#technofuture

[max1461]

can't wait for the technofuture

[xj4cks]

smiling goddess transcendent of spacetime, technofuturism, cyberpunk, devotional art, insane detail, rich lambent colors, 6k uhd

[killa-tofu1134]

Remember when the future was exciting, and we thought it would free us from ourselves? I would literally give anything to go back to the 80s and 90s and be able to actually believe that technology would somehow change our species dramatically and free us from bullshit reality rather than just giving every human a megaphone to scream their biases at each other.

[shit-posting-into-the-void]

city pop really be like

🎺✨ 🕺 🎷🕺 🎸 ✨🥳🕺 🤠💃🎷

I CAN'T STOP THE LONELINESS

✨🕺🤠 🥳🎺🎸🕺🎷✨🕺🥳 🎺

Now let me get back to the

technofuturism of 1980's Japan

[abitglitched]

An AI monologue. A name that doesn’t exist. A story that rewrites itself. The first glitch in the system is always the hardest to notice.

[utterblax]

Utterblax - Waspy Wednesday

[femboy-c-cups]

you'd think considering we've been living squarely in the hypercapitalist silicon valley technofuture for some time now, that with all the scraping and selling of your data, the "algorithm" would actually be y'know, good?

Like cmon, i know its about engagement not about making a good customer experience but you'd kinda expect that like if twitter or tumblr is feeding everything ive ever done into the machine that spits out the "for you" page then maybe it would be able to do better than just showing you every post that has the same tag as the last post you liked.

Or amazon being like "we saw you recently purchased a flat screen tv, have you considered buying more flat screen tvs?" Shouldn't you be able to predict what i need precisely when i need it by now? Instagram knows i like ttrpgs so for the past year has been continuously advertising Mothership to me, a product i have owned for many years already. How is this working out well for anyone?

[transgenderer]

film and television are pretty good but by weight they're not nearly as good as their eleborate sets. elaborate sets are such a fundamentally good object, i think they have the potential to be the highest form of art, if people treated them as high art. its like...maximal sculpture. instead of an object, a space. i guess people do this with video games but its extremely not the same as a digital object. unfortunately an elaborate fully-artifical set is very expensive. so. maybe in the post-scarcity technofuture

[dreamlanddeluxe]

Im sure op meant no harm, no beef with them personally but this post bugs me in a very specific way not because I find the latter more interesting than the former (you know me I’m weird phone design autism guy) but because the description of the former divorces it from the context of its time period and paints it as some creation based purely on unproblematic personal innovation when in actuality that era of phone design is just the result of its own 2000’s era capitalistic target demographic, and to remove it from this context undermines the weight that this era of capitalistic technofuturism had and continues to hold, especially with the overtly prevalent techno-orientalist ideology that went hand in hand with the 2000’s era of technological design as well.

I mean take the Cybiko for example. I’m sure we can all agree that this design is unique and fun. However you must also look at how it was marketed and why it was designed the way it was. This was a phone heavily marketed towards teens as the hip and cool technology of the future or whatever as most tech in the 2000’s was targeted as. What can be so negative about such an interesting phone design? It isn’t some glass slab like todays phones, what’s the problem? Well let’s take a look at this guardian article from 2001 in an interview with the guy behind it

“The advertising supports the traditional perception of the origins of such products” “the Cybiko is mock-Japanese” Are you seeing what I’m saying here

[kabutoraiger]

the 1997 sentai villain nuclear family: neurodivergent dad, android daughter, technofuturism aesthetic OC do not steal, world's ugliest woke dog (bibidevi)

[two-reflections]

🛒 What are some common things you incorporate in your fics? Themes, feels, scenes, imagery, etc.

🧐 Do you spend much time researching for your stories?

These questions were in response to THIS ask meme! ✨

🛒 Oof, I found this one very challenging. Had to ask my spouse for help, but I think we've got it in the end. Let's break this one down:

Themes - Hope, Longing, Grief and Guilt. Please note that "themes of hope" doesn't mean the stories are necessarily hopeful in their plot or ending. Sedulius in Iron Will, Crimson Whispers was always hopeful, even though his hopes were constantly dashed. Also, I gravitate towards ritual and religious themes. I am not religious myself, I just find belief very potent to write about.

Feels/Vibes - Characters who don't quite understand each other. Camaraderie and fellowship, sometimes with a romantic or sexual component. My spouse says I tend to leave space at the end of my stories for the story to carry on, which helps them feel like part of a wider universe. They also mentioned shades of grey to the characters, as the same character can be a hero or a villain depending on the story and PoV.

Scenes - I love writing melee fights, though I can't say I've nailed the OTT "bolter porn" vibe yet. Characters reuniting after a long absence. Intense non-sexual intimacy, like being branded or sharing blood. Rituals, whether cultural, Imperial or Chaotic.

Imagery - This one stumped me. I'd be interested to hear what others think. My spouse says I have a wide knowledge base and draw from real world cultures as well as technofuturism. They say I often combine the two. Seems normal for 40k to me, though.

🧐 Sometimes! I never know quite how much external work each story is going to take. One good thing is that a lot of my research for this fandom can be reused because it goes into the worldbuilding for my Salamanders stories in general more than one specific fic. However, I've also ended up doing a surprising amount of reading about food production in inhospitable landscapes, survey techniques, and mycology. I also gave myself a refresher crash course in geometry for a throwaway line in a story that very few people read. 😆

[areyougoingtoheaven]

Every instagram artist post is like so glad I was able to harness the abundance of the universe (my parents paying my rent) to really sink into my new body of work these past two years <3 (mucky abstract paintings supposedly about accelerationism or technofuturism or whatever) im so grateful to my sweet friends @888sk8 and @c0ldc4sh for being geniuses and angels 〰️🌎🪞 (two guys with multiple credible sexual assault allegations)

[literateure]

going back to my roots

so i think i’ve tried substack, reading.supply, blogspot, wordpress, endless iterations of the same thing, revisited. here’s an attempt at going back to the origins of it all, tumblr.

today, i will be sharing a link to joan didion’s “on keeping a notebook,” but the marginalian version, for reading this essay yesterday was one of the most pleasurable parts of my saturday. as someone with a goldfish brain (a concept revisited in today’s inaugural radio show with anh-ton), i find deep beauty — and relief — in the idea that accuracy is not all that’s important to memory. accuracy is better for pragmatism, sure, but for story? for depth, for texture, for wonder, or for simple fun? (or for covering for my goldfish sensibilitites) i can’t recommend distorting the truth slightly enough. our histories are subjective, and we can remake, reify, anything we’d like.

i also had the thought today that i’d like to study the classics, the ancients, learn all the lore. rich, sweeping stories of empires, kingdoms, their rises and falls.... but not just european western colonialist histories, of course. i actually deprioritize those. what i’d really like to study is the lore of asian borderlands (manchuria? okinawa?) for example, or nomenclature, or linguistic origins, or anything that begs me for critical thinking and concrete thoughts. i’m quite afraid i’m losing it all... STEM at this liberal arts institution is... a world of perplexities and contradictions and constant dissonances. i suppose i am never enough. but at least with humanities, i’d feel alive...

there are so many realms i’d love to dive into the field of — studio art (tactility, working with hands, creative flow, back to the basics, real Concrete Creation), linguistics (not as interested in the science as i am in the anthropologies and cultural contexts, all the crazy fun facts and interesting stories inherent to language quirks, how naming has such immense power), understanding MACHINES (the only reason i attempt engineering now, as well as to prepare for the apocalypse when the only ones who can man the machines ARE the mechanics and engineers, also to be a good one not let the military industrial complex ones win, except it’s causing much suffering and not much overall benefit but i suppose we’ll see, also speculative technofuturism and such is very cool), and so much more... i get ideas every minute i think.

adhd brain means i feel a mile wide and inch deep on about everything, saying nothing of substance or knowing anything truly. i’ve still got a design podcast to listen to and a million poems to read and swoon and wilt and melt over (frank o’hara, back to the basics) and so many flowers to sniff and sneeze at and so much river to swim... i love life and its many wonders <3

[allthinky]

I always skipped this episode because I thought it was boring (I was 12, whaddya want?) but the point that she is obsessed with StrongMen despite living in a utopian technofuture (with two of the hottest men in Hollywood) is just mwah!

the space seed episode of tos where they find khan and the ss botany bay is so funny because right off the bat you have kirk being like "yeah let's get that historian whats-her-name out there, maybe she can be useful for once" and it's like WOAH what's up with the liberal arts hate?? why is kirk being such a bitch to this lady for no reason. then you meet her and she's fucking obsessed with historical strongmen to the point of covering her walls in her own fanart. she lives on a spaceship in a utopian technofuture and she sleeps surrounded by busts of kings on purpose. her vibes are fashy and kirk is right to be a bitch, actually.

then they get to the botany bay and she's immediately driven to distraction by how horny she is for ricardo montalban under a thick layer of extra-dark foundation. sorry i'm gonna compare montalban with and without the makeup because it is SO distracting

also she refers to sikhs in the past tense implying that at some point in the last two hundred years there was a genocide that they're just glossing over. since she also calls them a warrior race it's also possible that she's just racist and somewhere on board the enterprise there are sikh crew members who dislike her as much as kirk does.

anyway you can assume that this is her first actual away mission and she fumbled immediately because she was so hot for khan but it's much funnier if this isn't the first time this has happened. every time they have to interact with a historical earth artifact she gets so horned up thinking about being a tradwife that she's rendered speechless. spock stays polite but kirk can't stand her. by the time kirk found out she was the type of person to paint her own portraits of napoleon and roman emperors to hang in her quarters it was too late to send her back and request literally anyone else. he's supposed to court martial her but offers to let her stay on fashy eugenics planet just so he won't have to keep her on his ship anymore. it's unclear if he lets her take her paintings or jettisons them into space.

[aesthetinet]

Technofuturism is SUBLIM3

Hey aestheticaste, I am Sublim3, one of the contributors to our digital aesthetics blog. This week, I’d like to talk about an aesthetic I call Technofuturism. I went to a museum IRL this week, and it wasn’t half as boring as I expected. It’s an exhibition at the McIntosh Gallery at UWO called “Memories of the Future,” whose oxymoronic name lends itself well to the seemingly disjunct themes it encompasses. Laura Moore, the artist behind the art, did a study of the relation between culture, nature, and tech that I found very intuitive. Some pieces highlighted the natural and biological nomenclature of much of our tech, like “thumbdrives,” or usb “sticks.” Other, more speculative pieces, were meant to get us to reflect on the ecological impact of our tech, whose waste will far outlast us mere mortals. My favorite was called “The Future from Above” and it gave me the idea to write about the technofuturist aesthetic. It shows typical medieval hillfort villages with stone buildings that have the topography of microchips. The same way an archeologist might find artefacts of a hillfort today, people in the future will be digging up technological waste in hundreds of years. Unlike its nominal inspiration from the natural world, there is nothing BIOdegradable about tech. This brings me to the Question Concerning Technology (Heidegger lol): we are often led to believe that technology will fix all of the world’s problems, and that any problems it itself might cause are just bugs. I am more cynical. When you look at various technologies, they are definitely useful in doing things more easily than before, but those who benefit from the efficiency gains brought about by it are made up almost entirely by the 1%. A company like Tesla is a perfect example. Elon Nazi has amassed a net worth of over 300 billion by hijacking a company that makes eco-friendlier cars for people in the west, while the children mining the lithium in places like the Congo don’t gain anything from this advancement. Human rights violations aside, we should be asking ourselves just how much more cars can help us reduce our carbon and ecological footprints. Just like with tesla, the internet, while useful to many billions of people, sees success concentrated in a small number of people, with barriers to entry set up along racial, gender, class, and geographic lines. In his article, “a feature not a bug,” Marie Hicks debunks the neoliberal myth of meritocracy in silicon valley, the birthplace of the internet, whose greatest innovators have often been more endowed with privilege than genius. While Marie Hicks aptly criticizes the intentional exclusion of minorities in big silicon valley corporations, I feel like the downsides of technology more generally are features rather than bugs or glitches. In a capitalist economy, innovation is seen as a mere means to profit instead of solving problems faced by our society. Technofuturism exemplifies this phenomenon: While you sometimes see aspirational concept art of a high-tech, green cities, where technology ends up saving us from the problems it creates, its most common use on the internet is in ironic memes:

While the sum of both numbers being 100 would be really cool, its non-existence speaks (loosely) to the recognition that technology alone cannot save us. Rather than projecting us into the future, some have argued that because new advancements are sending us back. Yanis Varoufakis, former Greek finance minister and Marxist commentator, believes that we are entering into an age of techno-feudalism, where any and all activity online is paid, if not with our dollars, then with our attention(rent seeking). Thinking back to the exhibition I went to, it's important that the future's use of memories is not just the nostalgic regurgitation of past structures, such as feudalism, but one that builds on it in a critical light.

[abitglitched]

No followers. No watchers. No eyes on me. Except the data logs. The algorithm. The system. But other than that… I’m completely alone.