“A fictional, Braun-inspired wall clock (loosely based on Dietrich Lubs’ ABW 30), its handless face displaying a decimal dial referring to the Jacobin notion of ‘French Revolutionary Time’ – a heartfelt monument to failed utopias, and a spectral blueprint of a future that never was.”—Systems » Experimental Jetset (via iamdanw)
“Nasa has confirmed that laptops carried to the ISS in July were infected with a virus known as Gammima.AG.
The worm was first detected on Earth in August 2007 and lurks on infected machines waiting to steal login names for popular online games.
Nasa said it was not the first time computer viruses had travelled into space and it was investigating how the machines were infected.”—BBC NEWS | Technology | Computer viruses make it to orbit (via iamdanw)
“What we are facing over a decade is a decade of emergency rescue, of resiliency, of attempts at sustainability, rather than some kind of clear march toward advanced heights of civilization. We are into an era of decay and repurposing of broken structures, of new social inventions within networks, a world of ‘Gothic High-Tech’ and ‘Favela Chic’ (as I’ve called it), a crooked networked bazaar of history and futurity, rather than a cathedral of history, and a utopia of futurity.”—Bruce Sterling, 2010 (via betaknowledge)
“In network theory, a node’s relationship to other networks is more important than its own uniqueness. Similarly, today we situate ourselves less as individuals and more as the product of multiple networks composed of both humans and things.”—
“At the same time, Disneyland was cutting back on refurbishment in the Carousel of Progress… it demonstrates Disney’s view that there has been no noteworthy progress in almost two decades.”—Disney Stops Thinking About Tomorrow
Tomorrowland may as well combine with Fantasyland as a childish delusion from the past. As displayed by the modern developments of both Disney movies and Disneyland, the once flourishing future that Disney envisioned for the world is coming to a rapid halt.
“The ultimate gated community. On Earth, it is essential that diverse groups learn to live in close proximity. It’s hard to live with five or six billion homo sapiens, and some people can’t seem to do it gracefully. Space settlements offer an alternative to changing human nature or endless conflict — the ability to live in fairly homogeneous groups, as has been the norm throughout millions of years of human existance. Those who can’t get along can be separated by millions of miles of hard vacumn, which in some cases seems necessary. All entry into a space settlement must be through an airlock, so controlling immigration should be trivial.”—
“Perfected and protected as these digital epicentres are, it is the rest of the world that feels the effects of the digital reorganisation of space far more profoundly. Outside the limits of these palaces is where the darkest machinations of digitality really work. Even nature itself, its clouds, hills, forests and rivers, traditionally figured as a place of escape and solitude, has long colonised by the digital. To escape its presence might now be almost impossible and might involve the most extreme schemes.”—“Techno-utopias are wrapped up in their own visions of nature” (via mediology)
“If using wood in gadgets represents a future, then, it’s almost a biomechanical one, in which living, organic material intermeshes with inanimate metal and bright glass. It’s a vision of technology and what technology represents that takes for granted that we can be organically connected to our gadgets, and that through design the future can be intertwined with the past.”—Why Aren’t Our Gadgets Still Covered In Wood?
Once more, it comes down to wood’s sum and substance. Wood is alive. It becomes old. It has history and character. These are qualities our vision of the future cannot accommodate. The future must always be impossibly bright and shiny and just beyond the farthest stretch of our fingertips. Wood? Its essence is in being touched, a fact that Monolith capitalizes upon. “If wood gets scratched or stained, it’s part of its character. Wood gets worn just by the oils in your hands. If wood scuffs or dings, it gains a story,” Tolman argues. “That’s both part of wood’s charm, and why many people don’t like it, especially in electronics. They don’t want to admit their gadgets will one day be antiques.” They want it to be futuristic forever.
Of course, time has not always been thought of as something linear and unchanging, but could only be imagined that way after Enlightenment thinkers had gained access to accurate pendulum clocks that ran independently of perpetual maintenance or weather conditions. Seen as a kind of walk-in clock, Network Time could have a similar power to shape our experience and understanding of temporality. In contrast to our idea of time as progressing in unflinching lockstep, the network time proposed by Hadjidjanos is so susceptible to individual touch that a growing number of single alterations can eventually cancel out each other’s visible effects. The more data is exchanged, the faster the blinking gets, and the harder it becomes to differentiate between individual illuminations.
By suggesting that the fourth dimension is dramatically pliable, Hadjidjanos ventures to evoke a concept of time compatible with the internet’s paradoxical ability to at once empower and efface the individual. In Network Time, time seems to be on each and everyone’s side all at once.
“Changing aesthetics: Shopping online for clothes typically involves scrolling through pages and pages of images. Mary Kantrantzou believes that this has lead to shoppers paying more attention to designs that stand out - in particular unusual colours or prints. She believes this has been a factor in the resurgence of print.”—Soundboy: How the internet influences what we wear (via new-aesthetic)
“I wonder what Cayce Pollard would make of all of this. Her allergies would flair up instantly but as a slight itch instead of a searing rash. And then to paraphrase Gibson even further, it’s as if these places are creating negative space in the historical record of cafes.”—Nevolution: Nighthawks
There’s something about the simplicity of it all. they’re all very much rooted in the past, but in a slightly different past than what we’re used to. They’re not over the top reproductions, dripping in garish semiotics. The details are of an otaku level of sophistication. By moving further and further back into the past we hope to gain a more authentic nostalgic response. There’s a platonic realm of cafe or bar that they seem to be moving toward.
“We’re hungering for Edward Hopper’s Nighthawks in geo-tagged high definition; instead of the cheap revisionary print with Monroe, Bogart and Dean. Stripped back to it’s essentials but remade as a resolution independent 3D point cloud, with cold drip coffee, artisanal pastries, and obscure digestifs.”—Nevolution: Nighthawks
“Whatever you now find weird, ugly, uncomfortable and nasty about a new medium will surely become its signature. CD distortion, the jitteriness of digital video, the crap sound of 8-bit - all of these will be cherished and emulated as soon as they can be avoided. It’s the sound of failure: so much modern art is the sound of things going out of control, of a medium pushing to its limits and breaking apart. The distorted guitar sound is the sound of something too loud for the medium supposed to carry it. The blues singer with the cracked voice is the sound of an emotional cry too powerful for the throat that releases it. The excitement of grainy film, of bleached-out black and white, is the excitement of witnessing events too momentous for the medium assigned to record them.”— Brian Eno, A Year With Swollen Appendices (via volumexii)
Time has become the easiest way to think about what it means to live in the digital environment, and how this differs from what went before. What’s a minute? Used to be a portion of an hour - now it’s a pulse of a set length. A world where every unit may as well be interchangeable. Relational analogue clock time told a story, had a narrative and progression. Digital time is different.
Not saying it’s a worse thing, just a different thing.
His first chapter focuses on what he calls “Narrative Collapse,” a result of our short attention spans and need for instant gratification. It’s better in concept than the evidence he gives for it. He lumps most of modern entertainment (including, oddly, Seinfeld and Beavis and Butt-head) into something he calls “Now-ist Pop Culture,” that’s more concerned with making sense of the present, with self references and cyclical plots, than conveying the traditional Western story arcs we’ve known since Homer. We go for “heightened states” and problem solving in lieu of narrative.