In the video, Clark stands in for Metropolis’ automaton, complete with mechanized movements — all geometric lines and robotic stare. But where Lang’s world is all moody black-and-white, Clark and Moya paint a surreal, pastel-hued future soundtracked by St. Vincent’s funky, horn-infused dancey track.
What do you do as an architect living in a country that sets limits on and penalties for architectural design? …During the Cold War, the brave and inventive architects of the Soviet Union did not cease to advance their cause. They continued to explore their ideas in several ways, including one very simple but dangerous method: they drew what they couldn’t build, and thus invented paper architecture.
Every life is a series of choices. Some are large, and some are small. And if logistics is the science of detail, as Jomini wrote, every life must play out as an experiment for which the outcome can never be analyzed. The details build towards a future that stands as the terrible object of an uncertain construction, wrought by every decision of existence.
Long before humanity had reached that closest object of our celestial imagination, we’d already imagined ways of getting there. Jules Verne’s From the Earth to the Moon (1865) offers the mighty cannon as the most efficient means of long distance travel, lunar locomotion which evokes a spatial simplicity not well realized in the harsh reality of the complex mathematics for practical travel outside of our atmosphere.
In the drought plagued world of Tank Girl (the 1995 film, inspired by the British comic) water is literally power—the imagination of utilitarian monopoly transcending its expected social and political limitations.
The Working Group contribution to the TIPCC’s First Assessment Report (AR1) considers cumulative evidence of climate change based on many independent scientific analyses from observations of the climate system, paleoclimate archives, theoretical studies of climate processes and simulations using climate models. It represents a first concerted attempt to address the possible long term effects on the Tatooine geological and biodiversity systems, particularly as it pertains to the current unregulated practice of water mining.
Borders are the logistical mechanics of separation. In the absence of clear geographic boundaries they are little more than arbitrary divisions of space—legal fictions producing territorialized landscapes with frustratingly real consequences for the humans and nonhumans who must cross them. Sometimes porous and permeable, they can rapidly ossify into rigid and resistant markers of permanent exclusion. Perhaps the most dramatic imagination of the absurdity of these fictions is given by China Miéville’s account of the vaguely Balkan cities of Besźel and Ul Qoma in The City and the City (2009). Evoking something akin to (but different from) the absurd division of Berlin or the markers carving up Jerusalem, the mirrored cities of the book are just as evident in the class divisions of everyday urban life—neighborhoods unvisited, people unseen.
It is clear to anyone who has viewed one of the (now three) adaptations of La Planète des Singes (1963) that there is something important about the presentation of this particular moment in the evolution of the apes (and of ape society). The gripping visuality of ape on horseback is both explicitly evocative of a deliberately intentional meaning and promiscuously open to all manner of polysemiotic purchase.