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Cassini flyby

I’m a bit on the busy side in mundane meatspace at the moment. I’m in the process of planning a house-move back to my home town, and there’s nothing so torturous or frustrating as the bureaucratic sides of the tenant-landlord relationship, even (or seemingly especially) when you’re the sort of tenant who looks after the place where you’re living (because you’re treated by default as if you’re going to be one of the other sort). Still, all will surely resolve in due time, and I’ll be back in the real city that contains the imaginary city that my own blog was named for…

But I digress. In lieu of me pontificating on something topical, here’s a slice of pure sensawunda in the form of a composite video of Saturnian flybys. What’s extra-awesome about this is that those images aren’t CGI or artist’s impressions based on distant data; these are actual real images. Taken by a fuggin’ spaceship we built. A spaceship that has flown past fuggin’ Saturn.

Barber’s Adagio probably helps, but if watching that doesn’t give you a bit of a lump in the throat or a burn in the tearduct, I’m pretty sure you’re not really human.

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Interview with an organ printer

Doctor Gabor Forgacs of the University of Missouri is one of the clever people working to make bioprinting a reality; via Fabbaloo, here’s an interview with him at PopTech:

We have worked with pharmaceutical companies, most of which spend $1 billion to develop and market a drug, if it is successful. When they go from animal trials to human clinical trials there is a good chance that they will lose the drug. In fact, 65% of the drugs that are developed in the labs that go through successful animal trials are thrown away once human clinical trials commence because what is good for the animal is not good for the human.

We tell them, we’re going to print you a truly 3D little organoid – let’s say a liver from human cells. We take human liver cells and we build a 3D little teeny tiny liver that still can be maintained in culture and we tell them, OK, why don’t you try the drug on the 3D human structure and if the drug does not work and the little liver dies, well then don’t go any further because chances are that when you put it into a human, it’s not going to work. We are already working with some pharmaceutical companies and they realize the value of this.

Even if we’re never able to print an organ, which I don’t believe, because there are already good results, our ability to print expanded 3D structures will have serious and very far-reaching implications and applicability in many other places.

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The flipside of postnationalism

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Tim Maly has an interesting (and enviable) response to being insanely busy with non-blog stuff, in that he ends up posting more material than usual. (I know, right?) Granted they’re small idea-sketches and think-nuggets, but given that Maly can fit ten times the erudition into a few hundred words than I can squeeze into a whole week, well, I’m not complaining. Anyways, here he is thinking about the fluidity of city boundaries and identity:

The interesting thing about cities (not city-states) is that while they are clearly entities, they do not have borders. They bleed and blur around the edges. It’s very easy to come and go. It’s very easy to move there or to move away. In a political context where every now and then people like to trumpet post-national politics with a rise in urban power to match the drop in state power, this is very interesting. Once you have crossed the borders of the state (the ones that aren’t police states) you get free reign to come and go as you please from place to place; something that can have wonderful or disastrous consequences for the health of an urban environment and the people left behind.

[…]

In some ways this opens up a lot of exciting possibilities but in other ways it weakens civic engagement. Sometimes reforms are necessary and painful. A lot of the problems we’re facing are at a scale that’s larger than the city, but that if cities are the new seats of power that we must deal with tools at city-scale. If your opposition to a policy means you just move a county over to avoid it, policies are harder to enact. If you don’t want to pay taxes, you move to a bedroom community and rob the the infrastructure of life-giving dollars. But the problems don’t happen county by county. They happen all over.

This seems to me to be another failure of the nation-state model: circumstances vary too widely and too quickly for a centralised governance system to cope, and the variation is getting stronger and faster. I have a tendency to cheer-lead the decay of the nation-state (oh, really, you’d noticed?), but this is the dark underside of that process – there’s still a lot of issues that need sorting on a regional or global scale, and a general narrowing of focus to local issues will leave those problems out in the cold. And given the number – and weight! – of those problems, ignoring them even temporarily is not a very good idea.

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post-Empire celebrity

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Bret Easton Ellis pops up at The Daily Beast and manages to pull a whole bunch of cultural threads together using almost-overnight memetic sensation and celebrity-carwreck Charlie Sheen as nexus/exemplar.

You’re completely missing the point if you think the Charlie Sheen moment is really a story about drugs. Yeah, they play a part, but they aren’t at the core of what’s happening—or why this particular Sheen moment is so fascinating. I know functioning addicts. They’re not that rare or that interesting. What this moment is about is Sheen solo. It’s about a well-earned midlife crisis played out on CNN instead of in a life coach’s office somewhere in Burbank. The midlife crisis is the moment in a man’s life when he realizes he can’t (or won’t) any longer maintain the pose that he thought was required of him.

[…]

Anyone who’s put up with the fake rigors of celebrity (or suffered from addiction problems) has a kindred spirit here. The new fact is: If you’re punching paparazzi, you look like an old-school loser. If you can’t accept the fact that we’re at the height of an exhibitionistic display culture and that you’re going to be blindsided by TMZ (and humiliated by Harvey Levin, or Chelsea Handler—princess of post-Empire) while stumbling out of a club on Sunset Boulevard at 2 in the morning, then you should be a travel agent instead of a movie star. Being publicly mocked is part of the game, and you’re a fool if you don’t play along. Not showing up to collect your award at the Razzies for that piece of crap you made? So Empire. This is why Sheen seems saner and funnier than any other celebrity right now. He also makes better jokes about his situation than most worried editorialists or late-night comedians. A lot of it is sheer bad-boy bravado—just cursing to see how people react, which is very post-Empire—but a lot of it is pure transparency, and on that level, Sheen is, um, winning.

Transparency! We’ve been talking about its effects at the nation-state and corporation levels for a few years, but the same corrosion is happening down here in the culture trenches; I’m sure you can think of people in your circle of friends, online or off, who are doing a similar “performative fuckuppery” kind of thing, albeit (probably, or rather hopefully) not as intense. (After all, a 7-gram-rocks coke habit isn’t accessible to most income bands, AMIRITES?)

But this is important: Josh Harris may be a bit unhinged, but he realised it way before anyone else: we live in public. You know how when you get a videocam out at a party or bar and there’s always a few folk who immediately start playing it up for the lens? Well, we’re all on camera all the time, metaphorically speaking… and behaving normally does little more than let you fade into the background. This is the same root phenomena that drives comment trolling and those Westboro shitheads, but also the chain of revolutions across the Middle East and the sudden upsurge of protests in the UK and the US. Publicity is a feedback loop, but only now is it fast enough that the feedback can start really amping the signal. Sheen is not an end-case; he’s more of a prototype.

As Ellis points out, we’re in a transition period where Empire and post-Empire celebrity share the stage, but the Empire types don’t understand the landscape that the post-Empires are exploiting to their advantage. For example, here’s a classic Empire project: David Tang’s iCorrect website, where celebrities can correct the false mythologies that have accreted around them in the roiling mediasphere. But why would you want to go and shatter the mystique? They’ll believe whatever they want to believe, anyway; you might as well just play to the peanut gallery. After all, they’re the people who are most likely to spend money on things you do in the future… better to be a carwreck on a busy highway than pulled up carefully on the verge of a backroad.

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