Future Plot: Project Titanomachy - Chapter 20 (Part 3)

((Camille, Inkopolis Defense Force Planetary Secret Service, and the Wonderful Splatwoon  belongs to @inklingleesquidly

Nebula belongs to @myzzy and @agenttwo

Agent Blueshift belongs to @myzzy

Depiction of Agent 2 belongs to @agenttwo

Celeste and Willow belong to @alpinesquid

Arsenic and Nebulous belong to @a-demo-of-a-hero

Agent 0  and  belongs to @son-of-joy

Justice Society of Inkopolis belongs to @inklingleesquidly @myzzy and @son-of-joy

Agent 7, Calypso, Cassandra, and others belong to me ))

Iris’s Meditation Spot - Strofades (Strofadia), Greece - Morning

Camille slept the rest of the night in the willow groves; she was lying on the marble bench like it’s a bed.

Someone touched her shoulder, trying to wake her up. Camille quickly got up, alarmed. Hermes was the one that woke her up. He was in a faded blue cape, orange tunic, a winged bronze cap, and a pair of winged sandals. In one hand, he was carrying a caduceus. And since he’s an inkling incarnation of the human original, his ink hair color is a darkened yellow and his eyes are blue.

“Are you ready?” Hermes asked.

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Future - Super Trapper

3

Transmediale’s Revolution from Within

Benjamin Busch writes about the ‘alien matter’ exhibition at Transmediale, featuring The 3D Additivist Cookbook:

Does agency lie in the human, the machine, or the mediation in between? Agency can be staked out in two concepts of freedom: a negative freedom-from (a refusal of things as they are) and a positive freedom-to (a refusal and simultaneously future-building project). The former entails resistance, even a claim to purity by refusing to participate in an unjust system. The latter entails refusal, but it also contains a recognition of contingency (“there is no outside”) as a means to construct an alternative future from within the entangled complex of the present.

Transmediale, Berlin’s festival for art and digital culture, makes a case for the latter. Aptly titled ever elusive, the 2017 edition, its 30th anniversary, draws from the festival’s three-decade history while keeping its orientation toward the future. The theme of perpetual elusiveness picks up on expressed ambiguities between the human and nonhuman, which have become evermore intertwined. -

Read the rest at ArtSlant
space.com
Talking in Circles: Creating the Alien Language of 'Arrival'
The production designer for the Oscar-nominated science fiction movie "Arrival" talks about creating the striking visual elements of the film.

“In the film, the scientists discover that the circles typically represent a full statement, but the statement can be broken up into words. The protagonists eventually create an index of these inky words, so they can write messages to the aliens. In reality, Vermette said he and Villeneuve had their own index of about 100 alien words made in the style that Bertrand designed. As the project moved forward, the pair consulted with real-world linguists and archaeologists to help refine the design. 

Seth Shostak, a scientist at the SETI Institute (SETI stands for search for extraterrestrial intelligence), said some scientists have thought about how humans might translate alien languages. Linguists have shown that there are many redundancies in human languages, which is part of how we are able to comprehend spoken languages at all, Shostak said. For example, studies have shown that if all the vowels are removed from a written document, a person (who has never seen the document in its complete form) can still read most of the words. 

“It turns out there’s a mathematical law for the redundancy of any language,” Shostak said. “And you can apply that to the sounds made by dolphins or even other critters, like ants. And they follow this same mathematical law. So that suggests that it’s not just noise [the animals are making], there’s actually a language there. So I think that if you picked up a signal coming from aliens, you’d do the same thing."”