Live video from the International Space Station includes internal views when the crew is on-duty and Earth views at other times. The video is accompanied by audio of conversations between the crew and Mission Control. This video is only available when the space station is in contact with the ground. During “loss of signal” periods, viewers will see a blue screen. Since the station orbits the Earth once every 90 minutes, it experiences a sunrise or a sunset about every 45 minutes. When the station is in darkness, external camera video may appear black, but can sometimes provide spectacular views of lightning or city lights below.
Here’s my idea of what happened to ↑Malaysia Airlines Flight 370—from top to bottom the panels are taken from pages 15, 16, and 20 respectively of ‘Flight 714’ (Hergé 1968 [1966-1968]).
This is the music video for the song ‘There’s a glow’ by the band NO, a Los Angeles-, respectively Echo-Park-based Indie sextet, which just published its debut album ‘El Prado.’ Filmmaker Johnny Agnew almost entirely filmed the video within the computer game ‘Grand Theft Auto V’ (GTA V | Rockstar North 2013)—my, my, how ↵machinima has developed since I first posted about it in 2005 or so. I especially do like the ironic, humoresque ambience and narrative of the video, very gamer-like. And as we are already at it: not that I’d have time for it, but where are the PC-versions of GTA V and ‘Red Dead Redemption’ (RDR | Rockstar San Diego 2010), Rockstar, eh?
[Abstract:] As research on virtual worlds gains increasing attention in educational, commercial, and military domains, a consideration of how player populations are ‘reassembled’ through social scientific data is a timely matter for communication scholars. This paper describes a large-scale study of virtual worlds in which participants were recruited at public gaming events, as opposed to through online means, and explores the dynamic relationships between players and contexts of play that this approach makes visible. Challenging conventional approaches to quantitatively driven virtual worlds research, which categorizes players based on their involvement in an online game at a particular point in time, this account demonstrates how players’ networked gaming activities are contingent on who they are playing with, where, and when.
zeph’s pop culture quiz #59
A gentleman in striped pants, black jacket, white shirt, and black leather gloves investigates a sign laid out on a forest floor. The sign is composed of twigs and stones—but the question is: what is the profession of the person who laid out the sign?
Simply leave a comment with your educated guess—you can ask for additional hints, too. [Leaving a comment is easy; just click the ‘Leave a reply’ at the end of the post and fill in the form. If it’s the first time you post a comment, it will be held for moderation. But I am constantly checking, and once I’ve approved a comment, your next ones won’t be held, but published immediately by the system.]
UPDATE and solution (18 December 2013):
Apologies for this update coming so late, especially as ↵Alhambra posted the right answer—Congratulations!—already on 23 October 2013: The original profession of the man who laid out the sign was: sailor. That way the victory in the 59th installment of zeph’s pop culture quiz was snatched away from Alexander Rabitsch who already was close when ↵he wrote in the comments: ‘Mr. Jonas Oldrace is a master-builder.’ That way he clearly signalled that he had deduced that the screencap was taken from the ↑TV-series episode ‘The Norwood Builder’ (Grieve 1985) based on ↑Sir Arthur Conan Doyle‘s short story ‘↓The Adventure of the Norwood Builder‘ (1903). So, the gentleman sporting striped pants in the picture is ↑Sherlock Holmes, impersonated by actor ↑Jeremy Brett—the definitive moving-image Holmes! The question was a bit tricky, I confess, because the sailor turned tramp does not at all appear in Doyle’s story, but was added for the television dramatization.
[Jake Rossen:] Where do you think the comic strip fits in today’s culture?
[↑Bill Watterson:] Personally, I like paper and ink better than glowing pixels, but to each his own. Obviously the role of comics is changing very fast. On the one hand, I don’t think comics have ever been more widely accepted or taken as seriously as they are now. On the other hand, the mass media is disintegrating, and audiences are atomizing. I suspect comics will have less widespread cultural impact and make a lot less money. I’m old enough to find all this unsettling, but the world moves on. All the new media will inevitably change the look, function, and maybe even the purpose of comics, but comics are vibrant and versatile, so I think they’ll continue to find relevance one way or another. But they definitely won’t be the same as what I grew up with.
[Jake Rossen:] I’m assuming you’ve gotten wind of people animating your strip for YouTube? Did you ever mimic cartoonists you admired before finding your own style?
[Bill Watterson:] Every artist learns through imitation, but I rather doubt the aim of these things is artistic development. I assume they’re either homages or satiric riffs, and are not intended to be taken too seriously as works in their own right. Otherwise I should be talking to a copyright lawyer.
[Jake Rossen:] Is it possible some new form of sequential art is waiting to be discovered? Could the four-panel template die out as newspapers dwindle?
[Bill Watterson:] Form follows function, as the architects say. With words and pictures, you can do just about anything.
Artificial Paradise, Inc is an experimental film anticipating a future where a major corporation has developed an unique software, based on organic virtual reality, which holds all the lost memories of humankind. A user connects to this database of the forgotten…what is he searching for?
That juxtaposition of technology and humanity is a key theme of the cyberpunk movement […] (Brown 2011)
When Synners [Cadigan 1991] was published, the World Wide Web didn’t exist; few people had access to computers for leisure use; virtual reality hadn’t made it out of the labs. Yet Cadigan wrote, with typical assurance, of a noisy, noirish, dystopian future, of characters overwhelmed by sheer noise (physical and mental), of a plethora of information conveyed in media old and new, of the breakdown of the body/technology boundary. The world of Synners feels (un)comfortably familiar from the vantage point of the present day. (Brown 2011)
Seed and the control of seed lies at the heart of agriculture.
In Africa around 80% of seed comes from local and community saved seed resources. This seed is adapted to local conditions. It forms an integral part of community food security and agricultural integrity. This entire traditional system is now under threat.
A broad front of commercial interests, aided and abetted by the World Bank, the American Seed Association and government agencies, along with front groups, academics and so-called philanthropists, are endeavouring to alienate this crucial resource. […]
What is at play here is a direct conflict between peasant farmers networks and the neo-colonial attempt to subvert African agriculture by restrictive, first world regulation. The Southern African model is being repeated in East and West Africa, through similar comprador networks.
What will happen should ↑UPOV [Union internationale pour la protection des obtentions végétales] be broadly adopted? As soon as indigenous seed becomes contaminated by patent protected seed varieties, all rights to share and trade that seed will be lost, forever.
The irony of this is profound, as the very germplasm, which ↑Monsanto and ↑Pioneer rely on is the result of thousands of years of peasant breeding that remains categorically unrecognised. What is good for the goose is clearly not good for the gander. The end result will only see one winner, which will certainly not be indigenous African farmers. (Ashton 2013)