exploring how things work, setting up a reliable environment will make every API call smoother. You’re just pushing and pulling the ends of all your projects through a tool you never tried before. What could go wrong?
Milano Bookcity: percorso su Educazione e Formazione
Come anticipavo l’altro giorno, dall’11 al 17 Novembre si terrà Milano Bookcity, un evento diffuso sul territorio che vede enti pubblici, privati e indipendenti contribuire con eventi dedicati al mondo della cultura. Ecco una piccola selezione di eventi relativi ai temi della formazione, se vi capita di passare da queste parti. E se invece non passate da queste parti, magari troverete all’interno di questi eventi qualche spunto di lettura.
12 NovembreIA per l’inclusione a scuola: tra “guerra” e “pace”Quando: 12 Novembre, ore 16:00
Dove: Palazzo Durini, Via Santa Maria Valle 2
Chi: Maria Concetta Carruba e Annalisa Maniscalco
L’evento avrà lo scopo di riflettere sull’IA a scuola come strumento inclusivo e per la promozione dell’equità sociale. Superando la logica della “guerra” e del timore, l’occasione permetterà di identificare quale sia l’uso etico e inclusivo dello strumento a scuola, come possa rappresentare uno strumento di supporto per l’insegnante rispetto alla progettazione didattica universale e come supporto e mezzo per garantire misure equipollenti per gli studenti tutti. Guardando allo strumento sul piano delle potenzialità, lavorando per la formazione docente e sulla consapevolezza nell’uso etico si potrebbe trovare “pacificazione” e utilità per la promozione dell’apprendimento e dello sviluppo del pieno potenziale di tutti e ciascuno.
Libro di riferimento: Traghettare la scuola nell’era dell’Intelligenza Artificiale Educare, progettare e includere, Maria Concetta Carruba, tab edizioni
Pagina dell’evento qui.
Quando: 15 Novembre, ore 16:00
Dove: Sala Ricci della Fondazione Culturale San Fedele, Piazzetta San Fedele 4
Chi: Johnny Dotti
Una riflessione a tutto tondo sul tema dell’emergenza educativa, in un momento di crisi in cui la crescita s’identifica per lo più con lo sviluppo tecno-scientifico e il sapere si confonde con la specializzazione. Johnny Dotti propone idee e riflessioni, anzi provocazioni per riportare l’educazione alla sua funzione principale: far crescere nella libertà.
Libro di riferimento: E vedremo cose meravigliose. Riflessioni controcorrente sull’educare oggi, Johnny Dotti e Mario Aldegani, Edizioni Paoline
Pagina dell’evento qui.
Quando: 16 Novembre, ore 10:00
Dove: in trasferta a Rozzano, biblioteca di via Togliatti
Chi: Massimo Beltrame
Quando si parla di Milano si pensa al business, all’innovazione, alla moda e alle tante altre realtà che fanno di Milano la città più europea d’Italia. Certo, ci sono il Duomo, Santa Maria delle Grazie con il vicino Cenacolo, Sant’Ambrogio, San Lorenzo, Sant’Eustorgio, ma l’architettura religiosa non sembra essere la prima cosa a cui si pensa se si fa riferimento al capoluogo lombardo. Eppure gli edifici religiosi milanesi, oltre alla loro valenza architettonica e al valore estetico, custodiscono opere d’arte meravigliose e spesso poco conosciute: quadri, affreschi, sculture e altri tesori sorprendenti. Così, ogni portale d’ingresso non immette solo in un mondo di trascendenza religiosa ma apre anche al caleidoscopico racconto di epoche e artisti diversi. Un viaggio tra storia, architettura e pittura nel più grande “museo diffuso” della città.
Libro di riferimento: Milano e le sue Chiese, Massimo Beltrame, Meravigli Edizioni
Pagina dell’evento qui.
17 NovembreLa scuola della felicità. Strategie didattiche per le life skills e la crescita personaleQuando: 17 Novembre, ore 12:30
Dove: Sala delle Colonne del Circolo Filologico Milanese, via Clerici 10
Chi: Mariano Laudisi, Michele Volgarino
Mariano Laudisi, insegnante pugliese, racconta come è nato il metodo didattico Le Scuole della felicità e come questa proposta per una educazione alle emozioni e alle relazioni stia coinvolgendo con successo un numero sempre maggiore di ragazzi e ragazze – e i loro docenti. Durante la conferenza-spettacolo l’autore illustrerà sia il libro sia il metodo didattico da lui ideato, coinvolgendo attivamente il pubblico.
LIbro di riferimento: La scuola della felicità. Strategie didattiche per le life skills e la crescita personale, Mariano Laudisi, Sanoma
Pagina dell’evento qui.
La luna nelle baracche. Alberto Manzi e i Sud del mondoQuando: 17 Novembre, ore 14:00
Dove: Biblioteca Sormani, via Francesco Sforza 7
Chi: Paolo Di Paolo, Massimo Manzi
Un dialogo per (ri)scoprire, attraverso il romanzo “La luna nelle baracche” pubblicato da Edizioni di Storia e Letteratura, il “maestro d’Italia”, Alberto Manzi, di cui ricorrono i cento anni della nascita. Paolo Di Paolo e Massimo Manzi converseranno, dunque, sul volume capace di far luce su un lato inedito di Alberto Manzi, mettendone in evidenza l’impegno verso gli oppressi dell’America Latina. Anche qui infatti Manzi si dedicherà agli ultimi e agli emarginati. Dando vita a una grande lezione: il riscatto sociale pass in primis dall’istruzione. I temi affrontati saranno, pertanto, quelli del contrasto alla povertà educativa, della lotta all’analfabetismo. Ieri come oggi. La storia del passato che Alberto Manzi racconta può, infatti, essere declinata al presente, a quel presente dove è sempre più impellente parlare di emancipazione – anche dal pregiudizio – per chi arriva da lontano in cerca di un futuro dignitoso.
Libro di riferimento: La luna nelle baracche, Alberto Manzi, Edizioni di Storia e Letteratura
Pagina dell’evento qui.
“Farcela a farcela”: Giorgia Fumo e il manuale millennial
Quando: 17 Novembre, ore 11:00
Dove: Teatro Menotti Perego, Via Ciro Menotti 11
Chi: Giorgia Fumo
Quand’è che ci si può dire sinceramente, pienamente, efficacemente adulti? È una domanda che attanaglia le nuove (più o meno) generazioni che si affacciano alla vita “da grandi” barcamenandosi con le briciole lasciate dai propri predecessori. E, in effetti, la strada per diventare adulti in questa nostra era di incertezze sembra parecchio accidentata e confusa: nel 2024 è assolutamente plausibile e socialmente accettato che un adulto medio abbia le capacità emotive di un tredicenne, le capacità matematiche di decenne e le abilità manuali di un cinquenne.
Un evento dedicato a tutti i maggiorenni che sentono di annaspare nella vita, un Corso di Laurea rigoroso, strutturato e risolutivo per “farcela a farcela”, tenuto dalla Professoressa Per un Giorno Giorgia Fumo (nonché ingegnere, improvvisatrice teatrale e stand-up comedienne) che mira a supplire alla grave mancanza di formazione nel campo della Vita Adulta, intesa come “saper stare al mondo” o “capire dove si sta messi” o “scendere dalla montagna del sapone”.
Libro di riferimento: Ingegneria della vita adulta, Giorgia Fumo, Harper Collins Italia
Pagina dell’evento qui.
Nota personale: Giorgia Fumo è divertentissima e molto tagliente nel suo umorismo, e consiglio a tutti di seguirla su LinkedIn
Notes from South Africa (2): Nature and Wildlife
Second post in the South African notes, following a bittersweet focus on its history (remember? 2.4 million people living in slums), and this time I promise it’ll get less grim. Maybe. And it will have penguins.
2. Nature and WildlifeSouth Africa hosts one of the world’s six floral kingdoms, the others being the Holarctic, the Paleotropical, the Neotropical, the Australian, and the Antarctic. Just to give you an idea, less than 0.5% of Africa hosts approximately 20% of the continent’s plant species, with around 9,000 species identified, of which about 5,800 are endemic. The Cape Floral Kingdom stretches along the southwestern tip of South Africa, encompassing a variety of landscapes from mountainous terrains to coastal areas, 9.2% of its total land area is Protected Areas and includes 19 National Parks, 42 Marine Parks, 5 UNESCO Biosphere Reserves, 8 UNESCO World Heritage Sites, 27 Ramsar sites and a bunch of Transfrontier Parks. The UNESCO World Heritage Sites alone cover over 550,000 hectares.
The predominant biome is called fynbos, a unique type of shrubland that thrives in the Mediterranean climate of hot, dry summers and wet winters, so coming from the actual Mediterranean, you’ll have a weird feeling of familiarity and displacement at the same time, with shrubs and flowers looking both very familiar and almost alien.
South Africa is also renowned for its rich and diverse fauna, thanks to varied ecosystems that span from savannas and forests to deserts and coastal regions. What people expect from Africa are labelled as the “Big Five” (a catchphrase for tourists you’ll see in gift shops all around, starting from the Cape Town airport): the African Elephant, the Cape Buffalo, the Lion, the Leopard, and the Rhinoceros. In addition to the Big Five, South Africa hosts around 300 mammal species, from monkeys to wild dogs to leaping herbivores like the Springbok, the Kudu, and the Bontebok. The Marine Big Five includes whales, dolphins, seals, sharks, and penguins.
So let’s see how you can enjoy nature and wildlife in the Cape Town area.
2.1. Table Mountain and the LionTable Mountain is an iconic flat-topped mountain that dominates the skyline of Cape Town and it’s strikingly particular, as if someone arrived with a butter knife and levelled its top to prepare it for glazing. And the glazing will arrive: they call it the tablecloth, and it’s a particular cloud regularly forming on the flat top because of the warm currents from the Indian Ocean mixing with the cold Atlantic right in front of the Bay.
The iconic cloud has many legends connected to it, my absolute favourite being the one of a pirate (of course) who challenged the devil to a pipe-smoking challenge for his soul and they’re still at it.
Table Mountain rises approximately 1,086 meters above sea level, with a broad plateau stretching about 3 km in length, and the highest point is known as Maclear’s Beacon: it’s located at the eastern end of the plateau and was established for trigonometrical surveys during the 19th century. You can either climb on top of it or take a cable tray with a rotating floor (there’s a small place you can climb onto in the middle if the spinning thing isn’t your thing, and guess where I was). Regardless of the route you take to reach the top, and even if you’ll find clouds like we did, the route on the plateau is magnifically designed, with panels telling you stories on both the place and the landmarks you’ll be able to see (or not). I highly recommend it as a first-day spot, to give you a general idea of the surroundings.
And while you walk through the shrubs and unique sandstone, imagine Charles Darwin, who visit the region during his voyage on the HMS Beagle from 1831 to 1836 and lost his shit at the area’s geology. Darwin studied the contact zone between the Cape Peninsula Granite and the Malmesbury Group sediments at Sea Point, which is near Table Mountain, and his descriptions provided evidence that granite, an igneous rock, intruded into older sedimentary rocks. This challenged the prevailing belief that granite was formed through sedimentation in water, and eventually contributed to early geological theories regarding rock formation. In brief, the Table Mountain inspired him to realise how Earth is much, much, much older than it was initially believed. Now we know that this geological formation dates back approximately 450 to 510 million years. There are still people in the US, the so-called Young Earth Creationists, believing that Earth was created 6,000 years ago because the Bible says so. I’d like to know where.
Table Mountain is part of the Cape Floral Region, and it hosts over 8,200 plant species, with around 80% classified as fynbos. Notable species include the King Protea, South Africa’s national flower. When it comes to animals, it’s a little too high for anything that isn’t a small insect but some fellows swill venture up here in search for either a good view or food from tourists: they’re the Red-winged Starlings, birds as black as they come, with distinctive rusty-red markings on its wings. And they want your food.
2.2. Penguins!The Boulders Beach penguin colony, located near Simon’s Town, is one of the most famous attractions near Cape Town and a must-see: it’s home to the African penguin (Spheniscus demersus), the only penguin species found on the African continent, and I swear they’re the cutest thing ever.
The beach is part of the Table Mountain National Park and features beautiful granite boulders that create sheltered inlets, making it a perfect spot for these small penguins. The colony began to establish itself in 1982 when a couple of African penguins were spotted. They must have really liked each other, because the colony has grown significantly since then, with estimates of around 3,000 birds currently residing there. The area provides a safe environment for breeding and feeding due to its protected status and the prohibition of commercial fishing in nearby waters. African penguins are currently listed as endangered, facing threats from habitat loss, overfishing, and pollution. Conservation efforts are in place to protect these birds and their habitat, including initiatives by organizations like SANParks and the Southern African Foundation for the Conservation of Coastal Birds (SANCCOB).
The Company’s Garden is a historic public park established in the 1650s as a vegetable garden for the Dutch East India Company and is recognized as the oldest garden in South Africa. Jan van Riebeeck initially created the garden, back in 1652, as a refreshment station for ships traveling along the trade route between Europe and the East and the aim was to grow fresh produce to sustain passing ships and the growing outpost. Over the years, as the outpost slowly grew into a colony, the garden expanded and transformed: by 1658, it had become self-sustaining, with a variety of crops cultivated. In the late 17th century, Simon van der Stel redesigned it for aesthetic purposes, introducing ornamental plants alongside functional crops.
The Company’s Garden covers approximately 7.9 acres and is bordered by significant landmarks such as the South African Museum, the National Gallery, and Parliament. It boasts a diverse collection of flora, including notable trees such as the oldest cultivated pear tree in South Africa, which dates back to around 1652. Other attractions include a rose garden, a Japanese garden, a fish pond, and an aviary with various bird species.
My friend is there for scale.2.4. Muizenberg BeachHere there be sharks, and I really mean it. The splendid Muizenberg Beach is located along the False Bay coastline, and it has gained notoriety for its encounters with great white sharks, particularly due to its proximity to rich marine environments that attract these predators. The beach has been the site of several shark attacks, including a notable incident in 2014 involving a surfer.
What’s interesting about this beach isn’t on the actual beach, though: it’s up the hill. In response to the risks associated with shark encounters, local organizations increased monitoring through an initiative called Shark Spotters, people hosted in a special sighting structure and furnished with binoculars, who screen the water and signal the beach if they see a shark. Established in 2004 in response to a series of shark bites, the program employs trained spotters who monitor the waters, particularly during the summer months when shark activity is higher. Spotters are positioned at elevated locations, such as cliffs or lookout points, allowing them to survey the ocean for sharks using binoculars and polarized sunglasses to reduce glare. Each spotter is in contact with a designated beach spotter who communicates directly with the public. But what happens if it’s foggy and you can’t see shit?
The Shark Spotters use a system of coloured flags to indicate conditions:
Green Flag: good spotting conditions (it doesn’t mean there’s no shark, it just means we’ll be able to see it);Red Flag: shark alert; a shark has been spotted nearby (get the fuck out of the water);White Flag: a shark is currently in the water; swimmers must exit immediately;Black Flag: poor spotting conditions.And if you’re thinking that the choice of the white flag for danger it’s a bit counterintuitive… well, I think that too.
This October I’ve seen more seals than some people see in a lifetime, between here and San Diego. Seals are in Duiker Island, located in Hout Bay, and they are Cape fur seals (Arctocephalus pusillus), with estimates often reaching around 7,000 seals. If you want to see them, you can take a boat from Hout Bay, where a guy with his personal seal will try to convince you to give him money to feed the seal and ride it. Don’t.
Cape fur seals are the largest species of fur seals, with males reaching lengths of up to 2.5 meters and weighing between 200 to 350 kg. Females are smaller, measuring about 1.2 to 1.6 meters and weighing 40 to 80 kg. Males have a thick mane and a robust chest, while females have a sleeker appearance with silver-grey fur. Newborn pups are initially velvet black but change to an olive-grey colour after their first moult at around 3-5 months old, but you won’t see them in Hout Bay: breeding occurs on other nearby islands, as Duiker Island’s rough seas make it unsuitable for pups.
After facing significant declines due to commercial hunting in the 17th through 19th centuries, Cape fur seal populations have rebounded significantly since protective legislation was enacted in the 1970s. Current estimates suggest there are around 1 million Cape fur seals along the southern African coast. Despite their recovery, Cape fur seals face ongoing threats from fishing activities where they are sometimes viewed as competitors for fish stocks.
Chapman’s Peak Drive is renowned as one of the most scenic coastal drives in the world, it runs approximately 9 km and connects Hout Bay to Noordhoek.
The drive was constructed between 1915 and 1922, entirely by hand and using convict labour, and was initially known as the Hout Bay – Noordhoek Road. It was a significant engineering feat, carved into the near-vertical cliffs of Chapman’s Peak, which rises to 593 meters above sea level. After a rockfall in 1990 led to its closure, extensive renovations were completed, and the road reopened in 2003 under the control of a private company, with ongoing safety measures implemented to ensure its stability.
Chapman’s Peak Drive features 114 curves, providing stunning panoramic views of the Atlantic Ocean and the rugged coastline. The drive is designed to be enjoyed at a leisurely pace, allowing for frequent stops at designated viewpoints: from July to November, it’s a prime location for whale watching during the Southern Right Whale season.
The road is also famous to those who study advertisement because of one Christopher White who, one day in 1988, was driving his Mercedes-Benz when he lost control and went over the edge of Chapman’s Peak Drive, falling approximately 100 meters down a steep cliff. Remarkably, he survived the fall with only minor injuries, which he attributed to wearing his seatbelt and the structural integrity of his vehicle. Following the accident, Mercedes-Benz used this incident as the basis for a dramatic television commercial in 1990, in which they boasted the safety of their car. In the late 1980s and early 1990s, BMW launched its “Beats the Bends” campaign as a direct response to the Mercedes-Benz ad that highlighted White’s survival after his accident. The BMW advertisement aimed to promote the handling capabilities of their vehicles and subtly implied that BMW cars were safer and more reliable than those of their competitor, not because they would survive such a fall but because they would prevent the fall altogether. Mercedes-Benz removed an advertisement after it was accused of depicting dangerous and illegal driving, but they also sued BMW for their ad.
The Cape of Good Hope was first rounded by Portuguese explorer Bartolomeu Dias in 1488 during his expedition to find a sea route to India. He initially named it the “Cape of Storms” due to the treacherous weather conditions encountered in the area, and his own crew refused to go forward, forcing the ships to return home. It was doubled again by Vasco da Gama, who set sail on his first voyage to India in 1497 and was more successful. The area was later renamed the “Cape of Good Hope” by King John II of Portugal, symbolizing the optimism surrounding the new trade route to Asia.
The cape became a critical waypoint for European ships travelling between Europe and Asia, serving as a resupply station for fresh food and water. This led to the establishment of Cape Town in 1652 by the Dutch East India Company as a provisioning station.
In 1939, the Cape of Good Hope Nature Reserve was established to protect this unique environment. It features a variety of flora and fauna, notably the baboons who will sit around in the middle of the street and bully you.
November 5, 2024
Milano Bookcity: percorso sull’Intelligenza Artificiale
Come ogni anno, dall’11 al 17 Novembre si terrà Milano Bookcity, un evento diffuso sul territorio che vede enti pubblici, privati e indipendenti contribuire con eventi dedicati al mondo della cultura. Quest’anno l’offerta è particolarmente ricca e contiene alcune iniziative che potrebbero interessarvi. Ecco una piccola selezione di eventi relativi all’Intelligenza Artificiale, se vi capita di passare da queste parti. E se invece non passate da queste parti, magari troverete all’interno di questi eventi qualche spunto di lettura.
11 NovembreProgettare un libro tra Visual Design e Intelligenza ArtificialeQuando: 11 Novembre, ore 12:30
Dove: in streaming, su prenotazione
Chi: Francesca Ferrara, Cristina Maccarrone
Con questo workshop le autrici, giornaliste e formatrici Francesca Ferrara e Cristina Maccarrone illustreranno come impiegare le nuove tecnologie, il visual design e l’intelligenza artificiale a supporto della scrittura e del copywriting della progettazione di un libro o di un progetto di comunicazione con il news content design con approccio etico e deontologico.
Libri di riferimento:
– News Content Design, Francesca Ferrara, Dario Flaccovio Editore
– Scrivere per informare, Cristina Maccarrone, Flaco Edizioni
Pagina dell’evento qui.
Quando: 11 Novembre, ore 18:30
Dove: Eldodo Milano, Via Vallarsa 11
Chi: Giuseppe Primiero, Franco Raimondi
Il termine ‘intelligenza artificiale’ venne usato per la prima volta da John McCarthy tra il ‘55 e il ‘56 per indicare una disciplina il cui scopo era costruire sistemi che potessero simulare l’intelligenza, ma i tentativi di costruire macchine intelligenti erano in corso da decenni: i fondamenti matematici e tecnici per la costruzione di piloti automatici furono definiti intorno al 1920 e la cibernetica (da kybernétes, timoniere) nacque negli anni Quaranta. Nel 1943, McCulloch e Pitts proposero la prima formalizzazione matematica di un neurone che, implementata usando un computer, nel ‘57, da Frank Rosenblatt con il nome di percettrone, è ancora oggi la componente di base delle reti neurali in uso.
A distanza di 70 anni dalla nascita del termine ‘intelligenza artificiale’ e a 100 anni dalla pubblicazione di R.U.R., siamo veramente ad un punto di svolta? Il libro presenta una breve introduzione storica e fornisce in modo chiaro e accessibile i concetti alla base delle applicazioni sviluppate negli ultimi anni.
Libro di riferimento: Percettroni al timone. Breve storia, nozioni di base, applicazioni di intelligenza artificiale, Franco Raimondi, Polyhistor Edizioni
Pagina dell’evento qui.
Quando: 12 Novembre, ore 16:00
Dove: Palazzo Durini, Via Santa Maria Valle 2
Chi: Maria Concetta Carruba e Annalisa Maniscalco
L’evento avrà lo scopo di riflettere sull’IA a scuola come strumento inclusivo e per la promozione dell’equità sociale. Superando la logica della “guerra” e del timore, l’occasione permetterà di identificare quale sia l’uso etico e inclusivo dello strumento a scuola, come possa rappresentare uno strumento di supporto per l’insegnante rispetto alla progettazione didattica universale e come supporto e mezzo per garantire misure equipollenti per gli studenti tutti. Guardando allo strumento sul piano delle potenzialità, lavorando per la formazione docente e sulla consapevolezza nell’uso etico si potrebbe trovare “pacificazione” e utilità per la promozione dell’apprendimento e dello sviluppo del pieno potenziale di tutti e ciascuno.
Libro di riferimento: Traghettare la scuola nell’era dell’Intelligenza Artificiale Educare, progettare e includere, Maria Concetta Carruba, tab edizioni
Pagina dell’evento qui.
Quando: 12 Novembre, ore 11:00
Dove: in trasferta a Lodi, ITIS Volta in Viale Papa Giovanni XXIII 9
Chi: Angelica Migliorisi, Luca Salvioli
Sam Altman è il papà di ChatGpt, il chatbot che ha fatto scoprire al mondo le potenzialità dell’intelligenza artificiale generativa. Il fondatore di OpenAI è l’uomo che sta disegnando lo sviluppo della tecnologia più strategica dei prossimi anni. Conoscere Altman, quindi, significa conoscere la grande novità del momento e un pezzo fondamentale del nostro futuro.
Libro di riferimento: L’altro zio Sam, Angelica Migliorisi, Luca Salvioli, Ilsole24ore
Pagina dell’evento qui.
Quando: 13 Novembre, ore 11:00
Dove: in trasferta a Lodi, Aula Magna del Liceo Classico Pietro Verri in Via San Francesco 11
Chi: Francesco D’Isa
Francesco D’Isa propone un’analisi filosofica sulla rivoluzione algoritmica delle immagini. Attraverso esempi concreti e riflessioni teoriche, il libro invita a esplorare come l’intelligenza artificiale stia ridefinendo i confini dell’espressione artistica e della proprietà intellettuale.
Libro di riferimento: La rivoluzione algoritmica delle immagini. Arte e intelligenza artificiale, Francesco D’Isa, Luca Sossella Editore
Pagina dell’evento qui.
Quando: 14 Novembre, ore 18:00
Dove: Veranda del Palazzo Castiglioni, Corso Venezia 47
Chi: Paolo Gila, Maurizio Mazziero
Dall’intelligenza artificiale al valore fondamentale delle materie prime, dai cambiamenti culturali all’influenza dei media e delle istituzioni. In compagnia del giornalista e scrittore Paolo Gila il pubblico verrà guidato in un viaggio tra le tematiche più scottanti del momento per analizzare le dinamiche che regolano la corsa alle risorse planetarie e per chiarire i nuovi meccanismi decisionali che mirano a creare consenso e controllo. Una lettura strategica del nostro mondo e delle principali rivoluzioni geopolitiche degli ultimi anni.
Libri di riferimento:
– L’era della cosmocronia, Paolo Gila, Nexus Edizioni
– Le mappe del tesoro – Geopolitica delle materie prime, Paolo Gila, Maurizio Mazziero, Hoepli Editore
Pagina dell’evento qui.
Quando: 15 Novembre, ore 14:30
Dove: Aula Magna di SIAM – Società d’Incoraggiamento d’Arti e Mestieri in Via Santa Marta 18
Chi: Eugenio Gallavotti, Stefano Machera, Luisa Simonetto
L’intelligenza artificiale è ciò che gli economisti chiamano una tecnologia multiuso. Come il motore a vapore, l’elettricità e i computer può essere utilizzata per diversi scopi, perciò è una delle poche trasformazioni di capitale importanza. Che cosa sta comportando e comporterà il suo utilizzo nell’ambito del lavoro? Lo distruggerà o ci renderà lavoratori migliori? E in ambiti come quello della moda e della creatività avrà un suo spazio? Come può aiutare il fashion system nella ricerca di sostenibilità, nella previsione della domanda, nell’economia circolare, nella tracciabilità delle filiere? Potrà sostituire gli stilisti? O offrirà loro strumenti inediti per spingerli oltre i limiti del possibile?
Libri di riferimento:
– Come l’intelligenza artificiale cambia il mondo, Stefano Machera, Franco Angeli
– I racconti delle scarpe, Eugenio Gallavotti, Franco Angeli
Pagina dell’evento qui.
IA: come restare al passo in un mondo che evolveQuando: 15 Novembre, ore 18:00
Dove: Aula Magna di SIAM – Società d’Incoraggiamento d’Arti e Mestieri in Via Santa Marta 18
Chi: Emanuele Bezzecchi, Nicola Saldutti
L’esperto Emanuele Bezzecchi ci guida nei dedali dell’IA e ci racconta con un linguaggio accessibile e smart la storia, l’evoluzione, i meccanismi, i pregiudizi e le sfide ancora aperte. Un viaggio esplorativo nell’IA per porsi le domande giuste, interpretare il presente e guardare con fiducia al futuro.
Libro di riferimento: Intelligenza artificiale, Emanuele Bezzecchi, Vallardi
Pagina dell’evento qui.
Quando: 16 Novembre, ore 12:00
Dove: Aula Magna di SIAM – Società d’Incoraggiamento d’Arti e Mestieri in Via Santa Marta 18
Chi: Francesco Amorosino, Grazia Dell’Oro, Michele Tavola
Fin dalla sua nascita la fotografia è stata usata per identificare e classificare le persone attraverso la burocrazia, per mappare e sorvegliare luoghi, per raccogliere dati e prove. Insieme alla tecnologia si sono sviluppate anche le tecniche di sorveglianza e all’occhio delle sentinelle e dei secondini si sono aggiunte telecamere, satelliti e droni; internet ha collegato ogni punto del globo creando una rete che intrappola tutti e da cui non è possibile sfuggire pena l’isolarsi dalla comunità. Il libro di cui si parla traccia la storia della sorveglianza nelle sue tappe fondamentali. In parallelo, analizza la risposta degli artisti che con le loro opere esercitano una sorta di controffensiva e ci suggeriscono alternative per riconquistare spazi di libertà.
Libro di riferimento: Dal Grande fratello all’intelligenza artificiale. La fotografia nell’era dell’ipercontrollo, Francesco Amorosino, emuse
Pagina dell’evento qui.
Quando: 16 Novembre, ore 14:00
Dove: Aula Magna di SIAM – Società d’Incoraggiamento d’Arti e Mestieri in Via Santa Marta 18
Chi: Dario De Luca, Francesco Varanini, Giuseppe Vincenzi
Dialogo sul libro di Francesco Varanini Splendori e miserie delle intelligenze artificiali. L’autore si pone un primo, principale quesito: perché nessuna promessa tecnologica è veramente l’ultima e salvifica? Si attende fiduciosamente un futuro tempo felice, si crede nella promessa di un paradiso tecnologico. Forse nuove tecnologie ci salveranno. Ma intanto i costi immediati li stiamo pagando, e li pagheremo nei prossimi anni. Dovremmo sempre ricordare che anche la tecnologia più promettente e splendida ha un rovescio della medaglia: costi e aspetti perversi che solo nel tempo e alla prova dei fatti si rivelano evidenti.
Libro di riferimento: Splendori e miserie delle intelligenze artificiali, Francesco Varanini, Guerini e Associati
Pagina dell’evento qui.
Quando: 16 Novembre, ore 15:30
Dove: Aula Magna di SIAM – Società d’Incoraggiamento d’Arti e Mestieri in Via Santa Marta 18
Chi: Pietro Minto
Dalla corsa all’oro in corso nella Silicon Valley ai chatbot che si comportano come teenager in crisi, dalle battaglie tra Elon Musk e Sam Altman ai lavoratori del Sud globale sfruttati, Pietro Minto si destreggia tra i passi falsi e i momenti gloriosi, tra le leggende e i timori che circolano intorno all’invenzione che sembra poter ridefinire il nostro futuro.
Libro di riferimento: Cosa sognano le IA, Pietro Minto, UTET
Pagina dell’evento qui.
Quando: 16 Novembre, ore 17:30
Dove: Sala Lettura della Fondazione Giangiacomo Feltrinelli, viale Pasubio 5
Chi: Alessandro Aresu, Fjona Cakalli, Mattia Salvia
Se è ormai indiscutibile che l’intelligenza artificiale è l’invenzione definitiva dell’umanità, incerte ne sono le implicazioni nel futuro. Come muterà l’equilibrio della geopolitica mondiale, e come assicurarsi che questo potente strumento rimanga allineato ai nostri valori?
Libro di riferimento: Geopolitica dell’intelligenza artificiale, Alessandro Aresu, Giangiacomo Feltrinelli Editore
Pagina dell’evento qui.
17 NovembreOltre gli schermi: persone, algoritmi e dati nella società aumentataQuando: 17 Novembre, ore 10:30
Dove: Aula Magna di SIAM – Società d’Incoraggiamento d’Arti e Mestieri in Via Santa Marta 18
Chi: Massimo Airoldi, Mauro Carbone, Giulia Giorgi
I dati che produciamo interagendo con gli schermi sono quelli attraverso cui gli algoritmi diventano intelligenti. Studiano il nostro habitus, ci scrutano come antropologi con una tribù da catalogare e copiano i nostri comportamenti, anche quelli che sarebbe meglio non riproporre. In che direzione va questa società aumentata? Ne discutono Massimo Airoldi e Mauro Carbone.
Libri di riferimento:
– Antropologia degli schermi, Mauro Carbone, LUISS University Press
– Machine Habitus. Sociologia degli algoritmi, Massimo Airoldi, LUISS University Press
Pagina dell’evento qui.
Quando: 17 Novembre, ore 12:00
Dove: Aula Magna di SIAM – Società d’Incoraggiamento d’Arti e Mestieri in Via Santa Marta 18
Chi: Paolo Benanti, Sebastiano Maffettone
Viviamo una condizione digitale popolata da macchine pensanti, dove l’intelligenza artificiale e le nuove tecnologie elaborano fatti e idee ridefinendo i confini della nostra esistenza. Trasformare i problemi dell’umanità in numeri ed equazioni, però, non equivale a risolverli, e delegare le decisioni a computer e algoritmi – che sempre più tendiamo a percepire come creature superiori – rischia di macchinizzare la nostra specie svilendone le più preziose peculiarità e le strutture valoriali. In questa ottica, Noi e la macchina intende porre le basi per un processo collettivo di formazione, un luogo di pensiero e una struttura di dialogo per far rifiorire l’umano nella stagione di quella che sembra essere una machina sapiens che compete con noi e sembra destinata a surclassarci. Benanti e Maffettone ci guidano in un viaggio che parte dalla consapevolezza delle sfide e delle opportunità offerte dal digitale, analizzando criticamente l’impatto delle tecnologie sulla sfera pubblica e sul benessere collettivo. Gli autori arrivano a delineare un concetto rivoluzionario, la “sostenibilità D”, che propone una nuova etica capace di armonizzare progresso tecnologico e equità sociale, ponendo l’individuo al centro di un modello di sviluppo sostenibile che non lascia indietro nessuno. Attraverso un’architettura di sistema attenta al design e alla resilienza, il libro offre soluzioni concrete per un futuro in cui la tecnologia sia al servizio dell’umanità, e non il contrario.
Libro di riferimento: Noi e la macchina, Paolo Benanti, Stefano Maffettone, LUISS University Press
Pagina dell’evento qui.
Quando: 17 Novembre, ore 12:30
Dove: Centro Internazionale di Brera, via Marco Formentini 10
Chi: Simone Aliprandi, Francesco Alteri, Gianluigi Bonanomi, Paolo Dalprato, Fiorenzo Pilla
In un’epoca in cui le IA e le loro implicazioni permeano ogni aspetto della vita quotidiana, è necessario interrogarsi su quale sia, e quale potrà essere in futuro, l’effetto delle Intelligenze Artificiali, in generale, e di ChatGPT, in particolare, sulla società
contemporanea. Questo tipo di riflessione non può che prendere le mosse da un quesito fondamentale: “Le intelligenze artificiali, possono davvero essere considerate intelligenti?”. Interrogarsi su questo punto permette affrontare le questioni più pressanti che circondano l’adozione di queste rivoluzionarie tecnologie provando a fornire risposta a domande cruciali come: “È possibile fidarsi delle IA?” e “Come funzionano davvero?”. Attraverso un’analisi approfondita e un confronto equilibrato, gli autori discutono dell’impatto di ChatGPT su settori come l’occupazione, l’istruzione, la comunicazione e la salute mentale, facendo luce sui benefici e le sfide derivanti dall’implementazione di queste tecnologie, in una visione completa e imparziale del futuro nelle interazioni uomo-macchina.
Libri di riferimento:
– ChatGPT. Come stai?, Gianluigi Bonanomi, Ledizioni
– Game GPT. Ridefinire il futuro del Gaming: l’impatto dei Large Language Models, Francesco Alteri, Fabrizia Malgieri, Fiorenzo Pilla, Francesco Toniolo, Ledizioni
– Il design nell’era della creatività artificiale, Simone Aliprandi, Ledizioni
Pagina dell’evento qui.
[image error] Intelligenza Artificiale: un ponte tra cultura umanistica e tecnologicaQuando: 17 Novembre, ore 14:00
Dove: Aula Magna di SIAM – Società d’Incoraggiamento d’Arti e Mestieri in Via Santa Marta 18
Chi: Daniele Bellasio, Luca Mari, Luca Tremolada
Come verrà ridefinito il ruolo dell’Intelligenza Artificiale Generativa nel contesto della cultura umanistica e tecnologica? Luca Mari, Luca Tremolada e Daniele Bellasio esploreranno non solo le potenzialità rivoluzionarie dell’IA, ma anche le sue implicazioni etiche e filosofiche. In un mondo sempre più guidato dai dati, il dibattito si concentrerà su come l’IA stia trasformando il nostro modo di pensare, creare e comprendere la realtà. In un momento storico in cui si sfidano i confini tra uomo e macchina, e tra cultura e tecnologia.
Libri di riferimento:
– L’intelligenza artificiale di Dostoevskij, Luca Mari, Ilsole24ore
– La lezione è finita, Luca Tremolada, Ilsole24ore
Pagina dell’evento qui.
Di cosa parliamo quando parliamo di AIQuando: 17 Novembre, ore 15:30
Dove: Aula Magna di SIAM – Società d’Incoraggiamento d’Arti e Mestieri in Via Santa Marta 18
Chi: Emanuele Frontoni, Stefano Regondi
Come possiamo fare per arrivare a una collaborazione inedita tra intelligenze artificiali e creatività umana? Il docente e ricercatore Emanuele Frontoni racconta storie vere di applicazioni dell’AI, frutto di ricerche condotte da team interdisciplinari di eccellenza nel nostro paese, tra avanzamenti tecnologici, questioni etiche e interrogativi sociali.
Libro di riferimento: AI, ultima frontiera, Emanuele Frontoni, ROIEdizioni
Pagina dell’evento qui.
November 4, 2024
AEC Data Model API: an introduction
Autodesk announced lots of news during last October’s Autodesk University and, though some of them weren’t really new, we do have some interesting development, especially on the cloud services. You can find the full list here.
Since I am bound to forget to look into it or forget that I’ve looked into it altogether, I’ll try to do a series of posts looking into them, starting with the thing I understand less about the AEC Data Model API. I fortunately have people who understand them more than I do, but let’s see if I can wrap my head around the topic. Should this article contain any mistakes, please point them out. As I said, I’m no expert; I’m just trying to wrap my head around it. Hopefully this will be useful for other people like me, who are familiar more with the topic than the solution.
So, here we go.
The AEC Data Model API from Autodesk is aimed at helping AEC teams work more effectively with data within their Common Data Environment’s technological solutions of choice, mainly the Docs module in the Autodesk Construction Cloud, at least for now. Built to enable streamlined, cloud-based data management, this API leverages the GraphQL framework to access, retrieve, and manage data assets across projects. So what does that mean?
0. Some BasicsWhat’s an API?It’s not an Active Pharmaceutical Ingredient, in case you’re wondering. It stands for Application Programming Interface and it’s basically a set of protocols, tools, and definitions that allows software applications to communicate with each other. It acts as a bridge, enabling one program to request and access data or services from another. For example, when an app needs to fetch weather data or process a payment, it uses an API to communicate with the relevant service. APIs are essential for creating efficient, modular software systems, as they allow developers to integrate third-party functionalities. That’s according to the definition provided by IBM, at least.
What’s GraphQL?We’ll have to get deeper into it, but for now, let’s say that GraphQL is a query language for APIs that allows clients to request only the data they need, enhancing efficiency and flexibility in API interactions. This contrasts with traditional REST APIs, which typically return fixed data structures regardless of the client’s specific needs (see here for some differences). By enabling clients to specify the exact data fields they want in a single request, GraphQL improves data efficiency and reduces server load. This capability helps create more dynamic applications, particularly in complex environments where data requirements can vary significantly and addresses concerns such as the excessive consumption of data centres due to superfluous flux of data.
We’re all going to die, did I mention that?Expanding on that, we’re talking about the ability to prevent over-fetching and under-fetching of data. In REST, clients often need multiple requests to different endpoints to gather related data, leading to inefficiencies. In contrast, GraphQL allows clients to request all necessary data in one go, significantly reducing the number of requests made.
GraphQL also operates through a single endpoint, simplifying the API structure, and this is another difference from REST, which typically involves multiple endpoints corresponding to different resources. This single endpoint approach facilitates easier management and integration. Its ability to unify various systems behind a single API is particularly beneficial for organizations dealing with legacy infrastructure (which is that solution your previous boss bought thirty years ago before retiring and no one wants to shed because they’re still grieving his departure) or multiple microservices (which usually are your boss’s third cousin’s solution for a database, mildly integrated with that thing someone bought on eBay three years ago). It was developed by Facebook, I wonder why, and has gained widespread adoption due to its adaptability for complex applications, including those in AEC, and cloud-based environments. Other differences with REST are listed here.
This is not REST, but it sure is resting. (don’t look at me like that, I had to)1. What is the AEC Data Model API?Autodesk notes in its Developer’s Guide, “The AEC Data Model API provides a programmatic way to access and manage a variety of AEC project data, including design files, parameters, and metadata.” This versatility in data access makes the API valuable to integrate workflows with Autodesk’s services.
Some benefits of the AEC Data Model API include:
Unified data access across Autodesk’s AEC platformsEasy and flexible querying with GraphQLAccess to a variety of data points, such as project metadata, design elements, and change trackingSupport for custom data structures based on project needsCompared with the previous strategy, as explained by Martyn Day in this article, the key difference is granularity.
Changing the fundamental technology on which your applications and customers have built businesses on is not for the faint hearted. Keeping desktop software sales alive, while re-engineering filebased workflows to ones that are granular is like changing a car tyre at 90 miles an hour. With the release of this AEC data model API, we now have some insight as to how Autodesk will engineer the data model component.
Think about your thousands of Revit models sitting in your Common Data Environment. Yeah, they’re intelligent and information-rich when you open them, but they’re dumb as a rock while they’re sitting there and, let’s face it, you’ll never open them.
2. Why GraphQL?The AEC Data Model API uses GraphQL because of the qualities I illustrated before, mainly the capacity to request specific data elements rather than having to make multiple calls or parse through irrelevant data. And we all know how much irrelevant data is contained in a Revit model, don’t we?
GraphQL is well-suited for the complexities of these models, where users may want access to highly specific data points, like a particular component within a building. Autodesk’s documentation emphasizes that “GraphQL allows clients to precisely control the data they receive, reducing the need for multiple API calls.” For example, if a user wants to retrieve data on structural elements, the system can query only those elements directly, excluding unrelated elements, instead of querying the whole thing and then parsing out what wasn’t needed. This precision supports efficiency and reduces the load on both the API and the client-side application. At least that’s my understanding.
No more sifting3. Core Use Cases of the AEC Data Model APIThe AEC Data Model API is presented in relation to three key scenarios:
Data Aggregation Across Projects: firms working on multiple projects can use the API to gather insights across their portfolio, comparing data such as project timelines, resources, and design consistency, or it can be a lifesaver when, as it often happens, you have your project spreads through different spaces on ACC (because Firm A doesn’t trust either the technology or Firm B and each one has their own space);Cross-Platform Data Sharing: If teams are working on different Autodesk solutions, they could use the API to share data seamlessly across applications, though I’ve yet to see a user case for this;Automated Reporting and Tracking: the APIs are integrated with the resident reporting tools on Autodesk Construction Cloud, and they can be connected with local reporting tools an AEC firm might have.That’s at least according to the AEC API overview.
One of the standout features of the AEC Data Model API is its compatibility with Revit. As we know, a Revit model usually holds vast amounts of data related to building elements, and the AEC Data Model API facilitates access to this data. It might be data on specific components like walls, windows, or beams, or a collection of these elements. As I’ve highlighted before, the AEC Data Model API enables users to pull this data selectively, allowing them to focus on the exact elements that are relevant to their task.
Additionally, beyond Revit, the API extends to other Autodesk products within the AEC ecosystem, such as The Software Formerly Known As BIM 360, making it a versatile tool for firms that work across different platforms and making it easier to transition from BIM360 to the new Autodesk Construction Cloud, an issue I’ve heard from many companies in San Diego.
If you’re the type of person who enjoys videos (which I’m not), you can hear more about it from her.
5. It’s all Cloud-BasedThe AEC Data Model API is part of Autodesk’s broader push towards cloud-based solutions for the AEC industry, and I’m a big fan of that, don’t get me wrong. Cloud storage allows for real-time collaboration, with multiple users able to access and edit project data simultaneously, enables you to work from anywhere and provides built-in redundancies in ways you don’t have to worry (too much) about. It reduces the risk of data loss, as files are stored and backed up on Autodesk’s servers rather than on local drives, and if you think your servers are safer than the cloud, you’re really outdated, and there’s a bench somewhere for you to sit on.
This one is modelled in Revit (and supposedly parametric).This shift to the cloud aligns with the broader industry trend of digital transformation. I’m all for it. If, as I said before, we could find or at least look for a way for data centres not to kill us.
6. Getting StartedFor those interested in exploring the AEC Data Model API, Autodesk provides a Developer’s Guide with detailed instructions on setup, authentication, and API usage. The guide covers everything from accessing the API through Autodesk’s portal to using example queries to retrieve data. To begin working with the API, users must first register for an Autodesk Platform Services (APS) account. This account provides the necessary credentials to authenticate API requests, ensuring secure data access. Autodesk also offers a range of tutorials and sample code on its developer page, helping users get familiar with basic operations.
Or you could stick around, and we’ll see some of the possible applications together.
Notes from South Africa (1): People and History
After wrapping up a glorious Autodesk University in San Diego, I took a week off, and it was my now traditional week of vacation with my sommelier friend (see Madeira for reference). It’s our sixth long vacation together, and 4 out of six destinations were on the African continent. There are a few reasons for that, including my friend’s distrust of time zones that aren’t ours. Anyway, after a splendid trip in Egypt, this year we picked South Africa, mostly because of the wine, and I’m definitely not opposed to that, but wineries and wine tours aren’t the whole story down there, as I’m sure you know.
Since I’m very busy these days, I’ll split these notes into three parts:
people and history;nature and wildlife;food and wine.The first and the last will have overlaps, obviously, but that’s the best way I can manage right now.
If you’re sad, I’m not starting with the wildlife; you can have this penguin while you wait.1. People and HistorySouth Africa is undoubtedly one of the most important countries in the world when it comes to equality and civil rights. The Country’s background, though, is particular when it comes to Africa.
The earliest known inhabitants of what is now South Africa were the Khoisan peoples, in fact, consisting of the San, who were hunter-gatherers and the Khoikhoi, who were herders. Around 2000 years ago, Bantu-speaking peoples migrated in from the north and settled in many areas, integrating with the Khoisan people and leading to the emergence of new ethnic identities. The modern black population of South Africa largely descends from these Bantu-speaking groups, which include major ethnic groups such as the Zulu, Xhosa, Ndebele, and Sotho. Things got complicated when the Dutch established their trading post at the Cape of Good Hope in 1652, behaving towards the indigenous groups as the Dutch used to do and either displacing or killing many Khoisan people. When the European settlers decided a trading post wasn’t enough and colonized the inland, they had no desire to work the land themselves, as some Europeans were. There weren’t enough local people to oppress, so they decided to import them: people in slavery were brought in through the same routes that were deporting them to the New Continent.
This means that the black population is fundamentally a mix of descendants from local ethnicities and from slaves brought in from the Benin Blight area, giving society some characteristics you might find in the United States more than in Africa itself, as odd as it might sound.
It’s a fairly busy area.On top of that, the appalling set of rules we know as apartheid was finally neutralized in the 1990s, which is the day before yesterday. The country’s social advancement was very fast after Nelson Mandela’s release from prison in 1990: South Africa’s Constitution, adopted in 1996, enshrines a Bill of Rights against not only racial discrimination but firmly stands against discrimination based on gender, sexual orientation, and any other characteristic people might want to use as an excuse, some of which we’re still struggling to see explicitly mentioned in our legislation (see here, for instance, and remember it didn’t pass). South Africa was the first African country to legalize same-sex marriage in 2006.
Discrimination, though, is far from being over. The legacy of apartheid has increased the country’s awareness of civil rights on one side, but carries consequences that are difficult to tackle and, even when they are, might spur controversies such as the Restitution and Redistribution Laws aiming at both compensating individuals or communities who were forcibly removed from their land due to apartheid laws, and at transfer land from white owners to black South Africans, with a target set to redistribute 30% of white-owned agricultural land by 2014. Progress has been slow, as we’ll see in a jiffy.
Migrations also aren’t a thing of the past, with regional migrants from the Southern African Development Community and particularly Zimbabweans (45%), Basotho from Lesotho, and Mozambicans fleeing both environmental disasters and the armed conflicts between the Mashababos, an armed group linked to Islamic State, and joint local forces. For similar reasons, people are coming in from the Democratic Republic of Congo and Somalia: figures from 2022 speak of 66,596 refugees and 84,316 asylum seekers.
Xenophoby against these immigrants has been a rising problem, with local communities pushing back and segregating immigrants in slums and the local legislation making it difficult for them to find employment.
So here’s a list of stuff you should look into if this is a topic you’re interested in.
1.1. The District Six MuseumDistrict Six in Cape Town was established as early as 1867, and it’s located close to the city centre in Cape Town. The area immediately became a melting pot of cultures, drawing freed slaves, immigrants, merchants, artisans, and labourers, and over the years it evolved into a vibrant community characterized by a rich cultural diversity, with people of various ethnic backgrounds coexisting. The district was known for its lively music scene, diverse culinary traditions, and a strong sense of community and identity among its residents.
And some people didn’t like that.
The apartheid government declared the area a “whites-only” zone under the infamous Group Areas Act of 1950. Starting in 1966, forced removals displaced over 60,000 residents who were relocated to barren areas far from the city, such as the area known as the Cape Flats. Their homes were bulldozed, and the vibrant community that once defined District Six was systematically erased. The apartheid government intended to redevelop the area for white citizens, but significant portions remained undeveloped for decades as some buildings, like the hospital, stood isolated amidst the destruction.
In 1994, the District Six Museum was established to commemorate the community that was lost and to serve as a space for reflection and learning. The museum holds a wealth of photographs, captured histories of people, artifacts and art pieces, offering memories and stories of the lives impacted here.
1.2. Bo-KaapIn remembering we do not want
To recreate District Six
But to work with its memory:
Of hurts inflicted and received,
Of loss, achievements and of shames.
We wish to remember
So that we can all,
Together and by ourselves,
Rebuild a city
Which belongs to all of us,
In which all of us can live,
Not as races but as people.
Located on the slopes of Signal Hill, Bo-Kaap is one of the city’s most vibrant and culturally rich neighbourhoods and tourist guides will take you there to admire its famous colourful houses, but those colours are deeply rooted in history and reflect the struggles and triumphs of people in Cape Town, particularly the Cape Malay community.
The term “Cape Malay” in Cape Town refers to a diverse group of people who were primarily brought to South Africa as slaves and political exiles by the assholes from the Dutch East India Company. Many of these individuals came from Southeast Asia, particularly the Indonesian archipelago, as well as from parts of Africa, including Madagascar and East Africa, and what’s particular about them is the high number of people from an Islamic background, making the Cape Malay community one of the earliest Muslim communities in the country.
So what’s with the colours? Well, during the 1760s, rental houses known as huurhuisjes were built for slaves, and the authorities required them to be painted white. Exit the Dutch, enter the British. After the abolition of slavery in 1834, free slaves bought their homes, and many homeowners chose bright colours to express their conquered rights.
Looks like a wonderful celebration to me.The architecture of Bo-Kaap reflects a blend of Cape Dutch and Georgian styles, and many of the buildings in Bo-Kaap have been preserved as historical landmarks, but distinct Islamic influences can be seen in the area’s numerous mosques and minarets. Culturally speaking, the community’s Muslim identity is also an additional reason for the many beautiful pro-Palestine murals.
Pro-Palestine activists were also manifesting in the tourist area of the Waterfront, and that’s not surprising: though the Muslim population in Cape Town is estimated to be between 5% and 10% of the city’s total inhabitants, this amounts to approximately 60,000 to 120,000 fucking people, making them a significant minority. Besides, one should be manifesting against those atrocities even if they aren’t Muslim. And here’s your friendly reminder that over 16,700 children have died due to Israeli military operations in Gaza.
The murals complement other art expressions such as the elephant made of coffee capsules.
Langa is one of the oldest townships in Cape Town, established in 1927 under the 1923 Urban Areas Act and created as a segregated settlement for black South Africans during the apartheid era. The township’s name means “sun” in Xhosa, and it is derived from Langalibalele, literally “blazing sun”. He was an amaHlubi chief known for his resistance against colonial rule, and particularly for taking a stand against the British in November 1873.
Langa was developed as part of the apartheid government’s strategy to control and segregate the black population, and it initially served as a dormitory for male labourers working in Cape Town, with families living separately because this wasn’t shitty enough. Over time, laws required black and coloured people to have a pass, restricted movement and forced many to live in hostels. Langa became a focal point for resistance against apartheid policies. On March 30, 1960, Langa was the starting point for a march against pass laws, which saw thousands of residents mobilizing for their rights.
Strictly speaking, the Langa area is architecturally developed with the low buildings you see in the picture above, and it’s home to approximately 70,000 residents, primarily belonging to the Xhosa ethnic group but including other African nationalities such as Zimbabweans, Congolese, and Somalis.
Strictly speaking.
The N2 Gateway Housing Project, initiated in the early 2000s, aimed to provide affordable housing and improve living conditions for residents in the areas surrounding Langa, and if I put it like that you’ll have no fucking idea of what I’m actually talking about, because the urban developed area in Langa, with its 70,000 residents, is a drop of water in an ocean housing 2,4 fucking million of people, which by the way is little less than half of Cape Town overall population. They live in areas fancily called “informal settlements”, such as the Joe Slovo informal settlement from the early 1990s. What’s an informal settlement?
This.
“Informal settlement” doesn’t quite cut it.Characterized by high population density, these makeshift shacks lack basic amenities and suffer from inadequate sanitation, limited access to clean water, and poor infrastructure. They do have electricity, though, because television is a basic way to keep people submissive. Most of the structures are constructed from corrugated iron and other temporary materials, the best of which is concrete blocks, and I have no idea how fucking hot it can get in there during a South African summer. And how cold during winter, remember, ’cause the climate is temperate and Anctartica often sends its regards.
Now, let me be clear about this: if you’re a tourist, this area is NOT FOR YOU.
People aren’t curiosities and, regardless of the possible safety issues you’ll be warned against, it’s not respectful to treat them as such. I’m merely including the neighbourhood in my selection because you need to be aware of its existence and what it means today to comprehend Cape Town and South Africa. Else, you’ll come home with a very inaccurate idea based on the California-style Waterfront and North European architecture of the upper districts.
The Waterfront isn’t the whole story.1.4. The Noordhoek Farm VillageTalking about fake stuff, if you want to enjoy some outdoors away from the sea (for some reason), the Noordhoek Farm Village dates back to the 17th century when the area was originally inhabited by the Khoikhoi people, but you’re right if you’re thinking that Noordhoek sounds too Dutch to be Khoisan. The farm village took shape as the area abandoned its agricultural activities in favour of tourism, and it’s now presented as a mix between a tourist area and a community hub. You can have a proper coffee or listen to some live music at Café Roux, eat at the Foodbarn, which combines French and South African cuisine, have a beer at the Toad in the Village, or peruse the shops for some souvenirs. Nothing captured my attention as particularly independent or local, though I might be wrong. For some good shopping, I have a different recommendation for you.
Located in the tourist ghetto of the V&A Waterfront right next to the Time Out Market, the Watershed is a cornucopia of local artisans and artists gathered under the impressive 825-square-meter roof of a former warehouse. It hosts over 150 stalls, representing more than 365 brands of local craftsmanship and design. I had a blast with local indie jewellery makers, some of which were kind enough to share some thoughts with me and answer my questions on life, the universe, and everything else in Cape Town.
I got a couple of interesting things, including a statement neckpiece in cerulean blue fabric stripes and aluminium pull-tabs from used soda cans. But I’ll show you another time.
October 27, 2024
#Spoopktober 28: Nightmare-Touch
Yesterday I wrote that Lafcadio Hearn, who came to call himself Yakumo Koizumi, had been interested in the supernatural and the spooky way before he moved to Japan. Here’s an example of what I mean.
What is the fear of ghosts among those who believe in ghosts?
All fear is the result of experience,—experience of the individual or of the race,—experience either of the present life or of lives forgotten. Even the fear of the unknown can have no other origin. And the fear of ghosts must be a product of past pain.
Probably the fear of ghosts, as well as the belief in them, had its beginning in dreams. It is a peculiar fear. No other fear is so intense; yet none is so vague. Feelings thus voluminous and dim are super-individual mostly,—feelings inherited,—feelings made within us by the experience of the dead.
What experience?
Nowhere do I remember reading a plain statement of the reason why ghosts are feared. Ask any ten intelligent persons of your acquaintance, who remember having once been afraid of ghosts, to tell you exactly why they were afraid,—to define the fancy behind the fear;—and I doubt whether even one will be able to answer the question. The literature of folk-lore—oral and written—throws no clear light upon the subject. We find, indeed, various legends of men torn asunder by phantoms; but such gross imaginings could not explain the peculiar quality of ghostly fear. It is not a fear of bodily violence. It is not even a reasoning fear,—not a fear that can readily explain itself,—which would not be the case if it were founded upon definite ideas of physical danger. Furthermore, although primitive ghosts may have been imagined as capable of tearing and devouring, the common idea of a ghost is certainly that of a being intangible and imponderable.
Now I venture to state boldly that the common fear of ghosts is the fear of being touched by ghosts,—or, in other words, that the imagined Supernatural is dreaded mainly because of its imagined power to touch. Only to touch, remember!—not to wound or to kill.
But this dread of the touch would itself be the result of experience,—chiefly, I think, of prenatal experience stored up in the individual by inheritance, like the child’s fear of darkness. And who can ever have had the sensation of being touched by ghosts? The answer is simple:—Everybody who has been seized by phantoms in a dream.
Elements of primeval fears—fears older than humanity—doubtless enter into the child-terror of darkness. But the more definite fear of ghosts may very possibly be composed with inherited results of dream-pain,—ancestral experience of nightmare. And the intuitive terror of supernatural touch can thus be evolutionally explained.
Let me now try to illustrate my theory by relating some typical experiences.
When about five years old I was condemned to sleep by myself in a certain isolated room, thereafter always called the Child’s Room. (At that time I was scarcely ever mentioned by name, but only referred to as “the Child.”) The room was narrow, but very high, and, in spite of one tall window, very gloomy. It contained a fire-place wherein no fire was ever kindled; and the Child suspected that the chimney was haunted.
A law was made that no light should be left in the Child’s Room at night,—simply because the Child was afraid of the dark. His fear of the dark was judged to be a mental disorder requiring severe treatment. But the treatment aggravated the disorder. Previously I had been accustomed to sleep in a well-lighted room, with a nurse to take care of me. I thought that I should die of fright when sentenced to lie alone in the dark, and—what seemed to me then abominably cruel—actually locked into my room, the most dismal room of the house. Night after night when I had been warmly tucked into bed, the lamp was removed; the key clicked in the lock; the protecting light and the footsteps of my guardian receded together. Then an agony of fear would come upon me. Something in the black air would seem to gather and grow—(I thought that I could even hear it grow)—till I had to scream. Screaming regularly brought punishment; but it also brought back the light, which more than consoled for the punishment. This fact being at last found out, orders were given to pay no further heed to the screams of the Child.
Why was I thus insanely afraid? Partly because the dark had always been peopled for me with shapes of terror. So far back as memory extended, I had suffered from ugly dreams; and when aroused from them I could always see the forms dreamed of, lurking in the shadows of the room. They would soon fade out; but for several moments they would appear like tangible realities. And they were always the same figures…. Sometimes, without any preface of dreams, I used to see them at twilight-time,—following me about from room to room, or reaching long dim hands after me, from story to story, up through the interspaces of the deep stairways.
I had complained of these haunters only to be told thatI must never speak of them, and that they did not exist. I had complained to everybody in the house; and everybody in the house had told me the very same thing. But there was the evidence of my eyes! The denial of that evidence I could explain only in two ways:—Either the shapes were afraid of big people, and showed themselves to me alone, because I was little and weak; or else the entire household had agreed, for some ghastly reason, to say what was not true. This latter theory seemed to me the more probable one, because I had several times perceived the shapes when I was not unattended;—and the consequent appearance of secrecy frightened me scarcely less than the visions did. Why was I forbidden to talk about what I saw, and even heard,—on creaking stairways,—behind wavering curtains?
“Nothing will hurt you,”—this was the merciless answer to all my pleadings not to be left alone at night. But the haunters did hurt me. Only—they would wait until after I had fallen asleep, and so into their power,—for they possessed occult means of preventing me from rising or moving or crying out.
Needless to comment upon the policy of locking me up alone with these fears in a black room. Unutterably was I tormented in that room—for years! Therefore I felt relatively happy when sent away at last to a children’s boarding-school, where the haunters very seldom ventured to show themselves.
They were not like any people that I had ever known. They were shadowy dark-robed figures, capable of atrocious self-distortion,—capable, for instance, of growing up to the ceiling, and then across it, and then lengthening themselves, head-downwards, along the opposite wall. Only their faces were distinct; and I tried not to look at their faces. I tried also in my dreams—or thought that I tried—to awaken myself from the sight of them by pulling at my eyelids with my fingers; but the eyelids would remain closed, as if sealed…. Many years afterwards, the frightful plates in Orfila’s Traité des Exhumés, beheld for the first time, recalled to me with a sickening start the dream-terrors of childhood. But to understand the Child’s experience, you must imagine Orfila’s drawings intensely alive, and continually elongating or distorting, as in some monstrous anamorphosis.
Nevertheless the mere sight of those nightmare-faces was not the worst of the experiences in the Child’s Room. The dreams always began with a suspicion, or sensation of something heavy in the air,—slowly quenching will,—slowly numbing my power to move. At such times I usually found myself alone in a large unlighted apartment; and, almost simultaneously with the first sensation of fear, the atmosphere of the room would become suffused, half-way to the ceiling, with a sombre-yellowish glow, making objects dimly visible,—though the ceiling itself remained pitch-black. This was not a true appearance of light: rather it seemed as if the black air were changing color from beneath…. Certain terrible aspects of sunset, on the eve of storm, offer like effects of sinister color…. Forthwith I would try to escape,—(feeling at every step a sensation as of wading),—and would sometimes succeed in struggling half-way across the room;—but there I would always find myself brought to a standstill,—paralyzed by some innominable opposition. Happy voices I could hear in the next room;—I could see light through the transom over the door that I had vainly endeavored to reach;—I knew that one loud cry would save me. But not even by the most frantic effort could I raise my voice above a whisper…. And all this signified only that the Nameless was coming,—was nearing,—was mounting the stairs. I could hear the step,—booming like the sound of a muffled drum,—and I wondered why nobody else heard it. A long, long time the haunter would take to come,—malevolently pausing after each ghastly footfall. Then, without a creak, the bolted door would open,—slowly, slowly,—and the thing would enter, gibbering soundlessly,—and put out hands,—and clutch me,—and toss me to the black ceiling,—and catch me descending to toss me up again, and again, and again…. In those moments the feeling was not fear: fear itself had been torpified by the first seizure. It was a sensation that has no name in the language of the living. For every touch brought a shock of something infinitely worse than pain,—something that thrilled into the innermost secret being of me,—a sort of abominable electricity, discovering unimagined capacities of suffering in totally unfamiliar regions of sentiency…. This was commonly the work of a single tormentor; but I can also remember having been caught by a group, and tossed from one to another,—seemingly for a time of many minutes.
Whence the fancy of those shapes? I do not know. Possibly from some impression of fear in earliest infancy; possibly from some experience of fear in other lives than mine. That mystery is forever insoluble. But the mystery of the shock of the touch admits of a definite hypothesis.
First, allow me to observe that the experience of the sensation itself cannot be dismissed as “mere imagination.” Imagination means cerebral activity: its pains and its pleasures are alike inseparable from nervous operation, and their physical importance is sufficiently proved by their physiological effects. Dream-fear may kill as well as other fear; and no emotion thus powerful can be reasonably deemed undeserving of study.
One remarkable fact in the problem to be considered is that the sensation of seizure in dreams differs totally from all sensations familiar to ordinary waking life. Why this differentiation? How interpret the extraordinary massiveness and depth of the thrill?
I have already suggested that the dreamer’s fear is most probably not a reflection of relative experience, but represents the incalculable total of ancestral experience of dream-fear. If the sum of the experience of active life be transmitted by inheritance, so must likewise be transmitted the summed experience of the life of sleep. And in normal heredity either class of transmissions would probably remain distinct.
Now, granting this hypothesis, the sensation of dream-seizure would have had its beginnings in the earliest phases of dream-consciousness,—long prior to the apparition of man. The first creatures capable of thought and fear must often have dreamed of being caught by their natural enemies. There could not have been much imagining of pain in these primal dreams. But higher nervous development in later forms of being would have been accompanied with larger susceptibility to dream-pain. Still later, with the growth of reasoning-power, ideas of the supernatural would have changed and intensified the character of dream-fear. Furthermore, through all the course of evolution, heredity would have been accumulating the experience of such feeling. Under those forms of imaginative pain evolved through reaction of religious beliefs, there would persist some dim survival of savage primitive fears, and again, under this, a dimmer but incomparably deeper substratum of ancient animal-terrors. In the dreams of the modern child all these latencies might quicken,—one below another,—unfathomably,—with the coming and the growing of nightmare.
It may be doubted whether the phantasms of any particular nightmare have a history older than the brain in which they move. But the shock of the touch would seem to indicate some point of dream-contact with the total race-experience of shadowy seizure. It may be that profundities of Self,—abysses never reached by any ray from the life of sun,—are strangely stirred in slumber, and that out of their blackness immediately responds a shuddering of memory, measureless even by millions of years.
October 26, 2024
#Spooktober 27: Gothic Horror
When we talk about Lafcadio Hearn we often think of his folklore stories, but he also wrote a whole bunch of other stuff, and he has been fascinated by the supernatural and the macabre long before he moved to Japan. This is one of them.
Long before I had arrived at what catechisms call the age of reason, I was frequently taken, much against my will, to church. The church was very old; and I can see the interior of it at this moment just as plainly as I saw it forty years ago, when it appeared to me like an evil dream. There I first learned to know the peculiar horror that certain forms of Gothic architecture can inspire…. I am using the word “horror” in a classic sense,—in its antique meaning of ghostly fear.
On the very first day of this experience, my child-fancy could place the source of the horror. The wizened and pointed shapes of the windows immediately terrified me. In their outline I found the form of apparitions that tormented me in sleep;—and at once I began to imagine some dreadful affinity between goblins and Gothic churches. Presently, in the tall doorways, in the archings of the aisles, in the ribbings and groinings of the roof, I discovered other and wilder suggestions of fear. Even the façade of the organ,—peaking high into the shadow above its gallery,—seemed to me a frightful thing…. Had I been then suddenly obliged to answer the question, “What are you afraid of?” I should have whispered, “Those points!” I could not have otherwise explained the matter: I only knew that I was afraid of the “points.”
Of course the real enigma of what I felt in that church could not present itself to my mind while I continued to believe in goblins. But long after the age of superstitious terrors, other Gothic experiences severally revived the childish emotion in so startling a way as to convince me that childish fancy could not account for the feeling. Then my curiosity was aroused; and I tried to discover some rational cause for the horror. I read many books, and asked many questions; but the mystery seemed only to deepen.
Books about architecture were very disappointing. I was much less impressed by what I could find in them than by references in pure fiction to the awfulness of Gothic art,—particularly by one writer’s confession that the interior of a Gothic church, seen at night, gave him the idea of being inside the skeleton of some monstrous animal; and by a far-famed comparison of the windows of a cathedral to eyes, and of its door to a great mouth, “devouring the people.” These imaginations explained little; they could not be developed beyond the phase of vague intimation: yet they stirred such emotional response that I felt sure they had touched some truth. Certainly the architecture of a Gothic cathedral offers strange resemblances to the architecture of bone; and the general impression that it makes upon the mind is an impression of life. But this impression or sense of life I found to be indefinable,—not a sense of any life organic, but of a life latent and dæmonic. And the manifestation of that life I felt to be in the pointing of the structure.
Attempts to interpret the emotion by effects of altitude and gloom and vastness appeared to me of no worth; for buildings loftier and larger and darker than any Gothic cathedral, but of a different order of architecture,—Egyptian, for instance,—could not produce a like impression. I felt certain that the horror was made by something altogether peculiar to Gothic construction, and that this something haunted the tops of the arches.
“Yes, Gothic architecture is awful,” said a religious friend, “because it is the visible expression of Christian faith. No other religious architecture symbolizes spiritual longing; but the Gothic embodies it. Every part climbs or leaps; every supreme detail soars and points like fire….” “There may be considerable truth in what you say,” I replied;—”but it does not relate to the riddle that baffles me. Why should shapes that symbolize spiritual longing create horror? Why should any expression of Christian ecstasy inspire alarm?…”
Other hypotheses in multitude I tested without avail; and I returned to the simple and savage conviction that the secret of the horror somehow belonged to the points of the archings. But for years I could not find it. At last, at last, in the early hours of a certain tropical morning, it revealed itself quite unexpectedly, while I was looking at a glorious group of palms.
Then I wondered at my stupidity in not having guessed the riddle before.
The characteristics of many kinds of palm have been made familiar by pictures and photographs. But the giant palms of the American tropics cannot be adequately represented by the modern methods of pictorial illustration: they must be seen. You cannot draw or photograph a palm two hundred feet high.
The first sight of a group of such forms, in their natural environment of tropical forest, is a magnificent surprise,—a surprise that strikes you dumb. Nothing seen in temperate zones,—not even the huger growths of the Californian slope,—could have prepared your imagination for the weird solemnity of that mighty colonnade. Each stone-grey trunk is a perfect pillar,—but a pillar of which the stupendous grace has no counterpart in the works of man. You must strain your head well back to follow the soaring of the prodigious column, up, up, up through abysses of green twilight, till at last—far beyond a break in that infinite interweaving of limbs and lianas which is the roof of the forest—you catch one dizzy glimpse of the capital: a parasol of emerald feathers outspread in a sky so blinding as tosuggest the notion of azure electricity.
Now what is the emotion that such a vision excites,—an emotion too powerful to be called wonder, too weird to be called delight? Only when the first shock of it has passed,—when the several elements that were combined in it have begun to set in motion widely different groups of ideas,—can you comprehend how very complex it must have been. Many impressions belonging to personal experience were doubtless revived in it, but also with them a multitude of sensations more shadowy,—accumulations of organic memory; possibly even vague feelings older than man,—for the tropical shapes that aroused the emotion have a history more ancient than our race.
One of the first elements of the emotion to become clearly distinguishable is the æsthetic; and this, in its general mass, might be termed the sense of terrible beauty. Certainly the spectacle of that unfamiliar life,—silent, tremendous, springing to the sun in colossal aspiration, striving for light against Titans, and heedless of man in the gloom beneath as of a groping beetle,—thrills like the rhythm of some single marvellous verse that is learned in a glance and remembered forever. Yet the delight, even at its vividest, is shadowed by a queer disquiet. The aspect of that monstrous, pale, naked, smooth-stretching column suggests a life as conscious as the serpent’s. You stare at the towering lines of the shape,—vaguely fearing to discern some sign of stealthy movement, some beginning of undulation. Then sight and reason combine to correct the suspicion. Yes, motion is there, and life enormous—but a life seeking only sun,—life, rushing like the jet of a geyser, straight to the giant day.
During my own experience I could perceive that certain feelings commingled in the wave of delight,—feelings related to ideas of power and splendor and triumph,—were accompanied by a faint sense of religious awe. Perhaps our modern æsthetic sentiments are so interwoven with various inherited elements of religious emotionalism that the recognition of beauty cannot arise independently of reverential feeling. Be this as it may, such a feeling defined itself while I gazed;—and at once the great grey trunks were changed to the pillars of a mighty aisle; and from altitudes of dream there suddenly descended upon me the old dark thrill of Gothic horror.
Even before it died away, I recognized that it must have been due to some old cathedral-memory revived by the vision of those giant trunks uprising into gloom. But neither the height nor the gloom could account for anything beyond the memory. Columns tall as those palms, but supporting a classic entablature, could evoke no sense of disquiet resembling the Gothic horror. I felt sure of this,—because I was able, without any difficulty, to shape immediately the imagination of such a façade. But presently the mental picture distorted. I saw the architrave elbow upward in each of the spaces between the pillars, and curve and point itself into a range of prodigious arches;—and again the sombre thrill descended upon me. Simultaneously there flashed to me the solution of the mystery. I understood that the Gothic horror was a horror of monstrous motion,—and that it had seemed to belong to the points of the arches because the idea of such motion was chiefly suggested by the extraordinary angle at which the curves of the arching touched.
To any experienced eye, the curves of Gothic arching offer a striking resemblance to certain curves of vegetal growth;—the curves of the palm-branch being, perhaps, especially suggested. But observe that the architectural form suggests more than any vegetal comparison could illustrate! The meeting of two palm-crests would indeed form a kind of Gothic arch; yet the effect of so short an arch would be insignificant. For nature to repeat the strange impression of the real Gothic arch, it were necessary that the branches of the touching crests should vastly exceed, both in length of curve and strength of spring, anything of their kind existing in the vegetable world. The effect of the Gothic arch depends altogether upon the intimation of energy. An arch formed by the intersection of two short sprouting lines could suggest only a feeble power of growth; but the lines of the tall mediæval arch seem to express a crescent force immensely surpassing that of nature. And the horror of Gothic architecture is not in the mere suggestion of a growing life, but in the suggestion of an energy supernatural and tremendous.
Of course the child, oppressed by the strangeness of Gothic forms, is yet incapable of analyzing the impression received: he is frightened without comprehending. He cannot divine that the points and the curves are terrible to him because they represent the prodigious exaggeration of a real law of vegetal growth. He dreads the shapes because they seem alive; yet he does not know how to express this dread. Without suspecting why, he feels that this silent manifestation of power, everywhere pointing and piercing upward, is not natural. To his startled imagination, the building stretches itself like a phantasm of sleep,—makes itself tall and taller with intent to frighten. Even though built by hands of men, it has ceased to be a mass of dead stone: it is infused with Something that thinks and threatens;—it has become a shadowing malevolence, a multiple goblinry, a monstrous fetish!
Things to do in San Diego
Should you ever go down there, let’s say for the 2025 Esri User Conference, I’ve got you covered.
1. The USS Midway and the Museum of the SeaI’m not sure it’s actually worth it going inside the museums unless you’ve got time to spare (which we didn’t) and you’re really passionate about going aboard the ships and submarine, but it’s worth at least taking a stroll on the seaside. The massive Midway (CV-41) is an aircraft carrier commissioned on September 10, 1945, eight days after the end of World War II, and it was the largest warship in the world at that time. It could carry over 100 aircraft with a crew of more than 4,000, and it never lost a man in warfare till it was decommissioned on April 11, 1992. It was the first carrier to operate in sub-Arctic conditions during Operation Frostbite in 1946 and launched a captured German V-2 rocket from its deck the next year, during Operation Sandy.
The Maritime Museum of San Diego is located along the San Diego Embarcadero, walking north from the Gaslamp District, and it features ships like the Star of India, the oldest active sailing ship in the world, the USS Dolphin, the diesel-electric submarine holding the record for the deepest dive ever, a replica of the ship that arrived in San Diego Bay in 1542, and a replica of the Royal Navy frigate HMS Surprise. Yes, it’s the one from Master and Commander.
Located in the historic Old Fire Station No. 6 in Little Italy, this small museum is overpacked with jewels. From La Jolla’s first fire engine to a horse-drawn steamer, from Black Joke (a carriage with a live, coal-fueled fire under the steamer) to the Mankiller that was drawn by the same people who were supposed to put the fire out. We had a delightful visit with a retired firefighter telling us stories and insights on the different exhibits, including fun little facts like the origin of the 2003 firestorm (imagine being that guy) and the story behind cast-iron insurance plaques on the side of buildings. My pictures are awful because at this point I was reduced to taking them with my iPad, like some elderly lady, and they don’t render justice to the awesomeness of this place. Click on them to enlarge them. At your own risk.
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I’ve already said it, and I’ll say it again: you must go to see the seals. Not the Navy Seals, as I thought the first time a local friend brought me, and mind I wouldn’t have been against it: these are actual, wild seals and sea lions, chilling on the beach. And people will tell you they smell, I know, but dude: they are WILD SEALS. Chilling on the beach. Two feet from you. With their CUBS. They can smell how much they want. And I’m sure they think you smell too.
The place also has a merchandise shop where I bought a brass and moonstone pendant of a Mind Flayer, therefore I’m happy.
To be fair, I’m not sure that was the creator’s intention, but come on, look at it.
Do you like trains, models and silly details in dioramas? You’ll spend half a day here: from a guy unloading a dinosaur to references to movies and TV, animals and people doing weird stuff, and a whole Halloween section.
The museum is located in Balboa Park, a must-see in itself and the location of many other cool places to visit, and it was established in 1982. It spans over 27,000 square feet, making it the largest model railroad museum in North America, and it contains many layouts that depict California’s rail history, including the Tehachapi Pass (the Southern Pacific and Santa Fe mountain railroads from Bakersfield to Mojave during the 1950s), the Cabrillo Southwestern which is in fact a fictional route from San Diego to Sacramento, the San Diego and Arizona Eastern Railway line from San Diego Union Station through Carriso Gorge to El Centro, the Pacific Desert Lines based on a surveyed but never constructed rail line, and the recent addition of the Centennial Railway Garden.
Yes, this guy is unloading a dinosaur.
Yes, that’s *the* DeLorean.
Some other weird shit going down.
Who remembers this?5. The Museum of UsFormerly the Museum of Man, it’s located in Balboa Park and it’s worth a visit not only because of the exhibitions in themselves but because of the approach to many of them, particularly the ones focused on indigenous cultures. Basically it’s a museum of how we sucked and we’re trying to do better.
Originally established as part of the Panama-California Exposition in 1915, this anthropology museum started with the “Story of Man through the Ages” exhibit at the Exposition, organized by archaeologist Dr. Edgar Lee Hewett, and currently features a wide range of exhibits that explore various aspects of human culture and history, starting with Beerology, a history of beer and a homage to San Diego’s rich brewing landscape.
Even more interesting are the sections on the Maya Civilization and the Kumeyaay Culture, which previously presented these two people as people from the past, extinct history. This of course perpetuates the erasure of people we tried to kill and are very much alive despite our best efforts. The museum liaisons with consultants from those cultures, now, and the storytelling is modified to reflect their history in a way that’s respectful and mindful of their present, instead of picturing them as a thing of the past. Which is long overdue.
Other interesting exhibits in the museum are an installation on the migration that’s taking place across the border of Mexico, one on the role of animals in our house, either as pets or pests, and a display of people telling secrets to a random guy through postcards. Some pretty intense stuff.
There’s also an Egyptian section, because why not.
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I’m partial to Natural History museums, especially when they have dioramas of animals and you can hunt for little details. If this is what you like too, you’ll like “The Nat” in Balboa Park, the oldest scientific institution in Southern California. It was founded in 1874, in fact, though the current building, designed by architect William Templeton Johnson, was dedicated in 1933 and it was renovated in 2001, almost doubling its extension.
The permanent exhibit highlighting the biodiversity of Southern California, called Coast to Cactus, was particularly enjoyable as I arrived prepared on stuff like the Chaparral and the Vernal Pool from playing Montrose Biology’s card games. I felt very wise and knowledgeable. There’s also a lot of dinosaurs, from Al the Allosaurus to Meg the Megalodon, the statue of a baby elephant and the statue of a baby sea cow. And a bear with two cubs. What else do you want?
7. The Air & Space Museum
Another of the ones in Balboa Park, the museum is recognized as California’s official air and space museum and is an affiliate of the Smithsonian Institution. It was established in 1963 and has loads of stuff, from the Apollo 9 Command Module (Gumdrop) to the Montgomery 1911 Evergreen glider, going into World War I aircrafts and back into the earlier years of flight, with stuff like the Spirif ot Saint Louis. And yes, that’s a Fokker. Curse you, Red Baron!
October 25, 2024
#Spooktober 26: The Corpse-Rider
The body was cold as ice; the heart had long ceased to beat, yet there were no other signs of death. Nobody even spoke of burying the woman. She had died of grief and anger at having been divorced. It would have been useless to bury her,—because the last undying wish of a dying person for vengeance can burst asunder any tomb and rift the heaviest graveyard stone. People who lived near the house in which she was lying fled from their homes. They knew that she was only waiting for the return of the man who had divorced her.
At the time of her death, he was on a journey. When he came back and was told what had happened, terror seized him. “If I can find no help before dark,” he thought to himself, “she will tear me to pieces.” It was yet only the Hour of [Pg 34]the Dragon, but he knew that he had no time to lose.
He went at once to an inyōshi and begged for succour. The inyōshi knew the story of the dead woman, and he had seen the body. He said to the supplicant:—”A very great danger threatens you. I will try to save you. But you must promise to do whatever I shall tell you to do. There is only one way by which you can be saved. It is a fearful way. But she will tear you limb from limb unless you find the courage to attempt it. If you can be brave, come to me again in the evening before sunset.” The man shuddered, but he promised to do whatever should be required of him.
At sunset the inyōshi went with him to the house where the body was lying. The inyōshi pushed open the sliding-doors, and told his client to enter. It was rapidly growing dark. “I dare not!” gasped the man, quaking from head to foot;—”I dare not even look at her!” “You will have to do much more than look at her,” declared the inyōshi;—”and you promised to obey. Go in!” He forced the trembler into the house and led him to the side of the corpse.
The dead woman was lying on her face. “Now you must get astride upon her,” said the inyōshi, “and sit firmly on her back, as if you were riding a horse… Come!—you must do it!” The man shivered so that the inyōshi had to support him—shivered horribly; but he obeyed. “Now take her hair in your hands,” commanded the inyōshi,—”half in the right hand, half in the left…. So!… You must grip it like a bridle. Twist your hands in it—both hands—tightly. That is the way!… Listen to me! You must stay like that till morning. You will have reason to be afraid in the night—plenty of reason. But whatever may happen, never let go of her hair. If you let go,—even for one second,—she will tear you into gobbets!”
The inyōshi then whispered some mysterious words into the ear of the body, and said to its [Pg 36]rider:—”Now, for my own sake, I must leave you alone with her…. Remain as you are!… Above all things, remember that you must not let go of her hair.” And he went away,—closing the doors behind him.
Hour after hour the man sat upon the corpse in black fear;—and the hush of the night deepened and deepened about him till he screamed to break it. Instantly the body sprang beneath him, as to cast him off; and the dead woman cried out loudly, “Oh, how heavy it is! Yet I shall bring that fellow here now!”
Then tall she rose, and leaped to the doors, and flung them open, and rushed into the night,—always bearing the weight of the man. But he, shutting his eyes, kept his hands twisted in her long hair,—tightly, tightly,—though fearing with such a fear that he could not even moan. How far she went, he never knew. He saw nothing: he heard only the sound of her naked feet in the dark,—picha-picha, picha-picha,—and the hiss of her breathing as she ran.
At last she turned, and ran back into the house, and lay down upon the floor exactly as at first. Under the man she panted and moaned till the cocks began to crow. Thereafter she lay still.
But the man, with chattering teeth, sat upon her until the inyōshi came at sunrise. “So you did not let go of her hair!”—observed the inyōshi, greatly pleased. “That is well … Now you can stand up.” He whispered again into the ear of the corpse, and then said to the man:—”You must have passed a fearful night; but nothing else could have saved you. Hereafter you may feel secure from her vengeance.”
The conclusion of this story I do not think to be morally satisfying. It is not recorded that the corpse-rider became insane, or that his hair turned white: we are told only that “he worshipped the inyōshi with tears of gratitude.” A note appended to the recital is equally disappointing. “It is reported,” the Japanese author says, “that a grandchild of the man [who rode the corpse] still survives, and that a grandson of the inyōshi is at this very time living in a village called Otokunoi-mura [probably pronounced Otonoi-mura].”
This village-name does not appear in any Japanese directory of to-day. But the names of many towns and villages have been changed since the foregoing story was written.
This weird tale is a retelling by Lafcadio Hearn of a tale he took from the Konséki-Monogatari.
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