geekgirl (r)osiex aka the metal cupcake publishing about interesting things for a really long time!
  • Couldn’t Help Myself…[#geekgirl]


  • “ABC largely meets its professional standards, auditors find…” [#geekgirl]

    [Image Via Wikimedia.Org]

    [Via an article at The Guardian]“Two independent audits of ABC news and current affairs stories and political interviews have found the public broadcaster overwhelmingly meets its professional standards and is fair and impartial.

    More than 95% of the content examined attracted no criticism or concerns from the two non-ABC reviewers: author and journalist Gerald Stone and former BBC journalist Andrea Wills.

    However, out of 97 stories about asylum seekers there were some issues identified by Stone as “raising concerns about the standard of coverage and requiring further investigation”, one on 7:30 and four on Lateline.”

  • Varied News Sources in Oz? #Where? [#geekgirl]

  • #Antimedia by Florian Cramer [#geekgirl]

    Anti-Media by Florian Cramer

    “Anti-Media” Book Cover

    “The Cover of Florian Cramer’s new book is, in short, beautiful (and us posting this here has *absolutely nothing* to do with the fact he devotes an entire section of the book to discussing a work by our Creative Director…*cough*…).”

  • Aaron Swartz #Documentary – The Internet’s Own Boy [#geekgirl]

  • “Phones face down stacked at the table…” [#geekgirl]

    Phone Stack Game


  • #Smells Like #Teen Spirit – Kennedy Rose’s #Nirvana Cover [#geekgirl]

    I’m sure Kurt Cobain would have loved this: just the right mix of aspergery-focus, extreme talent and fashion-awkward cred.

  • The #Quirk: Doing It Right [#geekgirl]

    For a while now I’ve been lazily developing a theory about a marketing trend I term ‘the quirk’. The quirk = the occasionally annoying [but mostly endearing] use of the whackjob absurd and/or novel in attempts to peddle product or sell services [alliteration #ftw].

    [To be fair, the use of the quirk is much older than the Internet: it's been prevalent in promotional bursts since (at least) the advent of broadcast media, though here I'm reffing its deliberate pairing with social networking rather than use in a one-directional platform like cinema, radio, tv etc. Also, the quirk doesn't necessarily equate to viral, though most marketing boffins who attempt to leapfrog off organically formed viral media pray to their unspecified deities that it will].

    We’ve witnessed the quirk in great gouts of captioned cat pics/videos, and watched it flourish in social media advertising packages like “The Old Spice Guy” campaign. When used successfully, it captures a target population’s attention through the offbeat presentation of lateral material designed to elicit an off-kilter emotional reaction [that bypasses logic or reason] resulting in high conversion rates. The quirk taps into emotional pockets designed with the novel in mind, a type of side-swiping of the traditional “pander to a consumer’s desires” type deal with an added bonus of immediacy through user-crafted feedback [think: a  Facebook "Like" or a Twitter "RT"].

    So what’s my theory regarding the quirk for all you impatient types out there yelling loudly in the background to get the feck on with it? It’s simply this: that alongside the bloated, privacy-killing blight that’s being increasingly perpetuated by popular social networking platforms [you know who you are], we’d better make sure we [as users] are aware of this type of co-optive manipulation bundled in cutez0r form. A hyper-awareness of this method of quirk advertising probably won’t save you from subconsciously falling for the product -or-service-wrapped-in-”lolwut?!”-or-”awww!!”-bait, but at least it might encourage you to selectively support those companies [or individual campaigns] you think are worthy of your time/investment/money.

  • Prepare Yourselves… #GuestEditorInDaHouse #GeekGirl #YesIAmTotallyUnshiny

    Prepare Yourself For The Content Curation OnslaughtSo here we are, again: you, me and a image that references a slightly outdated [but still highly heh-worthy] meme.  And for those of you asking “Um, what? Who the feck are you and how come you’re net-jacking our beloved geekgirl stream?!” then settle down, take a chill-pill [you should be thankful that I didn't actually type "chillax" instead] + let the lovely staccato tones of my soothing net presence guide you down a slightly stained and always left-of-centre comprehension path.

    Back in 2009 our illustrious Editor-in-Chief [Mz @rosiex herself] allowed me to splather your feeds with all things quirky, glitchy and weirdo-beardo-y *ahem*. And now she’s decided to let me at it [ie you] again, only this time I’m coming out from behind my Wizard-of-Oz-ish admin invisibility cloak and have decided to inject several of my net-personas into the mix.

    Most of the time I’ll stay outta the way of the wondrous posted content that will shine brighter than any JJ Abrams lens-flare, but sometimes you’ll find “Mez Breeze” raising her artistically-inclined head [watch for the e-lit stuff and more serious social commentary blurbs].  Other times you’ll be graced with Netwurker’s “And not a single f*ck was given that day” presence [with lots of square-brackets, "+"s, warped punctuation and other creatively twisted greeble].

    So let’s get down to tin-tacks and do this sheete, shall we?


  • #code {poems} #book (via @sister0) #geekgirl

    Due for release code {poems} is a book edited by Ishac Bertran

    “When things get complex, as they may indeed be getting, the distinction between tools and the things that can be made with them begins to dissolve. The medium is not only also a message, it is an essential counter-valence to our own impulses towards the creation of meaning, beauty and knowledge. The tools we think we are using also use us: They push us around, make us think new things, do new things, even be new things. Language is no different, of course, although in its supremacy and ubiquity, it is even more elusive, difficult to perceive. The very words you are looking at right now are like compact little cryptograms—a written convention, talking back at you in codes.

    Poetry is language speaking for itself. It is, at its best, where what is being told is coincident with the telling. The words written, or uttered, pop out at us, while in the same moment, constellations of meaning emerge; the components and its composition resonate, vacillate, on the page and in the air. Many of the constraints and styles of poetry we know have developed in order to allow words to express themselves, or show themselves as the mediation of a mental image. Programming languages for computer hardware, no matter how “high level” or abstract they are, are by necessity far less elaborate than traditional forms of writing and speech. But the structure and function of these new languages give them special advantage in clarity: These languages (syntax, sequence) and the results they produce (ideas, ‘executables’) are absolutely inseparable. By design, computing languages are created in order to express specific ideas, creating certain kinds of action or manipulation of other codes (data). In this sense perhaps, software is always, and already, poetic. It is precise description, and pure syntax—the signifier and signified—clearly coincident in the machine.

    Ishac Bertran’s code {poems} is an edited book project that exposes the materiality of computer programming languages. Here are presented a small sampling from a compiled book of poetry written by software engineers, artists and other code writers, “exploring the potential of code to communicate at the level of poetry.” ( The project solicited for online, public submissions from code-writers in response to the notion of a poem, written in a software language which is semantically valid (i.e.: it compiles). This solicitation winds up revealing the inner workings, constitutive elements, and styles of both a particular software and its authors. From a large number of submissions, a selection of poems will be printed as a bound volume in 2012.”

    Source: in continent. 2.2 (2012): 148–151