technology diffusion

The crisis of whiteness bears with it a set of unique opportunities, but also a set of crippling limitations. The limits: Those who are recovering from middle class delusions can be seen en masse concerning themselves with what brand of tape to use so as not to hurt the walls of the capitol building, or thanking the armed police officers about to arrest them, or believing that the police and the union leadership is on their side, or having a whole range of absurd ideas that the problems they face can be fixed by a recall election. Never mind a whole mythology of non-violent resistance and civil disobedience. Some rather large pushes, activists, if you wish to become dangerous.

The opportunity: Those for whom any event was always experienced as something that happened to other people are beginning to see themselves as the people they read about in the news: unemployed, homeless. Those for whom history was thought to have ended have found themselves the victims (and agents) of its ceaseless progression (and potentially its explosion). Divorced from a past, from any means to reproduce themselves, from any of the fictions promised to them as children, people are beginning to call into question all the assumptions and narratives upon which our social order is based. Those who months ago could never have seen themselves occupying buildings or sabotaging their workplaces have begun to find new ways to act together. To a certain degree, people are positioned to see that their own survival will be predicated on their own self-activity to destroy the conditions that have shaped their abysmal future.

The collapse of traditional subject positions begets the emergence of new class positions of exclusion: on the one hand total abjection and unwaged labor and on the other a diffusion of technologies-of-the-self constituting a global petite bourgeoisie. More realistically there will be a complete indistinction and oscillation between these positions. The grim reality is that each individual will have to bring continually-innovated and newly-commodified aspects of her existence to sell on the market, or else starve.

—  Identity in Crisis -Baedan
Post-Leveler Cultures

Shortly after the so-called “end” of the Leveler civilization, their descendants began shifting away from technologically oriented mechanized civilization toward one based on subsistence, focusing mainly on the construction of tools that didn’t require a complex factory.

For the next 500 years, these people would slowly but surely reconstruct technology based on what they can recreate from scratch. Helping them rebuild are extensive electric databanks that remained functional long enough for a considerable amount of their contents to be transcribed into paper or parchment; over time, technology was redeveloped from the books printed from the old databanks. Their society was, quite literally, rebuilt from books.

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anonymous asked:

Whats your opinion on Sonic CD and it's artstyle(particularly the FMV bits)

Sonic CD has my fave art direction of any Sonic title. For quite a few reasons.

Firstly, it’s Kazuyuki Hoshino’s use of colour for specific time frames. Compare every stage’s palette’s during their past timeframes and notice how he emphasizes nature and primitiveness through the use of colors that evoke natural roughness such as green and browns;

It expertly gets across the impression that these locations are primeval and the use of natural scenery such as caverns and greater prevalence of plantlife emphasizes how they’re comparitively “wild” than the more technologically inclined present and future timeframes wherein greater technological development has taken place.

Present locations exhibit typically Sonic-esque art design and palettes. So not much comment there except it’s superbly executed in-line with the other Classic games’ feel.

Secondly, the message Hoshino and by extension the rest of Sonic Team wanted to get across; It’s ecological message.

The future timeframes are where the art design gets especially interesting in my opinion since it carries across the idea of how technology can be used for the benefit (Good future) or expense of (Bad future) nature.

Take for example Palmtree Panic GF and Tidal Tempest GF;

In Palmtree Panic, Piping (The technology) is being utilized to supply the plant life (The nature) with clean water so that it thrives. Technology is being used for the benefit of the environment in a wise manner.

In Tidal Tempest, Glass containers/diffusers (The technology) are being used to house presumably partially-aquatic plant life (The nature) so that the oxygen they emit oxygenates the water and provides an ideal environment for the tropical fish (Nature again) whilst preventing the plants from becoming waterlogged and dying as a result.

It’s a subtle and yet powerful statement on how technology is not the sworn arch enemy of the environment as propagandarist tripe such as Captain Planet and Animals of Farthing Wood would have you believe, it’s how it is utilized that can benefit or harm the environment.

In addition, Good Futures have vivid and eye-pleasing palettes.

Technology beng unwisely used without regard to the environment is horribly empthasized in the Bad Futures.

Looks like Dr Eggman has long sinced gutted Quartz Quadrant of it’s mineral resources in order to power his empire and in doing so went overboard to the point that the mine quite possibly has gone as deep as the Little Planet’s core (This is shown to likely be the case in the DA Garden’s Bad Future iteration of the Planet - Quartz Quadrant is depicted as a circular and literal technological hellhole that bores directly into the planet)

A horrible, evil metropolis is what becomes of Stardust Speedway. Pollution from factories causes a perpetual lightning storm in the choked sky and the musical instruments that composed the level design have been eroded away likely due to the effects of acid rain.

Not only do the bad futures display Dr Eggman’ utter lack of respect for the natural world, they also display what a terrible place the Earth would become if he was allowed to become it’s supeme ruler, adding to the credibility and importance of Sonic and co’s frequent opposition against him.

Also, in complete contrast to the Good Futures, the Bad Futures have drab, industrial colors that are not pleasing to the eyes and whch look very ugly.

Thirdly, what I also love about Sonic CD’s art direction is that Quartz Quadrant and Wacky Workbench exempted, it’s zones are basically more fantasy-like, more detailed equivalents of Sonic 1′s zones.

Regarding detail, Sonic CD is jam-packed with it by comparison. I mean compare Stardust Speedway Present to Starlight Zone;

Such intricate detail in the background and platforms. Looks much more eycatching than it’s Sonic 1 euivalent Starlight Zone.

Sonic CD’s art by comparison looks like it’s on steroids in terms of detail compared to the still graphically impressive for its time Sonic 1. I even feel that CD…despite taking place on Little Planet and not Sonic’s homeworld…exhibits a more ideal at standard for the series in general since it’s whimsy and vibrancy suits the character designs more and the aesthetic of the Classic series.

And that’s why CD has my favorite art direction of any Sonic title.

xsailormobian  asked:

What is your favourite art direction in any Sonic game ? (I won't ask for your least favourite, I'm pretty sure it's Sonic 06's art direction)

Sonic CD’s. For quite a few reasons.

Firstly, it’s Kazuyuki Hoshino’s use of colour for specific time frames. Compare every stage’s palette’s during their past timeframes and notice how he emphasizes nature and primitiveness through the use of colors that evoke natural roughness such as green and browns;

It expertly gets across the impression that these locations are primeval and the use of natural scenery such as caverns and greater prevalence of plantlife emphasizes how they’re comparitively “wild” than the more technologically inclined present and future timeframes.

Present locations exhibit typically Sonic-esque art design and palettes. So not much comment there except it’s superbly executed in-line with the other Classic games’ feel.

Secondly, the message Hoshino and by extension the rest of Sonic Team wanted to get across; It’s ecological message.

The future timeframes are where the art design gets especially interesting in my opinion since it carries across the idea of how technology can be used for the benefit (Good future) or expense of (Bad future) nature.

Take for example Palmtree Panic GF and Tidal Tempest GF;

Piping (The technology) is being utilized to supply the plant life (The nature) with clean water so that it thrives. Technology is being used for the benefit of the environment.

Glass containers/diffusers (The technology) are being used to house presumably partially-aquatic plant life (The nature) so that the oxygen they emit oxygenates the water and provides an ideal environment for the tropical fish (Nature again) whilst preventing the plants from becoming waterlogged and dying as a result.

It’s a subtle and yet powerful statement on how technology is not the arch enemy of the environment (As tripe such as Captain Planet and Animals of Farthing Wood would have you believe), it’s how it is utilized that can benefit or harm the environment.

In addition, Good Futures have vivid and eye-pleasing palettes.

The latter is horribly empthasized in the Bad Futures.

Looks like Dr Eggman has long sinced gutted Quartz Quadrant of it’s mineral resources in order to power his empire and in doing so went overboard to the point that the mine quite possibly has gone as deep as the Little Planet’s core (This is shown to likely be the case in the DA Garden’s Bad Future iteration of the Planet - Quartz Quadrant is depicted as a circular and literal technological hellhole)

A horrible, evil metropolis is what becomes of Stardust Speedway. Pollution from factories causes a perpetual lightning storm in the choked sky and the trumpet that composed the level design have been eroded away likely due to the effects of acid rain.

Not only do the bad futures display Dr Eggman’ utter lack of respect for the natural world, they also display what a terrible place the Earth would become if he was allowed to become it’s supeme ruler, adding to the credibility and importance of Sonic’s frequent opposition against him.

Also, in direct comparison to the Good Futures, the Bad Futures have drab, industrial colors that are not pleasing to the eyes.

Thirdly, what I also love about Sonic CD’s art direction is that Quartz Quadrant and Wacky Workbench exempted, it’s zones are basically more fantasy-like, more detailed equivalents of Sonic 1′s zones.

Regarding detail, Sonic CD is jam-packed with it by comparison.

I mean compare Stardust Speedway Present to Starlight Zone;

Such intricate detail in the background and platforms. Looks much more eycatching than Stardust Zone.

Sonic CD’s art by comparison looks like it’s on steroids in terms of detail compared to the still graphically impressive for its time Sonic 1. I even feel that CD…despite taking place on Little Planet and not Sonic’s homeworld…exhibits a more ideal at standard for the series in general since it’s whimsy and vibrancy suits the character designs more.

And that’s why CD has my favorite art direction of any Sonic title.