geekgirl (r)osiex aka the metal cupcake publishing about interesting things for a really long time!
  • “U.S. No Longer An Actual Democracy…” [#geekgirl]

    [From this article at TPM] “A new study from Princeton spells bad news for American democracy—namely, that it no longer exists.

    Asking “[w]ho really rules?” researchers Martin Gilens and Benjamin I. Page argue that over the past few decades America’s political system has slowly transformed from a democracy into an oligarchy, where wealthy elites wield most power.

    Using data drawn from over 1,800 different policy initiatives from 1981 to 2002, the two conclude that rich, well-connected individuals on the political scene now steer the direction of the country, regardless of or even against the will of the majority of voters.”

  • “Millennials 101, with Paul Taylor…” [#geekgirl]

  • “An Iranian developer’s entrancing game about his culture…” [#geekgirl]

    [From an article by Tracey Lien at Polygon]: “Projected onto a large screen to a crowd of hundreds of people, Bahrami showed solutions to his geometric, ancient Iranian art-influenced puzzle game. “So you have an object on a table,” he said to the audience, pointing to a screen where a rectangle sat on the edge of a desk. “Now if you draw a point somewhere on that object, what kind of line would it make if it fell?” He placed a dot on the corner of the rectangle. He hit “play.” The rectangle tumbled off the table, leaving behind a squiggly line.

    In the early build of Engare Bahrami showed, at the start of each level players were shown a line they had to replicate by placing a dot on a moving object. Perhaps it was a hook-like curve they had to recreate. Perhaps it was something that resembled the McDonald’s golden arches. Each of these puzzles was mind boggling on their own. Then Bahrami got meta: what if you drew a dot on the game’s menu tab so when you pulled up the menu, it created a line? And then what if you got rid of the menu and the table and the moving objects and just allowed the line to replicate itself again and again and again?”

  • The New Who vs Oldskool Timey-Wimey Whovians [#geekgirl] [#DrWho]

    —–[“The Time of The Doctor” SPOILERS (Sweetie) Alert]—–

    On the 25th December 2013, Doctor Who received 12 new lives. In the episode “The Time of The Doctor”, the current series showrunner, producer and lead writer Steven Moffat imbued the once-labelled as 11th [and now redubbed the 12th, or even 13th] Doctor a new regeneration cycle. In this episode filled with heavy-duty retconned plot threads, we see the New [old] Who emerge.

    From a traditional Whovian perspective, there’s been substantial trouble with Moffat’s version of a character who, like his regenerations, has undergone substantial re-jigging as part of the entire franchise reboot, many of which have been largely controversial. When Moffat plucked the Doctor Who writing mantle from Russell T Davis, there was substantial concern that his [then] largely episodic inflected story style wouldn’t be able to adequately extend beyond flashy emotion-inducing viewer bait, complete with thrill laden plot segments and incomplete long arc shifts where foregrounding, consistent character development and plots worthy of the previous writers were/are [mostly] abandoned.

    In this pivotal episode, Moffat attempts to disassemble and reassemble elements of the Who Canon in an effort to extend the longevity of the franchise beyond the Doctor’s accepted and restricted Regeneration cycle. The episode contains all the benchmarks we’ve come to expect from Moffat: companions posited as disposable tools or eye-candy mannequins, story gaps you could drive a TARDIS through and plot-hole-construction-gloss thrown about almost randomly by the shiny bucketful. The result creates a type of standard willing Suspension of Disbelief that only just lightly grips the edges of believability. Emotional key points fall cheaply and wantonly [like the death of his handy Cyberman-head-pal “Handles”, or the Doctor's promise to Clara that he'll never abandon her again]. The rushed passage-of-time markers rub the viewer in any manner of annoying ways, and flimsy self-referential exposition becomes paramount when the contrived CGI effects fail to impress.

    And yet, given all of the failings of this crucial episode, the emotional reefing that Moffat does best still manages to evoke a type of stretched wonder-thrall. Moffat discards [and has now for many, many episodes] conventions that traditional Dr Who fans hold dear: Joseph Campbellesque hero variables and crucial sci-fi story elements are bypassed in order to cater for more incrementally-oriented audience members used to absorbing their story snippets through 2 minute YouTube blipverts or Tumblr-emulating focals. Moffat knits together these contemporary absorption points via a method that, instead of catering for narratives comprising sequential beginning, middle and ends, seeks to harness the power of discrete narrative units. These units merge techniques drawn from graphic novel variable truncation to story-board framing, resulting in staggered story-time acceleration and retconned plot explosions designed for nonlinear attention spans.

    Moffat may not be the great grand hope for old-timey-whiney Whovians [ahem] who yearn for believable extensions to Who chronology beyond an established and pre-mapped regenerative timeline. But through the New Who incarnation, Moffat instead offers us an extension of a well-worn and much-loved character, one that at least utilises the very methods that a contemporary audience regularly deploys to maintain narratives beyond standard story knitting.

  • All Known Manuscripts of #Frankenstein in Digital Form [#geekgirl]

    [Amazing] “We present here for the first time in digital form all the known manuscripts of Frankenstein, perhaps the most famous and widely reproduced work of British Romanticism. These manuscripts consist of the now disbound pages from five notebooks once the property of Mary Shelley, purchased by the Bodleian Library, Oxford, in 2004, from her descendant, Lord Abinger.”

  • Announcing “#PRISOM”, A Synthetic Reality Surveillance Game [#geekgirl]

    #PRISOM,  A Synthetic Reality Surveillance Game

    #PRISOM, A Synthetic Reality Surveillance Game

    So we (meaning Mez Breeze Design) can finally let the (Schrödinger’s?) cat out of the very tightly zipped bag: we’re *extremely* excited to officially announce our latest co-production with Dreaming Methods: “#PRISOM“. #PRISOM is a Synthetic Reality Game where a player is set loose in a Glass City under infinite surveillance. Will you be brave enough to enter?

    The project is making its début at (and is funded by) the “MARart4 Transreal Topologies Exhibition” as part of #ISMAR2013, the International Symposium on Mixed and Augmented Reality in conjunction with SA Uni’s Wearable Computer Lab. So if you’re keen to don a HMD (Head-Mounted Display) and throw yourself into #PRISOM, head to the Adelaide City East Campus of the University of South Australia on October 1-4th.

  • Networked Art Forms and Tactical Magick Faerie Circuits [#geekgirl] [#misshack]

    Networked Art Forms and Tactical Magick Faerie Circuits

    Networked Art Forms and Tactical Magick Faerie Circuits

    Big day today: it’s the opening of our “Networked Art Forms and Tactical Magick Faerie Circuits (NAF:TMFC)” which is a “…durational event including symposia, exhibition, performances, workshops and social gatherings that will take place in Hobart, Tasmania, Australia 31 May – 30 June 2013 at Contemporary Art Spaces Tasmania (CAST) and on the Internet.” See the schedule here – of note are Florian Cramer’s keynote, contribs by Josephine Bosma and Matthew Fuller plus workshops by Julian Oliver + Danja Vasiliev [oh + some weird "txtual coding sheete" by someone called netwurker?;)]

  • City Talks 2013 – What Creative Life do You Want for #Sydney? [#geekgirl]

    City Talks 2013

    [Via @AliaK]

    What creative life do you want for Sydney?

    Great cities’ reputations are built on their cultural life and Sydney is no exception.

    From the museums, galleries, theatres and concert halls to street art, small bars, shops and hole-in-the-wall venues – some of the best things about Sydney are bound up in its cultural life.

    How can we inspire an even richer creative culture? How do we support creative people to live and work here? And how can we encourage people to go out to shows or invest in local work?

    Hear from Carol Coletta, CEO, Artplace America, about how Artplace changed culture and creative communities across the US and what Sydney could learn from the experience.

    A panel of creative leaders and innovators will debate the opportunities and practical steps we could take to inspire a more creative Sydney.

    Tell us what creative life you want for Sydney.

    MC: Adam Spencer
    SMH INTRODUCTION: Sherrill Nixon, Director, Sydney Newsroom Operations, Fairfax Media
    GUEST INTRODUCTION: Richard Roxburgh
    WELCOME: Lord Mayor Clover Moore
    KEYNOTE: Carol Coletta, CEO, ArtPlace America

    Marcus Westbury, Founder and Director, Renew Australia
    Nicole Durling, Senior Curator, Museum of Old and New Art (MONA)
    Katherine Hough, Director, Arts Tasmania
    Louise O’Donnell, Digital Director, Seed Production
    Charles Firth, CEO, Manic Studios and co-founder,The Roast

    Wednesday, 10 April 2013
    State Theatre, 49 Market Street, Sydney

    Rail: Town Hall Station or St James Station
    Bus: George, Druitt and York Streets
    Bike: Valet bike parking located on Pitt Street near the corner of Market Street from 5.30–9pm

    Auslan interpreter services and live captioning for this event can be arranged on request. For these or other access enquiries please contact the City of Sydney on 9265 9333. This venue is wheelchair accessible.

    You can also watch a podcast of the event soon after here.

    Visit for information on our sustainability projects.


  • The Perils of #Doublethink [#geekgirl]


    “How are you to imagine anything if the images are always provided for you?

    Who here read ’1984′ last year?…[Doublethink is] …to deliberately believe in lies while knowing they’re false. Examples of this in everyday life: “Oh I need to be pretty to be happy. I need surgery to be pretty. I need to be thin, famous, fashionable.

    Our young men today are being told that women are whores, bitches, things to be screwed, beaten, shit on and shamed.

    This is a marketing holocaust. 24-hours a day, for the rest of our lives, the powers that be are hard at work dumbing us to death. So, to defend ourselves and fight against assimilating this dullness into our though processes we must learn to read: to stimulate our own imaginations, to cultivate our own consciousness, our own belief-systems. We all need these skills – to defend, to preserve, our own minds.”

  • #femalepressure: An Urgent Call for #Female Representation [#geekgirl]


    “Let’s be frank – enough is enough. femalepressure believes there is no justification for more male-dominated music events. We need – and paying audiences deserve – invigorating and entertaining diversity!

    Festival curators, sponsors, label owners, journalists: Give more opportunities to women!
    Female festival curators, sponsors, label owners, journalists: Don’t try to be the better men by only taking ‘risks’ on established, male artists! Give more women a chance!

    We look forward to your response and positive developments in this cultural sector in the future. Please do not hesitate to contact us if you have any questions regarding this issue.

    Here’s to a brighter future for the arts.”