Weekend links 330

battle.jpg

Summer Passing (2013) by Laura Battle.

• The Marquis de Sade’s enduringly contentious The 120 Days of Sodom has been republished by Penguin Books in a new translation by Will McMorran and Thomas Wynn. “[De Sade] described his novel as ‘the most impure tale ever written since the world began’ and, for all the hyperbole, his description still holds true even now,” says Will McMorran, exploring the history and reputation of the book.

• From the Cutting Room Floor: Rick Klaw talks to Bruce Sterling about the current state of US (and world) politics. Sterling’s Futurist novel Pirate Utopia (which I’ve designed and illustrated) will be published by Tachyon next month.

• New from Strange Attractor: In Fairyland: The World of Tessa Farmer, edited by Catriona McAra, and Of Shadows: One Hundred Objects from The Museum of Witchcraft and Magic by Sarah Hannant and Simon Costin.

• Mix of the week: Programme No. 16 in the long-running Radio Belbury series is a guest presentation by The Pattern Forms (Jon Brooks, Edward Macfarlane and Edward Gibson).

The Book of Three Gates by Simon Berman, “An Esoterica of HP Lovecraft’s Cthulhu Mythos”, is seeking funding.

• Occultist Phil Hine discusses Richard Payne Knight and phalluses at the Conway Hall, London, later this month.

• “My goal is to make music that is transcendent and isn’t specific of a certain time,” says Earth’s Dylan Carlson.

• Kiss the sky: psychedelic posters of the 60s and 70s from the collection of the late Felix Dennis.

Radionics Radio: An Album Of Musical Radionic Thought-Frequencies.

Madeleine LeDespencer on the occult bookshops of London.

Unknown Pleasures waveform gif generator

Sade Masoch (1968) by Bobby Callender | Confessional (Give Me Sodomy Or Give Me Death) (1991) by Diamanda Galás | The Sodom And Gomorrah Show (2006) by Pet Shop Boys

Weekend links 314

alderslade.jpg

Avebury Kite (2006) by David Alderslade.

• “Klaus Mann, son of Thomas Mann, author of Mephisto, was one of the first in Germany to write gay novels and plays.” Walter Holland reviews Cursed Legacy: The Tragic Life of Klaus Mann by Frederic Spotts.

The Pale Brown Thing, a shorter/alternate version of Fritz Leiber’s supernatural masterwork, Our Lady of Darkness, is given a limited reprinting by Swan River Press next month.

• “Not only is metal not directly harmful to adolescent minds, as the thinking goes, it may actually be helpful.” Christine Ro on the reappraisal of a once-suspect musical genre.

Something of that tension between past and future is visible in Beardsley’s work. It is the art of a dying era peering, with a mixture of excitement and trepidation, into the next. For all the prancing and bravado, Beardsley’s art was really about finding something in which to believe—and if Beardsley came to believe in anything it was the deep black line. Shading held little interest for Beardsley, and color fascinated him not at all. The black line and white space were all he needed.

Morgan Meis on Aubrey Beardsley

• More of my art for Bruce Sterling’s forthcoming Dieselpunk novella, Pirate Utopia, has been revealed. Tachyon will be publishing the book in November.

• “Secretly, though, I frequent junk shops because I am wishing for some kind of transcendence,” says Luc Sante.

• Mixes of the week: Gizehcast #28 by Christine Ott, and a mix for The Wire by Asher Levitas.

• “It took centuries, but we now know the size of the Universe.” Chris Baraniuk explains.

Barnbrook Studios creates identity for Kubrick exhibition at Somerset House.

• Watch a haunting video from Subtext Recordings and Eric Holm.

• Folklore Tapes: A Rum Music Special by Joseph Burnett.

Brion Gysin’s Dreamachine is on sale again.

Rhys Chatham’s favourite albums.

A Guide to Occult London

Skulls and Bones

Zero Time (1979) by Chrome | Zero-Gravity (1996) by Sidewinder |  Zero Moment (2016) by Contact

Futurismo!

pirateutopia.jpg

It’s good to finally have some new work posted on the front page of this website. I’ve been busy since before Christmas but everything I’ve been working on for the past few months is waiting to be revealed until the scheduling wheels have turned their revolutions.

And speaking of revolutions… Pirate Utopia is a novel by Bruce Sterling that will be published by Tachyon later this year. The cover was made public this week so I can post it here. I’m also designing and illustrating the interior but it’ll be a while before I can show off any of the rest of the design, especially since I’m still working on it. Bruce Sterling is a well-known writer and futurist (with a small “f”) who was one of the leading cyberpunk authors in the 1980s; with William Gibson he collaborated on The Difference Engine (1990), an early steampunk novel. Pirate Utopia is shorter and less ambitious than The Difference Engine although both books are alternate histories, the new title being a dieselpunk affair set in the Free State of Fiume, (now Rijeka, Croatia) in 1920. The story concerns the exploits of a torpedo engineer and his gang of rude mechanics, and features appearances from some real-life characters whose identities I won’t spoil. It’s a fun book to read, and it’s great fun to work on. The brief from Tachyon was for a cover design riffing on classic Soviet propaganda posters, hence the vaguely Constructivist style. There will be more of the same inside although I’ve been poring over the works of the Italian Futurists recently, and borrowing motifs and typographic cues from designers like Fortunato Depero. Stock up on the Campari for this one.

The Steampunk Bible

steampunk1.jpg

Cover and interior designs by Galen Smith.

Arriving in your book emporia this week is The Steampunk Bible by Jeff VanderMeer & SJ Chambers, a comprehensive guide to the sub-genre which is now a thriving sub-culture. I contributed some bits of graphic design as well as a bespoke dirigible illustration (see below). The book also features a few other steampunk-related pieces of mine among its wealth of photos and illustrations. This is a typically lavish production from Abrams, beautifully designed by Galen Smith with a cover based on the celebrated Hetzel editions of Jules Verne’s novels. Inside there are essay contributions from Bruce Sterling, Catherynne M Valente, Jess Nevins and others. If you’re a steampunk enthusiast (or know one) this is an essential purchase. Some links and page samples follow below.

The official Steampunk Bible site
The Steampunk Bible: Mecha-Elephants, Raygun Rocketships, and Great Stories, a feature by Jeff V.
Amazon US | Amazon UK | Book Depository | Barnes & Noble | Indiebound

steampunk2.jpg

steampunk3.jpg

My cover for KW Jeter’s Morlock Night which has just been republished by Angry Robot.

steampunk4.jpg

steampunk5.jpg

My brief was to create a cannon-bedecked piscine dirigible so this is what I came up with. See it in all its belligerent glory here.

Previously on { feuilleton }
Steampunk Reloaded
Steampunk overloaded!
Vickers Airship Catalogue
The Air Ship
Dirigibles
More Steampunk and the Crawling Chaos
The art of François Schuiten
Steampunk Redux
Steampunk framed
Steampunk Horror Shortcuts
The Airship Destroyer
Zeppelin vs. Pterodactyls
The Hetzel editions of Jules Verne

Bruce Sterling: green design and “spimes”

Cyberpunk pioneer has designs on a better world

The author of seminal science-fiction works is taking a very pragmatic approach to the world’s environmental challenges

Interview by Anthony Alexander

Thursday June 1, 2006, The Guardian

Technology Guardian: How did you get into environmentalism and climate change?

Bruce Sterling: Science-fiction writers are not effective activists. But if I’m aware of some trend as a futurist and a trend-spotter, and if it actually shows up on my doorstep as an immediate crisis, then I will try to do something pragmatic. Science-fiction writers are best as fantasists. But if there is mayhem on your doorstep, it’s morally obligatory to take some action.

TG: So, what did you decide to do?

BS: To go public with my unease about climate change, to attack it as a design problem, from an industrial and engineering standpoint. I announced I was starting an internet mailing list, because the internet is the only global tech phenomenon of the global scope of climate change. My key insight there was that one huge phenomenon could be harnessed to attack the other.

I still run my list, but I soon got sucked into the world of design. I recently wrote a little book for MIT Press, which is an academic precis on the problem, a little manifesto. One thing led to another. Now there’s a raft of top-end, designery green retail outfits – treehugger.com, worldchanging.com – there are meetings of designer groups, and so on. That’s what I was hoping to provoke. I wasn’t the only one doing this, but I was one of the first to say: “Yeah, this can be done.” We could have a new kind of designer green, cyber-green, or as my colleague Alex Steffen puts it, “bright green”.

TG: You called your email list Viridian, a very bright cyber-green. It’s also a website, www.viridiandesign.org.

BS: It’s something between a diary, a squabble, an archive and a manifesto. I’m one guy. This is my hobby. But a likely, plausible step is a designer-green non-governmental organisation, with a board of directors and revenue, a magazine maybe. Big players are entering the green design space. Fighting the greenhouse effect is going to be a universal effort. Everyone will have to do it pretty much all the time.

TG: In your book Shaping Things, you describe climate change as the result of technology pioneers like Edison and Ford. Yet you say the only solution is to press forward with technology and shift to a new type of society.

BS: Not many science-fiction writers write industrial design manifestoes, but I was commissioned by Peter Lunenfeld of Arts Centre College of Design in California, where I was visionary in residence. Why do you want a sci-fi writer in a design school? You want someone who’ll think outside the box. The book talks about a new tech phenomenon with six or seven terms attached: the Internet of Things, Ubiquitous Computation, Everyware, Ambient Findability, Spimes (my term).

My own theory, which has gone into Shaping Things, is the key element is the identity for objects. It’s putting tags on things that allow them to interact with digital networks. That is the key concept around which other things accrue. My goal in this is sustainability. I want us to invent a better way to put our toys away. We are emitting too much junk. Google is good at sorting garbage. We could do something similar if we tagged our garbage, basically, everything we make.

Ideally, we need to tag an object before it exists. We need to tag the blueprints and then the manufactured object. Then, when it’s junk, we need to read it, know where it goes, have it ripped apart and recycled.

TG: Where does the concept of Spimes come from?

BS: Spimes was one of those spontaneous neologisms I came up with at a conference, a contraction of “space” and “time.” The idea is you no longer look at an object as an artefact, but as a process. A modern bottle of wine in one sense does exactly the same as the clay jug and stopper that the ancient Greeks used. On the other hand, it is now mass produced industrial glass, with a machine-applied label containing a barcode and a host of other information, even an associated web page. These invite you to do more than just drink the wine. These innovations link this product into a wider relationship.

Yet the moment the bottle is empty, we make a subtle semantic reclassification and designate it “trash”. The logistics of manufacture and distribution will already have tracked the bottle from factory, to warehouse, to store. But the relationship is not a closed loop. The moment you buy the wine, it’s your responsibility. The onus is on you to recycle it, or it’ll spend eternity in landfill. We really should be thinking about the trajectory all this stuff follows. We are in trouble as a culture because we don’t have a strong idea of where we are in time, and what we might need to do to deserve a future.

Amazon.com, for instance, allows you to study lots of information about physical products (books) without needing to consider the physical artefact itself. Or bookcrossing.com, a site where you can track physical books from reader to reader. Wheresgeorge.com does the same with dollar bills. Spimes are both the physical object and the metadata related to that object. Then, as with Amazon’s reviews, we can start adding correspondence on the nature of objects, creating a forum to discuss all our stuff and what to do with it.

TG: So how do RFID (radio frequency identification) chips relate to this?

BS: To study spimes we need to be able to track them. RFID chips are the next evolutionary step from bar codes. They allow objects to have an identity that can be easily read. They were invented by the Pentagon’s shipping, tracking and logistics agency, and Wal-Mart, the world’s largest retailer, inspired by some work at MIT. Unlike the barcode, which needs to be scanned up-close, you can just ping a whole warehouse, or delivery truck or cargo container, and an RFID scanner will simultaneously detect and log everything in there. You also see them in swipe cards. These tags make it extremely easy to assign identities to objects and connect them to databases.

TG: Opponents of RFID see it as malign and unwanted technology.

BS: The opposition should thoroughly understand the scope of RFID technology, otherwise they’ll be baling seawater with a fork. RFID is for grocery clerks. It’s not as mysterious or arcane a technology as space shuttles, nuclear triggers or Echelon.

Bruce Sterling’s book Shaping Things is published by MIT Press.