LEGO Skateboarding Vert Ramp and Street Skating MOC, and Exploring Connections Between Skateboarding and Making

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My Skateboarding Vert Ramp and Street Skating Model

I began this new LEGO MOC (my own creation) project while reading Michael Brooke’s The Concrete Wave: The History of Skateboarding (1999) and after assembling my Mike McGill re-issued skateboard.

Some ideas from skateboarding culture inspired this project. First, there’s the tension between Thrasher’s “Skate and Destroy” and Transworld Skateboarding’s “Skate and Create.” The former appearing in the December 1982 issue and the latter appearing in response in its first issue in May/June 1983. When I first skated, I didn’t know about this difference of ethos, but I can say that I was drawn to reading Transworld Skateboarding more so than ThrasherTransworld’s ethos of making something from the act of skateboarding fits well with my own attitude of doing good in the world through teaching and making (as opposed to wrapping the act of destruction into an aggressive skating attitude–understanding, of course, there is a certain amount of hyperbole in this motto and more back story worth investigating–see the interview by Adam Creagan with Craig Stecyk in Thrasher March 2010, pp. 80-81, and Konstatin Butz’s Grinding California, pp. 73).

Second, many skaters talk about riding as an act of self-expression, creativity, and doing. While the act of skating is ephemeral, skaters build analogies between the sport and other creative endeavors such as writing, playing, painting, expression, and language. For example: Rodney Mullen writes, “[Skateboarding] has been the arena where I could stake my claim, the play where I would contribute my verse, and even the pen with which I write” (qtd. in Brookle 11).  Chris Long writes, “‘How glad I am that I skateboard’ . . . finding my own lines and creating my own ways of playing” (qtd. in Brooke 173). Darrel Delgado writes, “Skateboarding in a pool is like being a painter, and every new pool is a blank canvas and you are the artist. Every artist has a different approach and every pool is different, which keeps the intrigue alive. You can go wherever your mind and the transitions will let you go” (qtd. in Brooke 135). Mike Valleley writes about finding skateboarding, “I got an identity and something productive. It was creative, physical activity and I used my entire being to do it” (qtd. in Brooke 137). Tony Alva writes, “Just do something that’s in tune with an individual type of expression. I think that’s what’s so important about skateboarding” (qtd. in Brooke 175). Dave Hackett writes, “Pure and simple, [skateboarding is] a healthy, radical art form. . . . Skateboarding utilizes the every-expanding environment of steel, concrete, plaster, or wood as its canvas. . . . The skater becomes one with his board, while the board in turn translates the language of the terrain” (qtd. in Brooke 176). On these points, I think skateboarding and LEGO building overlap–in both cases, skateboarding and making, the fulfilling goal is creative and imaginative expression through a given medium–the former being the assemblage of body, skateboard, and terrain, and the latter being the assemblage of builder and brick.

I wanted to combine different aspects of skateboarding into a single model. I grew up with street skating, because there weren’t any local skate parks (though, I have discovered in my research that there was a skate park in Brunswick in the late-1970s called Nova Skate Park–more on that in a future post). But, I always wanted to skate vert and pipes, so I thought about combining what I knew with what I wanted to learn.

I got the idea for the ramp’s vert and transition design from LEGO 60200 Capital City set, which has one component that is a combined skateboard ramp/wall climb/basketball court. It uses dark grey inverted arches for the transition, which I agreed was the best choice of brick–albeit in tan color to emulate the color of wood–for the ramp that I had in mind.

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Brainstorming and calculating dimensions in studs. 

The next consideration was how large a model to make. I knew that I would have to purchase the inverted arch bricks for the ramp, so I looked for a seller with a good price and selection of elements that would help me realize the idea crystalizing in my mind. Alphabrix, a seller with great feedback had 20 tan, inverted arch bricks, which would let me build a 10-stud wide ramp. I figured that its length should be at least double its width, if not more. Ultimately, I settled on a 10-stud wide ramp with a 28 stud length including both tables. This allowed two studs on either side of the ramp for stairs if I went with an overall length of 32 studs for the model. Since I opted for a 32 stud length, I figured that a 16 stud width for the overall model would be enough to add a street skating scene in the model’s foreground.

After receiving the Bricklink parts and sorting out some necessary elements from my collection, I built the vert ramp first. Even though this would occupy the rear part of the model, it would dominate the model and be its focus. I wanted to get it right. I thought about how I would build a real one. I wanted a steel foundation that would be elevated off the ground. The ramp and tables would be made out of wood. As a new ramp, I wanted to give it a little bit of style with alternating color–light and dark tan tiles emulating different sheets of plywood. On the right side, I wanted a sloping launch that divided two drops on the front and back–this was a ramp design that I saw many years ago that gave the skaters a divided coping for new trick opportunities.

With the vert ramp complete, I turned my attention to the base and its foregrounded street skating area comprising 6 studs by 32 studs. The bottom of the base are dark grey plates supporting a circumference of Technic bricks and filled in with 2 x 4 bricks. I covered the surface mostly with tan 4 x 6 plates. I built up a curb with 1 x 4 and 1 x 6 bright yellow plates covered with the same colored tiles. Within that area, I filled in with a single layer of light grey tiles–some with single studs and the rest without to allow placement of obstacles like barrels and trash cans, which can be skated around or ollied over. Finally, I put concrete cones down to support the ramp behind the street skate area.

Finally, I combined the vert ramp with the base and its street skate area. I used yellow, dark blue, and orange tiles to skirt the Technic bricks around the base. The vert ramp’s coping permits posing of skaters doing hand plants. In the foreground, I added a stereo (probably playing an eclectic mix of They Might Be Giants, The Beastie Boys, and Technotronic) and snacks including pizza and cookies (shredding fuel).

Usually, it takes me several days to weeks to complete a build like this, which I have chronicled on other blog posts. However, I built this model in a single evening. I think my mind had been working on the project while I waited for the needed bricks to arrive in the mail. Even though I wasn’t haptically manipulating the bricks in my hands, I was daydreaming and imagining how to put the model together at odd times between placing the brick order and receiving them in the mail.

While imagining myself shredding on my completed LEGO skateboarding model and thinking about picking up my McGill deck to hit the streets with, I’m reminded of the Kevin J. Thatcher’s first editorial in the January 1981 issue of Thrasher: “The average individual was never properly exposed to the unlimited possibilities of a platform with four wheels under it–a simple basic mechanical device which serves as an energy-efficient mode of transportation, a basis for a valid sporting activity, and as a vehicle for aggressive expression. . . . Thrashing is finding something and taking it to the ultimate limit–not dwelling on it, but using it to the fullest and moving on. Skateboarding has not yet reached its maximum potential, and who can say what the limits are? To find out–Grab that board!” (6). Grab that board, grab that LEGO brick, grab that camera, grab whatever it is that you can express yourself with, because that is the thing with which you can leave your mark on the world.

Works Cited

Brooke, Michael. The Concrete Wave: The History of Skateboarding. Warrick Publishing, 1999.

Butz, Konstatin. Grinding California: Culture and Corporeality in American Skate Punk. Transcript Verlag, 2012.

Creagan, Adam. “Skate and Destroy: The Stecyk Scrawl Lives On.” Thrasher, March 2010, pp. 80-81.

Lowboy. “Skate and Destroy, or Multiple Choices (Something to Offend Everyone).” Thrasher, December 1982, pp. 24-29.

Thatcher, Kevin J. “Talking Ed.” Thrasher, January 1981, pp. 6.

Tracker Peggy (Peggy Cozens). “Skate and Create.” Transworld Skateboarding, May/June 1983, pp. 13-15.

Miao Miao (2005-2018)

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Miao Miao taking a nap in 2012.

Our little cat Miao Miao passed away on December 26, 2018 after a battle with cancer. She was 13 years and 8 months old. Y rescued Miao after her mother had abandoned her when she was only a few weeks old in 2005. She was sick and small, but Y nursed her back to health and adopted her as part of her family.  I came to know Miao beginning in 2008, after I met Y at Kent State. Soon, I became a part of the family, too. Miao was strong willed but also very loving. When we had guests over, she was an enthusiastic host. She brightened our days, which now seem diminished without her around. Even though Miao never really took to our younger cat Mose, we can tell that he grieves in his own way for her, too. She will be dearly missed.

Memories of Skateboarding and Nostalgic Assembly of a Re-Issued Mike McGill Powell-Peralta Skull & Snake Skateboard

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My Mike McGill Pro Model “Skull and Snake” Re-Issue Series 5 by Powell-Peralta, Complete with Gullwing Pro III Trucks and Sector Nine Nineballs Wheels.

This is a long read that combines autobiography, nostalgia, memory, and instructions. Visitors here might find it interesting and informative. My students might use it as a model for some of their own multimodal writing about memory, processes, instructions, and reflection.

While it has been over 25 years since I last rode a skateboard with my hometown friends, I recently felt drawn to the 7-ply deck once again and decided to assemble a board similar to my second skateboard–a 1990 Powell-Peralta Mike McGill pro board with VCJ’s Skull & Snake graphics, fish shape, nose and tail kicks, natural wood grain with Gullwing Pro III trucks (red), and Powell-Peralta Rat Bones wheels (neon green).

Before I got my original McGill deck, I learned to skateboard on a Teenage Mutant Ninja Turtles complete skateboard that my grandparents–Wilma and Papa Gerald–bought for me from the Wal-Mart on Altama Avenue in Brunswick, Georgia (since replaced by a Supercenter about a mile away, and then the original site re-built as a Neighborhood Market a few years ago).

With the TMNT skateboard, I learned how to balance, turn, and ride on my grandparent’s back car port. At first, I held on to a broom handle to steady myself until I felt confident enough to ride without this support. I don’t think I had a helmet, but I did have pads and wrist guards–the former store bought neon green plastic over black, and the latter used, red, gifted or traded for–I can’t remember.

I rode and shared the TMNT skateboard with my friends who I paled around with when I stayed at my grandparents. However, I wanted to learn how to ollie and do tricks, but I found this to be next to impossible on the heavy, tank-like TMNT board. This is what began my search for a better board, relying heavily on the photo stories and advertising in magazines such as Transworld Skateboarding and Thrasher, and eventually led to me mail ordering the McGill deck and new hardware (was this a Christmas gift from my grandparents or my folks–again, my memory falters).

With the new McGill, I continued skating through the beginning of high school, but I drifted away from the sport when I got more interested in books (physics first, science fiction second), computers (Amiga, IBM-compatible PCs, and eventually, Macintosh), and cars (my first being a 1965 Ford Mustang, but always having a soft spot for the small Toyota pickup trucks that I used to deliver auto parts from my family’s business).

I don’t remember what became of my McGill. I suspect that I gave it to a friend before going to college where I really got into Rollerblading, but my memory fails completely on this point. I hope that I can remember what happened to my old McGill skateboard, not because I want it back, but instead simply to recall that moment in my life’s narrative. Related to this is the fact that I don’t seem to have any photos of me with my skateboard (though I do have a photo of me holding my Rat Bones wheels on Christmas Day). It’s an odd omission in the photographic record of my life of something I considered important to me at that early time in my life.

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In the film Hackers (1995), The Plague (Fisher Stevens) rides into the NOC on a McGill skateboard while Hal (Penn Jillette) studies the situation.

My re-interest in skateboarding began when I was watching the film Hackers (1995) in HD. I don’t think it registered with me when I first saw it when it was originally released that the film’s villain, The Plague (Fisher Stevens), rides into his company’s NOC (network operations center) on a McGill skateboard (see above).

Then, I caught up with my oldest best friend Bert over the phone. He lives in Seattle now, but back in the day, we used to skateboard in his neighborhood. Bert was a much better skater than me. Our conversation drifted back to skateboarding, including the time that he and I were stopped by a cop on our way back from a Hampton Inn construction site. The obese, good ol’ boy police officer asked us questions about what we had been doing and he stopped when he pointed his flashlight on our boards. Bert skated Vision, and I skated Powell-Peralta. The cop took a breath through his teeth and said, “now boys, I’ve done heard things about that POW-ell Per-AL-ta. They’s devil worshipers!” Bert and I smiled and nodded until he let us go on our way back to his house, but it’s a strange encounter that’s stuck with me.

Our phone conversation encouraged me to begin searching the web for information about my old skateboard. This led me to the Bones Brigade video The Search for Animal Chin (1987), which I shared with Bert via text message. By this point, I was thinking and spending more free time learning more about skating history and its evolution after I had left the sport.

While I was already burdened by a big research project on computers in science fiction from 1975-1995, which I’m continuing to work on, and the Third Annual City Tech Science Fiction Symposium, which I was organizing, I wanted to give myself something on the horizon to look forward to as a reward for this work. I decided to get the parts to build a new, complete skateboard similar to one that I had to before without breaking the bank, so I turned to eBay after striking out with the major skateboard online retailers and local shops, such as Uncle Funky’s Boards.

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While I couldn’t find my original McGill with a natural finish, I did find this brand new, black dipped, Series #5 re-issue on offer by a seller in Puerto Rico. We negotiated a best offer price, and I received it before anything else.

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I picked up a Gullwing Pro III trucks, wheels, bearings, risers, hardware combo from Raptorunner in Riverside, CA, and I ordered a Powell Peralta Tailbone and Jessup grip tape (and a helmet and pads) from TGM Skateboards in Mount Clemens, MI.

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My original Gullwing Pro III trucks were cherry red and stood out well against the natural grain of the board. I liked these new 9″, 155mm neon green ones, because they stand out against the black background on the new, black McGill deck. Also, my re-issued McGill deck uses the old truck bolt pattern, so I chose between these (note that the base plate has six bolt holes instead of four–to accommodate both old and new bolt patterns) and Independent Stage 11 169mm trucks. Ultimately, I opted for the Gullwings since I skated with them before.

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Raptorunner had several different truck, wheel, and hardware bundles. I chose this one, because it had these Sector Nine Nineballs wheels. They aren’t too big (I would have preferred 56mm) and they are real soft (78a), which will be good for the street crusing that I intend to use the skateboard for.

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To begin my skateboard’s assembly, I began with the Tailbone before applying the grip tape. I clamped the tail guard to the bottom of the deck’s tail and measured to ensure it was centered.

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Then, I used a small drill bit to lightly mark where I should drill the larger holes for the wood screws that will go through the top of the board into the Tailbone.

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I used the grip tape shipping tube to support the deck while I was drilling.

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Powell-Peralta’s instructions for the Tailbone call for a 7/32″ drill bit. Unfortunately, I didn’t have one in this size. I didn’t want to go with a larger hole (1/4″), so I tried the 3/16″ bit. Luckily, this was more than enough room for the wood screws to pass through the board without biting and then go into the Tailbone.

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Using my earlier marks, I drilled three holes through the deck’s tail. These will be used later for mounting the Tailbone.

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Before mounting the Tailbone, I applied the Jessup grip tape. I bought 10″ wide grip tape, which is just barely wide enough to give some room for error with the front of the deck. If I had to do over again, I would have opted for the 11″ wide grip tape.

I wanted the Bones Brigade logo to appear on the top of the deck, so I needed to apply two sections of grip tape–one above it towards the nose and one below it towards the tail. I measured these lengths twice and cut the length of grip tape into two sections allowing some room for error in terms of length. I used the pre-cut edges as the beginning of application above or below the Bones Brigade logo. I slowly lowered and pressed the grip tape to the deck so as to avoid any air bubbles under the tape.

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With the tape applied, I used the barrel’s edge of a screw driver to draw a scoring line around the edge of the skateboard deck.

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Then, I used a razor blade held from underneath the board to follow the edge of the board and cut the excess grip tape off along the scoring line.

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Next, I pressed the grip tape down around the edges of the deck.

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I ran a rolled up piece of excess grip tape around the edge of the deck to give the grip tape a clean edge all away around.

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With the grip tape applied, I used a screw driver to punch through all of the holes in the deck for the trucks and Tailbone.

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Next, I installed the tailbone by pushing through wood screws and matching them to the holes in the Tailbone.

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While I had a cordless drill on-hand, I preferred to install these screws by hand. I was afraid of over torquing the screws and losing grip in the Tailbone’s plastic. Installing the screws by hand allows me to feel them dig into the plastic and maintain a secure hold on the Tailbone through the deck without stripping out plastic.

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The final stage of the assembly involves the trucks, wheels, bearings, and 1/4″ risers. I laid all of these parts out to make the assembly quicker. For some of the assembly, I used the cordless drill with a Philips head driver, and I had my 1/4″ drive tall sockets in 3/8″ (for the truck mounting bolts) and 1/2″ (for the truck’s axle bolts).

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The first task was to install bearings and spacers in each wheel. I placed an Owlsome Precision ABEC 7 bearing assembly into the back of a wheel.

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Then, I used one of the trucks to help me press the bearing completely into the wheel so that it is flush with the wheel.

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Turning the wheel over, I dropped a spacer on top of the inserted bearing.

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Then, I placed another bearing into the front of the front of the wheel over the spacer, and again, used the trucks to help me press the bearing assembly completely into the wheel.

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Then, I pulled the wheel off, placed a washer on the axle, followed by the wheel with the front facing outward, another washer, and then the axle nut. I tightened the axle nut by hand with the 1/2″ socket. I left a very slight bit of play for the wheel on the axle.

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With all of the wheels assembled with bearings and spacers and these installed on the trucks, I was ready to complete assembly of the skateboard by mounting the risers and trucks to the skateboard deck.

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First, I pushed the 1 1/4″ truck mounting bolts through the skateboard deck.

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Then, I mounted the 1/4″ riser through the bolts on the underside of the skateboard deck.

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Next, I turned the skateboard on its side and mounted the trucks.

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I hand threaded the four hardware nuts on each mounting bolt for each truck.

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After confirming each nut was threaded correctly, I used the cordless drill to snug each bolt down to the nut and then hand tightened each bolt in an X-pattern until I was confident in each truck’s mounting to the skateboard deck.

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With the trucks mounted, I have a complete skateboard ready to take out and hit the streets with. The soft, larger wheels should be great for riding in my neighborhood. However, I have been looking at Powell-Peralta’s G-Slides, which I might get later.

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I opted to cover the “Bones Brigade” name beneath the logo, because I wanted a little more grip on the tail section of the deck.

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My original McGill had a nose kick while this late-80s re-issue does not. Nevertheless, I think this will be a fun skateboard to ride. Y asked me to wait until she returned from her trip to see her parents before I rode it in case I hurt myself. She’s back, but the weather isn’t superb, so I might content myself with daydreaming about riding my new skateboard until we can take it out together.

In all honesty, I have to remind myself that I can’t necessarily do the things I did when I was younger, or put another way, I can try to do the things that I used to do, but there will likely be more serious consequences. C’est la vie!

Call for Papers: 200 Years of Interdisciplinarity Beginning with Mary Shelley’s Frankenstein: The Third Annual City Tech Symposium on Science Fiction

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200 Years of Interdisciplinarity Beginning with Mary Shelley’s Frankenstein: The Third Annual City Tech Symposium on Science Fiction

Date and Time: Tuesday, November 27, 2018. 9:00am-5:00pm

Location: New York City College of Technology, 300 Jay St., Namm N119, Brooklyn, NY

“So much has been done, exclaimed the soul of Frankenstein—more, far more, will I achieve; treading in the steps already marked, I will pioneer a new way, explore unknown powers, and unfold to the world the deepest mysteries of creation.”

–Mary Shelley, Frankenstein (1831 edition)

“Yeah, but your scientists were so preoccupied with whether or not they could that they didn’t stop to think if they should.”

–Ian Malcolm (Jeff Goldblum), Jurassic Park (1993)

Ian Malcolm’s admonition above is as much a rebuke to the lasting echo of Victor Frankenstein’s ambition to accomplish “more, far more” as it is to park owner John Hammond’s explaining, “Our scientists have done things no one could ever do before.” Films like Jurassic Park and the kind of literature that came to be known as Science Fiction (SF) owe a tremendous debt to Mary Shelley’s Frankenstein, or The Modern Prometheus (1818). In addition to being an (if not the) inaugural work of SF, Mary Shelley builds her cautionary tale around interdisciplinary approaches to science, and she takes this innovation further by applying the humanities to question the nature of being in the world, the effects of science on society, and the ethical responsibilities of scientists. These are only some of Frankenstein’s groundbreaking insights, which as Brian Aldiss and David Wingrove observe in Trillion Year Spree (1986), “is marvellously good and inexhaustible in its interest” (20). The many dimensions of interdisciplinarity in Frankenstein and the SF that followed are the focus of the Third Annual City Tech Science Fiction Symposium.

In this special anniversary year of Mary Shelley’s Frankenstein, join us for a one-day symposium discussing interdisciplinarity and SF. Continuing conversations began in the earlier symposia, we seek to investigate SF’s power as an extrapolating art form with interdisciplinarity at its core, including interdisciplinarity within STEM fields and the interdisciplinary synergy of STEM and the humanities.

We invite presentations of 15-20 minutes on SF and interdisciplinarity. Papers on or connected to Frankenstein are particularly encouraged. Possible presentation topics include, but are not limited to:

  • Mary Shelley’s Frankenstein and interdisciplinarity (focusing on research questions or teaching approaches)
  • Explorations of interdisciplinary ideas, approaches, and themes in SF (or what disciplinary boundaries does SF bridge)
  • SF as an interdisciplinary teaching tool (or what SF have you used or want to use in your classes to achieve interdisciplinary outcomes)
  • SF’s interdisciplinary imaginative functions (or Gedankenexperiment, considering ethical issues, unintended consequences, or unexpected breakthroughs)
  • Studying SF through an interdisciplinary lens (or combining otherwise discipline-bound approaches to uncover new meanings)
  • Bridging STEM and the humanities via SF (or SF as an interdisciplinary cultural work that embraces STEAM—Science, Technology, Engineering, the Arts, and Mathematics)
  • SF and identity (or how interdisciplinarity in SF reveals, supports, or explores issues of identity, culture, sex, gender, and race)
  • SF and place (or how SF’s settings are interdisciplinary, or where it is written fosters its interdisciplinarity)
  • Interdisciplinarity and archival work in SF collections (or making the City Tech Science Fiction Collection work for faculty, students, and researchers across disciplines)

Please send your abstract (no more than 250 words), brief bio, and contact information to Jason Ellis (jellis at citytech.cuny.edu) by Oct. 31, 2018.

The program will be announced by Nov. 12, 2018 on the Science Fiction at City Tech website here: https://openlab.citytech.cuny.edu/sciencefictionatcitytech/.

Hosted by the School of Arts and Sciences at the New York City College of Technology, CUNY.

The Annual City Tech Symposium on Science Fiction is held in celebration of the City Tech Science Fiction Collection, an archival holding of over 600-linear feet of magazines, anthologies, novels, and scholarship. It is located in the Archives and Special Collections of the Ursula C. Schwerin Library (Library Building, L543C, New York City College of Technology, 300 Jay Street, Brooklyn, NY 11201). More information about the collection and how to access it is available here: https://openlab.citytech.cuny.edu/sciencefictionatcitytech/librarycollection/.

LEGO 76038 Attack on Avengers Tower Modified with Two Extra Floors: Arc Reactor, Hall of Armor, and More!

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Recently, I decided to rebuild LEGO set 76038 Attack on Avengers Tower from the Avengers 2: Age of Ultra line. The trouble was that the elements for the set were strewn throughout my boxes of bricks and sorted drawers. I used some of the bricks in an Iron Man Hall of Armor MOC, which had to be disassembled for this project. A 511 piece set like this might normally take me a couple of hours to complete. As I had to sort and find the bricks while looking at the downloaded PDF instructions on my computer screen, it took the better part of a day to complete the impressive playset. Then, I started thinking about how to make this good set even better. One aspect that bothered me about it is how short it is. While I understand that LEGO considers cost, playability, and profitability in designing their sets, I thought that Avengers Tower should stand above the Manhattan skyline, which according to the logic of minifigure playsets would put this two or three levels higher. I decided to add two floors, because where the bottom floor extends to–following the slope established in the original set–is about as far out as the edge of platform at the top of the tower. To my mind, this seemed to work out well for a taller and proportionate LEGO Avengers Tower.

LEGO 76038 Attack on Avengers Tower Unmodified

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Barring the additional minifigures (and four Iron Legion instead of the stock two), the photo above is of the unmodified LEGO 76038 Attack on Avengers Tower. On the lower level, it has the Iron Legion docking area and medical bay. The middle level has the Iron Legion repair bay/Ultron’s first embodiment and the diagnostic bay with scanner for studying Loki’s scepter. The top level features the platform, entertaining space, and computer station. The tower’s pinnacle is a drone deployment system.

I like the design work that went into the overall design of LEGO 76038. The angular front of the tower and the curve flowing down the side from the platform is spot-on with the design from the film. Of course, LEGO’s designers embellished the design for playability, but the thought that went into what elements should be included such as the Iron Legion bays and the scepter scanner reveal how dedicated their designers are to creating a model that balances play with realism.

Planning Additional Levels 

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To begin my modification to Avengers Tower, I had to plan out how to extend the slope of the front part of the tower. Following the slope provided in the original model, I saw that the next level–if it were the same height as the previous level–would need to extend two studs past the previous level. This allowed me to plan how much area in studs I would have to work with for the new first or bottom most level, and the new second level. The rear part of each level–with curved, translucent windows would remain the same for the new fourth and fifth levels. The new first level features an interactive Arc Reactor and Computer Server Room. The new second level features Tony Stark’s workshop and the Iron Man Hall of Armor.

Arc Reactor

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I started building my addition to Avengers Tower on the bottom most, or new first level. Thinking back to the first Avengers film, I wanted the tower to have its own Arc Reactor. The first challenge was to think about what that would look like as it is only seen in the film as a 3D schematic on Pepper Potts’ computer monitor, and the second challenge was to integrate some interactivity into this part of the model. While the Arc Reactor doesn’t spin (just the plasma within its torus moves within its magnetic confinement rings), I thought a geared spinning mechanism might be fun to engineer. Due to the placement of the window, I added a series of three gears to move the work where it was needed to spin the reactor. A small knob on the right side of the tower is used to spin the reactor. I added gauges, pipes, valves, and supports to frame the Arc Reactor within its space.

Computer Server Room

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Opposite the Arc Reactor on the first level is the computer server room. I built the 19″ computer racks four bricks high, but I might make these higher later. I staggered their placement to imply depth to the space. In the back corner, Ant-Man is hiding out to see what Stark might be up to.

Tony’s Workshop

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I focused the new second level on Iron Man. In the front, sloped space, I created Tony Stark’s workshop. It has a desk with computer, parts, coffee mug. Next to the desk is a set of drawers with tools, and on top are two containers and Stark’s Mark V or Suitcase Armor from 76007 Iron Man: Malibu Mansion Attack. In the foreground, Tony Stark has a wrench, and a set of Iron Man armor is on the rotating work platform. Below are some false starts that I made while trying out different designs for this space, including a movable robot arm, which looked very nice but overcrowded the small area available.

Hall of Armor

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On the rear side of the second level is Tony Stark’s Iron Man Hall of Armor. I was able to fit six different Iron Man armors in this tight space by building two tiers for the armor–one lower and in the foreground, and one higher and in the background.

New Avengers Tower Assembled!

After completing the new first and second levels, I connected them to the bottom of the original Avengers Tower model. This took some time and massaging to get full clutch without accidentally breaking the model. I’m happy with the new, taller version of Avengers Tower. I wonder what role, if any, it might play in the upcoming Avengers 4 film.

The Avengers are down, but not out.

Avengers Assemble!

EVGA nVidia GeForce GTX 1060 6GB Video Card Upgrade, Incredible Graphics in Games and Simulations

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When I built my desktop PC last year, I opted for a low-end video card, because my graphics requirements were modest and it helped keep the cost of computer parts down. Since then, I’ve wanted to experience a better visual experience on my computer in games and graphics simulations, meaning more detail and effects, and higher frame rates at 1080p resolution.

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Unfortunately, video card prices were outrageously inflated due to high demand from Etherium and other easy-entry cryptocurrency miners. With the welcome crash of electricity-wasting cryptocurrency markets and the anticipated announcement of a new generation of video cards from nVidia, the prices of video cards began to return to lower prices, which prompted me to begin looking for an upgrade.

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Considering that I have a 400-watt EVGA PSU and my monitor is 1080p, I focused on nVidia’s GeForce GTX 1060, because despite its Pascal architecture’s very modest power requirements (recommended 400 watt PSU and 6-pin PCIe auxiliary power), it pushes very high-quality graphics at 1080p resolution. While the 3GB model was less expensive than the 6GB model, I chose the latter, because it has more CUDA cores (1280 vs. 1152), more texture mapping units/TMU (80 vs. 72), and more streaming multiprocessors/SM (10 vs. 9). These enhancements coupled with twice as much GDDR5 video ram justified its slightly higher price for better performance and hopefully greater use lifespan. I went with EVGA’s single fan version of the 1060, because I have had good experiences with their products and I appreciate their streamlined, unostentatious, and quiet design on this video card.

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After purchasing the GeForce GTX 1060 6GB video card for $280 from Microcenter and installing it in my PC, I stress tested it and ran benchmarks to verify that everything was okay after the upgrade. As you can see above, it scored a 3D Graphics Mark of 10684, which is more than twice as high as the 3,954 scored by my old Radeon RX 550 4GB video card.

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In the Final Fantasy XiV Heavensward benchmark, the GTX 1060 GB scored an 11,797 at 1080p, while the RX 550 4GB scored only 4,416 at the same resolution.

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In the Docking Bay 94 Unreal Engine 4 simulation, I get well over 40 fps with the settings maxed out at 1080p. Read about how the simulation was made and find download links on 80 level.

Star Wars Battlefront II (2017) Screenshot 2018.08.24 - 15.28.51.41

And, I get to fly the Millennium Falcon in EA’s Star Wars: Battlefront 2 video game. While the game’s graphics are amazing, I was reticent to purchase it after its launch debacle with in-game purchases and loot crates. Thankfully, EA backtracked on those things after the gaming and Star Wars fan communities collectively denounced these greedy and unethical practices.

 

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Finally, EVGA’s current video game promotion includes a free copy of Destiny 2 with the purchase of a GTX 1060 or higher video card. After redeeming my copy, I’ve played a little of it, and I like it. I’m a big fan of the original Halo by Bungie, and this game reminds me of that game without the story relying on a single archtype hero, such as Master Chief. In Destiny 2, you can create your own character based on class (Titan, Hunter, or Warlock), species, sex, and appearance. For my first experience in the game, I created a Hunter. The GTX 1060 6GB video card makes this game run smooth and look beautiful at 1080p.

Overall, I’m very glad that I made this upgrade to my PC. If you’re considering an upgrade now rather than waiting for nVidia’s recently announced RTX line of video cards, I strongly recommend the GTX 1060 6GB as a lower cost, high performance video card.

Retrocomputing at City Tech Site Updated with Software Inventory

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Neuromancer for Commodore 64/128. Item in City Tech’s Retrocomputing Archive.

Recently, I posted about the new OpenLab site that I launched for “Retrocomputing at City Tech.” On the site, I included a photographic inventory of the computing hardware and peripherals that I have on-hand in my office in Namm 520. Now, I’ve added to the site with a second page that inventories a majority of the software that is in the vintage computing archive. The software archive includes games (like Neuromancer pictured above, Star Wars X-Wing and TIE Fighter, and Star Trek 25th Anniversary), productivity software (such as Microsoft Office 2004), encyclopedias (Comptons, Groliers, and Microsoft Encarta), and operating systems (Windows 95, Macintosh System 7.5, Mac OS X 10.0-10.3 and 10.5). Follow the link above to see all of the software on its original media followed by textual descriptions.