The first issue of the new-look, relaunched Weaponizer Magazine is available now! Featuring an exclusive interview with fan-favourite author China Mieville, and with an incredible cover by Mike Rooth, the magazine features exclusive content only available in print, including comics by Stref’, Hey Apathy! and Darkam, new fiction by Weaponizer favourites such as C. Brian Hickey, Aaron Jacobs, and Will Couper, artwork from Veronika Von Volkova, Emmanuel Hernaez aka MojoKingBee and Dmitri Arbacauskus of Tormented Artifacts, and much, much more! Released May 2012.

Available here for UK/Europe, or here for US/Worldwide orders. At £5/$6.50 + shipping it’s a steal. 
The first issue of the new-look, relaunched Weaponizer Magazine is available now! Featuring an exclusive interview with fan-favourite author China Mieville, and with an incredible cover by Mike Rooth, the magazine features exclusive content only available in print, including comics by Stref’, Hey Apathy! and Darkam, new fiction by Weaponizer favourites such as C. Brian Hickey, Aaron Jacobs, and Will Couper, artwork from Veronika Von Volkova, Emmanuel Hernaez aka MojoKingBee and Dmitri Arbacauskus of Tormented Artifacts, and much, much more! Released May 2012.

Available here for UK/Europe, or here for US/Worldwide orders. At £5/$6.50 + shipping it’s a steal.

The first issue of the new-look, relaunched Weaponizer Magazine is available now! Featuring an exclusive interview with fan-favourite author China Mieville, and with an incredible cover by Mike Rooth, the magazine features exclusive content only available in print, including comics by Stref’, Hey Apathy! and Darkam, new fiction by Weaponizer favourites such as C. Brian Hickey, Aaron Jacobs, and Will Couper, artwork from Veronika Von Volkova, Emmanuel Hernaez aka MojoKingBee and Dmitri Arbacauskus of Tormented Artifacts, and much, much more! Released May 2012.

Available here for UK/Europe, or here for US/Worldwide orders. At £5/$6.50 + shipping it’s a steal.

"As the arc of innovation becomes a branching, radical network rather than a cutting edge, we don’t need to look to the future anymore, but to our unfolding interfaces for things that already exist.
We might call this “the uncertain ethical implications of atemporality.” In only a few years, the span of history and the calm, orderly narratives it wove were effectively collapsed into a multi-dimensional space most closely modeled by Google Instant results after typing a single character in to the search bar."
This just reminds me of the after-action reports in Age of Empires 2.

Hah! I totally get what you mean…though it’s been a long time since I’ve played AOE.

Might have to see if I can get it to run in WINE later on…

"Conspiracy theories and the occult comfort us because they present models of the world that more easily make sense than the world itself, and, regardless of how dark or threatening, are inherently less frightening."
William Gibson, Distrust That Particular Flavor (via angelacarterofmars)

(via ltcoblivious)

Cartographic representations of Time.
Click through for more examples.
(via David Rumsey Historical Map Collection | Timeline Maps) Cartographic representations of Time.
Click through for more examples.
(via David Rumsey Historical Map Collection | Timeline Maps)

Cartographic representations of Time.

Click through for more examples.

(via David Rumsey Historical Map Collection | Timeline Maps)

"Without self-revealing, easy-to-use tools, the benefits of technology are only extended to technologists. If you want a world where only the clued-in get to reap the benefits of technology, you are a technocrat, not a geek. What’s more, as you age, and your ability to stay current on technical subjects is eroded, you will become a serf along with your poor neighbours."
"while it’s true that geeks can get around this sort of thing – and other bad network policies, such as network-level censorship, or vendor locks on our tablets, phones, consoles, and computers – this isn’t enough to protect us, let alone the world. It doesn’t matter how good your email provider is, or how secure your messages are, if 95% of the people you correspond with use a free webmail service with a lawful interception backdoor, and if none of those people can figure out how to use crypto, then nearly all your email will be within reach of spooks and control-freaks and cops on fishing expeditions."

Aroe MSK’s 12x64 ft mural tribute to MCA.

via ArrestedMotion

"The algorithm, called Darwin (that’s Decision Algorithm Rating What Ingredient’s Next), determines how snack portions are sorted into punnets, how customised Graze boxes are labelled, and how they are packed directly into Royal Mail vans. It also records the customer’s order history and preferences, monitors stock levels and tracks the location of workers on the factory floor (stock replenishers wear wireless devices on their wrists). “It’s possible to get 4.9 million different combinations of snacks in a Graze box,” says Jones. So the 250-person company uses data — including over 50 million snack ratings — to personalise each customer’s snack selection. “If you bin all the things unsuitable for vegans, we’ll learn that,” explains cofounder Edd Read, 26, the AI specialist who developed Darwin. “Then, if we launch a product that’s unsuitable for vegans, Darwin knows not to send it to you."

Graze anatomy: the tech behind Graze.com’s ultra-customised snacks (Wired UK)

I use Graze.com’s service, this is a fascinating look at how their tasty treats arrive fresh at my desk twice a week, and are personalised by my own ratings.

"The strongest impacts of an emergent technology are always unanticipated. You can’t know what people are going to do until they get their hands on it and start using it on a daily basis, using it to make a buck and using it for criminal purpose and all the different things that people do."

William Gibson (via bashford)

Excerpt from an interview in the Paris Review. It’s long but well worth reading the whole article.

“…the street finds its own uses for things”

Motion Efficiency Study, c. 1914. National Museum of American History, Behring Center, Division of Work and Industry Collection
Early C20th light painting via The Chronocyclegraph - we make money not art Motion Efficiency Study, c. 1914. National Museum of American History, Behring Center, Division of Work and Industry Collection
Early C20th light painting via The Chronocyclegraph - we make money not art

Motion Efficiency Study, c. 1914. National Museum of American History, Behring Center, Division of Work and Industry Collection

Early C20th light painting via The Chronocyclegraph - we make money not art