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Walker (film) - Wikipedia, the free encyclopedia
The film is intentionally full of anachronisms such as helicopters, Zippo lighters, automatic rifles and a car passing a horse carriage. It was filmed in Nicaragua during the Contra War.
film  time  anachronism 
june 2015 by jomc
Ada Palmer: How History Can Be Used in Fiction: <i>The Borgias</i> vs. <i>Borgia: Faith and Fear</i>
"Why are you sighing?" one asked, noticing that I’d laid back and deflated rather gloomily. I answered: "She's not of sufficiently high social status to have domesticated rabbits in Northern Europe in that century. But I guess it's not fair to press a point since the research on that hasn't been published yet."
history  fiction  tv  realism  anachronism  from delicious
march 2014 by cobralibre
Power Clubs – Futility Closet
Fellow puts lights on clubs, spins them around and long exposure shots are taken.
history  inspiration  anachronism  light  geometry 
october 2013 by 23
On Thingpunk | Ideas For Dozens
Thingpunk is a deep bias in design thinking that sees physical products and the built environment as the most important venues for design and innovation even as we enter a world that’s increasingly digital... Where Steampunk displaces 19th century styling onto 21st century products and spaces, Thingpunk attempts to continue the 20th century obsession with physical objects into a 21st century permeated by digital and network technologies...

[Quinn Norton]: There is an aesthetic crisis in writing, which is this: how do we write emotionally of scenes involving computers? How do we make concrete, or at least reconstructable in the minds of our readers, the terrible, true passions that cross telephony lines? Right now my field must tackle describing a world where falling in love, going to war and filling out tax forms looks the same; it looks like typing...

common Thingpunk response to articulating this non-physcial quality of digital experience is to refocus on the objects and buildings that make up the physical infrastructure of the net. From Andrew Blum’s Tubes to James Bridle on the architecture of data centers, these accounts tend to have a slightly conspiratorial tone, as if they were revealing a secret truth hidden from us by the deception of our digital experiences. But while we should certainly pay attention to the massive construction projects being driven by the importance of networks, like the $1.5 billion dollar fiber cable through the Arctic, these physical portions of the network are not more real than the mental and inter-personal experiences that happen through them...

Fifteen years of thinking about websites can’t overcome the past 100+ years of design as a tradition of thinking about and through physical things, especially when so much of design on the web is what design professionals would condescendingly call “vernacular”, i.e. made by amateurs... Where the tools for making websites and mobile apps differ from those for making furniture and appliances the ideas transmitted by this tradition become an increasingly bad match for today’s design work. The malleability of code, the distributed nature of collaboration, and the importance of math are just the first three of the many profound sources of this mismatch... Further, this design tradition preaches a set of values that’s powerfully at odds with lived digital reality... How can we create these forms of beauty and fulfill this promise of authenticity within the large and growing portions of our lives that are lived digitally? Or, conversely, can we learn to move past these older ideas of value, to embrace the transience and changeability offered by the digital as virtues in themselves?... traditional design thinking has lead us to avoid them by trying to make our digital things more like physical things (building in artificial scarcity, designing them skeumorphically, etc.) and by treating the digital as a supplemental add-on to primarily physical devices and experiences (the Internet of Things, digital fabrication)...

But there are still lots of real hard important things to be done on the web and in digital technologies more generally, many of them arising from the profound design questions mentioned in the last section:

Taking the seemingly endless pile of technological wonders produced by cutting edge computer science research and making them into culture.
Doing more with the super-computer satellite camera sensor platforms we constantly carry with us (more than using them as clients for reading social media).
Figuring out how to teach each other and do new research without digging ourselves under mountains of debt.
Making media that moves people in 30 second chunks when consumed out of context.
Telling emotional stories through the strange lives of bots and pseudonymous twitter writing...

The design world is full of fetish material for 20th Century Modernism as a lifestyle, especially in interior design and minimalist magazines like Dwell and about a billion Tumblrs...

when the same Brutalist style is translated into the digital spaces we daily inhabit, it becomes a source of endless whinging. Facebook, for example, is Brutalist social media. It reproduces much the same relationship with its users as the Riis Houses and their ilk do with their residents: focusing on control and integration into the high-level planning scheme rather than individual life and the “ballet of a good blog comment thread”, to paraphrase Jane Jacobs.
things  anachronism  nostalgia  interaction_design  fetishism  mid_century_design  brutalism 
may 2013 by shannon_mattern
Historical Vocab: When We Get It Wrong, Does It Matter? : NPR
But avoiding the words that people didn't use back then is ultimately just a mechanical problem. … The bigger challenge is to convey the meanings of the words that people did use, especially when they resonate differently now. "Equality," "prejudice," "race" itself — how can you have mid-19th-century characters use words like those without anachronistically evoking the connotations they have for us? To many of Lincoln's contemporaries and even his allies, "equality" still evoked alarming echoes of the French Revolution. To speak of "race equality" implied not just that people should all be treated alike, but that the races really were morally and intellectually equivalent. That seems self-evident to us, but it was an extreme and dubious proposition to all but a few radical Republicans, like Thaddeus Stevens. Lincoln himself almost certainly didn't believe it, nor did the prominent scientists of the age. In fact, the phrase "race equality" was the phrase the defenders of slavery threw at
anachronism  accuracy  race  equality 
february 2013 by clonezone
The Jane Austen Word List | Mary Robinette Kowal
I’ve created a list of all the words that are in the collected works of Jane Austen to use for my spellcheck dictionary. It will flag any word that she didn’t use and I can then look those up to see if it was in use in 1815.  It also includes some of Miss Austen’s specific spellings like “shew” and “chuse.” It won’t be perfect. For instance it won’t flag words whose meanings have changed, like “check” or “staid” but it will be an improvement. For the curious, there are 14,793 words on the list.
word  vocabulary  anachronism  anachronistic  19thcentury  spelling  austen 
january 2013 by bezthomas

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