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By the spring of 1945, he had seen further. He saw that the bombs would be used on cities. And he realized that to murder vast numbers of innocent civilians in the hope that it might make repetition of the crime less likely was immoral. The deaths would be certain. The future benefit was only hypothetical.

I think you give the wartime decision-makers too much credit in suggesting that their statements about the bomb were trying to preserve ambiguity. I think that any ambiguity reflects only their muddled thinking. As they marveled at the power of the bomb, the vast ocean of its implications lay undiscovered all around them.

As for the common perception that Hiroshima and Nagasaki created a moral barrier to future use of the bomb, I think that there is more truth to the opposite view. All the war-planning of the nuclear arms race was based on the assumption that using nuclear weapons on cities was legitimate. In other words, the nuclear arms race was predicated on the precedents of Hiroshima and Nagasaki. To this day, the USA hasn’t renounced or condemned such use.

says:
March 6, 2015 at 4:56 pm

Thanks for the feedback, Gene. I am not trying to say they were trying to preserve ambiguity actively —I am saying what you are saying that their own thinking was ambiguous and not yet “settled.”

says:
March 6, 2015 at 4:41 pm

Another fine post, Alex. I am a fan of John Dower’s work. I recommend Embracing Defeat: Japan in the Wake of World War II. The argument that doesn’t show up very much in these debates, but that I find persuasive, is this: Truman, Stimson and the rest were intent to do their utmost to end the war as quickly as possible. They, more than anyone, were acutely aware of the casualty counts. And what was in store the longer the war in the Pacific dragged on. Any argument that would have delayed a surrender would have been — and was — a very tough sell. MK

says:
March 6, 2015 at 4:55 pm

Hi Michael: I hope you are well! While there is no doubt that they wanted a swift end to the war, there is the question of how much they thought the atomic bomb would help with this, and how to optimally achieve this, and how to weigh that need against all of their other desires (e.g. re: the demands for unconditional surrender, which is an area where Stimson and Truman disagreed deeply). It is a complex issue, and they were trying to come up with the right solution for both the near and far time horizons.

says:
March 6, 2015 at 9:09 pm

I wonder: Did the US consider nuking an already devastated city like Tokyo or Osaka as a demo?

says:
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The Target Committee ruled out nuking already-bombed cities because they didn’t think it would provide much “demonstration.” And I would note that Tokyo was still probably the most populous city in Japan in 1945 (3 million or so), even after all of that bombing and death.

view trailer get the film

Order CLOUDSon a glass etched flashdrive. This collectible edition includes expanded features and offline viewing. $50

System Requirements: Windows 8+ / Mac OS X 10.9+Intel HD Graphics 4200 or faster4 Gigs of RAMmore Watch in Virtual Reality with Oculus Rift on PC

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Downloadthe CLOUDS Application to watch instantly. This complete version streams from the internet. $10

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Open source available on

Fernanda Viegas

Follow your curiosity throughover ten hours of interviews

Explore the network

Space Junk visualization,oneof many interactive graphicscontained withinCLOUDS

CLOUDS contains over 70 real timeVisual Systems, such as this

Fernanda Viegas

Follow your curiosity throughover ten hours of interviews

A generation of artists and hackers have emerged on the internet using open source technologies for experiments in art and design.

CLOUDS is an interactive documentary and a portrait of this community of digital pioneers, explored through the lens of code. The project asks questions about the future of creativity at a time when algorithms play an important role in shaping culture.

People featured in the film include 40 artists, designers and hackers who participate in the co-creation of free tools for creative expression: Processing and openFrameworks. Reflecting the story of these online communities, the software behind CLOUDS was built in C++ using openFrameworks, and includes real-time interactive visualizations by the artists featured in the documentary.

In its revolutionary hybrid format, somewhere between a documentary, a videogame, and data visualization, CLOUDS allows viewers to navigate a web of ideas. It uses a data-driven Story Engine to present an endless ever-changing conversation, where artists co-exist with their code, presented through real-time interactive visual systems and lush 3D environments.

The project has been presented at prestigious film festivals and museum exhibitions as both an installation and a cinematic experience for a live audience. It’s as a software application for audiences at home to download and explore on their personal computers, OS X or PC, with the option of viewing in Oculus VR. The techniques explored in CLOUDS suggest a possible future of storytelling that brings interactive graphics, visual effects and cinema closer together.

In the mid 90s, John Maeda led the Aesthetics and Computation Group at the MIT Media Lab: a space for artists and designers experimenting with software. In 2001, Maeda’s students Casey Reas and Ben Fry built the foundations of Processing, a java toolkit for artists and designers creating work for the web. Over the next decade, Processing was widely adopted as a teaching tool in universities to introduce students to the art of creative coding, while gaining popularity among professional artists for designing interactive graphics and generative art. In 2005, a C++ language called openFrameworks was initiated by Zach Lieberman, Theo Watson and Arturo Castro. OF was inspired by Processing, while designed for faster real-time 3D graphics, and interactive installations using advanced computer vision. OF is now a popular tool for commercial interactive art and non-commercial projects alike. Both Processing and OF remain completely free and open relying on contributions and code addons from communities of individuals around the world who collaboratively build these software libraries using online repositories such as GitHub. As an international phenomenon, popular in North and South America, Japan and Europe, creative coding is broadly considered the first global art movement of the internet age.

Independent non-profit labs, such as the Studio for Creative Inquiry at Carnegie Mellon, led by Golan Levin, and Eyebeam Art + Technology Center in New York, have supported the work of these open source communities, and supported this documentary.

Code, Creativity and Immersion

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