// They Live Brainwashing-TV-Set-Toys

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

Gepostet 15:22 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

Gepostet 12:27 in #Politics #4chan #DasGeileNeueInternet #DonaldTrump #Trolls

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 2 Tagen 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)

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…

// Stupid Hacks from Stupid Hackathon Sweden

Gepostet vor 2 Tagen in #Fun #Tech #Coding #DIY

Vor ein paar Tagen ging der Stupid Hackathon Schweden zu Ende, hier eine Liste aller dort realisierten Projekte.

Spontan mein Favorite: Panic Room, „A slightly sadistic VR app for two people, one is inside a room which the other controls using a physical box.“

Auch super und wahrscheinlich sogar ziemlich brauchbar, auf so 'ne dumme Art: Everything is calm, a „Chrome Extension that invisibly lowers the volume of YouTube videos over time, until the last twenty seconds when it blasts back at max, hopefully after the user has continuously increased the volume on their external unit to compensate for it being 'too low'.“

Auch hübsch: Chat Roulette Kastanjett, „The chat website for people who are looking for people who like to talk morse code with kastanjetter (castanets). Website + electrified kastanjetter morse code keyboard prototype.“

Oder Probe, „Activity tracker and diagnostics platform based on data collected from your butt.“

Probe is not just an activity tracker. Probe motivates you to reach your health and fitness goals by tracking your activity levels and energy consumption with one simple measurement: temperature. But what makes the Probe plan so unique is our extensive diagnostics kit! Probe displays real time and historical temperature data which allows you to monitor fluctuations and quickly react to anomalies, as temperature is a key indicator of health. But more importantly, Probe is an extra life insurance. We can say that with certainty as we'll even call you an ambulance if we detect an emergency!

Gewonnen hat der „Electric Man“, eine Vorrichtung für „Behaviour improvement“, die per Facerecognition Elektroschocks an unliebsame Leute verteilt, die einem zu nahe kommen.

Gefällt mir nochmal eine Spur besser: P2 TYSTNAD sammelt Momente der Stille mit Rascheln oder Hintergrund-Sounds im schwedischen Radio: „The most beautiful sound is the silence in between other stuff on Sveriges Radio P2. This machine packages this silence for easy enjoyment.“

Der iTrump liest Golden Boys' Tweets mit 'nem Twist: „Trump, on a BillyBass like trophy head, reads out his own tweets, with a few minor changes, example Mexico = Narnia, Imigrants = Picachu.“

Oder der Image Size Slayer, der die Bildgröße dadurch verkleinert, nicht in dem er das Bild irgendwie komprimiert oder sowas, sondern in dem er andere, motivgleiche Bilder sucht: „Reduce file size of images (e.g. so that you can send them to your grandmother who is not on a modern connection) by returning a smaller, similar image instead of the original.“

// Queens of the Stoned Age

Gepostet vor 2 Tagen in #Kultur #Crime #Drugs #Marijuana #Sexy

Superinteressanter Text von Suketu Mehta über die Queens of the Stoned Age, eine, ähm, Arbeitsgemeinschaft von rund 30 Models, die einen Lieferservice für Deluxe Marijuana anbieten: „There are a thousand ways to buy weed in New York City, but the Green Angels devised a novel strategy for standing out: They hired models to be their dealers.“

In the eight years since the group was founded—by a blonde, blue-eyed Mormon ex-model—they’ve never been busted, and the business has grown into a multimillion-dollar operation. Suketu Mehta spent months embedded with them at their headquarters and out on their delivery routes to see where this great experiment in American entrepreneurship might lead. […]

The Green Angels average around 150 orders a day, which is about a fourth of what the busiest services handle. When a customer texts, it goes to one of the cell phones on the table in the living room. There’s a hierarchy: The phones with the pink covers are the lowest; they contain the numbers of the flakes, cheapskates, or people who live in Bed-Stuy. The purple phones contain the good, solid customers. Blue is for the VIPs. There are over a thousand customers on Honey’s master list.

To place an order, a customer is supposed to text “Can we hang out?” and a runner is sent to his apartment. No calling, no other codes or requests. Delivery is guaranteed within an hour and a half. If the customer isn’t home, he gets a strike. Three strikes and he’s 86’d. If he yells at the runner, he’s 86’d immediately.

// They Live Brainwashing-TV-Set-Toys

Gepostet vor 2 Tagen in #Movies #JohnCarpenter #TheyLive #Toys #TV

Großartiges They Live-Toy aus Hong Kong, jede Menge Miniatur-Plastikfernseher mit den sublimen Gehirnwäsche-Befehlen der Alien-Oppressors. Gibt's hier ab 15 Dollar und ich will die White-Noise-Kiste in „the color of television, tuned to a dead channel“. So geil! (Danke Swen!)

A set of 12 TV Screen design is inspired by the movie “They Live” brainwashing scene. […]

About Awesome Toy “Brainwash TV”: Inspired by the Indie Toy scene’s extensive selection of “platform” toys – figures that can be customised. The vintage-styled TV’s unique take on the idea is set to offer sofubi painters, designer toy customisers and even illustrators more scope for creativity than ever before. Featuring an ingenious, fully-adaptable design, the deceptively simple soft vinyl cube has been fitted with a removable front “screen” panel, meaning that not only can the outer shell be painted, re-sculpted or mashed-up with other figures! But it can also be used to display prints, drawings, photos or even various items inside- the possibilities are limitless!

Gib mir den Rest, Baby…

// Clyde „Funky Drummer“ Stubblefield R.I.P.

Gepostet vor 2 Tagen in #Music #Drums #Samples

Clyde Stubblefield, James Browns Original „Funky Drummer“ und einer der meistegesampelten Trommler aller Zeiten, ist im Alter von 73 an Nierenversagen gestorben.

Stubblefield spielte auf James Browns größten Hits inklusive Sex Machine, It's a Man's Man's Man's World und I Got the Feelin' und sein Drumsolo in der 1970er Single Funky Drummer machte ihn zur Legende.

Sein Break wurde zum zentralen Sample von legendären HipHop-Tracks wie Fight the Power von Public Enemy, Mama Said Knock You Out von LL Cool J oder Fuck Tha Police von NWA. Sein Funky-Drummer-Bit steht derzeit in der Liga der Supersamples auf Platz 4 (Nummer Eins natürlich nach wie vor der Amen Break).

Mach's gut, Clyde, und danke für den ganzen Funk!

Stubblefield, while a member of Brown's backing unit, performed on the funk legend's classic cuts like "Cold Sweat," "Ain't It Funky Now," "I Got the Feelin'" and Brown's landmark LP Cold Sweat and Sex Machine. However, it's a 20-second drum break, a snippet of a Stubblefield solo found on Brown's 1970 single for "Funky Drummer," that marked the drummer's biggest impact on music.

The drum break served as the backbeat for countless hip-hop tracks, ranging from Public Enemy's "Fight the Power," "Bring the Noise" and "Rebel Without a Pause" to N.W.A's "Fuck tha Police" and Dr. Dre's "Let Me Ride" to LL Cool J's "Mama Said Knock You Out," Run-D.M.C.'s "Run's House" and Beastie Boys' "Shadrach." Even Ed Sheeran's "Shirtsleeves" and George Michael's "Freedom '90" were among the over 1,000 songs to sample Stubblefield's beat.

"We were sitting up in the studio, getting ready for a session, and I guess when I got set up I just started playing a pattern. Started playing something," Stubblefield said of creating the famous drum break. "The bassline came in and the guitar came in and we just had a rhythm going, and if Brown liked it, I just said, 'Well, I'll put something with it.'"

Stubblefield wurde beim Funky Drummer nie als Songwriter aufgeführt (obwohl die Patterns laut seiner Aussage von ihm geschrieben wurden) und erhielt in Folge nie einen einzigen Cent aus der Sample-Orgie, die Kohle haben sich wohl das Label und James Brown geteilt:

"All the drum patterns I played with Brown was my own; he never told me how to play or what to play," Stubblefield told SF Weekly in 2012. "I just played my own patterns, and the hip-hoppers and whatever, the people that used the material probably paid him, maybe. But we got nothing. I got none of it. It was all my drum product."

Stubblefield added in a 2011 New York Times interview, "People use my drum patterns on a lot of these songs. They never gave me credit, never paid me. It didn't bug me or disturb me, but I think it’s disrespectful not to pay people for what they use."

Gib mir den Rest, Baby…

// Trailerfest: The Devils Candy, The Leftovers, Colossal, 47 Meters Down, Carrie Pilby, Mine, Sandy Wexler

Gepostet vor 5 Tagen in #Movies #Trailer

Neue Trailer zur dritten und letzten Staffel Leftovers, zu meinem Fantasy Filmfest-Fav The Devils Candy (Review hier), ein neuer zu Colossal mit Anne Hathaway, die ein Kaijū fernsteuert, 47 Meter Down, ein Hai-Käfig-Klaustrophobie-Thriller, Carrie Pilby is 'ne ComingOfAge-Story einer Hochbegabten, in Mine tritt ein Soldat auf 'ne Tretmine und muss sich gegen Viecher und Terroristen verteidigen und dann, äh, Sandy Wexler, der neue Adam Sandler.

The Devils Candy

In THE DEVIL’S CANDY, Jesse, a struggling artist, moves with his wife and daughter into their dream house in rural Texas, the price driven down by the property’s dark past. Their lives soon begin to unravel as the demonic forces lurking in the house take hold of the young family. Jesse’s paintings take a satanic turn while the family is plagued by Ray, the deranged son of the former owners. Soon it becomes clear that Jesse and Ray are both being influenced by the same dark forces and that Jesse and his family aren’t safe from its former inhabitants or indeed from the devil himself.

Newsbits:

  • Sounds awesome: Amazon picks up Bryan Cranston’s Philip K. Dick anthology series: „Amazon has picked up the rights to Philip K. Dick’s Electric Dreams, an anthology series based on the work of the iconic author that is being produced by Bryan Cranston and Battlestar Galactica‘s Ronald D. Moore.“
  • Makes sense tbh: ‘American Horror Story’ Season 7 To Tackle Presidential Election: „'Well I don’t have a title, but the season we begin shooting in June is going to be about the election that we just went through. So I think that will be interesting for a lot of people,' the producer revealed. When asked if there would be a character based on Donald Trump, Murphy, who was there to promote his upcoming series Feud, replied, 'Maybe.'“
  • Because ofcourse: Joe Carnahan [A-Team, The Grey, Smokin Aces] And Frank Grillo Are Remaking THE RAID, Apparently: „THE RAID remake will hew closer in tone & feel to THE GREY and NARC. [Gareth Evans] is producing alongside & has given us his full blessing.“
  • Okeee: Warner Bros. Courts Mel Gibson to Direct 'Suicide Squad' Sequel: „Sources say that Gibson is familiarizing himself with the material. But the studio is not being passive and is also looking at other directors, Daniel Espinosa among them.“
  • Cool (Yes, I'm still on the Sheldon-Train, choo choo): Two more seasons of The Big Bang Theory are on the way
  • Tremors 6-Synopsis, Release in 2018: „Burt Gummer (Michael Gross) and his son Travis Welker (Jamie Kennedy) find themselves up to their ears in Graboids and Ass-Blasters when they head to Canada to investigate a series of deadly giant-worm attacks. Arriving at a remote research facility in the artic tundra, Burt begins to suspect that Graboids are secretly being weaponized, but before he can prove his theory, he is sidelined by Graboid venom. With just 48 hours to live, the only hope is to create an antidote from fresh venom — but to do that, someone will have to figure out how to milk a Graboid!“

Gib mir den Rest, Baby…

// Tiny Trump

Gepostet vor 5 Tagen in #Fun #DonaldTrump #Memetics #Photoshop

At least his body resembles his hands now.

KnowYourMeme: „The [meme] originated from a post by used theLAZYmd in the subreddit r/pics on February 16, 2017 titled 'I made Trump 2 ft tall. It makes him look cute next to the secret service'. The post has currently over 53,000 upvotes. Within the next day, several similar images were made and circulated around Reddit, resulting in the creation of the subreddit r/TinyTrumps by user revolution486.“ (via Huw)

Gib mir den Rest, Baby…

// RechtsLinks 17.2.2017: Fuckopoulos at Maher, PewDiePie is a racist SuperNazi from hell, Trump is 4chan


Pic: Lie Lie Land von Bambi

First things first: Milo Fuckopoulos ist heute abend bei Bill Maher: „Yiannopoulos will be interviewed in-studio by Maher. Asked about the possibility of additional security, an HBO spokesperson said, 'The series shoots on a secure lot, but as with other weeks, an appropriate amount of security will be on hand.'“

Es gibt natürlich bereits den ersten mittelinteressanten Deklat dazu: TheIntercept-Autor und -Mitgründer Jeremy Scahill hat seinen Auftritt während der Sendung abgesagt mit der Begründung:

Maher is having none of it:

My comments on Islam have never veered into vitriol. Liberals will continue to lose elections as long as they follow the example of people like Mr. Scahill who’s[sic] views veer into fantasy and away from bedrock liberal principles like equality of women, respect for minorities, separation of religion and state, and free speech. If Mr. Yiannopoulos is indeed the monster Scahill claims – and he might be – nothing could serve the liberal cause better than having him exposed on Friday night.

Ich bin da komplett bei Maher tbh. Ich bin zwar dafür, Milos Auftritte in Bildungseinrichtungen zu verhindern, halte einen Auftritt in einer TV-Sendung, die ohnehin für ihre Streitlustigkeit bekannt ist und die bereits viele rechte Stimmen zu Gast hatte und die danach mal mehr, mal weniger beknackt aussahen, für einen völlig anders gelagerten Sachverhalt. Wenn man sich mit den Aussagen von Fuckopoulos vertraut macht, merkt man sehr schnell, dass der a) wissenschaftliche Studien nur oberflächlich interpretiert und b) mit seinen fundamental-rassistischen Aussagen zum Islam noch weit über das Maß hinausgeht, das man als „islamophob“ bezeichnen könnte (ein Label, das sich Maher gezielt selbst verleiht).

Ich gehe daher davon aus, dass Maher den Milo ziemlich zerpflücken wird und Scahills Rückzug halte ich in diesem Kontext für unklug. Aber gut, morgen wissen wir mehr.


PewDiePie war laut Wired schon immer „kinda“ rassistisch und hat Nazi-Fans:

Die Headline haben sie dann nachträglich geändert und nun steht da „PewDiePie’s Fall Shows the Limits of ‘LOL JK’“.

Anlass war ein Hitpiece des Wall Street Journals, die in hunderten Videos neun Stellen gefunden hatten, in denen er antisemitische Jokes und Nazi-Pics und/oder Kostüme getragen hatte: Disney Severs Ties With YouTube Star PewDiePie After Anti-Semitic Posts – Move came after the Journal asked about videos in which he included anti-Semitic jokes or Nazi imagery (Paywall).

PewDiePie: My Response:

Okay then. Ich hatte mich darüber gestern morgen mit ’nem Kumpel auf FB unterhalten:

>was sagst du denn zu diesem PewDewDings Typen? Idiot oder Nazi?

Rene: Ganz klar Idiot. Is aber nochmal komplizierter, der hat mit seinem Millionenpublikum auch ne Verantwortung. Einerseits. Andererseits: Antisemitische/Nazi-Jokes sind Common bei trollartigem Web-Humor, können wir uns hier aufn Kopp stellen, das is halt so weil es am aufmerksamkeitsfähigsten/triggerfähigsten ist. Is ähnlich wie die Episode hierzulande mit dem Typen bei dem Bahnstreik damals.

Klar sind die rude und auch Arschlöcher und man muss das kritisieren, aber die Headlines, die den jetzt in die rechte Ecke stellen sind Hitpieces, die genau demselben aufmerksamkeitsökonomischen Muster folgen (man könnte es quasi "Nazi-Bait" nennen in Anlehnung an das alte Clickbait und das etwas jüngere "Gender-Bait"). So ungefähr, geht noch komplexer wenn es um Zeichen und die Bedeutung von Zeichen und den Wandel der Bedeutung im Laufe der Zeit geht.

Sind einige interessante Sachen passiert diesbezüglich, sie die Milch-Episode oder auch „Wintrich standing behind the lectern in the White House press briefing room, displaying a hand signal associated with the racist “Pepe” meme““.

Ab da wird das ganze extrem komplex und da bin ich dann auch überfragt, weil mir die philosophische/semiotische/theoretische Grundlage fehlt. Aber deshalb hab ich mir auch circa 300 Bücher in den letzten 3 Monaten gekauft und lese die jetzt 😉

>Das war eine extrem ausführliche Antwort, Danke dafür. 😀 Aber okay, deine Darstellung macht das ja recht deutlich: medial verurteilen, aber eben auch nicht die ganz harte Nazikeule schwingen. Macht Sinn.

Ja, klar, man muss da im Prinzip bei jedem individuellen Fall genau hingucken… Auch wie bei Gamergate oder 4chan: ich kritisiere die auch, aber wenn man genau hinschaut, ergibt sich halt ein sehr viel differenzierteres Bild, das man eben auch laut aussprechen muss, einfach alle als "Nazis" zu beschimpfen treibt die nur in die Arme von Fickern wie Milo. Aber das kostet halt auch Zeit (siehe meinen Gamergate-Artikel damals) und die Klicks mit nem Hitpiece sind auch schnell verdientes Geld, grade bei 'ner bekannten Figur wie PewDiePie, das ist ebenfalls kein unwichtiger Faktor.

> Ja, eben. Aber es besteht natürlich die reale Gefahr, dass man die Arschlöcher damit normalisiert.

Ja, def, das macht die Sache dann halt superkompliziert…

Oder der Schwachsinn, den Dailydot vor ein paar Tagen zur Trash-Dove-Meme postete, auch hier wurde nachträglich die Headline geändert: A meme war is raging over the future of Trash Dove, auf Twitter betreiben sie ihr Nazi-Baiting mit Headlines wie diesen:

Das Problem mit solchen Headlines oder den Hitpieces, die (absolut kritikwürdige) Jokes eines Comedian aus dem Kontext reißen (PewDiePie nutzte Nazi-Pics oder antisemitische Witze häufig, um Medien oder Online-Mechanismen zu kritisieren. Ob ihm das gelungen ist oder welche Qualität das hatte [meines Erachtens nich so prall] ist dabei zweitrangig. Trash-Dove ist/war ein Pimmel-Joke aus Thailand.), ist, dass solche schlampige journalistische Arbeit den Rightwingern und den richtigen Nazis in die Hände spielt. Look at this:

Man könnte fast meinen, die Herren Journalisten vom WSJ wären auf ’nen Köder von tatsächlichen Nazis reingefallen, hier die Headline eines DailyStormer-Artikels vom Dezember:

However.

Felix Kjellberg (PewDiePie) macht es sich natürlich zu einfach mit seinem Statement. Mit seinen Drölfmillionen Subscribern hat der Junge eine Verantwortung und auch wenn die Jokes, so schlecht oder grenzüberschreitend sie gewesen sein mögen, aus dem Kontext gerissen wurden: Durch die Wiederholung von Nazi-Pics und entsprechender Jokes verschiebt Kjellberg den Gestus seiner Kunstfigur, so ein bisschen wie ein persönliches Overton-Window, und lädt damit mindestens Leute ein, die Nazismus oder Antisemitismus ambivalent gegenüber stehen. Und das ist ein Problem, grade in seiner Position als der erfolgreichste Youtuber.

Dazu lesenswert: Arwa Mahdawi im Guardian: PewDiePie thinks 'Death to all Jews' is a joke. Are you laughing yet?

The Daily Stormer is named for Der Stürmer, a Nazi tabloid newspaper that played an important role in spreading antisemitism among the German population. It used antisemitic caricatures and racist cartoons to dehumanize Jews and slowly spread antisemitism among its core readership of the young, poor and poorly educated. And it worked. In 1942, Hitler said: “One must never forget the services rendered by the Stürmer ... Now that Jews are known for what they are, nobody any longer thinks that Streicher [the editor of the paper] libelled them.”

Today, tabloids are dying out but we have memes and internet communities. And these have created their own digitally native ways to spread hate. Much of this started with 4Chan, a notorious internet message board, which spawned a racist trolling culture and basically wrote the rulebook for the way in which white supremacy is coded and spread online.

Hatred is camouflaged in absurd memes and an overblown rhetorical style, hidden in cartoon figures like the “alt-right” mascot Pepe the Frog. Nothing is serious; everything is a joke.

Hannah Arendt famously talked about the “banality of evil”. The idea that the cogs of capitalism help tyrants take control of people and turn evil into unthinking acts of bureaucracy: people aren’t murderers, they’re “just doing their job”.

You could say that today’s digital economy has spawned a new “bro-nality of evil”. Racist memes serve as in-jokes that help solidify bonds between alienated white men online. The style of these memes, their overblown exaggerated nature, means we often don’t take them seriously. Dismiss them as jokes. But this is how antisemitism creeps into our lives. Not with a bang but with a punchline.

Und die NewYorkTimes: YouTube’s Monster: PewDiePie and His Populist Revolt:

He initially rose to popularity within the video-gaming subculture, which, beginning with the “GamerGate” movement and continuing through the American presidential election, became surprisingly and darkly politicized. His core audience is young, and his sensibility clearly appeals to a masculine teenage impulse to shock and provoke. The YouTube platform plainly incentivizes such attention-grabbing behavior, right up until the point that it becomes a liability to its operators or their other partners — a familiar dilemma in the entertainment world, sure, but one that plays out quite differently on YouTube, which is considerably and deliberately less hands-on with its talent. It’s telling that YouTube’s biggest star portrayed the platform as distant and capricious. It’s alarming that following his performative hostility led him to where it did: attempting to rationalize the use of anti-Semitic speech under the guise of transgression.

Kjellberg had, either instinctively or intentionally, constructed a political identity as YouTube’s insider class-traitor, raging against a system that’s — trust him, but also he’s just joking, but he would know — totally rigged. Now he is sketching out what a far more toxic YouTube politics of ressentiment might look like, under the threadbare cover of ironic bigotry, the recent history of which is worryingly instructive. In the meantime, the self-identified real racists are laughing along heartily, even as Kjellberg strenuously attempts to distance himself from them. […]

YouTube’s reaction, and how it follows up, is the thing to watch. As, of course, is Kjellberg’s. His most recent video, posted after Maker Studios and Google made their announcements, was a lighthearted play-through of a gag video game called “Genital Jousting,” and did not reference the scandal. His commenters, on the other hand, did, asking almost uniformly that he not apologize for anything.

The full character of the burgeoning politics of platforms remains to be seen. But right-wing movements have found early traction and see opportunity. Even as farce, Kjellberg’s performance has been illustrative, and a small number of eager observers say they hope that, as backlash mounts, it will be galvanizing. “If Pewdiepie wasn’t #AltRight before,” Vox Day, a former video-game designer and an alt-right leader posted on Gab.ai, a private, Twitterlike service popular with the movement, “he is now.”

Zu all diesem Chaos um Symbole und ihrer Bedeutung und Sprache gibt es ein sehr schönes Zitat von Orwell in seinem berühmten Essay „Politics and the english Language“, das sollten sich alle Beteiligten durchlesen, vor allem Trolle und PewDiePie: „One need not swallow such absurdities as this, but one ought to recognise that the present political chaos is connected with the decay of language, and that one can probably bring about some improvement by starting at the verbal end.“

In that sense, I highly recommend the next one:


Baltimore Art: The Aesthetics of the Alt-Right:

Indexing these movements across a two axis chart (fig. a) is productive for the intents and purposes of this paper; however, what is most interesting to observe is instances in which these communities convene in internet “public spaces” (which are not public at all), most notably reddit and 4chan. Their creative propagandic images are disseminated throughout social media and oftentimes matriculate all the way up to the Twitter accounts of political leaders, activists, entertainers, and of course, into our national consciousness. As I will refer to this chart throughout this essay, I would like to clarify its organizational logic. Groups, terms, and individuals are plotted according to their variations on the central tenets of the alt-right’s ideological disposition, namely in regards to Nationalism and Faith.

Nationalism in general is a defining characteristic of the alt-right; however, within the nationalist ideology there are degrees of variation, particularly in regard to the status of Jewish people and Israel. Representatives from groups that more closely embody economic nationalism can still be considered mainstream figures since their rhetoric skirts around social issues such as race and religion. On the opposite side, the groups share a nationalist ideology, but the rhetoric takes on a distinctly racialized, often anti-Semitic, tone—a stark contrast to the staunchly pro-Israel economic nationalist groups epitomized in the Trump Administration itself.

Towards the bottom of the chart, the religio-philosophical underpinnings of the alt-right contrast. On the left side of the chart are the individuals and movements that place their faith in inegalitarian readings of traditionally recognized religion. Perhaps echoing Julius Evola’s spiritual racism, various communities re-read Christian mysticism, Zen Buddhism, and Hindu polytheism, ultimately and bewilderingly drawing White Supremacist conclusions. On the bottom-right, we see a more technocratic, hypercapitalist neo-fascism that places its faith in markets, accelerated capitalism, and “empirical” science to reveal the truly inegalitarian hierarchy key of racial classification. In a sense, there is a loose historical allegory to be found here: the spiritual quadrant of the alt-right finds coherence in Julius Evola’s spiritual justification for fascism (a concept that was quite appealing to Mussolini), while the techno-determinist quadrant draws influence from Nazist racism, which uses a biological justification. Thus, opposite axes should not be understood as antithetical; the axes are constitutive and relational, accounting for variations in nationalism and faith.

In dem Kontext ebenfalls sehr interessant, PBS-Ideas Feedback-Video zu ihrem Clip Pepe: Rare, Racist or Both?:

Gib mir den Rest, Baby…

// „All Cops are Bastards“ ist sexistisch

Gepostet vor 5 Tagen in #Politics #Feminism #Police #Protest #Punk

Ich habe viele Sympathien für die Antifa und trotzdem finde ich den Spruch „All Cops are Bastards“ nicht so super, nicht zuletzt weil ich persönlich (Ex-)Cops kenne und weiß, dass die jetzt echt keine Arschlöcher sind. Ich kann mit dem Spruch trotzdem gut leben, denn er zielt ja nicht auf das Individuum sondern auf die politische Entität mit Macht und außerdem muss ich nicht jedes ACAB-Graffiti bloggen.

Ich würde mich auch, trotz all der nervigen Culture Wars der letzten paar Jahre, immer noch als Feministen bezeichnen – oder vielleicht genauer: Random Guy, der dem Feminismus wohlwollend zugeneigt ist, ohne sich aktiv zu beteiligen, weil er diesen Kampf als den Kampf der Damen sieht und die das halt machen sollen wie sie für richtig halten, auch wenn da manchmal Unfug passiert, so wie bei allen Dingen ever –, weil mir viele der politischen Ziele ziemlich vernünftig vorkommen, nur ist Besserstellung von Care-Arbeiterinnen und Müttergeld halt nicht so outragememefähig wie etwa sexistische Löffelchenstellung. Naja, als Linker hat man's halt nicht leicht in diesen Tagen, nicht wahr.

Having said that: Ich finde dieses Bit hier sehr amüsant: Die Antifa und der Bastard – In der Asta-Zeitung der Frankfurter Uni geht man der Frage nach, ob man als Linker „All Cops Are Bastards“ sagen darf. Übrigens gilt auch hier: Natürlich darf man diese Frage diskutieren, sollte man wahrscheinlich sogar, grade im akademischen Umfeld – und ich verstehe sogar, was die Queere Antifa mit ihrer ACAB-Kritik zum Ausdruck bringt. Amüsant bleibt es dennoch.

Warum gehört es sich für einen Linken nicht, „All cops are bastards“ zu brüllen? Dieser für den Demonstrationsalltag hochrelevanten Frage geht in der jüngsten Ausgabe der Frankfurter Uni-Asta-Zeitung ein anonymes Autorenkollektiv der queer-feministischen Antifa nach. Unter der Überschrift „Sexismus in der linksradikalen Szene“ stellen die Verfasser erst mal eines klar: „Selbstverständlich geben Polizist*innen und besonders deren Struktur tagtäglich legitimen Anlass, sie zu beleidigen.“ Zu diesem Zweck allerdings das Wort „Bastard“ zu verwenden, ist nach Auffassung der Autoren politisch inkorrekt: Wer sich dieser Bezeichnung für eine „Mischform“ bediene, verteidige damit eine „rassistische und sexistische Ideologie von Reinheit“, die unehelich gezeugte Kinder ebenso stigmatisiere wie die Nachkommen hetero-ethnischer Partnerschaften.

// AppleMacintosh-Robot Actionfigure

Gepostet vor 5 Tagen in #Design #Apple #Toys

Auf MacinBot (Facebook) gibt's demnächst eine Serie von Actionfiguren und Vinyltoys alter Apple-Rechner und Peripherie und Icons (ein Plastik-Font-Koffer!!! < -- ich benutze echt sehr sehr selten mehrere Ausrufezeichen aber ein Plastik-Font-Koffer ist es wert. For those who know.) und Schnickschnack. Vom ersten Toy, ein Cute-Robot-Remix von Apples Ur-Macintosh, gibt's bislang nur einen Prototypen und ein paar 3D-Renderings. Pre-Order hier, Blog da, ich rechne da mit noch sehr vielen weiteren hübschen Vinyl-Toys mit Mac-Klassikern.

Each Macinbot is about 10cm tall. He comes packed in a mini cardboard box, carries a “font suitcase” in his hand and is accompanied by his friendly mouse (model G5431b). The first prototype was on display at Toysoul 2016 Hong Kong. Suggested retail price is HK$150 (US$25).

Macinbot Classic is still in production, there has been a slight delay and now the finished product is planned to ship out in June 2017.

Gib mir den Rest, Baby…

// Lazy Pose-Catalog for Illustrators

Gepostet vor 6 Tagen in #Design #Books #Illustration #Lazyness

Illustratoren benutzen zur Zeichnung des menschlichen Körpers oft Bücher voller Figuren-Vorlagen in allen erdenklichen Posen. Standard ist zwar die bekannte Gliederpuppe aus Holz, die Bücher sind trotzdem weit verbreitet. Und im März wird jetzt endlich eine Posen-Lücke mit einer Figur geschlossen, die viel zu lange keinerlei Beachtung unter Zeichnern fand: Der faule Sack.

In Japan erscheint im März der Daratto shita Pose Catalogue (だらっとしたポーズカタログ) oder per Google Translate der Awkward Pose Catalog beziehungsweise laut Rocketnews24, der Lazing About [dt. Faulenzen] Pose Catalogue oder nochmal genauer: Ein Referenzen-Katalog für Illustratoren voller Renés. Die Preview-Pics gibt's leider nur in LowRez, aber das passt ja auch wiederum auf so 'ne Art. (via Dangerous Minds)

Whether you’re drawing realistic images of men and women, or cute, wide-eyed anime-style characters, proper proportions and angles are essential for achieving a good-looking result. In Japan, there are a number of handy books and websites filled with photos of dynamic poses to help artists achieve realistic movement on the page, but when it comes to more lazy, static poses around the home, there hasn’t been as much love given to the subject.

That’s all changed now with the new Daratto shita Pose Catalogue, or Lazing About Pose Catalogue, which documents approximately 800 images of relaxed, natural poses, using three models who perfect the bored-and-lazy look in a number of outfits and settings.

Gib mir den Rest, Baby…