CategoryInterview

HipGnosis – the Technoccult interview

Eric Young - HipGnosis

HipGnosis is the recording name of the Des Moines based electronic musician Eric Young. In addition to producing, Eric also DJs the Glitch.fm online radio show Between Zero and One every Wednesday from 10PM-12AM (CST).

Klint Finley: How would you describe your music to someone who’s never heard it?

HipGnosis: Wow. Hmm. Experimental, psychedelic, electronic dance music combined w/ elements of hip-hop, classical, and plain weirdness.

I was classically trained, though I don’t play any “traditional instruments” any longer. Now I play a computer.

So you’re a Gnostic bishop, are you not?

Indeed. Consecrated in the lineage thru Tau Allen Greenfield (who is of Doinel lineage.) Also I have a chartered Memphis-Misraim lodge, though I have yet to find people in physical proximity to get the lodge very active. It’s currently a research/study lodge, primarily, with work done online at the moment.

How does your experience of Gnosticism effect your work?

Glad you put it that way. With a name like “HipGnosis” people often assume i am a Gnostic Christian (which is quite far from the truth.)

I am of a rather interesting strain of Gnosticism that probably shouldn’t be capitalized. I consider my own strain to be an innate sense of the divine within (and ANYONE can be that kind of gnostic), but also I am what I call “chemo-gnostic” as I am definitely not afraid to talk about the effects of chemicals/entheogens on my spirituality (again for lack of a better term).

I am very much of the 23-current, which when embracing chaos as much as I do, kind of creates its own inherent divinity maybe. Formerly a TOPY member, Discordian, and general chaos magick weirdo. The
Discordian side is NECESSARY so I don’t take anything too siriusly.

Eric Young - Hip Gnosis

I know you use binaural beats and other methods to enhance your music by making it consciousness altering. Can you describe some of the methods you use?

Well, much of my music is a sort of “hypersigil” imbued with specific frequencies designed to induce altered states. When combined with psychedelics, it can be intense. I have done much research on cymatics/sound healing/binaurual tones.

I started making acid house as the first electonic music i did, and binaurals were first introduced to that music. I am heavily influenced by Coil, who also did much work w/ frequencies to transmit information/altered states-specific qualities. Psychic TV is an early influence as well, which was less about traditional sound-mind altering, but more about raw feeling/energy.

And as a raver since the early 90’s UK hardcore/jungle/garage, “techno” and old-school “trance” play huge roles in the type of vibe i try to get across. Pure butt-shaking, mind-quaking funk. Also heavily effected by hip-hop and breakbeat/sample culture, that kind of cut-n-paste mentality carried over.

But what, more specifically, do you do to make your music mind altering? Or is that a secret?

Semi-secret. Much of it is energetically imbued, but as far as technical wizardry goes: binaural tone generation and specific frequencies mixed in at nearly sub-liminal levels.

I’m afraid that’s *about* all i can say to that. I do a lot of my music when in trance states, so honestly SOME of my method is not even known to me.

Do the binaural effects carry over to MP3s or other lossy formats?

Yeah binaurals can carry over to mp3, since binaural tones are not actually tones that can be *heard*, as much as just perceived on a consciousness level. With binauruals, you have 2 tones, slightly offset by a small amount.

Say if you’re going for a 7Hz brainwave state you can put one tone at say 50 Hz and another at 43 Hz. You modulate the two together, and your brain actually picks up the *difference* between the two and matches that difference. In this case 7Hz.

In addition to the mind altering aspects of your music, is there any magical intent behind any of your works?

Very much so, but I’m afraid if i said anything about that it might negate the effects. I assure you it is nothing less than the upheaval of all societal norms, though.

I understand you make your living making music and doing mixing and mastering. About what percentage of your income comes from actually making music?

Not much, as I have given a lot of it away free. I get paid for gigs, but I’m not exactly greedy, so i don’t gouge people on fees. I actually make my “living” (if you can call it that), from disability. I was diagnosed with bipolar disorder when I was 19, and after several years of constantly being in and out of the hospital I was put on disability.

It has allowed me to make music, which is a form of therapy in and of itself I feel. Perhaps part of my sickness (aside from being morally opposed to most of western culture’s ideals) was the inability to express myself due to having to work 50+ hrs a week in order to survive. Unable to finish school due to mounting mental health issues and a distinct sickness of the soul, and also being trained in mostly just music and philosophy/comparative religion, i am not qualified for much beyond this.

I have tried nearly every type of job under the sun – from corporate sales/HR, to debt collection, to telemarketing, to bar-tending. I seem to fail at living a normal life.

I currently live on approximately $400/month from disability and whatever little extra I can make from playing out and sales of music. Mixing/mastering work is few and far between, even at the EXTREMELY low prices I charge. I am both blessed and cursed by my illness, I am fully aware.

Well, that answer my question about how viable mastering is as a career path for musicians…

Ha. Yeah. It’s not a career path, but more of an “odd jobs” path.

Eric Young HipGnosis live

What software and equipment do you use to produce your music?

These days I use Ableton Live for nearly everything, as it has proven to be the most versatile and functional tool for my particular style.

Hardware-wise, I’m using a Hercules DeeJay Trim 4&6 audio interface for live performance (since i can use it with MIDI-control vinyl/turntables and also with Ableton). For controllers, i use an M-Audio X-Session Pro for the mixing side and keyboard controllers such asAxiom 49 and (soon) an APC-20.

You were doing some music production in a Linux environment a while back. How was that?

I was experimenting w/ open-source audio software, and honestly, it still leaves a lot to be desired.

Yeah, there’s really nothing in Ableton’s class yet. Did you try Freewheeling though? I’ve been curious about that app.

Yeah, it has some interesting features, it was one of them that i played with a lot, as well as BEAST and Hydrogen. It sucks that each one is its own entity, though, and VST support is not exactly awesome with Linux.

Did you try LMMS?

Yeah, and was fairly disappointed with LMMS. partly because in order to make music with that stuff it would require configuring an admittedly screwy Linux Audio set-up (with less-than-optimum real-time audio driver support).

So you caused sort of a stir on Twitter a couple months ago with your commentary about DJ Shadow’s new online store. What exactly was it that set you off?

Hahaha oh boy, DJ Shadow…. Well, he was very much a hero of mine, and one of the main reasons why i decided to go into audio production. He also was an independent music icon, who sold his soul to Universal Music Group.

He published a (self-admitted) old-man, anti-technology rant about piracy and how it’s ruining the music industry (read: MAJOR LABEL MUSIC INDUSTRY, of which he is now a part.) He waited a couple days
for it to spread around the net… and BAM, he announces his new web-site where (*gasp*) you can buy all his MP3s!

He then proceeded to suck UMG’s dick and talk about how they “have it set up so any MAJOR LABEL artist can now sell their own MP3s too!” They being Universal, coz you know they’re so awesome and all.

Now, DJ Shadow made his career on ILLEGALLY sampling other people’s music for his records. All of his music is samples and he holds a Guinness record for the first completely sample-created album, with no “original” sounds. He was sued and his first few releases were taken off the shelves, because he didn’t list or license any sample material. And he could only release those things (due to money) on independent labels because
a major label would have made him license the stuff. His early releases were vinyl-only.

I just think he’s being entirely hypocritical.

Eric Young HipGnosis live

So are you working on anything new that you want to plug before we finish up?

Well, I am currently working on a bunch of remixes for various people (official, not bootlegs) and getting ready to buckle down to begin this new production collab project called “The Blac Thumb” and subsequent live performance set-up. It’s going to be a wonky, funk-glitch-dub-hop project. Think 60’s-70’s psychedelic jazz-funk but whomped and glitched out. It will be headnoddingly, buttmovingly awesome.

Who are you collaborating with on that?

A young producer called iLford Brimley. I’m also beginning a collab w/ MusSck (of Daly City/Glitch Hop Temple/Car Crash Sets). And likely collabing with Mindelixir (a dubstep producer extraordinaire, who is making a lot of waves in the SE). I am playing a Winter Music Conference event March 27th in Miami, where I will be meeting him for the 1st time in person.

The Philosophy of Punk Rock Mathematics – Technoccult interviews Tom Henderson

Tom Henderson - Mathpunk

Tom Henderson, aka Mathpunk on Twitter, is a mathematics lecturer at Portland State University and an improve comedian with the group The Light Finger Five. He edits mathpunk.net and is co-host of the podcast Math for Primates (with scientist and professional weightlifter graduate student and competitive weight lifter Nick Horton). He received the Pandora Award (Bronze) from Chris DiBona, Open Source Program Manager for Google, for his participation in the game Superstruct.

Klint Finley: What does it mean to be a (or, rather THE) “mathpunk”?

Tom Henderson: Ha! Okay. When I was maybe 20 years old, my high school girlfriend was telling me about a punk band called “Green Dave.” I told her that I found punk to be totally unimpressive, because it was a musical genre that, near as I could tell, was founded upon not knowing how to play your instrument.

She set me straight. The point of punk, she said, was that ANYone could get the experience of being in a band, of performing in front of peers, of expressing yourself, without there being a prerequisite to participate.

This blew my mind, and it was that conversation that turned me from a nascent douchebag into a self-aware poser.

Later, a girlfriend who had honest-to-god Southern California punk credibility — this was the time that The Offspring was getting radio play so, what, she was probably most deep in the hardcore scene? — got me interested in the music, and explained to me that punks could be astronomers or Shakespeare devotees with no clash. (Pardon the pun.)

So, these things are tucked into my brain. Later, I move to Portland. I move to Portland with the extensive plan of “take math classes until head blows up, or degree achieved.”

This is the first serious long-term plan I’ve ever had. I figure, Shit, I’m a guy with long term plans now? I need to re-roll my character sheet. I start with appearance (self-aware poser), and ramp up the mathematical angle, to cobble together a philosophy of punk rock mathematics.

It is this:

1) People use the average Joe’s poor mathematics as a way to control, exploit, and numerically fuck him over.

2) Mathematics is the subject in which, regardless of what the authorities tell you is true, you can verify every last iota of truth, with a minimum of equipment.

Therefore, if you are concerned with the empowerment of everyday people, and you believe that it’s probably a good idea to be skeptical of authority you could do worse than to develop your skills at being able to talk math in such a way that anyone can ask questions, can express curiosity, can imagine applying it in the most weird-ass off-the-wall ways possible.

This does not entirely mesh well with the actual practice of learning mathematics, because that is mostly time spent alone or in small groups being very very confused almost all the time, but it’s still the bullseye I keep in mind.

You know, it dovetails with the improv comedy thing… In improv, I’m guided entirely by audience reaction. It’s possible to improvise toward interest in a mathematical discussion in roughly the same way.

In a nutshell, what is the problem with math education in the US?

I have no idea. Let me instead describe the attitude that students have that is problematic, and you can reconstruct what must be wrong with it from that angle.

“Show me the steps.”

Many students want teachers to “show me the steps.”

They want a sequence of steps that they can perform that will give them an answer. This is not unreasonable; they know that their performance on exams, and therefore their performance on the All-Seeing Grade Point Average, is largely determined by being able to Do The Steps.

But “The Steps” are cargo cult mathematics.

The Steps are seeing the sorts of symbols that count as “right”, and trying to replicate that dance of steps. It turns out that the easiest thing in the world is to look at a student’s work, and tell the difference between “Knows what’s going on, made mistakes and dozed off” vs. “Can memorize steps, has no idea what’s going on.”

Now, the way that I explain mathematics, it sort of looks like I’m torturing the poor bastards. I handwave. I refer to certain groupings of symbols as “Alphabet soup” and write it down as a wild scribble with one or two symbols around it.

Because I’m trying to avoid showing The Steps and instead show them enough of The Idea that they can reconstruct what the steps MUST be.

Many students want to know the formulas, so that they can float them on top of their short-term memory, ace the exam, and then skim them off. Why do they want to know that?

Probably because, for their entire mathematical careers, math has been a sequence of Steps, and if they get them wrong, they get red pen, bad grades, No No No Look What You Did. Plus, bonus, there is no apparent relevance of these algorithms other than To Get The Answer.

What’s wrong with math education in the US? What’s wrong is, Whatever it is that makes my students uninterested in learning any more math than is required to minimize feeling stupid.

So that we’re clear, lots of my students are totally awakened to the interesting weirdnesses of mathematics. But, it takes some doing, and I can’t do it by myself. Hence the podcasts and the lunatic twitter stream and the plans for TV shows and online games and godknowswhat else.

I’m trying to get across that if you are highly motivating, if you have a high degree of fire and “Fuck yeah!” and “What, that’s impossible, but true!”, you can get students to express interest in theorems named after dead Hungarians.

I’ve always been “bad at math” (and things I see as related: chemistry, physics, mechanics, etc.) Is there any hope for me (for example, have I just had bad math education in the past?), or is it an unchangeable function of how my brain works?

That’s the real question, isn’t it? And I’m totally unqualified to answer it because I’m “good at math.” I tell students that “Math will wait for you until you are ready.”

One of the best Einstein quotes in this regard is the one where he says, “It’s not that I’m so smart; it’s that I stay with the problem longer.”

Well, have you had students who have been able to turn that around? Go from being “bad at math” to being really into it?

Yes.

Let me tell you a theory about math knowledge. A mathematical concept can be expressed in symbols (algebra), in pictures (geometry and diagrams), verbally, and numerically. This is a common theory; my additional spin is that math knowledge also exists as a performative concept. Like, the way that I direct the attention of the students (“If you ignore this alphabet soup for a minute, you can see it’s really just a product of two things…”) Or, the way I will use physicality. Like, the other week, I climbed onto the chair and then onto the desk while I was trying to explain slope.

ANYway, the theory goes that you don’t understand a mathematical concept until you understand it in TWO modalities. I do very well with visual knowledge, so my notes of understanding are full of color and pictures and mindmaps and arrows linking concepts, and I highlight the holy hell out of math books. However, I don’t believe I KNOW a concept until I can explain it verbally, because I can barely understand anything if someone just talks it at me.

First swipe is through my best modality, second swipe is through my worst modality. The whole “learning style” thing may be overstated, but it remains true that getting students to understand things in a variety of modalities seems like the way to go.

Maybe they don’t get the picture. So you ask them many verbal questions. (Questions, not explanations, 99% of the time.)

I don’t know if you saw the article I posted here at Technoccult a few weeks back, but it looks like the whole “learning style” thing is complete bunk.

Which makes sense, I mean who really “learns best” by having someone lecture at them for hours or reading a book with no illustrations anything?

There may be some people who CAN learn that way but I don’t know if anyone really learns best that way.

But yeah, multiple modalities always seems like a good way to go.

Sure, maybe. But as a teacher I have to do something, and those somethings may as well be grouped by, “What things do I need to prepare? Should I work out a lot of pictures, a lot of numerical ‘recall this fact…’, a strong narrative for the problem at hand?”

You know? It’s like… all this shit is imaginary.

invisible pink unicorn

Mathematics is like unicorn anatomy. You imagine this thing, and it doesn’t exist, yet it still comes with facts. I know how many legs a unicorn has.

So, if you’re trying to imagine a thing that doesn’t exist you can use multiple modalities like tweezers — “The thing isn’t a picture, but here’s what a picture of it would be like. It’s not a verbal thing, but here’s the best we’ve got.” The real thing is the underlying Platonic concept.

Post-Platonic? Now I wanna go make Xeroxes of Plato with his eyes X’d out. Thanks, punk-rock atemporality!

Whoa, tangent.

Let me expand briefly on one thing I know is wrong, and I hope that a networked learning environment can fix.

Networked learning might — might! — solve the example problem. Students need familiar examples, but what is familiar is different to different students. I’m hoping that we can teach the web to send people the right example.

Math for Primates

You’re the co-host of the podcast Math for Primates. What’s the purpose of the podcast, and who is your target audience?

Math for Primates started from the concept that there are certain things that humans are always interested in. Really, they like other humans. That’s the best thing. The internet used to just be a box with text, but once there was a critical mass of social information on it, it was a box with people inside! We love looking into boxes that have people in ’em!

So, the concept I pitched to Nick was, “Let’s talk about math from the platform of ‘Math that humans are likely to want to know, because it’s about other humans'”

Social conflict. Sex. Beauty.

It gives us an excuse to talk extensively about game theory. And, game theory is a key place to teach humans mathematics, because we seem to have some optimized “cheat detection” in our brains.

Let me give you an example, it’s something like, uh…

There are four face-down cards on a table. There is a rule: “If the number showing is even, then the back of the card MUST have a vowel.”

Now, given an E, 3, 8, D, what is the smallest number of cards you need to flip over to verify that the rule is being followed?

Maybe I fucked up the puzzle. But, anyway, the answer as I’ve phrased it is NOT E and 3.

You need to make sure that 8 has a vowel on the back, and you need to make sure that D does NOT have an even number on the back.

Everyone gets this wrong, basically. Well, non-mathematicians always do, and I’m pretty sure I got it wrong because I get every answer wrong on the first try. Punk as fuck.

Now, if you ask the same people a logically equivalent question: “You see four people. Two are drinking beer and two are drinking coke. Whose IDs do you have to check?”

No one says you have to check the ID of the coke drinker. Because who cares how old they are? If it’s the same puzzle, but phrased as a problem of possible social cheating, we nail it.

Wow. That’s interesting.

This is interesting to us. We think it’s fascinating that, given just a change of context, people can do logic puzzles more effectively.

So! We believe that if we put the context of mathematics into social situations, and maybe some other human-centered situations (like, we want to talk about group theory, but we will try and make it about “Symmetry” because that’s something that human eyes will pluck right out).

I have to say, that your podcast has made Game Theory seem a lot more approachable to me. I used to think of it as something that was mathematical and scary. And I guess it’s still mathematical, but it seems entirely approachable and not scary.

Precisely!

The thing about math is, you can only answer yes/no questions. How many questions in life are really just yes/no and not “it depends”? Very few. So, the problems that we can attack in mathematics must be very simple indeed.

It’s just that they have a large number of component parts sometimes, because we are trying to build a complex and nuanced model out of stuff that is so simple that it admits a “yes/no” answer, always.

We are talking about putting together an entire mathematical text starting from game theory as the first principles.

Start with relatively simple social games that we can understand. Simplify them until they admit mathematical analysis. Now, introduce the minimal set of tools to solve this problem.

That’d be great. Because what still scares me away game theory is knowing that most texts are still probably going to be incomprehensible to me.

They may well be. Don’t get me wrong, the learning curve is always steep. I tell my students, “You say you’re bad at math, but the truth is, HUMANS are bad at math.”

It takes a lot of quiet reflection to make any of it make sense.

So, our target audience is, humans. But, only humans who are willing to be surprised and confused, and who think that paradox is something to be explored rather than fled.

But not necessarily humans who already have a strong background in math.

Heavens no. We have been referred to as taking the “Beavis and Butt-Head approach to higher mathematics.” And we are very proud of that. This was coming from someone who hope to have on the show soon, with a doctorate in mathematics and a grown-up job and everything.

Superstruct Threats

On to something completely different… Can you tell us a little about superstructing and how you got involved with it?

Deep cleansing breath.

Sure.

Superstructing means to build upon something that is already there, right? To extend a structure, build on top of existing structures.

But, when Jane McGonigal and the Institute for the Future use it, they mean something pretty precise: “Superstructing: A new way of working together, at extreme scales, supported by game platforms and mechanics.””

“Extreme scale” means that an individual working alone for 5 minutes should be able to contribute to a project. But it also means that in principle you might be taking on some enormous problem space to explore collaboratively. And you’ll need hundreds of person-hours. The game platforms and mechanics provide the support. If you define some huge problem… ok, what do you do?

The designer of a good and superstruct-y game-for-good will have clear missions, things that you can do, ways to compete and cooperate. For points, for gear, for social status, whatever. The idea is that you can use game mechanics to extend human capabilities so that they are able to achieve goals that previously it would take a whole institution to do but you do it in such a way that you can also extend the power of extant institutions with the networked abilities of social primates.

The individuals form a network and get stronger. The institutions get large numbers of humans thinking and sharing and communicating, and get smarter. You’ve superstructed, built on what is there.

How I got involved: I’ve been wrestling with knowledge management for years. I have several linear feet of journals full of mindmaps, but, y’know, you can’t grep dead trees. Back when I was trying to use a file cabinet for knowledge management (ha ha ha ha) I tucked the printout of an NPR transcript (ha ha ha) into a file marked “Ludology”, because I was getting interested in play and games. It included an interview with performance and games researcher, Jane McGonigal. I’m pretty sure that this must have been after ILoveBees, the ARG she designed for the Halo launch.

Anyway, serendipity led me to clean out the hideous file cabinet, I see the Ludology file, I check to see what this McGonigal person is up to, and I find her New Yorker talk.

TOTAL HEAD EXPLODEY

I suddenly felt totally okay about playing EverQuest for three years and stacking up pizza boxes to my sternum, because, hell, there are lots of ways of getting in worse trouble living off Hollywood Blvd when you’re 23.

“Ah ha! I was doing research on early gameplay and networked collaboration! How wise of me!” And, lo and behold, she was starting a new game called Superstruct.
I played the game, drank the Kool-Aid, got the t-shirt. (I’m wearing it now, in fact.)

So what did you do as part of Superstruct?

I wanted to simultaneously win the game, and help it realize the potential I saw in Jane’s Big Idea. The first problem was that the interface was very bad. It would log you out constantly, it was hard to search, it was hard to keep track of what you had done so that you could nurture it.

It was totally gorgeous, the design was beautiful, but the functionality was not what the really hardcore lunatic Super-Empowered Hopeful Individuals (SEHIs) needed in order to shine. Filter failure, basically.

I remember taking a look at it from time to time and giving up within minutes of hitting the site. I couldn’t figure out how the hell to participate.

Right, that’s because when Global Extinction Awareness System released the report, it woke up a swarm of No Future assholes who did their best to disrupt the site. (Possibly government operatives were involved; one storyline got a researcher in jail due to the riots after the report came out. [No one was arrested in real life – .ed])

So, I decided that the interface itself was like our first boss fight. In-game, there was a story line of all the shenanigans that dedicated hackers and griefers can do…

So, obviously, the SEHIs needed to save the project by duplicating efforts on more resilient networks. I did not have the technical skills necessary to do exciting things, so what I did was tried to locate anyone who might help the interface be improved, and do the best social engineering I could manage.

Foundation (who is in Portland) wrote a screen-scraper that would relog in as often as necessary, so he could scrape the site and get interesting information.

He was able to use this tool to send mass messages; I suggested that what we needed was to wake up the SEHIs who were clearly interested but maybe turned off by the site.

So, we identified all SEHIs who had a minimal amount of activity (“Has joined a superstructure”) and sent them a “secret” message. Basically, we told them how bad ass they were (“You are the CORE SEHIs”), and where they could find additional off-site resources.

That’s the thing that I was really proud of. The project wouldn’t be good without lots of active people, and we did what we could to try and maintain excitement and intrigue in the face of a somewhat boring “There are no RSS feeds!” obstacle.

I also delivered an address from Open Source Scientists which people liked a lot. That was fun. I felt like people weren’t bringing their A game, so I basically told everyone, “I’m offering a resource as a prize for you to do something, and I think I will win this game even if I give you that prize.” It was cocky and snarky, and I got to show off my alarmingly large forehead.

What I really wanted to do was some data visualization so that we could reduce redundancies. Lots of people had really great solutions, but some of those solutions were duplicated.

I envisioned hundreds of superstructures circling each other like marine organisms, infecting and eating and mating with each other. Alas, I did not have the skills, nor the data. So as to remedy that I’m teaching myself Python and regular expressions for the next data analysis project that arrives.

Once I know what I don’t know about social network analysis and random graph theory and data mining, I’ll have a clear path toward datamancy: being able to convert information on what people are doing into game-able decision points.

Really, I just want to be able to look at people doing cool interesting things collaboratively, through a lens of computation, make a pretty picture, and strategize from there.

Maybe it will even work!

Sounds good. I think we can call it a wrap unless you have more…

Just one more thing. Tell everyone to go sign up for Evoke!

Evoke

Will do! I think I’ll give Evoke a shot this time.

From what I can tell, it’s got the secret sauce from Superstruct, packaged in a way that will make a jillion times more clear how to participate. (Jillion being a technical math term.) And, it’s about resilience, entrepreneurship, and helping other primates — it’s what the world needs!

How many zillions in a jillion?

A jillion is a squintillion with a zillion zeroes at the end. Glad I could clarify that.

Cyborg anthropologist Amber Case, the Technoccult interview

Amber Case

Photo by Kris Krug

Amber Case is a cyborg anthropologist and the co-founder and co-organizer of Cyborg Camp. You can find out more about her and her work in our dossier on her.

Klint Finley: Please tell us what you mean by “cyborg anthropology” and explain what it is that you do on a day-to-day basis.

Amber Case: Cyborg anthropology is the study of human and non-human interaction, especially tools and networks that are formed by networks of human and non human objects.

My work relates to tracing the history of tool use and how it has affected culture over time.

For instance, one can look at a hammer and notice that over the last 300 years the design and function of the hammer has not changed very much.

The shape and form and function are still similar but when one looks at the first computers, which were large machines running on vacuum tubes, and computers now — one sees that the computer’s overall look and function and shape and size has drastically changed.

So then one must look at the idea of the hammer or knife. An animal must evolve a better tooth, or sharp edge in which to capture and kill prey. If a tooth breaks, or is not sharp enough, or the animal is not fast enough, that animal dies and cannot reproduce.

But the human has externalized the evolution by making a tool outside of their mouths. The knife is an extension of the tooth that can be thrown. The speed and excellence of the knife depends on the worker or the person who has power enough to have a worker who can create that tool.

Once we externalized objects and processes, we externalized evolution.

But the computer is different. Tool use has been physical for most of human evolution. Now we see computers as an interface not to the physical self, but to the mental self.

The mental self is an internal space, which is unseen, and a lot of what we see on a computer is unseen unless we look at it through an interface or portal.

So what I do in cyborg anthropology is consider how people upload their bodies into hyperspace, and how humanness is produced through machines and machines through humanness.

I also consider online presence, cell phones and the technosocial self.

Amber Case

Photo by Andrew Hyde

What methodology do you employ? What is a day in the life of a cyborg anthropologist like?

My methodology is mainly qualitative analysis, ethnography and participant observation.

What I mean by that is that I use the anthropological method of ethnography to collect observations through participating in groups of people involved in tool use or digital networks and see how they work, play, communicate, and what their values are.

Part of my work is letting people know that they’ve always been part human and part machine. Donna Haraway talked about everyone being a low tech cyborg. That for some part of every day people are connected to a machine.

In my recent study of Facebook, I’ve combed through user stories and behavior and placed people into general groups of interaction. I’ve also studied how the interface – or the participation architecture of the site influences how people act as people begin to move online – and live out a great deal of their lives there, the shape of an interface really affects how people move so a lot of my day is spent combing through the internet looking at that sort of behavior and jotting it down into a digital field journal of sorts.

The other part is looking for new developments. Things that break the norms. Those are harbingers of new trends and systemic shifts.

maxtor file pile

What are some of your most interesting recent findings?

Some of my favorite things have been mistakes. For instance, when a middle aged woman thinks that she’s sending a private message to someone she’s been seeing, and in reality she posted on her wall for everyone to see.

Yahoo Answers are amazing. It’s where a lot of very young kids ask each other ridiculous questions – and young kids answer back.

Also, looking at people’s signatures. Not their handwritten ones, but their digital ones. How they compose sentences and where they use capitalization. How they respond to things, etc. It really tells a lot about who they are.

The other thing I like to discover is digital artifacts. There are some digital archeologists and historians who try to keep data alive and in circulation. When one considers it, and Stewart Brand has mentioned this quite a bit… data is very fragile.

When one considers the pyramids and symbols carved into stone, that data is still around today. It’s been thousands of years and we still have it vs. Twitter, where data is regularly dumped and not saved.

One of the problems is that machines don’t get heavier when we put data into them. Which seems strange, because information has weight in real life.

Jason Scott is a great data archivist. he runs textfiles.com. He saves BBS forums and stuff from the 80s that might have been erased over time.

It’s funny that you say that. Sometimes when I delete a lot off stuff from my laptop, I actually feel like my laptop is lighter. I know it isn’t, but it just seems like it is.

It’s interesting how you say that- it’s a sign that your senses are tied to a machine – that your machine has become an external brain of sorts.

The first time my computer crashed I felt I had lost half my brain.

Here is a conversation I had with @strangeways about weight.

@caseorganic: My old computer is being reformatted. I can feel the files being deleted. It’s a strange feeling, like re-writing memories.

@strangeways: I think it is completely possible. I’ve felt it many times before. There’s a transition from physical effects to mental ones.

@strangeways Physical storage came first, then mental storage. I bet mental phantom neuron syndrome will become more prevalent.

@caseorganic Sort of feels like amputation, doesn’t it? I wonder if one can experience phantom limb with a virtual body part.

There was a campaign for Maxtor about data. It becomes increasingly easy to put data into a system, but the data, once in the system, has an escape velocity like a black hole. The computer is beginning to liquefy objects around it, like a black hole. Especially the iPhone – taking physical objects like compasses, games, cameras, notebooks, date books and address books and digitizing them, centralizing them into one device.

What sorts of tools do you find most useful in your work?

I use Yahoo! Pipes, Netvibes, search.twitter.com, and TextEdit.

I use a lot of TextEdit. I copy and paste things in, label them, and then name the file with descriptive words. That way my computer becomes a search engine for my research.

But the best tool is SKITCH and Flickr. Skitch can take a screenshot and upload it automatically to my Flickr account. It’s my external brain. So I used Skitch and Flickr symbiotically to take a quick screenshot of whatever I’m working on.

A random sample from Amber Case's Flickr stream

A random example from Amber’s Flickr stream

I use Moodle for private notes to myself, and I have some Pbwiki accounts. But Flickr is really the best. It allows sources, timestamps, tagging, and searching. And it allows comments, so my digital journal becomes a living creation.

You don’t have a Phd or other post-graduate degree, is that correct?

I do not have a PhD.

And you work in the private sector as a consultant?

Yes.

Why did you decide to go into the private sector instead of continuing in academia? Do you think you will ever go back to academia?

I went to the private sector first because I just got out of college. I wrote a thesis on mobile phones and their technosocial sites of interaction. I got a degree in sociology and anthropology.

I was told to work two years in the “real world” before going back to academia, going straight to grad school would leave me at a disadvantage. First, I wouldn’t know what the real world needed, and secondly, I wouldn’t know anything else except for academia.

My favorite conference was MIT’s futures of entertainment, which I spoke at in November 2008. I liked the conference because it was a hybrid event. It brought together people from industry and academia. Industry can beneif a lot from academia, but not from 200 page reports. And academia can benefit a lot from industry, but not from silly marketing statements.

So I wanted both perspectives. Someone has to be able to translate between the two. Its useful, else a lot of miscommunication happens and redundancies occur.

What advice would you give to liberal arts majors looking to make a career outside of academia?

Network. Network a whole lot.

Don’t network in a silly way. Network honestly. Find people who inspire and invigorate you, who make you work on things harder than ever before.

Create an online presence that is ubiquitous and enjoyable to interface with. Let it be known who you want to be. Put that on your business card and on your social profiles.

Be uniform in your focus. Set goals for who you want to meet.

Become a resource for people. Connect them. Have a blog or set of resources that aggregates and disperses useful information in your area of interest.

Attend local conferences. Speak at events. Volunteer at conferences.

Speaking is the easiest way to meet everyone in the room. Volunteering is the easiest way to meet all of the registrants, especially ones you might be too afraid to talk to.

Don’t be afraid to find the smartest person in the room and ask them how they got there.

Fail daily. Fail a whole bunch. Challenge yourself and don’t worry if you have no supporters. Be the first one there.

… That sounds like a promotional book, lol.

cyborgcamp

And speaking of conferences – you were a founder and organizer of CyborgCamp, and the second one is coming up in a few months. Could you tell us about the impetus of that event?

The idea behind CyborgCamp was to have a forum for the discussion of the past, present, and future. The conference was also livestreamed so that it would be accessible to anyone in the world. It was seen in over 50 countries.

The conference was not really created by me, but by a community that sprang up suddenly on Twitter. Within 3 hours, CyborgCamp had a website, a wiki, a sponsor, and 9 volunteers.

It wasn’t a choice for me. I knew I had to make the conference, and I strove to make it an invigorating experience. I found some great speakers, like Ward Cunningham, inventor of the Wiki.

A typical conversation at CyborgCamp

Above: a typical conversation at CyborgCamp. Photo by Mark Coleman from the CyborgCamp photoset.

The unconference part allowed the attendees to discuss what was really on their minds. We discussed everything. From agriculture to technoculture, to insulin pumps, to connectivity and the digital device, to strategy and the future. It was a cocreated event, and it was amazing to be a part of it.

A number of people in Brasil watched the conference and there will be a
CyborgCamp Brasil in May 2010.

The next domestic one will be in Portland in October.

See Also

Hypersigils Reconsidered

Futurist Chris Arkenberg interviewed by Technoccult

chris arkenberg

Chris Arkenberg is a visiting researcher at the Institute for the Future, an organizer of the event AR DevCamp, a musician operating under the name n8ur, and a big picture thinker. I talked to him via instant message about forecasting, how to navigate the future, and more. You can find him on Twitter here and his web site is here.

Klint Finley: You’re a visiting researcher at the Institute for the Future, and you’re working on their Ten Year Forecast. Can you explain what the Ten Year Forecast is, and what your own day to day role in it is?

Chris Arkenberg: The Ten Year Forecast is an annual research arc that looks at global issues impacting the next decade. We develop major forecasts then break each of those out into different scenarios to give organizations models for anticipating the future and adjusting their strategy accordingly. My role is providing research and forecasts for the Global Power and Carbon Economy arcs.

In Carbon, I’ve been profiling global energy dispositions. Eg, “What natural resources does China have under its lands and what is the spread of it’s energy use?” In Global Power, I’ve been analyzing insurgency movements, notably the narcoinsurgency in Mexico, the MEND movement in Nigeria, and the nexus of terrorism, insurgency, and international drug trafficking in Northern Africa.

I noticed you mentioned The Pirate Bay as a global power the other day as well.

Well, Pirate Bay is interesting as an enclave of free information. And they kicked their game up with the recent release of their anonymizing service, effectively acting as an encrypted traffic node. As such, they certainly represent a challenge to traditional systems of control.

Let’s go back a moment. How exactly does forecasting work? What’s the process like?

To begin with, I’d like to just underline that forecasting and prediction are very different. As futurists, we’re not making predictions but, rather, making approximations based on existing trends. I like to think of it as collapsing probability space into the most likely futures.

So having said that, there are many forecasting methodologies but most of them begin with scanning. This is a process of tracking information flows to get signals around your domain. Signals are essentially any event within the domain that you’re researching. So you pay attention to as many data streams as possible to get a feel for the emerging trends, where the money is flowing, social politics, etc… And from this you can start to derive estimates of where things are heading.

Typically this activity is followed by many different methods of analysis. You might talk to experts in the field, you might use different types of axial analysis, eg ubiquitous vs. niche, social vs. individual. Then you consider how the trends you’re looking at would manifest through different aspects of the world. STEEP & DEGEST are common methodologies – these are just acronyms, eg STEEP: Social, technological, economic, environmental, political. Then typically we’ll all work together to share our forecasts and brainstorm around the core narratives. Now, again, forecasting is about exploring probability space and collapsing down what is possible into what is likely. So a Forecast may be “Climate change will impact water and food”. The scenarios for this forecast then look at different tracks. So a positive scenario would look at trends in technology for growing stronger food, recapturing water, and desalination, suggesting how we might overcome the problem with enough concerted effort. Conversely, a collapse scenario would consider the outcome of rapid and severe climate change, more fighting than cooperation, major migration, and the challenges of adaptation once mitigation is no longer possible. We might do 4 or 5 of these different scenarios to model different outcomes based on the prevailing trends.

In this manner, you provide both a narrative of what the future may hold, good & ill, as well as possible paths towards engineering the positive future and avoiding the negative.

chris arkenberg

So you spend your time reading as much news and analysis as you possibly can on carbon and emerging powers, interview experts, and so on – then work with a group to synthesize that data into forecasts?

Essentially. Though I will typically offer my own forecasts up front then work with the group to see what the most interesting narrative threads are and how they integrate with the overall theme. I take a lot of notes, draw a lot of diagrams, and try to compile what I think is the primary set of trends.

You were also recently working on IFTF’s “When Everything is Programmable” project. What was that, and what did you learn from it?

That’s part of the Technology Horizon’s arc which focuses more on, as you’d expect, technologies and how they may impact human systems in the near future. For me it was a great opportunity. I did my BA at UCSC in Neuroscience but hadn’t really done much with it since being in tech for so long. My focus in TH was on Neuroprogramming so it was a great chance to really dive back into that subject. It was also really valuable to have a focus. I’m a systems generalist by default so I tend to hop around a lot. But I really enjoy doing a deep dive in a a particular sector and TH gave me that opportunity. It was also my first pass at working with the IFTF methodologies so I really learned a lot about their process and how the teams work together.
EEG Twitter Inteface

(Above: An EEG Twitter interface)

What is the most promising neuroprogramming development you’ve encountered and what is the most frightening development? (I realize those could be the same thing…)

Hmm… I think brain machine interface and brain computer interface have tremendous growth ahead. When I started researching the topic I thought it would be pretty sci-fi but it’s actually moving very quickly and there is a ton of R&D happening. But in general, the trend towards integrating human physiology and machine capabilities is an extraordinary field of emerging possibilities, both scary and awesome.

Perhaps the most promising advances are in medicine. There’s a lot of progress in using implants, genetic engineering, and focused transcranial magnetism to help patients suffering depression, Parkinson’s, ALS, and Alzheimer’s, as well as some of the work being done inducing spiritual experiences, creativity, and focus. Similarly, the work integrating prosthetic devices is making tremendous strides, illustrated by the recent Nat Geo cover story on bionics. It won’t be long before prosthetic limbs and artificial sense organs are as good as the original, and often can be modified to have even more functionality. So there’s a lot of hope in patching people back together after trauma & injury. And there’s a really interesting future where these mods are more common and often tuned to enhanced performance.

As far as the most sinister development, that’s hard to say at this point. DARPA is up to their usual shenanigan’s funding a lot of work around creating more effective military patrol. I’m not convinced this is totally evil so much as the inevitable march of progress in a world where warfare is still commonplace. But they’re funding a lot of research to enable patrols to have integrated communication, identification, gesture controls, voice recognition, etc. A lot of this stuff isn’t strictly implant-based BCI but it represents this ongoing trend to integrate computation and digital comm closer & closer to the human in a highly natural & intuitive way. So if you’re a patrol leader you want your silent gestures to be “visible” through the meshnet when they’re not visible by line of sight. And you might want those gestures to kick off a set of executables that push formations out to all team members. Likewise, all members benefit from HUD AR showing targets, routes, wayfinding, etc. Evils aside, it’s interesting to see these developments in an environment that has tremendous selective pressures, eg a bullet to the head if your comm fails.

So again, maybe not exactly sinister but nevertheless very indicative of the way the tech is moving. Eventually this stuff will be civilian tech. There’s all sorts of paranoia that can be summoned up around some of these developments. Having wireless implants that let you interface with a connected computer invites also sorts of control fears, freaky hacking scenarios, and general privacy issues. It’s a rich collage that will likely play out to some degree in all these areas as we move forward.

So really: how far are we from psionic brain implants?

Ha! Psionic brain implants are a sort of sci-fi possibility when you follow this trend. At some point in the future there is a high likelihood that some members of the populace will have embedded wireless devices that will translate thought into action on a device, in the cloud, or even in another augmented head. Currently this is as simple as driving a cursor with your mind but it seems inevitable that this simple interface will include some form of back-channel chat and possibly additional sensory modalities like “seeing” video in your mind’s eye or hearing remote audio. The concept of having a full web-like interface behind your eyes is probably quite a ways off given the interface requirements for such fidelity, let alone the actual user experience of navigating the web with your mind.

What sort of skills and technologies do you think it’s most important for people today to learn to live in the future?

Accept that we live in a world of great change. You have to be agile and prepared to adapt. The fundamental global systems of civilization are shifting with the impact of instantaneous communication, globalization, and ubiquitous computing. Add to this the threats of climate change and a declining fossil fuel infrastructure and you have a tremendous amount of challenges ahead. I feel it’s critical to embrace the change and try to both anticipate and design the future. The future is not yet writ so you can always influence it, perhaps now more than ever.

Along these lines, I think it’s going to be more and more critical to build local and global networks of like-minds with the capacity to design, fabricate, manufacture, and evolve socioeconomic systems. I suspect that things will get more and more local as they get increasingly globalized. I personally feel the need to learn more CAD design so I can get in on local fab and desktop manufacturing.

I also think it’s important for people to find a balance between information value & overload. Scanning is critical but it has to be boiled down to a manageable scope in order to be actually useful. There’s a real challenge to avoid the paralysis of knowing too much.

Yeah, I deal with that every day. Some days I find I can’t blog anything because I’m too overwhelmed with material to blog.

Nature. Get outside, move around, always remember the body. Take some time to let it all sink in on a subconscious level. Then you can integrate.

augmented reality facial recognition

One of your many interests is augmented reality, and you helped organize Augmented Reality Developers Camp [sic]. In the past few days I’ve linked to a couple articles on the “dark side of augmented reality” – things like using augmented reality to obscure unpleasant things from your vision, or using facial recognition software to pull up information from strangers you encounter on the streets. Is there a way that citizens of today who aren’t necessarily developers or technologists to get involved in how this technology that could effect all of us evolves?

Like all technologies, augmented reality is only as good or bad as the people who engineer it’s applications. To guide this, people can be more active in the emerging AR consortiums and communities. That’s basically what AR DevCamp is about: getting all the players together to coordinate and design with a lot of intention so that the future platform is open and interoperable. Blogging and speaking about these things is always helpful. Influence in the social web should not be under-rated. And interviewing the people who are designing the tools can offer you a chance to hold up a mirror to their perhaps unquestioned assumptions about how great and harmless AR will be.

Ultimately, the world is changing and AR will be a part of that. But like all tools, sociology, economics, and natural feedbacks will reinforce the stuff that works and weed out the stuff that fragments or puts us at risk.

Well, actually, that raises another question – could non-developers get anything out of AR DevCamp

Absolutely. Though I should say that since AR DevCamp is an open unconference each one will be different. I’m not a developer but I was keenly interested in the emerging technology, design considerations, possibilities for integrating social markups, strategies, trend analysis, etc… I found all of these things and more at our AR DevCamp. And anyone can go and propose a topic. Certainly ethical issues would be a great one and would be very well received, in my opinion.

Then why is “developer” in the title? That seems a little off-putting.

Not developer. Development. Dev is just an admittedly confusing shorthand.

My bad. But still, that implies, to me at least, that it’s an event for developers.

And that’s the general intent – to sort out the technical standardization. But again, it’s an open unconference so anything that gets proposed gets voted on as a possible topic. You’ll find that people don’t just want to talk about standards and core tech.

So maybe we’ve stumbled on to one strategy: let non-developers know they can go to AR DevCamp, and encourage other camps to change their name.

Absolutely. I encourage everyone with abiding interests or passions around AR to go to the DevCamps.

western rains

(Above: Chris’s new free EP Western Rains)

You’re also a spiritual person, and an creative person – do you ever find that your creative or spiritual side conflicts with your work as a researcher or analyst?

There’s definitely some time & schedule challenges between the creative work and research. Music production – my primary creative hobby – takes a lot of time. But for me, moving into research and forecasting is the necessary outcome both of my spiritual orientation to the world and my desire to move away from a strictly managerial/tech/engineering career.

Having said that, my general perspective of the world is changing as I start really digging into the more rational considerations of human affairs, eg energy, money, survival. It was easy to be idealistic when I was deep in the esoterica. Ultimately, the spiritual side gave me the strength to really look at the world in all it’s hideous glory. I think it’s that anchor that allows me to balance a fairly detached view of systems analysis with a deep abiding desire to see good and hope and truth prosper.

I’m also almost 39 so the dynamic of my perspectives is shifting with the attendant requirements and responsibilities that come with age. 🙂

You can’t just magic the world up into what you want. You can have to change yourself and align your will with actually producing the change you envision in the world.

What advice would you give to any would-be futurists/forecasters?

Learn about systems. You have to be able to look at all the different factors within the larger domain of research. This is, imo, one of the most fundamental and deep trends happening within the human operating system. Cradle-to-Cradle, Life Cycle Analysis, sustainably, global economics – all of these represent the need to think in terms of systems. You have to really think about all the factors, all the inputs & outputs of a given system but do so in a way the defends a manageable scope. That’s the real challenge of good research and forecasting: knowing where to set bounds on the domain so you don’t end up researching everything.

My suspicion is that forecasters will become more and more important as average business & policy folk simply won’t have the time to research the rapidly increasing amount of info available, let alone commit time to factoring out plausible futures. So it’s up to those who have a general systems orientation towards the world, people who understand holism and non-linearity and have a real passion about pattern recognition, to make sense of the world as we pass through this great transition. Forecasting and futurists should find kinship with the best science fiction writers and understand that both are really dealing with the creation of compelling narratives and that these narratives are templates for change. In this respect, futurists should be empowered with the notion that they are really helping to design the future.

More:

GSpot interview with Chris Arkenberg

Times article on The Institute for the Future

Your Future in 5 Easy Steps: Wired Guide to Personal Scenario Planning

Interview with neurodiversity advocate Kassiane

ASL sign for autism

Above: Kassiane giving the The American Sign Language sign for “autism.” The sign, which evokes the notion of “closed off,” raises issues in the neurodiversity community.

Kassiane, who prefers I don’t run her last name, is a neurodiversity advocate based in Portland, OR. She was born autistic & epileptic and has spoken at neurodiversity conferences around the world. She spoke to me via instant messenger. You can read her blog here.

Klint Finley: Could you give us a brief overview of what “neurodiversity” means, or at least what it means to you?

Kassiane: Neurodiversity, the word, simply means the whole variety of different brain wirings people have…from the different kinds of normal to the different kinds of not so normal. Then there’s Neurodiversity, the movement which is the shocking idea that people with non standard wiring are human and deserve to be treated as such without being “fixed” first.

What conditions may be included in the movement?

Autistic/Asperger people tend to make up the base of the movement, because we latch onto things so well, but we’re really inclusive…ADHD, learning disabilities, mental health issues, cognitive conditions like Down Syndrome, epilepsy, migraines, neurotypical allies, Not Diagnosed Just Weird…we’re accepting of pretty much everyone.

Is there a point at which a line is drawn between “neurodiverse” and disabled?

The 2 aren’t mutually exclusive. You can be different and disabled, but being disabled doesn’t keep you from being a human worthy of respect.

How did you get involved in the neurodiversity movement?

I was born autistic & epileptic, & being told I’m broken hasn’t ever gone over well with me. When I was 16 or 17 I read autistics.org and saw there are other people who feel the same way, and it was like “Hot damn! community! whee!” and it just snowballed from there.

Are you involved in any particular organizations?

I’m involved with ASAN-Autistic Self Advocacy Network, & have done several conferences for Autism National Committee.

i am not a puzzle i am a person

Can you tell us about some of the activism you’ve been involved with?

Way back in the day at a big conference we petitioned to get a very abusive school kicked out of the exhibit hall of said large conference. Since the school in question doesnt believe in human rights it was big gesture, small step–we’ve been working to have them closed down for years.

ASAN has recently taken to picketing events that seek to eradicate autistic & other neurodivergent people, to show the public that eradication isn’t the only viewpoint. We’ve also done a lot of writing to congress and other important people.

I was also involved in the petitioning to have a teacher in Florida who voted a kid out of her classroom delicensed, though that’s all still pending.

Can you be more specific than “events that seek to eradicate autistic & other neurodivergent people”? What particular organizations do you think are problematic?

Oh, Autism Speaks. They totally need to climb a rope and let go. As do Defeat Autism Now!, TACA, and and Generation Rescue.

In what way do they seek to eradicate autistic people?

Prenatal testing to prevent us from being born, specifically. And then there’s the wackaloons who think it’s ok to kill us, who are always fun.

Who are the Wackaloons?

It’s a generic term that here means “person so far disconnected from realityland that I’m not sure how to deal with them” there are wackaloons in all those groups. They pop out of the woodwork when a kid is killed, or an adult, which happens far too often.

Gotcha. And so some wackaloons think it’s ok to kill autistic people who have already been born? What, as some sort of euthanasia? How common is that?

Well, this website is incomplete. And with every one of those in my memory, there were people defending the murderers. Not to mention the one I followed most closely in 2006 or so, where the whole town and even the newspaper were supportive of the killer.

Should neurodiversity be important to “neurotypicals”?

Of course.

Why?

I assume that a cookie cutter world is boring to you. And many people won’t be neurotypical forever. Besides that whole “civil rights” thing, which majorities aren’t always so awesome at.

By “many people won’t be neurotypical forever” are you referring to cognitive decline people experience with age?

Cognitive decline, head injuries, infections that affect the brain, neurological diseases, stroke…brains are fragile

Do you think the criminal justice system should treat people with an autism spectrum diagnoses differently than a “neurotypical” person?

It depends on the person, & on what they did. Like, if I go knock over the 7/11, I’m fully capable of knowing that’s wrong and of not doing it. But if someone has an irresistable compulsion to, say, go stare at fountains and gets arrested for tresspassing for staring at a fountain, their neurology may need to be taken into account.

Autism surely isn’t a get-out-of-jail-free card.

What do you think about use of the “r-word”?

Uhm. I hate it with the passion of 100,000,000 firey suns and have nearly gotten the shit kicked out of me on the bus for expressing this loathing.

To be honest I hadn’t really thought about it much before I read you ranting about it on Twitter a while back. But on further examination it’s weird how many people (myself included, unfortunately) would use the word without giving it a second thought, but would never defend the use of racial slurs.

Exactly! or they get all offended about homophobic slurs, but they throw around the r-word like a tennis ball. seriously? It’s not ok. It’s only remained ok because the people who it’s actually slamming are often unable to tell the ones using it to shove it.

It’s all about the power dynamics, & lack of creativity in insults.

What about using the suffix “tard” to create new slurs for specific groups (itards for Apple users, Paultards for Ron Paul supporters, etc.)?

That’s not any better. It’s not even creative. And it still comes from a place that says it’s ok to slam people who are cognitively disabled, and from a place that says “these people hold irrational to me beliefs because they’re cognitively impaired”

A year or two ago I read an article musing on the possibilities of creating pills that could temporarily “cure” or even *cause* autism. The basic idea is that someone born with autism could take a pill to become neurotypical at a party, or a neurotypical person could take a pill to become autistic temporarily to accomplish some particular task. Scientific feasibility aside, what do you think about such a possibility.

It’d be confusing in the extreme.

I couldn’t function in an NT brain, any more than you could function in my autistic brain. I’m USED to hearing and seeing and taking in everything and focusing on the details. Take that all away & for the duration of the dose, I’d be lost.

Give an NT autistic-like thought processes and perception, & they couldnt use the pattern recognition or hyperfocus or whatever…they’d be too busy looking for better earplugs and sunglasses because the lights are loud and flickering. Scientific feasability aside, there’s no way anyone would actually use it.

You can dual boot a computer. You can’t dual boot a brain.

More Information

The Autism Rights Movement article in New York Magazine.

Autistic Self-Advocacy Network

neurodiversity.com

Red State Soundsystem’s Joshua Ellis – Technoccult interview

red states oundsystem

Multi-instrumentalist Joshua Ellis, who records under the name Red State Soundsystem, has just self-released his debut album Ghosts a Burning City. Ellis – whose music sounds like a cross between Paul Simon and Nine Inch Nails – recorded, mixed, and mastered the album himself. I caught up with him via instant messenger to talk about his music and DIY music production.

Klint Finley: Can you explain the name “Red State Soundsystem”?

Joshua Ellis: It started from a lame joke. When the band Cansei de Ser Sexy came out, I noticed everybody abbreviated their name to CSS. Being a Web nerd, I giggled.

I used to release stuff under my own name, but I dug the idea of having a sort of secret identity. Plus I wanted to maybe collaborate with various other people. So I wanted a band name. I started thinking about Web acronyms — HTML, PHP…RSS. What would be a cool name that could be abbreviated as RSS?

And it came to me. It just sounded cool and vaguely political and funny. Then I came up with my logo — the old red pickup truck in a field with bigass soundsystem speakers in the bed. And it just seemed perfect.

How has the response been to the name? Your music sounds a lot more global and cosmopolitan than I would expect from the name. Not that I don’t love the name, it’s just a little surprising I guess.

People seem to think it’s funny, I guess. Part of the joke of the name was that I wanted to invoke Middle America — which is where I basically exist — and also that exotic notion of Jamaican/African soundsystems, a weird juxtaposition. It’s like the idea of bringing the bigger outside world to Middle America. But yeah, the music is very specifically and intentionally globalist.

joshua ellis

(Above: Joshua Ellis, photo by Danny Mollohan)

One reviewer, I can’t find the review right now, said that GIABC is an extremely Vegas album, that Vegas sun sort of permeates the entire album – something along those lines. As a total Vegas outsider – I’ve only ever driven through – I don’t hear that at all. Would you agree with that?

I don’t think of GIABC as a Vegas album at all. I wrote and recorded it while living here, but bits were also recorded while I was on various adventures elsewhere, and a lot of the lyrics are sort of my romantic ideas about living in a big, globally-connected world and traveling and nomadism and such.

And I really think of it as a night record, not a day record. For most of the year here in Vegas, we don’t go out in the day, because it’s one of the hottest places in the Northern Hemisphere. I’m very much a late-night person, and I think the album sounds like that.

Yeah, I didn’t get the “sun drenched” part at all. It sounded very “late night” to me.

I hate to ask any artist what any song is about, but “Berlin Floor Show” has me so curious I can’t help but ask – can you give us some hint as to what inspired it?

Heh.

You don’t have to answer if you don’t want to.

No, I’m happy to.

That started out as me trying to write a PJ Harvey song — like “To Bring You My Love” vintage PJ.

The lyric was inspired by a story I heard or read once, and I have no idea if it’s true or not. The story was this: back in the Weimar era, Marlene Dietrich used to do cabaret shows in drag. For one show, the stage was set with a double staircase, each side curving around the stage, and in the middle of the stage was a bed.

Marlene would appear at the top of the stairs in a coat and tails and a top hat, and a man would appear in drag. They’d be lip-syncing to a duet, but Marlene would do the male voice and the man would do the woman’s voice. They’d slowly descend the stairs, singing.

When they got to the bottom, they’d take off their clothes and get on the bed. Marlene would be wearing a strap-on…and she’d fuck the guy in the ass, still singing the song.

I have no idea if that’s true, and I don’t remember where I heard it.

But it made me think of the whole myth of Berlin — y’know, Bowie and Iggy running around with drag queens, the cabaret, all that — and the lyrics really just sort of flowed out by themselves.

At that point, I’d never been to Berlin. When I finally got there, I was totally delighted to discover that the ambience of the song was actually kind of accurate and fit the vibe of the city well.

I love that city, by the way. I could live there easily.

When I went to Berlin, I had no idea how to get to the hostel I was staying at. So I just got off the train at a random stop and wandered around. At first it seemed like a normal European city and I was all like “So this is Berlin?” I was looking for an Internet cafe to lookup directions, and I found one that was next to a fetish shop that was right next door to a kids toy store. I felt like I was really in Berlin then.

Exactly. Such a remarkable city, and very much a city of opposites. Wenders totally nailed that in Wings of Desire.

Any chance of Red State Sound System going on tour?

I don’t know. Even playing live is a logistical nightmare, because to do these songs as they appear on record would require an eight piece band. I’m currently trying to build stripped-down arrangements for myself and a couple of other people to perform live — my collaborator Aaron Archer on guitar, my backup singer Rosalie Miletich running loops in Ableton and singing, maybe a couple of other people. But it’s difficult, because I’m afraid that the songs lose something when you remove all the little textures and stuff.

Having said that, I’d love to tour. But it’s also a question of finance. I have a day job, and touring is expensive if you don’t have a label.

ghosts in a burning city

Have you learned anything new since you wrote your post “Things I have discovered in three days of selling my album online” that you’d like to share?

Since then, I’ve done some interviews and had a really nice feature in the Las Vegas CityLife. I think press gives me legitimacy — for a lot of people, it means that if I’m worth writing about, I’m worth listening to.

Other than that, jury’s still out. Sales are slow but steady. It’s nice when people blog about the album (like you!) and review it on iTunes and Amazon.

Warren Ellis gave me a plug on his blog and I probably sold a half-dozen records that night. So that’s lovely.

It’s hard to know how to promote the album — the whole world of MP3 blogs and online music ‘zines is such new territory. I’m kind of making it up as I go along.

What was the biggest challenge you encountered while recording, and what has been the biggest challenge on the business side of releasing the album?

Oh, God, recording is all challenges. I had a very hard time learning how to record and mix my vocals. I’m a baritone, so my voice doesn’t cut through the other instruments the way, say, Robert Plant’s voice does. So I had to mix everything in a really weird, house-of-cards kind of way so you could hear what I was singing. Another challenge was simply finding time and space to actually do the live recording. Some of this was recorded in my parents’ living room when everybody was asleep. Most of it was just in my spare bedroom, recording vocals at night after the planes stopped flying overhead. (The airport in Vegas is in the middle of town, about two miles from my house.)

Business-wise…simply getting the word out. I think there’s a market for this music, if people find out about it. But again, without a label, I can’t put ads in Rolling Stone or even Pitchfork, I’m not doing the talk show circuit, I’m having trouble affording to make physical copies to sell/distribute to reviewers.

Do you get complaints from your neighbors?

No, thankfully! I don’t sing very loud, and of course when you’re recording you’re wearing headphones to keep the tracks from bleeding. I mix mostly in the afternoon, early evening. But I’m lucky enough that my condo has good insulation, plus my studio’s in the front of the place, so it’s not next to anybody else.

Also, 85% of the album is all done in-computer. The only live instruments are guitar, bass and vocals, period.

Did you rely mostly on headphones for monitoring or speakers?

Speakers. I have a little pair of M-Audio nearfield monitors. But when I did the final mixes, I tested it on those, on headphones, on my home stereo with giant old 70s speakers, and on my iPhone. Just to make sure.

What key things do you think a beginning home recorder should invest in first?

The most important things, I think, are these: a good audio interface with minimal noise and high-bitrate capabilities, and the best microphone preamp you can afford. With those things, you can afford to be a little lax on other stuff.

Also, the most important investment is time. Learn everything you can. Listen to your favorite albums, figure out what you like about the sound, try to figure out how they did it. Read reviews of gear. Read magazines like Sound on Sound and Future Music. It took me a lot longer to learn how to record than it actually did to record the album.

You don’t really need high-end gear to make high-end music. Hell, I recorded the vocals for most of this album using a Shure SM-58 running into a $50 Behringer mixer. (Though the vocals are the one thing I’d really change about the album, so maybe that’s not a good example.)

red state soundsystem studio

(Above: Ellis’s home studio)

What are some good resources for learning to record?

Craig Anderton’s book Home Recording for Musicians is a classic. I was also extremely enamored of Daniel Lanois’s documentary Here Is What Is, which you can buy from his website. It’s basically a two hour movie about his recording process, with Brian Eno and U2 and Levon Helm. You could do worse than Lanois as a guru for recording. (I really love his production work, and also his own stuff, which is some of my favorite music in the world.)

I think that a lot of the stuff that seems more difficult to do in a home environment — like soundproofing and building a vocal booth — isn’t really necessary.

The more you learn, the more you’ll be able to do more with less, I think.

Trent Reznor wrote that all new artists should give away their music for free, but you’re obviously not following that advice and you don’t seem to be suffering from it. On the other hand, you weren’t a complete unknown since you’re known for other things.

Well, Trent can afford to say that kind of thing, frankly, because he’s in a position to be generous. I’d like people to buy my music, but I’m not fascist about it, and I don’t think $10 from my website (or less from Amazon, sigh) is unreasonable.

I think if I gave it away, more people would obtain it…but I also don’t think they’d give it their full attention. When you buy a record — when you commit your money to it — you’re more apt to really listen to it, because it cost you something to get it. You can download an artist’s entire discography off Bittorrent, but are you really then going to sit down and just listen to it, start to finish? You’re not appreciating, you’re archiving. I do it too — I’ll download somebody’s free album, listen to the beginning of like four tracks, and think “I’ll listen to this later”. And I never do. But if I pay for it, I want to hear it.

And I’m slightly known for my writing and for Mperia.com, but musically I’m definitely pretty obscure. A few people have heard and dug the stuff I’ve put out before, but I don’t think anybody thinks of me as a “musician”, though I hope GIABC will change that.

What would be your own advice to new artists releasing their first work?

I think the most important thing is to be absolutely assured of the value of your work. If you think your album sucks or nobody’s going to care, well…you’ll be right. But no matter if you’re a great artist or just an okay one, you’ve done the hardest thing: you’ve made something to put out into the world. That’s a remarkable thing.

Beyond that…if you think the hard part’s done, you’re in trouble. It’s going to take just as much work or more to get your music in front of people than it did to make it. You are no longer a musician — you’re a marketing person.

I’ve actually written a guide to establishing an online presence for indie musicians.

Back when you were running Mperia I recall that you said that you were surprised to find a lot more electronic musicians embracing Mperia than “indie rock” musicians. I forget why you thought that was at the time, but I’ve been thinking about it lately and wondering if it’s because most rock musicians have more opportunities to make money as performers than most electronic musicians. I mean, even those electronic musicians who have a means for actually performing their work seem to have more limits in terms of venues and audiences than rock bands.

Absolutely. But I also think it’s because electronic musicians, by their very nature, are more comfortable with technology. I think things have changed since then, though. More indie artists are becoming comfortable with the Net as a tool.

You’re definitely right about the performance thing, though I think there’s one exception: DJs. A club DJ can make a hell of a lot more money than a band, because a) he can work the same venue every week, b) he’s the only one taking the cut, c) his time/money expenses are far smaller.

I’m thinking about getting back into DJing for this reason. Hell, when I was the Friday night DJ at a bar here in Vegas, spinning Peaches and Bowie for the hipster kids, I was sometimes pulling in $250-300 each week, taking a percentage of the bar. And that was a small place! DJs at the big clubs on the Strip here in Vegas make fuck-you money.

Well, I think there’s a big difference between DJs and electronic musicians, but DJing is one way for electronic musicians to make money.

Right, of course.

It’s expensive to build up a good vinyl collection, though. If you’re still doing things that way.

How very droll of you. I have an iPod and DJ software.

I actually want to start using Ableton to do on-the-fly remixing in clubs. But that might take more time/focus than I can spare right now.

I actually wonder how purely electronic DJing will effect the ability of DJs to make a living, though. It really lowers the barrier of entry.

Especially if you just pirate all the music you “spin.”

Yeah, it does, and I know a lot of vinyl DJs who were/are resentful of it. But how much of a DJ’s ability/popularity is due to his or her skill with records, and how much of it is based on taste and ability to drop a kickass mix? I think people like me as a DJ because I’m not too weird, but I have an extremely eclectic sensibility — I’ll go from the Velvets to the KLF and I think it makes sense.

One of the various things you’re famous for is your essay/lectureGrim Meat Hook Future,” and one reviewer of your album wrote “As the West’s happy facade falls, Ghosts is the proper soundtrack.” So do you think we’re doomed, or do you think there’s some way out of the hole we’ve collectively dug ourselves into?

I think that the world we’ve built for ourselves — the post-WWII globalist civilization — cannot sustain itself. This world is slowly ending. You see it every day and so do I. But I no longer believe that necessarily leads to horror and anarchy. People seem to be waking up, to be realizing that it’s possible to have less and still be okay. It’s slow, but I think it’s happening.

But there are going to be upheavals. They’re unavoidable. Las Vegas is a great example: this city is completely unsustainable. It’s a geographically-isolated place that relies entirely on long-distance trucking for its goods and long-distance travel to bring the tourists that supply it. When fuel prices go up, the price of living in Vegas goes up…and the city’s income falters, because it’s more expensive to come here. Not to mention that we have more foreclosures and abandoned property than any city in America except Detroit, and we run neck-and-neck with them consistently.

Now that may sound like a local problem…but if Vegas begins to turn into a ghost city, all the nearly 2 million people who live here have to go somewhere. And they are, statistically speaking, two million of the least-educated people in America. (Sorry, but it’s true.) So where do they go and what do they do? Talk about scatterlings and refugees.

And it’s not just Vegas; it’s the whole American Southwest that can’t sustain. You’re talking about fifty million people who, in the next twenty years, are going to be displaced. And that’s just one group of people who are relatively financially able to weather the storm. God only knows what’s going to happen in sub-Saharan Africa, Southeast Asia, the developing world.

But here’s the secret: this is always happening. My point about the Grim Meathook Future was that it looked a lot like the Grim Meathook Present and the Grim Meathook Past. Human civilization is always in upheaval; one society stabilizes, another one elects a crazy strongman as leader and goes absolutely apeshit. This has been happening for ten thousand years.

For me personally, I don’t think I’ll be living in a tent in the desert eating rats and bartering my ass for Reese’s Peanut Butter Cups anytime soon. But I may be naive in my thinking.

And yeah, the album definitely reflects a lot of my thinking in this direction.

Interview with Hands on Chaos Magic author Andrieh Vitimus

hands on chaos magic

Hands-On Chaos Magic: Reality Manipulation through the Ovayki Current

Llewellyn has just published its first, to the best of my knowledge, book on chaos magic: Hands on Chaos Magic by Key 23 contributor Andrieh Vitimus. He took some time out of his busy schedule to answer a few questions for me.

There are many introductory books on chaos magic available, and a wealth of information available freely online. What sets Hands on Chaos Magic aside from the pack, and why should someone buy it rather than just download Peter Carroll’s Liber KKK and Liber MMM for free?

As you know, Liber MMM is the introductory work originally required to enter the Illuminates of Thanteros. Liber MMM expects the candidate to research and fill-in the blanks of the Liber MMM and do additional research. Hands On Chaos Magic tries to give people exercises to really fill in the beginning blanks and help practitioners truly understand the basis of magical training by having done them. Hands On Chaos Magic extends Liber MMM into different styles of energy work, greater breath training, focus, multitudes of sensory imagination games, and a host of additional training exercises. Hands On Chaos Magic was produced and focused on what not only worked for me, but what was the most effective way to explain these concepts to other people. Hands On Chaos Magic was put together by design in the way that educators recommend teachers should teach classes to help the students learn the most effectively.

Liber KKK is more like training guidepost that expects the practitioners to develop or research their own techniques to prove results in the physical. At each stage of Liber KKK, you have to prove that you can master that phase by the results you have obtained. No instruction is given toward how to do this. Liber KKK and Hands On Chaos Magic are mutually supportive endeavors. Hands On Chaos Magic is my work toward finding techniques to complete the guideposts of Liber KKK. While Liber KKK gives you the guideposts, Hands On Chaos Magic actually provides the framework and some techniques through experiential knowledge to eventually complete the Liber KKK steps.

I can not speak about the mutlitude of books since envitably there will be a comparison to a book I have not read. Such a comparison would not be fair to the author of those books. Hands On Chaos Magic is my opinion on the process of developing magical skills in line with my understanding of education theory coupled with my understanding of cognitive science. One example of this: much occult literature says to visualize. NLP and cognitive science tells that only 60% of people are visualually orientated. In practice, this idea means that 40% of the people who work with occult materials would have trouble relating to and doing the excercies ( even if they are purely psychological).

This line in the promotional copy caught my eye: “Learn to test and verify your results.” As a skeptic, I find this very interesting. Can you give us an example of verification?

Verifying your results is easy. Did your intention happen in one fashion or another? Did you gain or see results in the physical world that were in line with what you were trying to do? I used to be agnostic, but I have gotten tremendous results through the philosophies and techniques of magic. In some cases, there are shared experiences, which allow a person to make some conclusions. Sure those could be mutual hallucinations, but if mutual hallucination works toward a happier and better life, it was worth believing in. If you do certain set of procedures, and there is a certain result that occurs in the physical world, why not keep doing it? Of course, the explanation as to why the results occur is left to the observer of the results and this can range from the mystical to merely changing your perspective psychologically. The explanation is really a good story either way.

How do you protect against confirmation bias and false positives (or do you at all)?

In most cases, a false positive would mean from a psychological standpoint you had successful done the magic. In most cases, this would be sufficient to qualify as “results”. However, if you are specifically trying to prove magic ( in the belief system that uses the dichotomy between the internal and external world), it is often repetitions of small effects that are more convincing evidence for magic. There is no way to prove magic in this sense, but we can get evidence. If someone trains with magic for a some time, this exercise will make sense. Flip a coin 1000 times and at each coin toss, try to manipulate through whatever magical means you choose, the result. The experimenter should be proficient at the technique they are trying, and they should have confidence in the technique. Likewise, they should have confidence that magic works. Record each coin toss. If the overall pattern of results is greater then one standard deviation from the mean (either direction), repeat the exercise with a new coin. If both results are one standard deviation from the mean or more in the same direction, this is a pretty good signal that something is happening. Either the subconscious mind is interfering with your magic in some way ( but is still good evidence that something is going on), or that person was able to influence the outcome. Likewise, if other people watch the experiment, this would bias the outcome ( since they have expectations that could influence the outcome as well). Its relatively impossible to prove magick per se, but its possible to get evidence of this sort.

Do you think magic will ever be understandable scientifically?

In EKSTASIS 2007, the Illuminates of Thanateros ran a publically attendable set of seminars. Between my seminar, and a few others, there was an over-riding theme. The word magic is a problem. Arguably, scientifically is also a problematic word. Originally, my book was titled Reality Engineering Through the Ovayki Current. Many of us presented ideas that basically came to the conclusion that we should kill the word magic. There are several reasons since it has 3000 years+ of baggage where the word itself is relatively meaningless. Are we talking about stage magic, earth ceremonies or reality engineering? Are we talking about Satanism? Certainly the general American populace might believe that magic is satanic, but this is not what I do.

Lets assume that the corpse of magic lies rotting before us.

Once the techniques of magic are taken out of the corpus of magic, there is a remarkable history of what was magic being shown to be quite effective and scientifically valid. Hypnosis is generally statistically thought to have provable effects (and the data is becoming more convincing every day). Meditation has provable health benefits and mental benefits toward what the ancients predicted. Yoga, Chi work and disciplined body alchemy do have the benefits that they are subscribed to (see studies in China). Creative visualization does have positive life effects and can help a person obtain their goals. The list of techniques that was once magic currently being studied scientifically is extensive. Even using Frankincense has been shown to have a physiological effect that aids meditation or produces a neurobiological effect similar to a light meditative trance. Science in some ways is its own religion with its own set of beliefs and its own set of biases. Spirits could well be entities that exist in alternate dimensions (since some current models of physics say space has more then 3 dimensions). Even non-linear odd effects do happen on the quantum level and the observer does seem to have impacts on reality at that level.

The scientific model is very effective within the scientific world. Perhaps, Peter Carroll and Stephan Mace are basically correct that science is magic. Certainly, science attempts to label and construct the world as magicians do. Do I think magic will be proven scientifically? Probably not. There are too many romantic and identification issues that people cling to for magic to be “scientifically valid”. To be a magician, is to be mysterious. As soon as a technique is valid scientifically, the magicians will often move the threshold of magic to a different level. Do I think that many of the techniques and procedures of what we currently consider magic will be shown to be scientifically valid? Yes I do.

Can advanced practitioners learn anything from your book, or is it specifically aimed at the beginner?

There is a tremendous amount for the advanced practitioner. Hands On Chaos Magic uses very little theory to explain a lot of advanced topics. Hands On Chaos Magic asks the reader to try things and derive their own theory. At first, people are practicing very simple techniques and encouraged to develop their own techniques. Many of these techniques are much like Lego blocks. Methods are then worked through showing ways that the techniques can be combined and recombined into more advance work such as evocations and invocations. From here, higher-level combinations occur. When Llewellyn first got the book, they read till about page 200 and realized this really is an advanced book on magic. Every technique builds on the previous techniques. After the foundational Lego blocks are present, the adventurer who reads my book can have bigger sets of tools to build more impressive magic.

The simple, non-jargon based approach to magical development and the Lego like structure of Hands On Chaos Magic is part of the design philosophy of the book. The book starts with learning to relax, progresses through sigils, evocation and invocations, works on astral magic and then to rewriting your life in every way by following the same idea of combining techniques into greater and more complicated magical operations.

In the midst of a global economic melt down, growing food and water shortages, and numerous violent conflicts around the globe, what is the social role of magic today?

In one way, this goes back to the idea of what is magic doesn’t it? I certainly consider it a form of magic that created economic conditions where a few people can be extremely wealthy while it is difficult or impossible to get food in some countries. Certainly, it is within our capabilities and technology that food and water shortages could be wiped out. Why do we not help these people? Why have we been coerced into believing it’s not possible to do feed these people or even worse that we should be doing what we are doing? If magic is a way of controlling outcomes, certainly some rather large acts of magic have been carried out since we as a world choose not to invest in those places.

In practical matters, I have often used magic to survive with success when it most counted so I believe that it may for some people be the difference between survival and death. Effective results can mean the difference in these places between eating and starving.

In some of these same countries that have the most violent issues, ritual is a way of re-affirming life and the community. In countries where many people are starving, re-affirming the community and the bonds of community becomes an increasingly important survival tool. Certainly, while I was in Haiti, I could clearly understand that if people functioned with the level of disconnect to other people as they do in America, they could not survive. That does not mean that people do not do things to each other that are questionable. People do steal and hurt each other, but in general everyone seemed to know about what happened in a neighborhood. In America, our neighbors could die and we might not even know. Of course, getting the “energy” to flow in a ritual or changing the psychology of participants can have more distant important effects. Is one person, truly inspired, that fights against a corporation and causes others to stop a corporation from taxing the water doing magic after they have had the insight through ritual that they should? Is the scientist who meditates and studies a problem until the answer appears that helps millions with a new power source doing magic? Is the artist, who inspires people to give food, doing magic? If part of magic is inspiration and manifesting a better life, then certainly magic can help depending on how we define magic, but then I live in a magical world view.

What’s next for you?

Currently, I am working on a system of hypnosis and energy work called HypnoEnergerics that combines the best energy work modalities, with hypnosis, NLP and psychology. The goal is to create a powerful modality that works effectively, quickly, and permanently. Secondly, I am working on a children’s book of non-dogmatic magic with some illustrators. Third, I am working on a Makaya Vodou book with the Roots Without End Society. While I am writing, I will be working towards building a hypnosis practice as I am certified. I personally love teaching classes, so of course, I will hop around the country to teach. Readers can check out my webpage to get release dates for those projects at andriehvitimus.com

Interview with Author Sue Lange

“At one time or another Sue Lange has been one of the following (pretty much in this order): child, student, potato picker, first chair flautist, librarian, last chair flautist, babysitter, newspaper deliverer, apple picker, form cutter, drama club treasurer, track and field timer, Ponderosa Steak House salad server (before the salad bar days, of course), disco dance instructor, waitress, wire harness assembler, usher, Baskin-Robbins ice cream dipper, volleyball team captain, biology club treasurer, circuit board checker, form reader, day camp counselor, tutor, stock room attendant, nurse aide, chemistry technician, senior chemistry technician, right fielder, Plant Laboratory Supervisor–non-radiological, house sitter, first base, receptionist, stage manager, data input technician, actor, bookkeeper, vocalist, typesetter, songwriter, recording artist, home builder, viticulturist, Digital Production Manager, orchardist, and Applescripter. Lately she’s been writing.”

TiamatsVision– For those unfamiliar with your work, tell us a bit about yourself.

Sue Lange– Well I started out as a child, and then I grew up. After that terrifying experience I moved to New York City and discovered who I really was. Turns out I was musician so I started a band. Crabby Lady was the last incarnation. I stripped the music from my lyrics and published my story as science fiction (“Tritcheon Hash”). That went over like a lead balloon so I tried again (“We, Robots”). Blowing my modicum of success with the second book all of out of proportion gave me the nerve to try it once more, hence my third book, “The Textile Planet”.

TiamatsVision– How did the idea for Book View Café come about and what was involved in putting the site together?

Sue Lange– A number of people on the SF-FFW Yahoo group (women writers of speculative fiction) started yakking about offering fiction for free online to create some buzz for our work. We read stuff like Cory Doctorow’s manifesto on the subject and got inspired. Never one for talk without action, Sarah Zettel grew tired of our ranting and said, “Let’s do it.” A bunch of us got eager and jumped on the band wagon, and voila, BVC is born.

TiamatsVision– What do you see happening with Book View Café in the future?

Sue Lange– I think we’re going to become a publisher. We’re going to have a model in place for publishing Internet fiction and making money at it. We’ll know how to make it, serve it, promote it, and sell it. We’ll have a handful of formidable partners that will be able to distribute our product in the myriad formats out there. We’ll have content in Internet formats, ebooks, print books, and podcasts. Wherever there is content, we will be there.

TiamatsVision– Tell us about your current project titled “The Textile Planet”, which is available on Book View Cafe.

Sue Lange“The Textile Planet” is a rather long-winded tale of speculative fiction. Because it was so overwritten, I decided it would be perfect for adding even more content to in the form of links to back story and little playlets and stuff like that. It could go on forever with bits added here and there as I see, and perhaps the audience sees, fit. Underneath it all though, there is a story. It follows corporate stooge, Marla Gershe, as she foments revolution in her day job. The consequences of her foolish action follow her eventually to the ends of the universe.

TiamatsVision– What inspired you to write it?

Sue Lange– Three day gigs: my job at the Palisades Nuclear Power Plant, my job at IEEE Communications Society, and a weird little part-time thing I did on the NYC textile exchange. The first two jobs were and are hectic at times and very inspiring when considering revolution. I’m sure there are many people out there who have also at some point in their life fantasized about tipping the in basket over the side of the desk and pulling the emergency switch. They can relate to those moments that inspired this story.
The third job was just plain bizarre and inspirational for anyone writing spec fic. It pretty much provided the setting and circumstances of the story.

TiamatsVision– The main story centers on the textile industry and fashion. Is this something you’ve always been interested in?

Sue Lange– No, but that textile exchange job gave me a slit of a window into how it works from soup to nuts. The textile exchange itself consists of little offices in the Chelsea section of NYC. The Seventh Ave./30th Street area. Around Penn Station actually. There’s no fancy building or big sculpture to let you know something big is going on. The only evidence of its existence is that you’ll see racks of raw mink rolling around the dirty streets at odd hours. Surrealistic. You look at one of these racks and wonder what the value is. Thousands of dollars? Hundreds only maybe, until they’re stitched into a coat? That and the fact that 7th Avenue was renamed Fashion Ave. are the only indicators of the industry. There are a lot of wholesalers in the area selling fabric and notions by the ton to the trade only. So there’s that.

My gigmaster sold shop towels from Russia where they were cheap to make. All day long he moved Russian shop towels from one buyer to the next. He was quite successful at it. He had a bunch of other businesses here and there as well. I had been working for him for about three days when he asked me if I wanted to be a plant manager for a textile concern of his down in Georgia. I ask you, would you take a position that someone is so desperate to fill they’re asking strangers? I’ve spent long hours imagining the horror that place down there must be and “The Textile Planet” resulted from that. I did some research for it, but fabrication based on my imaginations is so much more fun. In the end there’s not much basis in reality in the book. Especially when we get to the ends of the Universe, but I guess that’s obvious.

TiamatsVision– What made you decide to make this a multimedia project?

Sue Lange– I wanted to cut out some stuff that was making the action drag. Instead of just cutting it out, though, I used it for clickable content. The radio play is just more of the same dialogue illustrating that Marla is having a bad day. It just never ends, so I had some friends in for dinner and we recorded the various conversations that had been cut out, added some sound effects and background patter and there you are. Multimedia content.

TiamatsVision– Do you plan to do more multimedia projects in the future?

Sue Lange– Depends on how this one works out. If people are interested in it. I love doing it, but I don’t know if it enhances a person’s enjoyment of the material. The story really stands on it’s own, but I like adding sound effects. Instead of describing what someone is hearing, maybe it’s better to give them an example. But does anyone really care what a home-made version of a Santana song without percussion would sound like? I mean, just thinking about it is pretty funny, considering Santana’s lineup was about 75% drums et al. But if someone is not familiar with Santana’s music, they might not get just how bad it would be. If you’ve listened to the recording you know how bad it is. And having been part of lots of DIY music projects, I know how funny it can get. It’s worth a cheap joke.

TiamatsVision– What are some of your interests other than writing?

Sue Lange– Music, obviously. I love movies. I’m writing a piece on Lina Wertmuller’s “Love and Anarchy” for the Aqueduct Press, 2008 wrapup. I just learned to ride horses a couple of years ago. I do organic farming, have a peach orchard and do vegetables and my signature garlic every year. And I love to perform. Sing, dance, pass gas. It’s all good.

TiamatsVision- What else have you written and are there other projects you’re currently working on?

Sue Lange– My first published book was “Tritcheon Hash”, about a hapless space age pilot that has to visit Earth and see if a partnership with the inhabitants there will be a win-win situation. “We, Robots” is about a hapless domestic robot that learns what it means to be human. “The Textile Planet” is about a hapless worker in the textile industry. And my next project is called “The Perpetual Motion Club” which is about a hapless teenager that gets hung up on a basketball star and perpetual motion phenomena.

TiamatsVision– If people want to read more of your work or purchase your books where do they go?

Sue LangeAmazon of course. “We, Robots” is cheaper at the publisher’s website (http://www.aqueductpress.com/orders.html). My blog on the subject (usually) of The Singularity Theory is at http://scusteister.livejournal.com. My website is kinda fun: http://www.suelangetheauthor.com and I have a couple of stories up at bookviewcafe.com for free. Some of my other stories have been published on the Internet. Can’t remember exactly where right now. A lot of the sites have vanished. The current issue of Premonitions, a UK magazine, has my story Jump”. A dark story, not like me at all.

Interview with Author Susan Wright

Susan Wright writes science fiction novels and nonfiction books on art and popular culture. New York City is her home, where she lives with her husband Kelly Beaton. After graduating from Arizona State University in 1986, Susan moved to Manhattan to get her masters in Art History from New York University’s Institute of Fine Arts. Susan is currently the Spokesperson for the National Coalition for Sexual Freedom, a national organization committed to protecting freedom of sexual expression among consenting adults.

TiamatsVisionFor those unfamiliar with you and your work, tell us a bit about yourself.

Susan Wright– I’ve written over 25 novels and nonfiction books on art and popular culture. Right after I got my masters in art history from New York University, instead of becoming a professor as I had intended, I started writing. I was lucky enough to get an agent and in 1994, I published my first Star Trek novel, “Sins of Commission”. I wrote 9 Star Trek novels in all, and I have a new story in the Mirror Universe Shards and Shadows anthology coming out in January, 2009 called “Bitter Fruit”.

I’m also the spokesperson for the National Coalition for Sexual Freedom. I talk to the media about BDSM, swinging and polyamory to debunk stereotypes and defend our communities’ right to hold events. NCSF is a great organization, the only one devoted to helping people in need. The website is www.ncsfreedom.org

TiamatsVisionYou recently released a book called “A Pound of Flesh”  which is a sequel to “To Serve and Submit” . What is this series about and what was your inspiration in writing it?

Susan Wright– These two books are about pleasure training houses in the 11th century – Viking sex! In “To Serve and Submit” , Marja is a submissive heroine who learns through her battles to save her homeland how to use her true nature to become a powerful woman. She falls in love with her master, Lexander. I got the idea from artifacts found in Newfoundland of Viking settlements, and I imagined what would that society be like if it had flourished. I knew the first “new world” settlement would include Native Americans as well as Vikings. Marja’s mother is a Skraeling and her father is Nordic so she straddles those worlds.

In “A Pound of Flesh” , Marja travels to Europe to save the slaves from the pleasure houses, but she has to fight Lexander, her former master and lover, to do it. I loved writing the BDSM scenes in this book because I think it makes the sex more creative – they aren’t the typical love scene. I have much more ability to move the story along during these scenes because the interactions are more intense.

TiamatsVisionDid you have to do any special research for this series?

Susan Wright– LOL! I found the leather community in New York City in 1991 and have been thoroughly involved ever since. So the BDSM is a completely natural expression for me.

For the Viking and real-world building, yes I did a tremendous amount of research. I also benefited because I studied art history for 7 years with an emphasis on the Middle Ages so I have a strong grounding in medieval societies.

TiamatsVisionAre there any future books planned for this series?

Susan Wright– Yes, but my editor left Roc and the future of this series is in doubt. At some point, however, I will return to Marja and Lexander’s story. They will go to Tantalis to deal directly with Lexander’s people who are enslaving poor misfortunates into their pleasure houses.

TiamatsVisionWhat got you interested in writing, and who are some of your favorite authors?

Susan Wright– When I was a young teen, I loved Heinlein novels. They were dated, but nothing could beat his story-telling. I was a passionate reader and that was always the most important thing”‘a story that could take me away and show me things I’d never imagined. Now I read mostly science fiction and urban fantasy. Also lots of 19th century novels, any I can get my hands on, so Trollope with his copious output is a favorite of mine.

I got a computer when I was getting my masters, and that’s when I became a writer. I’m big on editing over and over, putting together a story and layering in details, so I need a computer to create the way I want to. The words poured out of me. I couldn’t stop myself from being a writer, despite the hardship that it’s caused in my life. But being able to write full time, and create the books I want to, is worth everything I had to give up.

TiamatsVisionYou’ve written the Dark Passions books for the Star Trek series and a book on Area 51, ” UFO Headquarters: Investigations on Current Extraterrestrial Activity in Area 51″ . What else have you written and what are you currently working on?

Susan Wright– My first science fiction trilogy is called Slave Trade. The first novel, Slave Trade” , is available on a brand new cooperative of over 20 published authors – www.bookviewcafe.com. I’m really excited about this project. A bunch of us authors got together to create a fun website where we give away electronic versions of our out-of-print and unpublished work. I’m posting a free chapter of “Slave Trade”  every Tuesday – you can read the chapters online that I’ve already posted, or download it. If you can’t wait each week to read it, you can download the entire novel for $4.99.

Currently I’m working on Confessions of a Demon”  and the sequel, “Demon Revelation” . They’re urban fantasies set in New York City, featuring a possessed human heroine, Allay. Demons are emotional vampires, living off the feelings of others. Allay has to survive in the midst of an ancient demon war without becoming anyone’s pawn. “Confessions of a Demon”  will be published in October 2009.

TiamatsVisionHow did you get involved in writing the Dark Passions books for the Star Trek series?

Susan Wright– My editor, John Ordover, came to me with the idea of writing a set of mirror universe novels featuring the “bad girls” of Star Trek. That was the working title but Paramount nixed it, unfortunately. They feature Seven of Nine and Kira Nerys as lesbian lovers, with Deanna Troi thrown into the mix as well. They’re my best-selling Star Trek novels, which makes sense, don’t you think?

TiamatsVisionWhat inspired you to write a book about Area 51 and tape an interview with UFO hunters? Is this something you’ve always had an interest in?

Susan Wright– I wanted to find out the truth about UFOs. So what better way than to write a book about it? I sold it to St. Martin’s Press so I could live while I was doing all of the research. Since Area 51 was getting headlines in the mid-90s, I focused on that. It’s not far from where my parents live, and I’ve always been curious about the adjacent Nevada Test Site where the nuclear bomb tests were held in the 50s and 60s. This fall, ten years later, I got a call from the History Channel’s UFO Hunters who were doing an Area 51 episode. I got to go back to the border of Area 51 where we saw a Pave Hawk rise up from a gully and fly right over the top of us, like it came up from the depths of the earth! It was really exciting to get to tell what happened. The episode is supposed to air early in 2009.

TiamatsVisionWhat is the National Coalition for Sexual Freedom (NCSF), and how did it get started?

Susan Wright– I started NCSF in 1997 while I was working on an ad hoc project for the National Organization for Women to overturn their anti-SM policy. It took three years, but we did it! While I was educating NOW about BDSM, I kept getting emails from women who were being discriminated against or losing their child custody during divorce battles because of their BDSM. So I went to 5 of the biggest educational and social groups and asked them to join a “coalition” for sexual freedom. We had the educational and social aspect down, but we needed an advocacy group to fight the stereotypes and stigma of alternative sexual expression. Now we have 55 Coalition Partners and almost a 100 Supporting Members (groups, businesses and events who support NCSF).

NCSF has lots of different projects – our Incident Response helps people in need, along with the Media Outreach Project. We also have an Educational Outreach Project that gives workshops on how to produce events and protect yourself. We also have a new project – the DSM Revision Project that is working to educate the American Psychiatric Association about the harm the current diagnoses in the Diagnostic and Statistic Manual (DSM) are doing to BDSM practitioners and cross-dressers. There’s a petition calling for the APA to adhere to scientific research when revising the DSM. You can find that on the front page: www.ncsfreedom.org.

TiamatsVisionAs Media Spokesperson for NCSF, what’s involved in getting the word out about your organization?

Susan Wright– I do a lot of interviews to influence the coverage of alternative sexuality. It’s having an effect – the term “consenting adults” has permeated the media and public consciousness. The vast majority of Americans agree that as long as it involves consenting adults, it’s nobody else’s business. That’s a welcome but very slow change that religious conservatives are trying to stop. There are groups that are dedicated to stopping gay rights and they dislike BDSM even more, so they attack our events.

TiamatsVisionWhat are some of your successful and more difficult cases?

Susan Wright– We have lots of successes! We help 600 people, groups, events, businesses and clubs every year. You can read the articles under NCSF in the News going back 8 years that reads like our greatest hits. We successfully defended Jack McGeorge, a UN weapons inspector who went to look for weapons in Iraq, when the media tried to discredit him because of his association with NCSF and BDSM. We successfully defended 5 major conferences in the Midwest in 2002 when Concerned Women for America spread lies that blood would flow in the hallways. We fought back Missouri State Senator John Louden when he tried to outlaw BDSM and BDSM conferences in that state. Last year we defended Kink.com when they were attacked for buying the SF Armory building, and we supported Folsom Street Fair when the Catholic League called for a boycott against Miller brewing for sponsoring the Fair because of their poster featuring Leatherfolk in a faux-Last Supper tableau.

TiamatsVisionWhat is a Kink-aware Professional, and what exactly do they do?

Susan Wright– NCSF’s Kink Aware Professionals project is a free referral list of doctors, therapists and lawyers who are “kink aware” meaning they understand the special needs of kinky people. They have placed their names and information on this list, arranged by state and city, so people can find them. It really helps to have a therapist or doctor who understands about BDSM so you don’t waste time trying to explain everything. There’s still an appalling amount of discrimination by professionals, so most people don’t want to out themselves to their doctors. Also if you’re in trouble, you don’t want to spend hundreds of dollars an hour explaining to your attorney the difference between SM vs. abuse. Kink Aware lawyers tend to be very helpful to those in the BDSM, swing and polyamory communities who are in trouble. It’s an invaluable resource.

TiamatsVisionIf people want to purchase your books or find out more information about the NCSF, where do they go?

Susan Wright– You can go to my website – www.susanwright.info It has a link to Book View Café where “Slave Trade”  is being offered in free chapter downloads. Also there’s a link to NCSF, and a link to my blog on Live Journal. There’s also links from my books so you can buy them if you want to. Or send me a question. I love to talk to readers.

Technoccult interviews Mister X author Dean Motter

mister x archives

A bald, drug addicted architect cum mad scientist returns to the futuristic city he helped build to save its people from the misapplied “psychetecture” he designed. That’s the basic plot of Mister X, a comic series by Dean Motter and various artists first published in the 1984 by Vortex Comics. Motter, a graphic designer by trade, crafted the entire visual presentation of the series – going so far to create a new logo for every issue. The graphic influence of Mister X can be found in Watchmen, Transmetropolitan, and countless other subsequent series.

Dark Horse recently published The Mister X Archives, a complete collection of Motter’s run on Mister X. Klint Finley catches up with Motter to talk about the behind-the-scenes history of Mister X, and Motter’s future projects – including an all new Mister X series, Mister X: Condemned from Dark Horse.

dean motter

Technoccult: How did Mister X come about? Did you pitch it to Vortex, or did they ask you to do something for them?

Dean Motter: It was a combination of both. Vortex was publishing black and white comics and was looking to do a color title. We all worked in the rather small but vibrant comic book community in Toronto. When they got wind of a project that original collaborator Paul Rivoche and I were developing to shop around they pulled it together.

mister x

T: What comics did you do before Mister X?

D: I had edited and contributed to an independent comic call Andromeda, which was the Canadian counterpart to Star Reach, which I also contributed to. I had also collaborated with Ken Steacy in Epic Illustrated for Marvel. I was mostly working in the music and entertainment industry at the time doing design work for LP covers, music promotion and book cover and magazine work.

T: Had you worked with Paul Rivoche before? How did you meet?

D: Paul and I shared a studio (with a number of other artists and illustrators in Toronto) for years. We met when he moved to Toronto.

mercedes mister x

T: How did you get hooked up with the Hernendez brothers for that project?

D: Back in ’84, when it became apparent that Paul and I had reached a creative impasse, the publisher (Vortex Comics) approached the the brothers to jump-start the already-delayed series. They came aboard, and took my outline and story notes and crafted the first four issues. Paul lettered and colored them the art while I oversaw the production, art direction, design and editorial chores.

new mister x series from dark horse

T: Why, after all these years, did you decide to do a new Mister X series?

D: The time just seemed right. Diana Schutz at Dark Horse asked me if I’d like to do it. I’d worked with Diana (the first Grendel: Black, White and Red) and for Dark Horse on some Star Wars stories, and the 9/11 book.

T: Who owns the rights to Mister X now?

D: Vortex Comics still owns the rights. They no longer publish but basically run the franchise. Dark Horse is publishing the new archival edition plus the new reboot series.

dean motter the prisoner

T: Why did you leave Mister X?

D: It was largely financial. DC was offering me The Prisoner, and I was kind of burnt out on the project. I’d been working on it pretty intensely for years. Both in development and in the actual run.

T: Why did you re-release the final issue? How does it differ from the original version?

D: I was very unhappy with my final issue. My script was lacking. It was missing many elements I wanted to explore. Plus, it had no closure. No resolution to the whole story arc. Combined with what I felt was very poor artwork when compared with most of the series. When IBooks decided to collect the series I took the opportunity to redo it myself and address these issues in they manner I envisioned originally.

mister x robot

T: You say that the second volume of Mister X (and I presume also the third volume, from Caliber) shouldn’t be considered part of the same continuity as the first volume. Are Terminal City and Electropolis, in your mind, part of the same continuity as the original Mister X series? What about the new Mister X series coming in December?

D: Terminal City and Electropolis can be read as part of the original continuity. But I took care so that a reader did not need to have read the original Mister X to get into the story. The second volume and the Caliber series are ‘new’ takes. Differing from the original in the same manner as DC has told and retold the mythos of Superman. The new series is the equivalent of Frank Miller’s Batman: Year One. It retells and relaunches the Mister X mythos.

mister x 7

T: With all the praise that’s been heaped on creators like Alan Moore and Frank Miller, especially recently, do you ever feel like your work hasn’t received the appreciation it deserves?

D: Occasionally… But the work has a loyal following. (BTW I’d add Mignola to that list. ) But their oeuvre was much more consistent.

dean motter album cover

T: One thing Mister X is remembered for is bringing graphic design sensibilities to comic books. Did you make a conscious decision to bring your design sensibilities to the comic, or did it just happen?

D: As I said, I was working as art director/designer and occasionally as illustrator in the entertainment business at the time. I wanted to elevate the design of comics to that of the music industry, since they appealed to similar demographics.

mister x 8

T: Any chance that Mister X will ever be made into a movie?

D: There are discussions ongoing with both Mister X and Terminal City.

T: Have you read Warren Ellis’s Doktor Sleepless? It’s obviously heavily influenced by Mister X.

D: Indeed. That’s one reason Warren was asked to write the intro to the Archives.

T: Do you have any other projects in the works?

D: Original collaborator Paul Rivoche and I have an issue of The Spirit in the works. I am working on a Dominic Fortune series for Marvel, set in 1937. I have other pitches in the pipeline I can’t discuss just yet.

Links

Buy the Mister X archives on Amazon

Dean Motter’s homepage

Dark Horse’s Mister X Archives site, including a 3 page preview

A collection of Mister X covers

Correction: The article originally stated that Mister X contained the first published work of Los Brother Hernendez. This is incorrect. The entire sentence, which also stated that Mister X contained the first work of Dave McKean and Seth, has been removed.

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