// Die Ästhetik der Alt-Right

// Bill Paxton R.I.P.

Gepostet 17:29 in #Movies #Alien #R.I.P.

Bill Paxton ist überraschend im Alter von nur 61 Jahren an Komplikationen nach einer Herz-OP gestorben.

Paxton hat in tausend Klassikern mitgespielt, spezialisiert auf Druffie und Irre, seine berühmtesten Genre-Auftritte waren wohl Private Hudson in Aliens und der blauhaarige Punk im Terminator. Später wirkte Paxtin noch in Klassikern wie Phantom Commando, Streets of Fire oder Near Dark und schließlich Blockbustern wie Apollo 13 und Titanic mit, aber auch später in den großartigen Nightcrawler und Edge of Tomorrow.

Demnächst ist er nochmal im Kino in der Überwachungs-SciFi-Literaturverfilmung von Dave Eggers The Circle mit Emma Watson und im Thriller Mean Dreams (Trailer unten), der ganz großartig aussieht.

Danke für die ganzen Badasses, Bill. Sad day.

The actor Bill Paxton has died at the age of 61.

The star of films including Aliens, Titanic and Apollo 13 died after complications from heart surgery, according to a statement released by his family.

“It is with heavy hearts we share the news that Bill Paxton has passed away due to complications from surgery,” the statement said.

“A loving husband and father, Bill began his career in Hollywood working on films in the art department and went on to have an illustrious career spanning four decades as a beloved and prolific actor and filmmaker.

“Bill’s passion for the arts was felt by all who knew him, and his warmth and tireless energy were undeniable. We ask to please respect the family’s wish for privacy as they mourn the loss of their adored husband and father.”

Gib mir den Rest, Baby…

// Podcasts: Trolle und Nazi-Rhetorik, Schriftzeichen nationaler Identität und Auricula – der Ohrwurm des Schreckens

Gepostet 16:31 in #Podcast #Podcasts

WDR Hörspiel: Auricula – Der Ohrwurm des Schreckens (MP3, Info):

Gigantische Monster - immer wieder greifen sie New York, Tokio oder die kalifornischen Strände an. Zumindest in zahlreichen Horror- und Monster-Filmen. Aber Riesen-Bestien in Ostwestfalen?

Der Konzertveranstalter Jürgen Vahle steckt mitten in den Vorbereitungen für Bielefelds beliebtes Stadtfest, den Leinewebermarkt, als plötzlich eine merkwürdige Alte in seinem Büro auftaucht. Die verschrobene Gerda Richter glaubt, dass sich eine gefährliche Bestie im Teutoburger Wald herumtreibt und verlangt von Vahle, das Fest abzusagen. Vahle glaubt ihr natürlich kein Wort. Doch der Journalist Michael Thamm geht der Sache nach - und entdeckt tatsächlich einen meterlangen Riesenohrwurm, der die Stadt bedroht.

Das Subgenre des "Tierhorrorfilms" erfreut sich seit den 50er Jahren ungebrochener Beliebtheit. "Auricula - Ohrwurm des Schreckens" ist Parodie, Hommage und Analyse zugleich - und holt das Genre endlich in heimische Gefilde.

HR2 Der Tag: Hacker, Bots und Fake News – Na und? (MP3): „Kriege gewinnt nicht, wer Waffen besitzt. Kriege gewinnt, wer die Informationen steuert. So ist das auch mit Wahlen. Wer die Informationen steuert, hängt vor allem von digitaler Kreativität, Kompetenz und Geschwindigkeit ab. Deswegen rauchen die Köpfe vor den Wahlen in Frankreich, den Niederlanden und Deutschland: Wie können wir verhindern, dass die Wahl manipuliert wird? Wie können wir Angriffe abwehren? Sie entwerfen Strategien und beschäftigen Heerscharen von Experten und Beratern. Aber wozu die Mühe? Tatsächlich ist der kritische Geist - oder soll man es Misstrauen nennen - in der Bevölkerung schon so sehr gewachsen, dass rund die Hälfte der Deutschen gar nicht mehr daran glaubt, dass es bei allen Themen klare Fakten gibt. Wahr und falsch - das sind Kategorien von gestern, was juckt uns da die ein oder andere Falschmeldung?“

HR2 Der Tag: Wenn's kracht und stinkt. Im Labor der AfD (MP3): „Kreisverbände der AfD lösen sich auf. Vorstände treten geschlossen zurück. Der Thüringer Fraktionsvorsitzende Björn Höcke soll aus der Partei ausgeschlossen werden. Statt einer Führungsfigur gibt es nur ein zerstrittenes Führungsteam, und Abweichler gründen in Sachsen eigene Gruppen. Zu viele Alternativen in einer Partei, die eine Alternative für Deutschland sein will? Zu unterschiedliche Flügel, um dauerhaft vom Aufwind profitieren zu können? Die AfD ist nach wie vor stark genug, um andere Parteien in immer breitere Koalitionen zu treiben. Aber einen großen Teil ihrer Sprengkraft richtet sie mittlerweile gegen sich selbst.“

Breitband: Trolle und Nazi-Rhetorik: Ist doch nur ein Witz! Oder etwa nicht?: „Welche Wirkung haben menschenverachtende Rhetorik und rechtsextreme Tabubrüche auf das Publikum? Beeinflussen sie damit die politische Meinungsbildung und das Wahlverhalten?“

Ein paar Worte zu dem Viertelstünder von Breitband oben: Der Einstieg, der Felix Kjellberg (PewDiePie) als „rechten Internet-Troll“ bezeichnet und direkt mit Milo Fuckopoulos in einen Topf schmeisst, ist fantastisch grandios schlecht geschrieben. Kjellberg ist kein „rechter Internet-Troll“ sondern ein Youtuber, der in dröllfhundert Clips mit soundsoviel Stunden Videomaterial an 9 Stellen antisemitische Witze gerissen hat. Schlimm genug und man muss dem dafür definitiv einen Einlauf verpassen, auch jetzt noch, da ich nicht denke, dass der wirklich gerafft hat, was das Problem mit solcherlei „Witzen“ ist.
Aber den als „rechten Internet-Troll“ zu bezeichnen ist schlichtweg super-schlampige Arbeit. Genauso der sich verbietende Vergleich mit Milo. Fuckopoulos ist ein rechter Troll und Provokateur, aber auch Journalist, politischer Kommentator und gründete ein international bekanntes Online-Tech-Magazin (The Kernel), den mit einem Youtuber und Comedian bezüglich rechter Rhetorik zu vergleichen ist grob falsch und Fuckopoulos arbeitet(e) da auf einem ganz anderen Level. Die einzige Ebene, auf der ein solcher Vergleich zulässig ist, ist die der Publikumsgröße. Genau wegen solcher (unnötig) schlechten Detail-Arbeit treibt man die Leute den Fickern in die Arme und ich wünschte, Journalisten würden an solchen Stellen genauer formulieren.
(Der Rest des Beitrages ist allerdings hinsichtlich Medienwirkung im Kontext von Nazi-Jokes von Trollen sehr interessant, deshalb hab ich den ja auch verlinkt.)

Wissenschaft im Brennpunkt: Postfaktische Forschung - US-Wissenschaft wappnet sich gegen Trump (MP3): „Umweltauflagen? Überflüssig. Impfen? Gefährlich. Der Klimawandel? Eine Erfindung der Chinesen. Fakten? Eine Frage der Sichtweise. Donald Trump hat nicht nur die US-Forschungslandschaft mit vielen seiner Aussagen in eisige Stimmung versetzt, sondern auch das international eingespielte Ökosystem Wissenschaft gestört. Doch inzwischen regt sich Widerstand.“

DRadio Kultur: Schriftzeichen und nationale Identitäten – „Zeige mir deine Zeichen, und ich sage dir, wer du bist“: „Schriften und ihre Typografie demonstrieren Machtansprüche und erzeugen Identitäten. Das zeigt sich am Beispiel der gebrochenen Fraktur, die 400 Jahre lang die wichtigste Buch- und Verkehrsschrift der Deutschen war. Oder in der Türkei, wo Atatürk 1928 die arabische Schrift durch das lateinische Alphabet ersetzte.“

Sein und Streit: Braucht die Demokratie Eliten? (MP3, Info): „Die Eliten sind in Verruf geraten: Sie tun nichts für die Allgemeinheit, heißt es, sondern sind korrupt, abgehoben und nur auf den eigenen Vorteil bedacht. Trifft das zu? Und wie können die Eliten wieder dem Gemeinwohl verpflichtet werden?“

Gib mir den Rest, Baby…

// Peter Burrs Descent: A Noise-Triumph of Death

Gepostet vor 2 Tagen in #Design #Animation #Art #Shortfilms

Großartige experimentelle Animation von Peter Burr (vorher auf NC: Debate, glitched und T̲̘̜͎͇̲̪͐ͧͭ̎̃̓ḧ̵́̊e̩̲̞̼̹̜̠̎ M̞̖͈̮̻ͦ̔̉̀̔͋̀͡e̎͒s̙̠̅̿̅ͯ̃ͭ̅s̖̻̥͖̱), die als Executable File (.exe) auf'm Desktop läuft und eine Reise into Darkness und den Horror der Schwarzen Pest in Noise und Pixeln abstrahiert, angelehnt an das Gemälde Der Triumph des Todes von Pieter Bruegel dem Älteren. (via Creative Applications)

In 1562, Flemish artist Pieter Bruegel the Elder completed a painting called "The Triumph Of Death". In this panoramic landscape the sky is blotted out by black smoke; ships and dead fish litter the ocean shore; and an army of skeletons experiment with myriad death techniques. The living are badly outnumbered and the variety of fated tortures seems endless. There is little room for whimsy in this tableaux.

Over 200 years earlier, a nasty plague, commonly known as "The Black Death", left a cruel and massive mark on European civilization, wiping out half of Europe’s total population. This was a quiet pervasion of death - an invisible pathogen carried by herds of tired rats. This plague triggered a series of social and economic upheavals with profound effects on the history of medieval Europe, guiding its survivors into the sort of self-inflicted darkness pictured by the Elder Bruegel.

Looking back at this historical trajectory, Peter Burr, Mark Fingerhut, and Forma have created a spiraling interdimensional narrative aptly titled DESCENT - a meditation on one of humanity’s blackest hours. Taking the form of a desktop application, descent.exe gives the user a brief glimpse of a world descending into darkness - an unrelenting plague indifferent to the struggles of the user. There is a silver lining, however, tucked into the software’s final sweep. An equanimous watcher, reduced to a single eye, looks on as the plague of rats that has infested your desktop destroys itself.

This video is a recording of descent.exe running alongside Fingerhut's deepdesktop.exe.

// Zim & Zous Papercraft Forest Folks

Gepostet vor 2 Tagen in #Design #Paper #Papercraft

Tolle Schaufenster-Gestaltung von Zim & Zou für 'nen Laden in Dubai mit einem Waldvolk aus Papier.

Nature is surrounding us and never cease to evolve since its beggining. Its run defines the world we’re living in. Nature is linked to every living beings, and every living being is linked to it.

In this project, spectators have a sneak pick of the curious characters living inside this environment. This microscopic point of view, where plants and other vegetal reign as masters, is like a kind of picture, a flash, a precise instant in nature’s unrestrained run. Life is everywhere, flowers are growing and carry away its inhabitants in their impetus. This mysterious people is evolving, building, and living right in the heart of the nature, revealing a fragment of their daily life.

Zim & Zou auf Nerdcore:
Zim & Zous Edible Monsters made from Paper
Zim & Zou and the Museum of Supernatural History
Zim & Zou do the Leather-Fox and a Papercraft SXSW-Filmfest
Papercraft Grill
Colorful Papercraft Hamburger
Colorful Retrotech Papercraft

Gib mir den Rest, Baby…

// Die Ästhetik der Alt-Right

Ich hatte am vergangenen Wochenende in meinen RechtsLinks zwei Texte, die ich nochmal einzeln hervorheben will, da sie mir zur Entschlüsselung dieses politischen Clusterfucks ziemlich essenziell erscheinen (und um sie in nachfolgenden Texten besser referenzieren zu können). Der zweite davon ist dieses Paper von M. Ambedkar über die Ästhetik der Alt-Right. (Den ersten Text hatte ich hier verlinkt: 4chan – Ein Schlüssel für den Aufstieg Trumps)

Ambedkar hat mit dem Teil die bislang ausführlichste Dokumentation des Online-Ausdrucks der Neuen Rechten vorgelegt, ich hab' den Text immer noch nicht ganz durch, weil der schlichtweg dermaßen umfassend ist und auch einiges an Vorwissen erfordert (und ich bin bezüglich der Alt-Right und Memes nun nicht grade ahnungslos).

Sehr hilfreich zum Einstieg fand ich seine Aufschlüsselung der Rechten in diesem Graph, deutsche Auswüchse lassen sich hier ebenfalls leicht einordnen (AfD circa bei National Front, Tichy ebenso, Reichsbürger irgendwo bei den Eso-Nazis und vk-kontakte zum „Meme Team“ in die Mitte usw. Vielleicht kann ja jemand, der sich mit den deutschen/europäischen Rechten besser auskennt als ich, die auf einem solchen Graphen einordnen.)

Hier ein Auszug über Memetik, „Esoteric Kekism“ und die Nutzung von Anime-Bildsprache, der relativ kurze Ausschnitt hier sollte klarmachen, wie deep und völlig irre dieses ganze scheiß Rabbit-Hole tatsächlich ist:

This image (fig. r) is from an article entitled Esoteric Kekism, or Kek as a Bodhisattva of Racial Enlightenment on the alt-right blog Atlantic Centurion. Atlantic Centurion is the blog of Lawrence Murray. In jargon-filled posts with eclectic titles including Proverbs of a Xenoskeptic Ethno-Nationalist, Murray blends political philosophy, a didactic narrative of the present, new media theory, and religious mythology into a bizarre brand of cultural criticism. In this article, Murray takes the alt-right’s favorite activity of rapidly accumulating political memes and drafts an understanding of that activity as a sort of religious ritual that can be concretized in images and text. Referring to the already notorious Pepe the Frog meme, Murray asserts that the alt-right has a central deity god, Kek, whose name is derived from a bastardized type-input error of the term “lol”; the letters l and o are next to k and i on the keyboard; the mistyped kik becomes kek through an assimilation of the phonetic form of the typo. Kek is a chaos god whose magical abilities, referred to as meme magic, can be invoked through distributing memes. Through Kek, whatever desire is expressed in the meme—for Trump to be elected, for the UK to vote leave, for WikiLeaks to release more emails, etc.—becomes reality. The alt-right meme warrior praises his/her god with the ubiquitous phrase “Praise Kek”. A number of theorists have written about Kek, with the most effective piece being Tara Isabella Burton’s essay Apocalypse Whatever, in which Burton remarks “it doesn’t matter whether Kek is ‘really’ a chaos god. He might as well be. Likewise, meme magic, to the extent that that it serves as a record of cultural engagement, is real too.”25 Thus, debating whether or not esoteric kekism should be regarded as a legitimate religion is beside the point; in my aesthetic analysis, I am more interested in why Murray invokes Buddhism as the model for his creative endeavor.

In fig. r, we see the repeated motif of Pepe the Frog operating as monks in a Nazi/Buddhist temple. An undead or cyborg-esque SS general is seen in the seated lotus position, in front of three different Buddhist figures, who are in turn all situated in front of a giant shrine to Hitler. The image is notably devoid of color in order to aid the assimilation of the Eastern imagery with its white supremacist implications; color constitutes difference, the desaturation operates as a visual reflection of Murray’s opening assertion that the Buddha was, in fact, white. This kind of historical re-reading is not a new invention; Murray’s whitewashing of Buddhism has historical parallels in the Nazi occultist Maximine Portaz (pseudonymously known as Savitri Devi) who sought to synthesize Nazism with Hinduism (Murray also begins his essay with a reference to Portaz) and in Evola’s fascism which drew heavily from Hindu scripture. Ultimately, the whitewashing and appropriation of Buddhist imagery allows the alt-right to reconcile cultural accomplishments by racial Others with its own ethno-nationalist conviction. It also gives the alt-right a transgressive, exhilarating quality—something that, as Milo Yiannopoulos wrote in his Establishment Conservative’s Guide to the Alt-Right, the alt-right prides itself on.

Of course, on a more rudimentary level, East Asian aesthetics appeal to the tastes of the demography of the alt-right—internet culture and its large constituency of young white male millennials have been fascinated with anime and cyberpunk long before the alt-right existed in its contemporaneous form. In the previous image also pulled from Atlantic Centurion, we see an image of a younger Trump flanked by light-skinned anime girls wearing Make America Great Again caps. Here [pic above], just as rereading the Buddha as an Aryan religious icon became a rhetorical strategy to contextualise reblogging and reposting memes as a religious activity, a sign that lay audiences might associate with Asian (in this case, Japanese) culture actually functions as an endorsement of white supremacy. One attribute of the girls in this image that might not strike the viewer as unorthodox is the figures’ large eyes, which are obviously cartoonishly exaggerated and frankly made to look more European. This is not how anime eyes always looked, as explained in media theorist Wendy Hui Kyong Chun’s text Control and Freedom. Chun cites Mary Grigsby, who recounts how “before the Japanese came into contact with Westerners they drew themselves with Asian features. After contact with the West, particularly after World War II and the subsequent reconstruction of Japan under the domination of the United States, they began to depict characteristics that are supposed to be Japanese with Western idealized physical characteristics: round eyes, blonde, red or brown hair, long legs and thin bodies.”27 Thus, we see something that should be contradictory—the representation of a non-European art form should be regarded as degenerate by the alt-right, but it actually becomes a Eurocentric statement; the Westernization of the anime girl is appealing to the alt-right viewer because it represents the perceived successes of Imperial domination, to the extent that a foreign adversary ends up taking care of the whitewashing itself.

// Trailerfest: Alien: Covenant, Atomica, Hounds of Love, The Discovery, Trapped, Imitation Girl, Tomboy, Kong: Skull Island, Burning Sands, The Get Down, Without Name, Game of Death

Gepostet vor 3 Tagen in #Movies #Trailer

Neue Trailer zum SyFy-Dings Atomica, Netflix' Afterlife-Mystery-Serie The Discovery mit Jason Segel, zum australischen Drama-Thriller Hounds of Love, dem indischen Thriller Trapped, dem Mystery-Dings (und so ein bisschen Under the Skin-Ripoff) Imitation Girl, zum Actioner Tomboy, ein IMAX-Featurette zu Kong: Skull Island, zum Netflix-Drama Burning Sands, dem ersten Teaser zur zweiten Staffel von Baz Luhrmans 70s-HipHop-Serie The Get Down, zur „psychotropic Faery Story“ Without Name, dem etwas dämlich, aber unterhaltsam aussehenden Game of Death, sowie ein „Prolog“-Clip zu Alien: Covenant.

Without Name

Without Name centers around land surveyor Eric (Alan McKenna) who travels to a remote and unnamed Irish woodland, to assess its suitability for a new development project. Here, he sets up temporary residence, in old unused house, right in the midst of the forest. Eric learns about the man who once occupied the house and begins to discover that all is not what it would appear to be in the woods. The idyllic backdrop almost seems to speak back to him and an ominous lingering presence fills him with a sense of dread. Alone and alienated from urban existence, he becomes increasingly fascinated yet disturbed by his surroundings. Are there really external and sinister elements at play here or is Eric becoming a prisoner of his own thoughts, in this place Without Name?

Newsbits:

Gib mir den Rest, Baby…

// Occultists vs Trump

Heute Nacht werden Hexen und Magier weltweit ein Massen-Ritual abhalten und einen Bannspruch gegen Trump und seine Anhänger aussprechen. Hier das Ritual und 'ne Shopping-Liste („Tiny stub of an orange candle“, „Baby carrot [as substitute for orange candle stub]“). Die Christofaschisten auf der anderen Seite wollen mit einem „Day of Prayer“ dagegenhalten („We beseech all Christian soldiers to answer this call to action by reading from Psalm 23“), während den Chaos Magicians for Trump anscheinend das Mana ausgegangen ist. Alle irre.

A Spell to Bind Donald Trump and All Those Who Abet Him (version 2.0)

To be performed at midnight on every waning crescent moon until he is removed from office. The first ritual takes place Friday evening, February 24th, at the stroke of midnight. This binding spell is open source, and may be modified to fit your preferred spiritual practice or magical system — the critical elements are the simultaneity of the working (midnight, EST—DC, Mar-a-Lago, and Trump Tower NYC time) and the mass energy of participants.
See below for the upcoming dates. Some lodges/covens are doing a variation of this as a group working, while a number of solitary practitioners are planning to connect and livestream via Facebook, Twitter, and other social media.

Components: Unflattering photo of Trump (small), Tower tarot card (from any deck), Tiny stub of an orange candle (cheap via Amazon), Pin or small nail (to inscribe candle), White candle (any size), representing the element of Fire, Small bowl of water, representing elemental Water, Small bowl of salt, representing elemental Earth, Feather (any), representing the element of Air, Matches or lighter, Ashtray or dish of sand

Optional: Piece of pyrite (fool’s gold), Sulfur, Black thread (for traditional binding variant), Baby carrot (as substitute for orange candle stub)

Preparation: Write “Donald J. Trump” on the orange candle stub with a pin or nail, Arrange other items in a pleasing circle in front of you, Lean the Tower card against something so that it’s standing up (vertically), Say a prayer for protection and invoke blessing from your preferred spirit or deity. Reading the 23rd Psalm aloud is common in Hoodoo/Conjure/Rootwork traditions. Experienced magicians may perform an appropriate banishing ritual.

Political Witchcraft on Nerdcore:
Romanians, Taxes and Witchcraft
Nigerias Witches declare war on Boko Haram

// Pix2Pix: Neural Network Katzen-Compositing als Browsertoy

Gepostet vor 3 Tagen in #Design #Tech #AI #AlgoCulture

Schönes Spielzeug von Christopher Hesse, der ein Neural Network auf Bild-Paaren trainiert hat und mit dem man nun Katzen, Schuhe und Fassaden malen kann: Image-to-Image Demo – Interactive Image Translation with pix2pix-tensorflow.

So ein bisschen wie Adobes Neural Network Compositing oder die Variante von Andrew Brock, nur 'ne Nummer kleiner und im Browser.

Darius Kazemi hat dann das Canvas-Objekt im Code der Website manipuliert und Fraktale, Garfield, Noise und Katzenbilder da reingecodet:

The pix2pix model works by training on pairs of images such as building facade labels to building facades, and then attempts to generate the corresponding output image from any input image you give it. […]

Trained on about 2k stock cat photos and edges automatically generated from those photos. Generates cat-colored objects, some with nightmare faces. The best one I've seen yet was a cat-beholder.
Some of the pictures look especially creepy, I think because it's easier to notice when an animal looks wrong, especially around the eyes. The auto-detected edges are not very good and in many cases didn't detect the cat's eyes, making it a bit worse for training the image translation model.

Gib mir den Rest, Baby…

// Fuckopoulos fucks up

Gepostet vor 3 Tagen in #Politics #AltRight #DasGeileNeueInternet

Zu Fuckopoulos Downfall ist es recht nützlich zu wissen, dass es vor den Veröffentlichungen der Videos Ankündigungen auf Mailinglisten gab (http://boards.4chan.org/pol/thread/113460155, Archive) und es sich anscheinend um eine konzertierte Aktion handelte.

Milos Ausflüchte (das übliche „aus dem Kontext gerissen“) wirken halbherzig auf mich, die Aussagen im Video stehen für sich und die Kontexte machen sie nicht besser und noch bemerkenswerter ist es tatsächlich, dass weder eine konzertierte Aktion noch Milos Erklärungsversuche irgendeine Rolle spielen. Der Milo-Drops ist gelutscht.

Die Aussagen Fuckopoulos sind, gemessen an dem, was er sonst so absondert, nur so mittelkrass, aber sie reichen vollkommen aus, um ihn als öffentliche Figur im konservativen Mainstream zu vernichten. Mein Mitleid hält sich, wie man sich denken kann, sehr in Grenzen und der schönste Burn zum Downfall Fuckopoulos kam wohl von Zoe Quinn: „Anyway my book is out this year.“ Ice cold.

Wer noch ein paar Hintergrund-Infos zu Fuckopoulos und seiner Zeit als Blogger und Macher des Tech-Mags Kernel braucht: Guardian: The rise and fall of Milo Yiannopoulos – how a shallow actor played the bad guy for money und Reaction.life: The rise of Milo Yiannopoulos, the Telegraph years, and why I am partly to blame: „there was a subsequent controversy involving Milo supervising a groovy tech competition called Start-up 100 or something, that was run through one of his companies, it is alleged. There was a row about paying for hotel bookings and deposits for an awards ceremony. The paper eventually paid up to avoid embarrassment, I am told. Milo left and founded something called Kernel, a tech website which is still the subject of debate.“

Must-Read zum Milo-Fuckup kommt von Laurie Penny, die in den Tagen vor der Fuckopoulos-Implosion mit ihm und seiner Bande unterwegs war, im Pacific Standard: On the Milo Bus With the Lost Boys of America’s New Right.

The hypocrisy is clarion-clear: This was never, in fact, about free speech at all. It was about making it OK to say racist, sexist, transphobic, and xenophobic things, about tolerating the public expression of those views right up to the point where it becomes financially unwise to do so. Those suddenly dropping Yiannopoulos are making a business decision, not a moral one — and yes, even in Donald Trump’s America, there’s still a difference. If that difference devours Yiannopoulos and his minions, they will find few mourners.

Yiannopoulos followed the path of least resistance until, suddenly, it resisted. Now he knows just what it is to have the Internet turn on you and take away your control of the narrative. Now the entire alt-right is realizing, in full view of a few million popcorn-munching online leftists, that they were never the new punk. They were never the suave and seductive blackshirts of the new American authoritarianism. They are, at best, the brownshirts, and they are becoming less useful to their benefactors by the day. Where they were once “underground,” they are now are an ankle-biting embarrassment to the movement they made mainstream — and they have no clue what to do next.

Auch die Stellen in Pennies Text über Fuckopoulos' Kids-Crew sind sehr erhellend:

It is vital that we talk about who gets to be treated like a child, and what that means. All of the people on Yiannopoulos’ tour are over 18 and legally responsible for their actions. They are also young, terribly young, young in a way that only privileged young men really get to be young in America, where your race, sex, and class determine whether and if you ever get to be a stupid kid, or a kid at all. Mike Brown was also 18, the same age as the Yiannopoulos posse, when he was killed by police in Ferguson, Missouri, in 2014; newspaper reports described him as an adult, and insisted that the teenager was “no angel,” as if that justified what was done to him. Tamir Rice was just 12 years old when he was shot and killed in Cleveland for playing with a toy gun. The boys following Yiannopoulos are playing with a toy dictator, and they have faced no consequences as yet, even though it turns out that their plastic play-fascism is, in fact, fully loaded and ready for murder.

As the evacuation gets going, the young men in Yiannopoulos’ gang seem scared. They’re right to be — these protesters aren’t playing, and there has already been real violence at these events. One week earlier, in Seattle, a Yiannopoulos fan shot an anti-fascist protester in the stomach. The victim is expected to survive. The impression that this is all an exciting adventure in pranking the left, a giddy game of harmless offense where nobody actually gets hurt, is not holding up so well. Over the next few hours, I get to watch Yiannopoulos’ teenage entourage wrestle with the fact that this game is, in fact, deadly earnest, and the win conditions are changing, and they are not players, but pieces on the board. […]

Yiannopoulos’ brand is all about “fuck your feelings.” But the kids following him around are nothing but feelings. I have empathy for fragility. What frightens me most is the feeling that the only way to deal with the new right is to treat them as monsters, when it is precisely their idiot humanity — precisely the fact that they are fundamentally decent kids who have done fundamentally despicable things — that makes them dangerous. […]

I don’t believe that Yiannopoulos endorses pedophilia. I do believe that he exploits vulnerable young men. Not in a sexual way. Not in an illegal way. Yiannopoulos exploits vulnerable young men in the same way that every wing-nut right-wing shock-jock from the president down has been exploiting them for years: by whipping up the fear and frustration of angry young men and boys who would rather burn down the world than learn to live in it like adults, by directing that affectless rage in service to their own fame and power. This is the sort of exploitation the entire conservative sphere is entirely comfortable with. What happens to these kids now that the game has changed?

Helen Lewis im New Statesman: The fall of Milo Yiannopoulos: Only the mainstream right has the power to stop the populist right

Does anyone, really, think that Milo Yiannopoulos has deep and rigorously researched convictions? That his statements on feminism, on transgender people, or his criticisms of Ghostbusters actor Leslie Jones, spring from some deep well of evidence and sincerity? Do me a favour. Yiannopoulos was invited to CPAC to do what he does: be outrageous. […] yesterday marked the moment when Milo Yiannopoulos ceased being an asset to the mainstream right, and became a liability. […]

What's in all this for the mainstream right? Two things. The first is that the populist right are useful generators of heat. They say outrageous things - black people are lazy! Muslims are terrorists! - putting their opponents in a bind. Do you let such assertions go, on the basis that those voicing them are a tiny fringe? Or do you wearily condemn every single instance of bigotry, making yourself look like a dull Pez dispenser of condemnation? Either way is debilitating, either for public discourse broadly, or for the left's appeal to disengaged people.

Secondly, the populist right are useful outriders. Sheltered by the mainstream right - would anyone read Katie Hopkins if she had a blog, or Piers Morgan? nope - these "provocateurs" can push extreme versions of narratives that many on the mainstream right feel to be true, or at least to contain a kernel of truth worth discussing. If Breitbart says "black crime" is a distinct phenomenon, then it's much more acceptable for Trump to threaten to "send in the Feds" to Chicago, or to describe inner cities as wastelands in need of a strong hand. If Katie Hopkins writes about migrants drowning in the Mediterranean as "cockroaches", she dehumanises them - turning them from fathers, mothers, children into a faceless mass, not like us, and therefore not deserving of our pity. That makes it much easier for the government to stop taking child refugees. […]

// AIR-INK: Pollution-Markers gefüllt mit Feinstaub-Pigment jetzt auf Kickstarter

Gepostet vor 6 Tagen in #Design #Tech #Cars #Environment #Graffiti #Pens

Vor ein paar Wochen bloggte ich über die großartigen Air-Ink-Marker aus den Graviky Labs, das waren damals noch Prototypen und ich rechnete nicht damit, dass die Teile so schnell zu haben sein würden.

Jetzt haben sie eine Kickstarter-Kampagne für die Teile online gestellt: AIR-INK: The world's first ink made out of air pollution. (via c77)

Ein Marker kostet stolze 35 Dollar, dafür malt man aber auch mit Auto-Dreck, was ja nun wirklich über alle Maßen geil ist. Am schönsten dürfte sich die Frische Marker-Tinte auf weißen LKWs machen oder an Wänden von irgendwelchen Kohlekraftwerken oder ganz besonders schick: Mit ’nem dicken Strich aus Autoabgas-Tinte einmal über stinkende Karren mit verbautem E189-Motor den Namen „ Winterkorn“ taggen.

At the MIT Media Lab, we invented a device that captures air pollution. We turned this pollution into safe, high-quality ink for art. […]

AIR-INK is created through a three-step process.

Step 1. While cheaper carbon black inks are manufactured through the deliberate burning of fossil fuels, we use our proprietary device––what we call KAALINK––to capture soot that is already being emitted from vehicles. KAALINK is retrofitted to the exhaust pipe of vehicles/generators to capture the outgoing pollutants. It takes just 45 minutes worth of vehicular emissions captured by Kaalink to produce 1 fluid ounce of ink––enough to fill one of the pens being offered through this Kickstarter campaign.

Step 2. The soot we collect undergoes various proprietary processes to remove heavy metals and carcinogens. The end product is a purified carbon rich pigment. […]

Step 3. The carbon is then used to make different types of inks and paints. […]

We have created several grades of AIR-INK with different applications: 2mm round tip and 15mm, 30mm and 50mm chisel tip markers, and screen printing ink.

AIR-INK follows industrial grade guidelines, and artists have been using AIR-INK for the past 6 months without issues. Now, we are turning to Kickstarter to refine our KAALINK device and help scale up production. With every donation, you are giving back to the environment. In fact, you can negate 45 minutes worth of car pollution by using 30ml of AIR-INK. Even if just 15 percent of the world’s black ink supply is replaced with AIR-INK, we could end up cutting a lot of air pollution.

Gib mir den Rest, Baby…

// 4chan – Ein Schlüssel für den Aufstieg Trumps

Ich hatte am Wochenende in meinen RechtsLinks zwei Texte, die ich nochmal einzeln hervorheben will, da sie mir zur Entschlüsselung dieses politischen Clusterfucks ziemlich essenziell erscheinen (und um sie in nachfolgenden Texten besser referenzieren zu können).

Der erste ist dieser Aufsatz von Dale Beran: 4chan: The Skeleton Key to the Rise of Trump.

Beran geht in diesem Text weit zurück in der Geschichte von 4chan, untersucht das Werte-System von /b/ („The Rules of the Internet“), die Kultur des „Celebrated Loserdom“ und wie das Board über das scheinbare „politische Erwachen“ während der Scientology-Proteste – es ging den Anons im Kern tatsächlich „nur“ um ein gelöschtes YT-Video – schließlich bei Gamergate landeten und sich von dort über rechte Agitatoren wie Milo Fuckopoulos oder Mike Cernovich in eine politische Strömung drücken ließen, nur um dann den personifizierten Loser schlechthin zum „God Emperor“ zu küren: Trump.

Leider beschränkt sich Beran in der zweiten Hälfte oft auf eine Analyse von 4chan als ein Haufen Kellerkinder, die keine Frauen abbekommen und sie deshalb im Netz attackieren. Das macht die Analyse am Ende leider etwas eindimensional, wobei diese Dimension in diesem großen Puzzle garantiert eine wichtige Rolle spielt. Der Text ist trotzdem ein Must-Read für alle, die sich für diese Links-Rechts-Konflikte vor allem aus netzkultureller Perspektive interessieren. (Wer eine sehr viel komplexere 4chan-Analyse lesen will, dem empfehle ich Gabriella Colemans 2015er Trolling-Standardwerk Hacker, Hoaxer, Whistleblower, Spy: The Many Faces of Anonymous.)

Extensive quotations ahead, emphasis mine:

How did we get here? What is 4chan exactly? And how did a website about anime become the avant garde of the far right? Mixed up with fascist movements, international intrigue, and Trump iconography? How do we interpret it all? […]

To answer it, we must look a little closer at 4chan’s system of values. To those with a passing knowledge of 4chan it’s strange to think of it having a value system. And indeed it did try its mightiest to be nihilistic, to hate, to deny, to shrug, to laugh off everything as a joke like all teenage boys do (the board was mostly young men). This effort was of course impossible. The attempts to be “random”, like a Rorschach test, painted a portrait of exactly who they were, the voids filled in with their identity, their interests, their tastes. The result was that 4chan had a culture as complex as any other society of millions of people, anonymous or no. There were things it loved, things it hated, ways of being and acting that met with approval and disapproval in the group. […]

Also like adolescent boys, 4chan users were deeply sensitive and guarded. They disguised their own sensitivity (namely, their fear that they would be, “forever alone”) by extreme insensitivity. The rules, like everything else, were always half in jest. Everything had to be a done with at least a twinkle of winking irony. This was an escape route, a way of never having to admit to your peers that you were in fact expressing something from your heart, in other words — that you were indeed vulnerable. No matter what a user did or said, he could always say it was “for the lulz” (lols). Like (by comparison the tame and sophisticated precursor) “Something Awful” board that spawned it, 4chan defined itself by being insensitive to suffering in that way only people who have never really suffered can — that is to say, young people, mostly young men, protected by a cloak of anonymity. The accepted standard was a sort of libertarian “free speech” banner, in which isolated man-boys asserted their right to do or say anything no matter someone else’s feelings. This meant generally posting pornography, swastikas, racial slurs, and content that reveled in harm to other people. […]

Gib mir den Rest, Baby…

// Trailerfest: Song to Song, Castle Rock, Us and Them, The Void, Silicon Valley, Mean Dreams, The Sinner, Power Rangers, King Arthur: Legend of the Sword

Gepostet vor Eine Woche in #Movies #Trailer

Neue Trailer zu Terrence Malicks „Lets film a Terrence Malick-Drama at a Rock Festival“-Drama Song to Song, ein erster Teaser zur JJ Abrams/Stephen King-Serie Castle Rock, nochmal ein zweiter, längerer Trailer zum Hardcore-Horror The Void (den ersten Trailer hatte ich neulich erst hier gepostet), zur vierten Staffel von Silicon Valley, dem gradlinig und großartig aussehenden Thriller Mean Dreams, zur Mystery/Horror-Serie The Sinner, zu Guy Richies Guyrichisierung von King Arthur: Legend of the Sword und nochmal ein Trailer zu Power Rangers der trotz superbeknacktem Creature-Design aus der Transformers-Gestaltungshölle unterhaltsamer aussieht, als ich es hier jemals zugeben würde.

Und dann noch zum im März auf dem SXSW premierenden Us and Them, ein Klassenkampf-Thriller aus UK mit ein bisschen „Eat the Rich“-Attitüde:

Us and Them

Angry and frustrated, working class Danny aims to kick start a revolution by turning the tables on the establishment with a deadly game of chance. With it’s raw energy and stream of consciousness plot, "Us and Them" is a backlash against the drone of British period dramas. Danny is an ordinary working class kid who is tired of the rough deal he faces. His plan? To start a revolution by streaming attacks against the one percent on the web. His goal? To terrify the elite into bringing about change.

Writer/director Joe Martin taps into his blue collar roots to capture the zeitgeist of outsider politics that have gripped the western world. In "Us and Them" he lays bare the inequality and anger that wrong footed the media and led to the shock events of Brexit and Trump’s victory.

Newsbits:

  • Sure, whatever Of Course Another PURGE Is Coming: „the successful, eventually-Frank-Grillo-starring franchise will continue, with Universal, Blumhouse, and Platinum Dunes announcing a 4th Purge [on July 4th, 2018].“
  • Neues vom Universal Monster Reboot: ‘Van Helsing’ Writer Talks Upcoming Reboot; “As Scary As Possible”: „I can say that my intent stepping in was to make it as scary as possible, partly because I know how to do that, and also because when you’re the only human surrounded by a bunch of supernatural creatures, that’s gotta be absolutely unnerving.“
  • SPOILERALERT Read the Rumored Description of the First ‘Star Wars: The Last Jedi’ Trailer:

    „The Last Jedi teaser trailer takes a cue from The Force Awakens teaser by having Finn be the first person we see. Much like the first shot in the aforementioned teaser from December of 2014, Finn appears in a stir, breathing heavily, waking up in a medical bay, which is where we left him at the end of The Force Awakens. […] From there, we get a shot of Poe Dameron coming through a sliding door on a ship, saying something along the lines of, 'They’re almost here'. The room supposedly shakes and the Rebel pilot looks concerned. This is followed by a completely different scene of a funeral procession walking through a huge city before a character in dark clothing draws a blaster and fires it at someone in the procession.

    Then Poe is seen with Finn and the Rebel character played by Kelly Marie Tran, and they’re all dressed like First Order officers. […] Another shot features Captain Phasma leading a group of Stormtroopers, with the description adding that they look a little different, but also admitting that could be a misconception. Phasma tells the Troopers to 'Find them', and it appears to take place in the same city of the funeral processions. Stormtroopers fire all over, causing commotion all over.

    There’s shot of General Leia who says 'Their shadow is growing', followed by a shot of Supreme Leader Snoke stepping out of the darkness. This supposedly isn’t a visual effect, but a practical one, with the character standing 8 feet tall, towering over General Hux who can’t bring himself to make eye contact with him. Snoke asks, 'Is he alive?' to which Hux answers, 'Barely'. Snoke responds, 'Good. The time has come for a family reunion'. […] Finn barges into a meeting that Leia and her advisers are having and says, 'They’re back', with the General being not surprised by this revelation. Finn reacts and says, 'You knew', with Leia saying, 'I felt it'. Then the Millennium Falcon flies out from waves into the sky, followed by TIE Fighters flying through space.

    Finally, a Stormtrooper runs out of an alley in the aforementioned city, with several others following him afterwards. They meet Captain Phasma, to which one of the troopers says, 'It’s the Jedi'. Phasma stays while the other troopers run. A lightsaber ignition is heard, a blue light reflects off of Phasma’s helmet. The trailer cuts black and Luke says, 'Everything will die with us'.“

Gib mir den Rest, Baby…

// Doku: B-Movie – Lust & Sound in West-Berlin (1979-1989)

Gepostet vor Eine Woche in #Movies #Music #80s #Berlin #Documentary #Germany #Punk

Noch für 4 Tage auf ArtePlus: Mark Reeders B-Movie – Lust & Sound in West-Berlin (1979-1989), die Doku über West-Berlin der 80er mit jeder Menge Post-Punk und kaltem Krieg: „Ein Dokumentarfilm über Musik, Kunst und Chaos im wilden West-Berlin der 80er Jahre: Bevor der Eiserne Vorhang fiel, tummelten sich hier Künstler und Kommunarden, Hausbesetzer und Hedonisten jeder Couleur. Die eingemauerte Stadt war ein kreativer Schmelztiegel für Sub- und Popkultur, geniale Dilettanten und Weltstars. 'B-Movie' erzählt die letzte Dekade der geteilten Stadt.“

„B-Movie“ ist ein Dokumentarfilm über Musik, Kunst und Chaos im wilden West-Berlin der 80er Jahre. Bevor der Eiserne Vorhang fiel, tummelten sich hier Künstler und Kommunarden, Hausbesetzer und Hedonisten jeder Couleur. Die eingemauerte Stadt war ein kreativer Schmelztiegel für Sub- und Popkultur, geniale Dilettanten und Weltstars. „B-Movie“ erzählt die letzte Dekade der geteilten Stadt, von Punk bis zur Love Parade, mit authentischem Filmmaterial und Originalinterviews.

1980: Mark Reeder aus Manchester ist 20, als er die legendäre Musikszene um Joy Division verlässt, um nach West-Berlin zu kommen. Der britische Musiker, Produzent, Schauspieler und Autor ist fasziniert von der deutschen elektronischen Musik und taucht ein in den Großstadtdschungel der geteilten Stadt. Schnell ist Reeder mittendrin – als Roadie, Türsteher, Musiker, Manager und als Schauspieler in Kurz- und Undergroundfilmen. Alles ist immer in Bewegung, neue Bands gibt es in ständig wechselnden Konstellationen, und Reeder trifft sie alle, die Helden für einen Tag, von denen Bowie sang. Niemandem geht es hier um den langfristigen kommerziellen Erfolg, sondern nur um den Moment, das Hier und Jetzt. Am Ende des Jahrzehnts steht der nächste musikalische Urknall unmittelbar bevor: House und Techno, die letzte musikalische Innovation. Reeder ist auch einer der hundert Teilnehmer der ersten Love Parade, die als Demonstration über den Ku’damm zieht. Wochen später ist West-Berlin Geschichte.

// Automatic Handgun Detection via Machine Learning

The latest Step into an OCP-approved Ed-209-compatible Future: Automatic Handgun Detection Alarm in Videos Using Deep Learning (PDF). Usage Guide: In case of False Positives, say „It's just a Glitch“. In case of False Negatives: ¯\_(ツ)_/¯. (via AlexJC)

Current surveillance and control systems still require human supervision and intervention. This work presents a novel automatic handgun detection system in videos appropriate for both, surveillance and control purposes. We reformulate this detection problem into the problem of minimizing false positives and solve it by building the key training data-set guided by the results of a deep Convolutional Neural Networks (CNN) classifier, then assessing the best classification model under two approaches, the sliding window approach and region proposal approach.

The most promising results are obtained by Faster R-CNN based model trained on our new database. The best detector show a high potential even in low quality youtube videos and provides satisfactory results as automatic alarm system. Among 30 scenes, it successfully activates the alarm after five successive true positives in less than 0.2 seconds, in 27 scenes. We also define a new metric, Alarm Activation per Interval (AApI), to assess the performance of a detection model as an automatic detection system in videos.

Gib mir den Rest, Baby…