The work of Dutch fashion designer Iris van Herpen, whose designs have been worn by the likes of Lady Gaga and Bjork, are being featured in the Groningen Museum in the Netherlands. van Herpen uses 3-D printing to make dresses like this one:
(you can see a model actually wearing it in the video above)
I wonder if this remains true even if the test subject is just carrying a gun, but not holding it in their hands (ie, if it applies to cops with holstered guns):
The researchers varied the situation in each experiment – such as the having the people in the images sometimes wear ski masks, changing the race of the person in the image or changing the reaction subjects were to have when they perceived the person in the image to hold a gun. Regardless of the situation the observers found themselves in, the study showed that responding with a gun biased observers to report “gun present” more than did responding with a ball. Thus, by virtue of affording the subject the opportunity to use a gun, he or she was more likely to classify objects in a scene as a gun and, as a result, to engage in threat-induced behavior, such as raising a firearm to shoot.
I’ve seen some skeptical comments questioning whether firearm training would reduce this effect. But Scientific American reports in its coverage of this study that 1/4 of all police shooting involve unarmed suspects. Police receive more than a little (though some argue not enough) firearm training.
The AP also covered the story and notes: “Past research suggests that people can be more likely to perceive a poorly seen object as a gun if it’s held by a black person than by a white person, experts say.”
A series of informative posters detailing how some of the most notable drum sequences were programmed using the Roland TR-808 Drum Machine. Each sequence has been analyzed and represented as to allow users to re-programme each sequence, key for key.
If you would like an A3 print please send a mail to firstname.lastname@example.org and I will email you as soon as some become available.
King City by Brandon Graham is a comic book about a guy named Joe and his cat Earthling in a far future metropolis run by spy gangs and evil sorcerers. It’s full of weird drugs, black magic, luchador masks and oddball humor.
This month Image Comics published a collection of all 12 issues of King City, which was originally serialized from 2007 to 2010. After a battle with testicular caner Graham literally gave his left nut to finish the book. He’s now working on Prophet for Image and Multiple Warheads for Oni Press. I caught-up with him to talk about Moebius, graffiti, technology in science fiction and more.
How many details about the city were conceived in advance? Did you create maps, or list of facts and details about the world the book takes place in, or did you just make it up as you went along?
I had some rough ideas about the characters but I pretty much made up the city as I went along. I was always trying to base places off of somewhere I’d been. I think of Joe and Pete’s place in the 2nd half of KC as being in Seattle’s China town. The diner where Pete meets Exiekiel to get information about the alien lady was me trying to draw a diner in Queens.
King City, to me anyway, has a very spontaneous feel. I imagine you just making up each page as you went along, packing them with as much detail as possible. Or did you have a more structured plan for each issue?
I had a real rough structure for everything but I try to allow for a lot of drawing what I’m in the mood to draw. And I usually lay out the book in 4 or 5 page chunks as I go along.
It’s nice to just follow your mood with a page and try to find new ways to stay interested in what you’re doing. I like to think about what’ll be fun to draw on the next page forcing me to speed up on what I’m doing because I’m so excited about what’s next. And then there’s days where I’m just not thinking about what comes next and I’m just having fun making lines on paper.
King City appears to take place in the far future, and there are references to certain technological advances like nanotechnology. But in some ways it seems really low tech – I’m not sure we ever see anyone use a cell phone or the Internet. For example, Anna seems to have no way of reaching Joe or Pete remotely, she has to walk to their apartment to find Joe. Did you consciously decide to avoid having the characters use certain technologies or was this just the way the story worked out?
Yeah, it was on purpose. I avoid certain things like cell phones or the Internet or anything too modern that would seem dated really soon. I was trying to make it feel like it was happening now but with all the sci-fi fantasy elements I felt like throwing in. Excluding all the crazy sci-fi-ery, the technology is probably at the technological level of the early 1990’s because that’s about what I can wrap my head around.
I think a lot about different eras of science fiction and how they portrayed the future. The sci-fi that reflects modern technology seems sleeker and smaller, and it makes sense but it doesn’t look as cool to me. I’m a big fan of the look of big clunky utilitarian 70’s sci-fi. But maybe KC is “20 minutes in the future” of 1992.
Graham’s tribute to Moebius
King City actually reminds me a lot L’Incal by Jodorowsky and Moebius and other old European sci-fi/fantasy comics. Moebius recently passed away, can you talk about his influence?
Yeah, Moebius is probably the artist whose work has influenced me the most. Him and Howarth, Shirow and Barlow. I like the Incal all right, but I’m really obsessed with the work he did alone.
I feel like he took a lot of the freedoms American underground comics were doing in the 60s and pushed them to a whole new level adding all kinds of elements from science fiction novels and really creating something new.
I’ve always been so impressed by the joy he seemed to put into everything he did. His comics read like he’s having a great time working on them and the nerve in some of the stuff he pulled off is fantastic. How he’d allow himself to change a character’s look so dramatically in the middle of a story or jump from something completely serious to the ridiculous. I could go on forever about all the elements of his work and his life that have impressed me.
I know you haven’t done graffiti in a long time, but did being involved in the graffiti scene in Seattle as a kid affect the way you perceive the urban environment? Do you think you’d draw cities the same way if you hadn’t been a part of that?
Yeah, I think it definitely affected how I think about cities, certainly the way you interact with your environment when you’re running around drawing on it. It’s nice to be able to fuck with the world around you – changing signs or just writing a response to an ad directly on the ad or having to draw something to fit on the surface you’re drawing on.
Bigger than that, I think graffiti really influenced how I think about the scene I’m in.
Can you expand on that?
The graff writers I was around really pushed the idea that the culture has to be treated with a fair amount of respect. You’re expected to know the history and you have to earn your place in it.
I think the comic industry gets dirty because people make the excuse that it’s a job. For me it’s that if it’s where I’m going to spend my life then I want to make it a scene that I’m proud of.
The pillars of hip hop influenced you when you were younger – what, outside of comics, influences you now?
Still a lot of hip hop, I think in the last couple years the wordplay in rap has really driven a lot of what I put into my stuff.
I think I’ve been really influenced by some of the authors I’ve been reading. Robert Heinlein’s way of rethinking the way future relationships work and his whole out look on life being so different from mine. I’ve been influenced with how William Gibson structures his books and certainly the way Haruki Murakami writes about food and music.
My misses Marian has been a huge influence as well. She’s coming at art from a much more fine art/literary way of looking at it than I was used to. She’s really good at challenging my ideas and helping me think about what it means to be a life long artist and how I talk about art. A big thing I learned from her early on was the idea of talking about the quality of work not from a “this is the best” but rather “this is my favorite”.
Prophet cover by Graham’s wife Marian Churchland
Given the amount of improvisation in your work on King City, how different is it to be a writer, instead of an artist, on Prophet?
The whole approach is pretty different. It puts a lot of the weight on the guy drawing it, plus we go back and forth on the layouts and script. I do the text after the art is done so there’s lots of room to improvise.
I think it uses the same skills that I use in my solo work but it feels like a different animal.
Other than Prophet what are you working on?
My main thing is Multiple Warheads that’ll be coming out later this year from Oni press. It’s a fantasy comic set in a fictional Russia. and I’m putting together an 80 page book of my sketches.
For a while now, I’ve been collecting images and things that seem to approach a new aesthetic of the future, which sounds more portentous than I mean. What I mean is that we’ve got frustrated with the NASA extropianism space-future, the failure of jetpacks, and we need to see the technologies we actually have with a new wonder. Consider this a mood-board for unknown products.
Bruce Sterling described it as sort of an antidote to atemporality.
Matt “Black Belt” Jones wrote this in response, proposing “sensor vernacular” as the new future vibe:
I guess – like NASA imagery – it doesn’t acquire that whiff-of-nostalgia-for-a-lost-future if you don’t remember it from the first time round. For a while, anyway. […]
There’s both a nowness and nextness to Sensor-Vernacular.
I think my attraction to it – what ever it is – is that these signals are hints that the hangover of 10 years of ‘war-on-terror’ funding into defense and surveillance technology (where after all the advances in computer vision and relative-cheapness of devices like the Kinect came from) might get turned into an exuberant party.
I like Bridle’s stuff, but it’s hard for me to feel like it’s a truly new aesthetic. The fashion bits look like electro revival scene style from the 00s that continue to be popular today, which is itself a revival of 80s electro, hip-hop and synthpop. And 8-bit already got a revival in the 90s and 00s, and of course that was all 80s nostalgia. Glitch still felt vital in the early 00s, but it’s by now passe (and it was all probably predated by Amiga stuff anyway). A lot of this stuff Bridle is rounding up still feels like retrofuturism rather than something new. We’ve had steampunk and dieselpunk and atompunk, so now it’s pixelpunk. We’re about to hit full circle and have retro-cyberpunk complete with VR headsets and Power Gloves.
And as to sensor vernacular, does that feel like “the Future”? Not to me. This machine vision stuff has been coming to us for a long time, with Terminator, Predator, Until the End of the World, etc. We’ve seen visions of the future where computers triggered by sensors, voice driven computers, unmanned aircraft for decades now. So now we’re seeing augmented reality, we’re seeing Kinect, we’re seeing Geoloqi and the Internet of Things, and yes it all feels very “now” but it doesn’t feel that much like the future because it’s just taking too long for technology to catch up to our imaginations. Kinect and Siri just aren’t Kit or HAL.
In 2010 William Gibson wrote about “future fatigue,” a symptom or perhaps cause of the atemporality that Bridle decries:
Say it’s midway through the final year of the first decade of the 21st Century. Say that, last week, two things happened: scientists in China announced successful quantum teleportation over a distance of ten miles, while other scientists, in Maryland, announced the creation of an artificial, self-replicating genome. In this particular version of the 21st Century, which happens to be the one you’re living in, neither of these stories attracted a very great deal of attention.
In quantum teleportation, no matter is transferred, but information may be conveyed across a distance, without resorting to a signal in any traditional sense. Still, it’s the word “teleportation”, used seriously, in a headline. My “no kidding” module was activated: “No kidding,” I said to myself, “teleportation.” A slight amazement. […]
Alvin Toffler warned us about Future Shock, but is this Future Fatigue? For the past decade or so, the only critics of science fiction I pay any attention to, all three of them, have been slyly declaring that the Future is over. I wouldn’t blame anyone for assuming that this is akin to the declaration that history was over, and just as silly. But really I think they’re talking about the capital-F Future, which in my lifetime has been a cult, if not a religion. People my age are products of the culture of the capital-F Future. The younger you are, the less you are a product of that. If you’re fifteen or so, today, I suspect that you inhabit a sort of endless digital Now, a state of atemporality enabled by our increasingly efficient communal prosthetic memory. I also suspect that you don’t know it, because, as anthropologists tell us, one cannot know one’s own culture.
While Gibsons’s Neuromancer is mostly remembered for cyberspace and virtual reality and artificial intelligence, there’s a lot more going on in that particular future setting. Just about everything that was “the future” during Gibson’s life time up to the point that the Sprawl Trilogy books were written: neurotechnology, nanotechnology, space travel, life extension, cryogenics, biological computers and all sorts of other weird biotech. There are even geodesic domes and arcologies.
Where do you really go from there? The transhumanist and singularitian authors like Vernor Vinge, Ken McLeod and Charlie Stross try to take it further, but although their novels may be better and more scientifically accurate do they really have a vision of the future more advanced than Arthur C. Clarke or Isaac Asimov? And besides, even the extropian/singularian strain has actually been around at least as long as the cyberpunk strain.
The Headmap Manifesto was such a buzz when I first read it in 2003 (I can only imagine what it was like to read it in 1999). It didn’t so much predict new technologies – mobile phones, GPS and handheld computers all existed at the time – but rather new uses for existing technologies. I already had a smart phone when I read but it still seemed exciting. Minority Report didn’t predict any future technology that you couldn’t have read about long before the movie was released 10 years ago, but it captured many people imaginations because so much of it seemed to be right around the corner. But now as these things arrive – location aware applications, the Kinect – instead of being amazed we say “oh, it’s about time.” A friend of mine just bought a 3D printer, which is really cool but it’s yet another “it’s about time” rather than a future shock.
What comes next, other than iterative improvements to what we already have? Vat grown meat and organs for transplanting? When your first relative gets a vat grown heart transplant, will you think “that’s amazing” or “thank God they figured out how to do that in time?”
I’ve mentioned only in passing this incredible comment from MetaFilter on the dismal state of funding for libraries even as they become more essential. It’s too long to reproduce here and an excerpt won’t do, so go and read it and come back.
OK, so then what’s next for libraries? I don’t know, but there are a few people trying to figure it out.
Your Future Library is a group working to create an online journal for sharing best practices on information access. They’re hoping to bridge the gap between local libraries and those interested in digital dissemination of information. There’s not much on their site yet (they gave me a flyer at ContactCon), but you can sign-up for a newsletter to keep in touch.
Aaron Brady compares the distortions of truth, or outright fabrications, of Mike Daisy, the #StopKony campaign and Gay Girl in Damascus to McNulty’s hoax in the final season of The Wire:
If there’s a certain radicalism to this gesture, we should also note that the most he can do is make the system do what it always does anyway: in this case, throw police at a crime it thereby propagates and reproduces. […]
Perhaps more importantly, because such stories are derived from their audience – and its imaginative capabilities – they will for that reason demand and privilege reactions to the problem that are maddeningly simplistic in their very imaginable practicality. Kony is bad and so he must be killed by the military, because that’s something we can picture, can visualize; fundamentally restructuring the Central African system of political economy and governance is impossibly and unthinkably remote. Apple is bad and must be regulated (or shunned or something), because, again, that’s something simple we can imagine happening (as opposed to any alternative to the advanced industrial capitalism that makes Foxconn all but inevitable). And MacMasters later admitted that he had given his story an ending, an ending that is striking by its plausible realism: “I was going to end the story with having her be free, and get out of country — end of story.” But this ending is necessary precisely because individual escapes happen every day (while a real solution to the Syrian crisis is unthinkably complicated). Each of these outcomes are imaginable, in part, as a direct consequence of the fact that they do not trouble the status quo. We can imagine those reforms, because they are essentially superficial adjustments of a system that not only remains intact, but which we – in our thinking about what is and isn’t possible – rely on and presume.
Yet another example of alternative currency thriving in a collapsed economy:
What rules the system has are designed to ensure the tems continue “to circulate, and work hard as a currency”, said Christos Pappionannou, a mechanical engineer who runs the network’s website using open-source software.
No one may hold more than 1,200 tems in the account “so people don’t start hoarding; once you reach the top limit you have to start using them.”
And no one may owe more than 300, so people “can’t get into debt, and have to start offering something”.
Businesses that are part of the network are allowed to do transactions partly in tems, and partly in euros; most offer a 50/50 part-exchange.
“We recognise that they have their fixed costs, they have to pay a rent and bills in euros,” said Pappionannou. “You could say that their ‘profit’ might be taken in Tems, to be reinvested in the network.”
Choupis said she thought the network would have grown even faster that it has if people were not so “frozen, in a state of fear. It’s like they’ve been hit over the head with a brick; they’re dizzy. And they’re cautious; they’re still thinking: ‘I need euros, how am I going to pay my bills?’ But as soon as people see how much they can do without money, they’re convinced.”