This is a very rough cut of an image that I’ve had in mind to make for awhile, but I thought I would show off this early draft. There’s a poster of the Falcon flying into the heart of the second Death Star in ROTJ, so I thought I could recreate it with Lego. I pulled this image of the LHC tunnel 1 and applied a motion blur. Then, I cut out photos of my 4504 Millennium Falcon and 6212 Luke’s X-Wing Fighter. I added engine effects and lights to the front of the Falcon. With more time and effort, I believe that I can turn out a very nice composite reproduction of the ROTJ poster. Though, I will need to take a new picture of the Falcon with Billie Dee and Nien Numb at the controls. If you know of a better tunnel image with exposed pipes, please mention it in the comments.
Humanities Gaming Institute 2010
February 26, 2010Casey Boyle sent this out this call for applications for the Humanities Gaming Institute to the litsci mailing list. Sounds like fun, but the tail end of the institute conflicts with SFRA 2010 in Carefree, Arizona on June 24-27.
Humanities Gaming Institute 2010
The University of South Carolina’s Center for Digital Humanities, with generous support from the NEH’s Office of Digital Humanities, invites applications for a Humanities Gaming Institute, held June 7-25 2010 in Columbia, SC. Our institute will assemble a diverse cohort—teachers and researchers, faculty and advanced graduate students—from across the humanities disciplines to pursue a three-week investigation of the use of games to concretely advance teaching and research in the humanities.
In addition to HGI’s team of local scholars, a large group of resident experts—including Anne Balsamo, Ian Bogost, and Tracy Fullerton—will join us to explore how gaming allows us to advance existing humanities questions in the humanities as well as chart new areas for research and teaching. In addition to theoretical and pedagogical discussions, HGI will include practical hands-on work in game development to help participants pursue innovative projects tailored to the specific disciplines of the humanities. Generous funding for twenty fellowships ($1875/each) will help defray the cost of attendance.
We invite hybrid and interdisciplinary teams, as well as interesting smaller projects. With a mandate to extend shared infrastructural resources, we solicit projects from institutions without a dedicated presence in the Digital Humanities. For more information on HGI, including how to apply, see humanitiesgaming.org.
The Apple iPad and Slate PCs, Promise and Peril as Content Production Machines
February 25, 2010I have waited for a true tablet-sized PC for a long time. I have dreamed of having a way to easily operate a computer without a mouse and be able to seamlessly write without a keyboard. Perhaps this is rooted in my trouble learning to type in the seventh grade, or it could be from the images of handheld computing devices that litter science fiction stories and film.
I was reading on Liliputing today about Lenovo’s resistance to cutting the keyboard from their ThinkPad tablet PCs. The post’s author, Brad, wrote:
Sure, cutting the keyboard would let you make thinner and lighter devices that can be used with stylus input and/or on-screen keyboards. But ThinkPads are productivity machines first and foremost, whereas tablets like the upcoming iPad are designed for consuming media rather than creating it. [read the whole post here]
He’s absolutely right about the current importance of media consumption on the iPad. It’s something that I’ve given some thought to, particularly because of the limitations of the iPad in terms of ease of writing and the lack of a built-in camera. The lines of access, the ways in which we can get our ideas and work with them within the digital space of the computer are squeezed, not shut, but pushing the limits of anti-ergonomic torture. However, I don’t think that it should be this way.
I disagree with Brad’s idea that slate PCs are all about consumption. We are just beginning what I hope to be the emergence of cheap, lightweight, portable keyboard-less computing, but even in its infancy, we should (and I’m sure many of us will do so) push the limits of this new technology. We shouldn’t settle for just using these things for the consumption of entertainment that others make. We have to do the making, and we should find ways that we can use this new technology in ways it may not have been imagined by its creators. Furthermore, Window 7′s handwriting recognition has significantly improved over its earlier iterations, and Apple is pushing its iWorks suite on the iPad (with virtual keyboard and sans handwriting recognition). So, the possibilities for content creation are there.
If the iPad had a back facing camera, the first thing that I thought about was augmented reality, but it would be so much closer to what James Cameron used for ‘filming’ Avatar. Gripping the sides of the iPad like the stick of an airplane would have felt like flying a camera through space.
I had wished the iPad had handwriting recognition, but there are many other tablet and slate PCs out there and coming out soon that have this feature. Will someone develop an app that will provide this kind of feature, or will Apple bring this into the fold with an update to the planned iPad-based iWork?
Regardless, I believe that we have to rethink these new tools and I’m confident that many folks will do exactly that. Apple, as demonstrated by their recent moves with the app store, want to define what their products are used to do. Obviously, we, the people who use their products, can find our own uses for their products that challenge and disrupt the models proposed by corporations.
Why can’t tablet or slate PCs be productivity oriented computers? They can be, and will be, because we will make them serve our purposes despite the worst intentions of their corporate creators.
And a final note: K9, pictured above, would be a significantly giant leap forward over the iPad and any slate PC. Just saying . . .
Apple iPhone and iPad Marketplace Censorship, Taking Sex out of Sexy Tech
February 24, 2010I believe that Apple has lost their damn minds regarding their arbitrary approval of adult themed apps in the iTunes App Store. When the app store first opened, Apple rejected adult oriented apps (I will not attempt to define what this means, but suffice to say that this is an arbitrary category assignment for particular iPhone apps with the intent to ‘protect the children’–I will refer readers to Lee Edelman’s work, No Future, for more on this categorical thematic), because they had no way at that time to restrict the purchase of age restricted apps. Then, Apple developed a way to categorize and restrict particular apps from being purchased with parental age controls. Now, Apple has backtracked and begun the obliteration of apps with breasts, butts, and tight clothing. Why would Apple reverse course from being progressively minded about the types of apps available? Why would they turn away from the fact that adults buy and use their hardware and buy third party software of all sorts to be used and enjoyed on their products? As reported in the New York Times, Phil Schiller at Apple is quoted as saying:
“It came to the point where we were getting customer complaints from women who found the content getting too degrading and objectionable, as well as parents who were upset with what their kids were able to see.”
Who are these women and why do they determine what other people should or shouldn’t do on their, um, hardware? How are kids seeing these restricted apps on their iPod Touch or iPhone when their folks should implement content age restrictions and not give their kids the damn credit card number?
I agree with Violet Blue that this is an unfortunate turn of events for a company that we both love. Most importantly, she observes here that:
Now that Apple has released the iPad — and importantly, it does not have the cat-flavored Apple OS we know and love — with the iPhone operating system on what is intended to be a reader and tablet computer, it means that Apple has now produced a computer with a very closed system indeed. And a closed *minded* one.
Apple, closed minded? Aren’t they supposed to be guys who think different, or was that only a limited time deal when Steve Jobs first returned to Apple to deliver the company from the technological dust heap? Where is the insanely great opportunities of recognizing the differences between children and adults, and the different ways these two groups do and should (depending on who you ask) use technology? Apple’s draconian and antiquated approach to controlling the marketplace microcosm of the iPhone/iPad app store reveals that they are not only closed minded, but they are also giving into a un-Apple conservative mindset that reinforces Victorian-derived heteronormativity by their reinscription of what is and what is not appropriate for adults to see, and in this case, touch (at least virtually). Apple is, unfortunately, taking the sex out of sexy tech.
More on the app removals, extent of the removals, and responses from axed developers here, here, and here. Not to mention the hypocrisy of keeping the Playboy and Sports Illustrated apps in the iTunes store as detailed here.
A Means to an End, the PhD and Professional Emergence
February 23, 2010Andrew Pilsch posted a link to Matt Feeney’s article about the PhD doldrums that adds another perspective to the ongoing discussion here about finding work in the promised land, or at least having fun strolling through the desert even if you don’t make it there.
I agree with many of the things that Feeney has to say about what to do as a PhD student in the here-and-now such as connecting with folks outside the department, focus on what you’re doing right now–reading and working with the things that you’ve read, develop an engaging dissertation topic that will take you places (give the means to get to where you need to go do research), and getting done as soon as possible.
However, I don’t buy into Feeney’s first major point, “View the Ph.D. as an end in itself.” This sounds too much like spending precious time, money, and creative effort without some sense of where I am going. It reminded me of the picture above of Miao Miao playing in her catship. She’s having an awful lot of fun doing her cat thing, and she revels in the process of being-cat. However, she doesn’t, as far as I can tell, have a end goal in mind for her being-cat. For Miao, it is an on-going process of being-cat, or cat-emergence.
Unlike Miao, we, PhD students, have to have a means for providing for our being-professional, being-teaching, being-professor. Our emergence as an intellectual worker and teacher depends on our securing a job that enables our becoming. Miao, through the grace of the maker and Yufang’s and my good will, has the support and patronage that allows her cat-emergence as it configured within the confines of our house (her emergence outside the safety of our home would be very different than it is now). It is with this need of financial, institutional, and community support in mind that I consider an end goal, the PhD as a means to an end, the degree as a means to make my work possible.
Obviously, we all may not end up where we want to be at the end of the PhD process, but I intend to marshall every resource I have available to achieve my own pedagogical, research, and professional goals, all of which are made possible by my work in and beyond the PhD program.
I, like many of my friends in English PhD programs, began this arduous journey of learning and preparation in order to get some where, namely teaching and research. The latter augments the former through expertise and cultivating an ever-refreshing approach to teaching in the university environment.
Perhaps some folks begin PhD programs as a kind of holding pattern, not knowing what they want to do or where they want to go, but I, and many others, realized that we had a goal in our sights that was made possible only by the successful completion of our program with ancillary work augmenting our CV.
Furthermore, I and my compatriots joined this particular wagon train because we enjoy the journey as much as our arrival in the promised land–the frontier’s edge. Our journey doesn’t end there, at least not for all, because we should continue venturing further into unexplored territories of research, ideas, and pedagogy. We are, like Miao, in a continuing emergence of self as professor, researcher, and professional, but the PhD makes those things possible. Holding the degree as an end unto itself may erode the possibilities that the degree and one’s other work make possible.
Considering the PhD as an end unto itself is a step backwards. It reinstitutes the holding pattern, the wandering without a focus. We, as PhD students preparing for jobs in whatever way suits our individual goals, need to revel in the joys of our work and the professional preparation that we are daily engaged in.
Perhaps PhD programs do not instill enough plasticity into our selves that we can draw on if our goals do not work out as well as we would like. Finding new ways to employ our skills if we don’t land the job we desire is necessary. However, the PhD program is only one aspect of our lives, and the many other places in which we learn and those we learn from should augment our skills to roll with the punches, to seize success despite the “slings and arrows of outrageous fortune.” Enjoy the process, prepare for the punches, but most importantly, keep your eye on the prize.
CFP, Changing the Climate, Utopia, Dystopia, and Catastrophe 2010 Conference
February 22, 2010Leslie Kay Swigart send the following conference cfp to the SFRA email list. It’s for a conference that takes place just before WorldCon and both are in Australia. It sounds like the perfect excuse for an extended stay in the land down under. Read on for the details and the outstanding guest lineup–John Clute, Kim Stanley Robinson, Tom Moylan, and others:
CALL FOR PAPERS
CHANGING THE CLIMATE: UTOPIA, DYSTOPIA AND CATASTROPHE
The Fourth Australian Conference on Utopia, Dystopia and Science Fiction30th August =96 1st September 2010
Monash University Conference Centre
30 Collins Street, Melbourne, Victoria 3000, AustraliaA conference organised by the Centre for Comparative Literature and
Cultural Studies at Monash UniversityWEBSITE: http://www.arts.monash.edu.au/cclcs/conferences/utopias/4/index.ph=
pIn December 2001 the University of Tasmania hosted a successful
conference around the theme of Antipodean Utopias. In December 2005,
Monash University hosted a second conference, around that of Imagining
the Future, to mark the long-awaited publication of Fredric Jameson=92s
book Archaeologies of the Future. A third conference, Demanding the
Impossible, followed in December 2007, again at Monash. Despite the
apparent optimism of all three conference themes, dystopia remained a
recurrent preoccupation in their discussions. This fourth conference
will directly address the questions of dystopia and catastrophe with
special reference to a problem that increasingly haunts our imaginings
of the future, that of actual or possible environmental catastrophe. As
Jameson himself wrote in The Seeds of Time: It seems easier for us
today to imagine the thoroughgoing deterioration of the earth and of
nature than the breakdown of late capitalism; perhaps that is due to
some weakness in our imaginations=92.Hopefully, this conference will play
some small part in changing that particular climate of opinion.The conference invites papers from scholars, writers and others
interested in the interplay between ecology and ecocriticism, utopia,
dystopia and science fiction.OPENING ADDRESS
The opening address will be given by Kate Rigby, Founding President of
the Association for the Study of Literature and Environment,
Australia-New Zealand, and author of Topographies of the Sacred: The
Poetics of Place in European Romanticism (2004).KEYNOTE SPEAKERS
John Clute
Science fiction writer, Director of the Department of Story Future in
the Centre for the Future at Slavonice and co-author of The Encyclopedia
of Science Fiction (1993) and The Encyclopedia of Fantasy (1997).Tom Moylan
Emeritus Professor and Founding Director of the Ralahine Center for
Utopian Studies, University of Limerick, author of Demand the Impossible
(1986) and Scraps of the Untainted Sky (2000) and co-editor of Dark
Horizons (2003).Kim Stanley Robinson
Distinguished science fiction writer, winner of two Hugo Awards and
author of the Orange Country Trilogy, the Mars Trilogy, Antarctica, The
Years of Rice and Salt and the Science in the Capital Trilogy.Deborah Bird Rose
Professor of Social Inclusion, Macquarie University, author of Dingo
Makes Us Human (2000), Reports from a Wild Country (2004) and Wild Dog
Dreaming: Love and Extinction (in press).Linda Williams
Associate Professor in Art History at RMIT University, curator of The
Idea of the Animal exhibition (2004) and the HEAT: Art and Climate
Change exhibition (2008).The conference invites papers from scholars, writers and others
interested in the interplay between ecology and ecocriticism, utopia,
dystopia and science fiction.CONFERENCE ABSTRACTS
Abstracts (approx. 100-150 words) should be sent by 30 June 2010 by
e-mail to:or by post to:
Utopias4 Conference
Centre for Comparative Literature and Cultural Studies
School of English, Communications and Performasnce Studies
Clayton campus
Monash University
Victoria 3800
AustraliaREGISTRATION
The conference will take place over three days.
Full registration for the three days costs $A280, with a concessional
price for students and the non-employed of $A140.Registration for one day only costs $A110, with a concessional price of
$A55. All prices are GST inclusive.Registration is due by 31 July 2010.
CFP, Worldcon 2010 in Australia Academic Programming
February 21, 2010Alice Pullin sent the following cfp for the next Worldcon’s academic programming to the SFRA email list. It would be great to meet KSR, since I didn’t get to meet him at Georgia Tech when he was there awhile back–though Lisa did get me his autograph, but I don’t know how I could afford a trip to Australia. I guess I should follow some of these money making schemes here. Read below for the details:
Call for papers: World Science Fiction Convention Academic Programming
Aussiecon 4: 68th World Science Fiction Convention
September 2nd – 6th, 2010
Melbourne Convention and Exhibition Centre, AustraliaThe many uses of science fiction
Why do we study science fiction (SF)? Why do we read it, write about it?
What uses do we put these readings and writings to? As the critical fields
intersecting with science fiction grow ever broader, SF is called on to
perform all kinds of cultural and theoretical work. It is claimed as an
ideal source for reading cultural histories of western technoscience, of
thinking through the sociological and philosophical challenges of science
studies, and as revealing of the destabilising of humanism emerging in
animal studies and the Śposthumanitiesą more generally. What does all this
work mean for critical theory in the twenty first century, and our
understanding of the place of science fiction studies within more canonical
fields of cultural enquiry? And what, if any are the implications for SF as
a genre, marketing category, and as a community of readers?The theme of Aussiecon 4′s Academic Program is the study of SF, broadly
framed: why and how we read it as critics, academics and fans and what use/s
we put these readings to. We invite papers reflecting on science fiction
studies and its relation to other critical fields, including (but not
limited to) cultural studies, media studies, fan studies, science and
literature studies, ecocriticism, science communication and animal studies.
We welcome analyses of the political implications of race, gender,
sexuality, and class on such criticism and its intersection with questions
of social democracy, ethics, and environmental politics. Also of interest
is the impact of such work on popular and mainstream conceptions of science
fiction, and on its potential (and future) audience.Please send Abstracts by May 31st 2010
Submissions and enquires should be directed to the Academic co-conveners, Dr
Helen Merrick & Professor Andrew Milner at academic@aussiecon4.org.auSubmissions should include:
* title of paper;
* name & affiliation;
* email address;
* 150 word abstract;
* short biographical statement;
* AV requirementsMore information about Aussiecon 4, including membership rates can be found
at: http://www.aussiecon4.org.au/
AFOL, A Blocumentary by Jess Gibson, aka Adult Fans of Lego
February 20, 2010I just found the embedded video below on The Brother’s Brick Lego blog. It is a documentary by Jess Gibson about adult fans of Lego titled, AFOL, A Blocumentary. The documentary is top-notch, and it introduces some of the big names in Lego building today from the annual gathering BrickCon. It’s 30 minutes long, and worth every minute.
AFOL A Blocumentary from AFOL on Vimeo.
CFP, Surrealism, Science Fiction, and Comic Books Conference
February 20, 2010Andy Sawyer forwarded this to the SFRA mailing list:
Call for Papers: ‘Surrealism, Science Fiction, and Comic Books’
In his 1976 essay ‘Science Fiction and Allied Literature,’ David Ketterer wrote ‘it is rather surprising that the considerable affinity which exists between Surrealism and SF has not attracted more attention.’ This observation was repeated in 1997 by Roger Bozzetto and Arthur B. Evans, who lamented that the relations between Surrealism and science fiction ‘continue to be largely unexplored in SF scholarship,’ and that ‘there currently exists no in-depth study of SF and Surrealism.’ The points of contact and areas of overlap, along with the influences, differences, and antagonisms that lie between Surrealism, science fiction, and the related literature of the comic book will be explored in this conference to be held 22 January 2011 at The Courtauld Institute of Art, London.
Such observations take on extra force when we consider Surrealism’s historical context, along with its literary and pictorial culture. Emerging in France between the two world wars, it was well positioned to receive the writings of Jules Verne and H. G. Wells that initiated and defined the genre boundaries of early science fiction, along with the popularisation of the fourth dimension and the advent of the Theory of Relativity that such literature drew upon, whilst the writings of Alfred Jarry, Franz Kafka, and Raymond Roussel gave them a related comic, absurd, or fantastic perspective on the machine and technology. Indeed, Roussel’s boundless admiration for Verne was equalled by the similar veneration felt for Roussel by Marcel Duchamp and Roberto Matta, expressed in their art between 1912 and the 1940s. Furthermore, one of the most important figures in early French SF (and now almost forgotten), Jacques Spitz, was close to the Surrealists in the 1930s, and his books of the interwar years show a marked Surrealist tendency. In the 1940s, Matta’s work was affected more specifically by the worlds described in science fiction and also by comic books, which were a significant discovery for André Breton and the Surrealists in New York. Important to René Magritte’s art in the 1940s, comic books were also a key popular form for postwar Surrealism in Europe and America.
Because barely any scholarship exists on how far the art and writings of Surrealists in the forties and since were affected by SF and comic books, it is expected that postwar art and writings will form a significant strand of this conference (for instance, the writings of Malcolm de Chazal were described by their English translator as ‘science fictions’), as will the investigation of how the project to expand reality proposed by Surrealism in its imagery and poetry was extended by important SF writers such as Stanislaw Lem and J.G. Ballard, as well as for related novelists like Jorge Luis Borges, Alan Burns, and Thomas Pynchon.
Potential areas of exploration are:
• Surrealism, SF, and the imagery of spiritualism
• The comic book as a subversive accomplice of Surrealism
• Surrealism, physics, and fiction
• The spaces of Surrealist painting and the SF imagination
• Legacies of Surrealism in contemporary comic books
• The fourth dimension in Surrealism, modernism, and SF
• Surrealist and SF geographies
• The Gothic imagination in Surrealism, SF, and comics
• Futurity in Surrealism and SF
• SF and Surrealism in the postmodern novel
Paper proposals of about 250 words should be sent to gavin.parkinson@courtauld.ac.uk. The deadline is August 1, 2010.
The Courtauld Institute of Art, London, 22 January 2011
Lego Star Wars Millennium Falcon 7190 Custom Rebuild
February 19, 2010And here it is–my custom rebuilt Lego Star Wars Millennium Falcon 7190 model. It took me several months of tinkering to get it in the shape that it is now–beat-up, derelict, and having it where she needs it.
In the following, I will show how the model began, how it evolved, and then a more thorough description of the changes that I made to the model.
Below, you can see how the 7190 Falcon looked after I initially built it. It gestures toward what the Falcon should look like, but it has too much non-battleship gray color and the design is aimed toward play more than appearance.
Below are two pictures of the interior with the upper hull removed. Again, the emphasis is on play instead of accuracy. The interior is segmented by straight walls and there is no visible engine, which I believe a big, fast ship like the Falcon should have.
Initially, I hadn’t planned on redesigning the interior. I thought that there was more to be done with the exterior, with the large quarter panel pieces that could make the 7190 rival the newer 4504 model.
Below you can see how I have selected a single color for the upper hull, reduced the profile for the gun turret, increased the size of the engine compartment at the rear, and changed the forward cargo loader from a single flat piece to a more accurate raised profile.
Also, I improved the cockpit so that it bends into the main hull and connects to it with a single flat round brick. Below are detailed photos of the cockpit redesign.
In the final version of the 7190 redesign, I opted to replace the cockpit with the same one found on the 4504 model, the parts of which I found on bricklink.com, an excellent resource for finding sets and bricks at reasonable prices. In the future, I may reincorporate the curve and passage way in the above pictures into the 7190 redesign. However, I do have some other ideas about how to make it look more accurate, following the ideas in the 4504 model, but I need additional pieces to make this work.
So, here are more detailed photos of the 7190 redesign as it now stands. I will include exterior shots first, and then I will show the extensive and exciting interior redesign that I made.
As you can see in the two photos above, I streamlined the front prongs into the main hull, extended the port and starboard hatch covers so that they are level, added surface color and detail to more accurately match the Falcon, and utilized the natural design of the quarter panel spacing for the rear engine compartment exhaust grills.
The cockpit is the same as the one in the 4504 model, but I used a different computer display brick in front of Han and Chewbacca. Also, I designed the cockpit-to-hull connector to indicate the connection while making it easy to remove the upper main hull. I believe that I will continue working on this in the next iteration of the model.
Below are images of the interior of the Falcon based on the films and my own ideas about the engine for such a large and fast ship. I departed from the designs in the 4504 model with my design of the engine with built-in hyperdrive.
Below, an all-inclusive shot of the interior of the Falcon. In the upper left, you can see everyone gathered around the Dejarik table. In the middle front you can see the cargo storage area followed by the passage way leading to the cockpit. The central column holds the gunner stations. In the rear, you can see the main engine with integrated hyperdrive.
Below, a detailed shot of the cargo area with a nod to the Lego Space series.
Below, a detailed shot of the crew area and Dejarik table and navigational computer.
Below, a detailed photograph of the main engine and its support structure, integrating it into the framework of the space craft.
Building my custom version of the 7190 Falcon model is something that I’ve wanted to do ever since I first owned the 7190 when it first came out at the end of the twentieth-century. The nice thing about Lego is that I can continue changing and altering the design as my imagination shifts and permutates.
Besides the awesomeness of building with Lego bricks, you may be wondering why I have devoted a good deal of space to my Lego work on dynamicsubspace.net. This is something that I am continuing to work on, but I see Lego as a transitional example of what Haraway calls the Informatics of Domination. Lego serves as a metaphor for the dilemma and its solution. Lego is a double edged sword, swinging both ways, but holding a promise greater than its representative ills. Expect to read more about these ideas in the near future.
Below, I have included a gallery of more images of my custom 7190 Millennium Falcon. Enjoy, and thanks for visiting.

Posted by Jason W Ellis 




























































