Get Excited And Make Things!

"GET EXCITED AND MAKE THINGS" arrives in the Howies store,  Carnaby St

It’s fair to say this post is a little behind-the-times, but I finally want to get round to recording the story behind my “Get Excited & Make Things” image – and also releasing the files, which was always my intention…

I was a little frustrated with myself and the world one day, and went to sit in Hoxton Square to do the Guardian crossword as a remedy.

Flicking through the G2 section I came across a short article about the “Keep Calm & Carry On” WW2 poster phenomenon.

18/03/2009

It occurred to me that this was exactly the wrong sentiment for this age – and in fact the stoicism it recommends was been viewed ironically in the main by those who purchased it.

I started sketching on the paper a contrary statement, where stiff upper lip was replaced by a stiff upper arm from soldering…

GET EXCITED AND LASERCUT THINGS

The royal crown was replaced by one made of spanners (or wrenches, for our yanqui friends) – and Get Excited & Make Things was born.

Don't keep calm and carry on.

I posted it to flickr, where to date it has had over 90k views. It got turned into t-shirt of the week by my friends at Howies (and became their fastest selling shirt ever, apparently!) with the proceeds going towards their Do Lectures.

howies® - t-shirt of the week

Then, an art print by Jen and friends at 20×200 – with proceeds going to Creative Commons.

Along with that, It got featured in various press articles, and there’s a flickr pool for spottings in the wild.

Get Excited & Make Things Pool

It’s still available via my mates at Mule Design – with the proceeds going to Smallcanbebig.org.

Apparently "sullen" is a "thing" which can be "made"

I only mention it’s success (though gratifying personally, obviously – and I’m very happy that it’s provided some small contributions to good causes) – because it seems that it has resonated with so many people.

And that’s the really amazing thing – that there might be a determination, en-masse – to really get the blood pumping and make our way out of the messes we’ve created.

With that in mind, I’m offering the original files under a CC-non-commercial, attribution, share-alike licence.

If you want to use the images for commercial means, we can talk of course – about you giving some donation to a good cause in exchange. I say that, as it’s cropped up in a few places being used without prior permission for commercial ends…

So here they are.

Thank you to everyone so far who has bought a shirt, a print – or just printed it out and stuck in up in their work place or college.

Please stay excited, please stay making.

Icon Minds: Tony Dunne / Fiona Raby / Bruce Sterling on Design Fiction

Raw notes!

Tony Dunne / Fiona Raby / Bruce Sterling

‘design has more to offer fiction at the moment than literature has to offer design’

Bruce S.

‘how to think about objects and surfaces that don’t yet exist’
our end goal is to mess with peoples heads
90% of the product of human genius doesn’t appear
patents, vapourware, social gestures, concept cars
hobbyist objects, unknown to the public
impossible objects: perpetual motion machines, quackery
frauds, fakes, objects that lie
then
futuristic devices: rep-raps: self-replicating replicators, robots, rayguns, urban battlesuits (heh)
why is it that sci-fi writers spent such a large amount of time with the last class of objects (the smallest slice of imaginary objects)
to expand my genre, i’m looking for help. I look a lot to design
very fond of critical design
wonder if there isn’t a much larger field of design fiction than we thought
what i call ‘speculative culture’ – a large set of social possibilities
a few of the approaches that design and sci-fi have in common:
* scientific experiment
* futurist scenario work
* observations
* storyboards and storytelling
* flowcharts, analytical software
* brainstorms
* mashups
this is a mashup – we’re going to leave a stain on each other…
might look like a stain for now, but might gel… into a sensibility
students are comfortable with mashups – polymathic – disintegrating structures of discipline

McG: idea of students being polymaths is very encouraging and important. what are the students doing – D&R?

Tony:

an interaction design course – how tech impacts and enters our lives – as the starting point… but in the last few years broadening to emerging tech: biotech, synthbio, nano etc

fast-fowarding to when they are distributed throughout society, then bring them back to now and see if the outcomes are desirable or not.

open-sailing took shape thorugh social media/software: built a group that embarked upon a future, a dream. an important point for me – because the tools were invisible to the student (cesar) just a way to do the project rather than the ‘star’ of the project. for a younger generation, digital tech is nothing special anymore (but this is something that can be engaged with critically) and the emerging tech is the thing that also needs to be interrogated.

scientific process: hypothesis, which is tested through design and making – things are learnt and iterated

Bruce: the gartner hype-cycle ‘peak of inflated expectation’ / ‘trough of disillusionment’ – to the plateau of use… integrated into daily life… boring / meaningless

my genre was traditionally in the ‘peak of inflated expectation’ – i’m not trying to make my own work more ‘useful’
crunchy, crispy pop metaphysics – that bends your mind… I want to be MORE WEIRD
something that has a hallucinatory quality that comes through the skylight and floats through the keyhole
but- my role as a sci-fi writer is going away… because of the speed of media translation… people are not surprised by the future anymore.

if i blog something about something going on in a lab, the guy will email me and invite me for drinks to talk to about physics. the people i bring to the table are not physics enthusiasts. they are a weird crowd. when i link to something they go and dog-pile on it. that was not possible before. this is not fiction. having people in a social network go pile on something i link to is not fiction, but it has science fictional aspects.

i don’t worry about it’s power i worry about it’s fragility – it may be something that’s very had to explain to our children, or perhaps just in 7 years…

Tony: usefulness is there all the time in design: architecture and industrial design – blessing and curse
we’re trying to see how speculation through design could take on a social usefulness
if our imagination runs too far ahead in design, it perhaps ceases to become design and becomes fantasy
a lot of our debate with the student about where that line is – how to stay on the side that it’s not just pure entertainment

Bruce: our ideas or ‘use’ are too limited – is there a way of finesse it?
the psychopathology of everyday life – east german industrial design had ‘utility’ but born of a mad regime. these objects are uncanny and weird to us, but they made rational sense within the framework of east germany. the designers bought into the framework of that society.

we’re not instrumental beings – we’re not rational objects of use. you can’t write a short story about ‘use value’. not trying to being mystic about it – don’t want to wrap myself up in the thick cotton wool of storytelling, but we don;t understand ourselves well enough to define what ‘usefulness’ is. our society is mad like east germany – not in the same ways and perhaps not as crushing but it’s a framework we can’t see the edges of that makes us feel like we are making rational choices.

I’d like to see transhistorical critical design… what would ruskin say about interaction design… ruskin facebook… steampunk does this, but it’s also 19th century critical design of contemporary objects… the reason that people find it attractive is the sense of freedom it gives – the new/old.

(had to leave at this point for a meeting!!!)

Icon Minds: The return of ornament

, originally uploaded by moleitau.

Thanks to Justin McGuirk for the invitation to http://www.iconeye.com/iconminds/.

Below, my (very) raw unedited, incomplete notes from the morning session on ‘Ornament’ – Charles Jencks was most enjoyable, must admit I tuned out as the morning went on…:

icon minds event

the return of ornament: intro by Justin McGuirk

100 yrs since ‘ornament and crime’ aldolf loos- amazing that that is still so potent. digital tech in architecture schools is driving this – in icon office they joke about ‘return of victoriana’ – but then it was incredibly theorised where as no it is not…

charles jencks
farshi mousavi (check) foriegn office architects
marjan colleti, bartlett school of architecture

Charles Jencks
———————-
(shows front page of the FT, picture of hank paulson)
book ‘sense of order’
3 depths of ornament
‘all arts aspire to the condition of music’
rhythms that control and affect / effect us without us having to know to much about them
from simple to complex / abstract to meaningful
distinction between decoration and ornament
in the last ten year, ornament has been ornament as eye candy
paulson’s frown is a piece of decoration rather than ornament
i’m defining decoration as something you wear as a sign as a way to communicate in code to a group.
‘the blush on the face of a virgin in every novel is completely conventional’
(now frowns on the faces of capitalists is ‘the blush of the virgin’)
shows koolhaas morphing into zidane
(angry passionate reluctant – architect and designer’s ‘blush of the virgin’)
morphing is… one of the strongest influences on ornament today… morphing is somehow ‘musical’ – from Koolhaas to crescendo… of Zidane..
the construction / structural elements, repeated in a kind of ‘symphonic’ way in each fact of the OMA’s seattle library… organisational diagram informs the ornament – intersection, interlocking, ornamental use of colour for ciruclation to take you through a grey abstract concrete space… ornament is being used to underscore organisation
shows prada building in tokyo (?) herzog de merreon
rem: “dubai is vernacular zaha” – everyone is doing the same tricks with form – in adevrtising and magazines and academia… cliched images, rather than reality
venturi’s ‘dumb box’ / ‘decorated shed’ – done by FOA in spain… hexagonal tiles… that wobble nicely – ‘i call it the hexiwobble’
eberswalde library by H&dM – ornament not guaranteed to last 8-10 years by concrete manufrs
‘age of mechanical reproduction’ -photograph, but double – the facade is mechinaical reproduction
birds next stadium by h&dm – getting closer to mimicking nature
FOA work – pleats and plates of folded.
the 19th criticised construction – they said ‘don;t construct you ornament, instead decorate your construction’ – then poiret (?) teacher of corb said don’t do that… decoration always hides fault, and so the truth.
argument: philospophical/’moral’ – don’t think it is moral… we all ornament, we all decorate
transformational ornament is the 3rd degree
my own work based on fractals (cosmic garden in N. England?)
ornament should tell a story, should be narrative
shouldn’t stop at the level of semantics
the two great theories underlying nature:
plato – behind nature the underlying forms are regular solids (modernism) unbroken plato -> classical -> cezanne -> corbusier
based on the metaphysics of getting to the underlying forms of nature, the organisation of matter – self organisating relationships between them
1977: benoit mandelbrot: the fractal geometry of nature
things are more or less platonic when viewed from our scale, but in reality – mostly crinkly, self-similar, scale-free, always changing.
a symphonic scaling, between scales… recent work of FOA
gaudi – still the master of doing this… mediating between scale with ornament and structure.
the 4th degree of ornament is where there is an overall story that is seen in every element that the architect/designer/client has worked out whih gives it greater resonance.

Farshid Moussavi / FOA

book: ‘the function of ornament’

how do we define and construct ornament today?

it is part of how they ‘perform’ (structurally, environmentally) – they have a function
architecture has a very outmoded and narrow concept of function
sensorially roles should be part of function
opposition of function to ornament is representative of our dualist thinking between matter and mind
natural / symbolic
structural / symbols
louis sullivan was the last architect of ornament before modernism?
‘form follows function’ dictum reduced function to utility
related forms to culutre – often added inbetween structure and function – not considered together
but now they are – and start transforming each other
it’s no longer possible to isolate forces in the environment: cultural, societal, structural
cities are spaces where multiplicity rules, novelity emerges
materials are now joined by what she calls ‘supermaterials’ – economics, virology, systems, information
cinema
spinoza: affect / affectation

(I have to admit I tuned out at this point…)

In the corner at Icon Minds

Long life / loose-fit / low ennui

Which is a pun headline that will only work for a very few people.

The critical writing that has gathered around my “city as battlesuit” post has gathered something like critical mass – and it’s way more interesting and better written than what I dashed out for io9.

Go read:

As for the ‘testosterone-fuelled technoptimism‘ aspects of my writing, well – it’s a fair cop. In my defense I was writing with limited time in a busy week for a science-fiction site, rather than for my critical theory phd advisor, so y’know.

Which is not to say that phds in critical theory are bad things either.

Gah.

So I guess what I’m trying to say is, I’m sorry if using the term ‘battlesuit’ seemed to trivialise war, the military, weaponry etc. all things I have no direct experience of – and hope never to experience.

This was not my intention. I was simply trying to use an attractive metaphor to grab people’s attention on a science fiction site trafficked by people as adolescent as me and get them interested in the critical discourse of clever people, like you.

The most important part of the sentence for me was ‘surviving the future’ – for which I still believe cities are the key.

This is why I stopped blogging, isn’t it.

And this is why Russell ends his posts with “anyway“.

Anyway.

Thanks for all the future cities of the past, David Jefferis

Scan20002.jpg

Recently, I wrote a guest post for the science-fiction blog io9.com, for their feature on “Future Metro”, entitled “The city is a battlesuit for surviving the future”.

It referred to a talk I’d given at Webstock covering similar territory – and both the talk and the post featured images from the Usbourne book “The World of the Future: Future Cities” by Kenneth Gatland and David Jefferis.

Tom Coates shared those images with me as we reminisced about the book – and the influence it had on us during our formative years.

Many other people of my generation have remarked on it and other books in the series looking at future engineering and technology as being early inspirations.

Imagine my surprise when one of the authors of this ur-object showed up in the comments of my io9 piece – and my dismay as he – very politely – complained about a lack of credit.

David – my apologies.

It was remiss of me not to credit the image, and also not to fully acknowledge the impact your book had on me when I was young. Thank you very much for your work, and thank you for taking the time to comment on my writing. I hope posting this helps make up for that.

David is still writing on science, engineering and technology – and running a couple of sites that are still right up my street: Starcruzer and Scale Model News – the latter with childhood hero and total mind-gangster Mat Irvine!

Irvine used to create special effects for Dr Who and Blakes’ 7, then come on Saturday morning kids tv shows to tell you how you could do exactly the same with your pocket money that afternoon.

He was an early DIY/Maker culture hero – but that’s for another blog post…

Switchboard

[overhead shot of a table in an expensive modern-european restaurant. It's not a capital, but it's one of those cities  on the thinktank/summit-circuit that treaties get named after. Two people are talking. A man in his fifties and a woman in her mid thirties. Both are understated in appearance, but obviously expensively dressed. Both of their smartphones are turned screen-down on the table. It's unclear to us who is the most important. And it's unclear which one is saying the following]

Governments and corporates know me as 'Switchboard', which is how I like to keep it.

I have an aptitude.

Well, a few aptitudes.

But, mainly – I'm very good at people.

Especially those who can't really be described as people anymore. I know what they're good for, what they want and – how to get hold of them.

I've never saved the world, but I've probably had lunch with someone who has.

I'm who you call if you have, y'know -  a *really* big problem.

[ringtone]

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Orthogony

20090827-DSC_0009

…the imaginary futures and imaginary pasts of orthogony are imaginary only in the sense that imaginary numbers (which they very much resemble) are imaginary. To a man walking within one, it alone is real, no matter how strange; it is all the others, standing at angles to it which exist only in imagination.

Great Work Of Time, John Crowley

The positive energy of counterfactuals: a rejected essay for Howies

Navarro Redwoods, CA

I was asked to write something for Howies‘ Autumn catalogue on the theme of “Positive Energy”.

I was in a particularly punchy mood as I wrote I think, and the backdrop of a summer thunderstorm tipped me in a direction that… Well, let’s just say I wasn’t exactly surprised when it wasn’t printed – it’s not quite ‘on-brand” for them – but it’ll fit in just fine round here. So – remembering that although I’ve added some links, it’s written for print, not the web – here’s what I turned in:

Positive Energy / for Howies / Matt Jones / 871 words. 7.7.09

As I write this there’s a thunderstorm over my head.

It’s a cracking one too, literally. The thunderclaps are ear-splitting and it’s blowing the rubbish around on the dilapidated flat roof our studio windows over look.

The energy released by an average thunderstorm, according to wikipedia amounts to about the equivalent of a 20-kiloton nuclear warhead going off. A large, severe thunderstorm might be 10 to 100 times more energetic.

In a digital window in front of me, I’m reading the twitter posts of a friend (Gavin Starks, @agentgav, founder of carbon calculator http://www.amee.cc) who’s attending the “World Forum on Enterprise and the Environment” with luminaries such as Lord Brown, former head of BP, Sir David King, the government’s former chief scientist and Mr Inconvenient Truth himself, former vice-president Al Gore. It’s an impressive line-up to be sure. But some of the most impressive things he’s recounting are coming from a delegation from China.

For instance, this from Dr Christine Loh (1), of Civic Exchange, China: “China believe they’ve cracked thin-film solar for domestic use” To explain it very simplistically: thin-film solar technology brings the price of renewable energy of the sun into the same ball-park as non-renewable sources such as oil and coal. That China, the factory of the world, is going to start cranking this stuff out could be game-changing, and biosphere-saving.

That China could become the world’s number one economic superpower has been received wisdom for a while now. What’s new is the suspicion they might be able to turn around their rapid ascent to claiming the top polluter crown from the USA. In fact, they might take the lead in clean, green technology from the West.

Gavin also reported this factoid from Al Gore: “China now plants twice the number of trees than the rest of the world put together. Every citizen must plant three”

Not should, not encouraged – MUST. And of course that’s part of the inconvenient truth about China – that their political system and attitudes to individual freedom are very different to those we hold dear in ‘The West’.

But – what if that’s what it takes to survive?

Al Gore again: “We must connect the soil to the energy to the built environment, to our population and to our politics”. We’re in a highly individualistic democratic society. Do we have something positive and captivating enough as a vision to get us there?

We’ve done it before. Over the last month I’ve been watching the commemorative programmes on the telly marking the 40th anniversary of the manned landings on the moon. Not only were they the product of the NASA Apollo space programme – more broadly speaking, they were the product of an ideological battle between the USA and USSR in the cold war.

And it got me thinking strange thoughts: would it have been better for the long term future if McCain and Palin had got in? If America were seized by a new ideological battle – frustrated and bruised from a prolonged, controversial war on an abstract noun, nationalist fervour was directed into a technological crusade to make sure China doesn’t reign supreme in green.

Instead of a space race, an earth race…

Technology isn’t the answer to everything – but hair-shirt green thinking isn’t either. Back-to-the-land doesn’t scale when there’s going to be 10 billion of us on it, and that’s even without the now-almost-inevitable changes in the climate. It’s certainly not the route China’s going to take.

Now, wondering whether GM food or nuclear power might have to gain widespread acceptance, or whether freedom is compatible with survival, or that Obama’s not going to push the US and the West far enough away from legacy thinking is pretty challenging to my personal politics. But, thinking through these kind of ‘counter-factual’ scenarios can throw up interesting possibilities. When we’re ready to think about throwing away the things that we hold most precious, we can see new ways to hold on to them.

Another friend, Sascha Pohflepp, just graduated from the Royal College of Art with a fascinating project illustrating a counter-factual history where Jimmy Carter won against Ronald Reagan, and gave us a 1980s where the arms race was transmuted into an energy race; where a fictional government agency – “The Golden Institute” (2), turns Nevada into a weather lab and Vegas into an array of gaudy lightning catchers that supply the USA with power; where the kiloton energies of thunderstorms are engineered with silver-iodide balloons, and giant gyroscopes near the North Pole harness the world’s rotation to keep the lights on in the West, while slowing down the Earth just enough to make the days longer in the USA than Russia…

Fantastic, crazy, impossible stuff – imagined with the scale and scope and audacity and sacrifice and ruthlessness that got us to the moon. That showed us the Earth. That might keep us here.

That China might be ready for.

Where’s our vision of a bright green future?

There’s the thunder again.

(1) http://en.wikipedia.org/wiki/Christine_Loh
(2) http://www.pohflepp.com/?q=goldeninstitute

Semagram

Wall of BERG

“In the next report I submitted, I suggested that the term ‘logogram’ was a misnomer because it implied that each graph represented a spoken word, when in fact the graphs didn’t correspond to our notion of spoken words at all. I didn’t want to use the term ‘ideogram’ either because of how it had been used in the past; I suggested the term ‘semagram’ instead.

It appeared that a semagram corresponded roughly to a written word in human languages: it was meaningful on its own, and in combination with other semagrams could form endless statements. We couldn’t define it precisely, but then no one had ever satisfactorily defined ‘word’ for human languages either. When it came to sentences in Heptapod B, though, things became much more confusing. The language had no written punctuation: it’s syntax was indicated in the way the semagrams were combined, and there was no need to indicate the cadence of speech. There was certainly no way to slice out subject-predicate pairings neatly to make sentences. A ‘sentence’ seemed to be whatever number of semagrams a heptapod wanted to join together; the only difference between a sentence and a paragraph, or a page, was size.

When a Heptapod B sentence grew fairly sizeable, its visual impact was remarkable. If I wasn’t trying to decipher it, the writing looked like fanciful praying mantids drawn in a cursive style, all clinging to each other to form an Escheresque lattice, each slightly different in its stance. And the biggest sentences had an effect similar to that of psychedelic posters: sometimes eye-watering, sometimes hypnotic.”

– “Story of your life“, Ted Chiang

This week we became BERG.
This is BERG.

Wall of BERG