Category: Culture as a Technology
“Any sufficiently advanced technology is indistinguishable from magic.”
― Arthur C. Clarke’s Third Law
“Any technology, no matter how primitive, is magic to those who don’t understand it.”
― Florence Ambrose, Technical Engineer, Starship Savage Chicken
It begins with a cooperative thought experiment, a co-creative expression of culture as a technology the better to manifest the material. So, our intentional common sense is an expanded design language called Participatory Action Research, Design, Development and together we will use it in bringing to life utterly Surrealistic Reference Sheets and Fursuits. Fursuits, seemingly magical Furry Fandom Fursuits for anthropomorphic costumed play.
Technical apparel has evolved far beyond its Science Fiction Convention and Comic Book origins, discovering in the late 1980s, a community life all its own as Cosplay (Costumed Play) and subgenres the Furry Fandom a diverse community of anthropomorphic arts and costumed play.
The ArtScience vision of ΘWΛ Ðesign means innovative material science and fabrication techniques in unusual combinations with the practicality of biological PPE features to maximize user safety and enjoyment in a volatile world changed by the COVID-19 Pandemic.
We Sing The Body Electric and Therianthropic, the Greek Theríon (θηρίον), meaning “wild animal” or “beast”, and Anthrōpos (Ἄνθρωπος), meaning “human being”, a very ancient word, a spiritual word for our otherworldly mytho-mystic shapes born of the Primordial Void energies of 🜁 Air, 🜂 Fire, 🜃 Earth, 🜄 Water.
With virtual production tools, we can connect, resonate, play together, we model and demonstrate to communicate, to share and affirm the principles of cooperative community through collaborative action design, and so hope to significantly contribute to the prosperity and happiness of the performing art communities of Cosplay and Furry Fandom.
“You never change something by fighting the existing reality. To change something, build a new model that makes the existing model obsolete.”
― R. Buckminster Fuller
A Cooperative Mission of . . .
Λn Solas Si ΛrtScience and Ɍáithold Union
Action Research • Design • Development
Cyberphysical Prosthetic Cosplay • Fursuits
Therianthropic Otherworld Fursona Concepts
Protests across the U.S. over police violence and systemic racism against Black Americans have sparked gaming companies like Electronic Arts, Epic Games and Sony Interactive Entertainment/PlayStation to publish statements of their support and make donations to relevant advocacy organizations.
These are positive actions, but the most impactful thing game companies can do is take action internally. Racial bias is baked, usually unintentionally, into games by those who develop them. This creates a recurring pattern of Black and Latinx characters being stereotyped or completely absent in games, which is invalidating and demeaning.
There are 2.5 billion gamers in the world, a group that includes consumers across every ethnicity and age (especially in mobile gaming, the largest market segment). Quartz has noted that “57% of video game players in the U.S. between the ages of 6 and 29 will be people of color in less than 10 years.” Black and Latinx youth in the US spend more time per day, on average, on both mobile games and console games than white youth. For hundreds of millions of gamers globally — particularly in demographics driving the industry’s rapid growth — there are very few games whose stories center on characters like them. That is also a missed business opportunity.
Recent Sci-Fi, such as JJ Abrams‘ Star Trek Into Darkness and After Earth (M. Night Shyamalan, 2013), are reminders of how film and TV so often depict future fashion as skimpy or skintight. The uniforms in Abrams’ Star Trek revival have progressed from previous versions, but retain the hallmarks of the originals.
The men’s uniforms have a mesh outer layer, reminiscent of moisture-wicking sportswear. The female uniforms are more precise replicas of the originals, with miniskirts and knee-high boots.
In After Earth, the stranded father and son are costumed in something reminiscent of an armoured wetsuit. These films are following a tradition established by films such as Logan’s Run (1976), Buck Rogers (1979-1981) and Tron (1982), in which costume left little to the imagination.