Bruce Sterling: green design and “spimes”

Cyberpunk pioneer has designs on a better world

The author of seminal science-fiction works is taking a very pragmatic approach to the world’s environmental challenges

Interview by Anthony Alexander

Thursday June 1, 2006, The Guardian

Technology Guardian: How did you get into environmentalism and climate change?

Bruce Sterling: Science-fiction writers are not effective activists. But if I’m aware of some trend as a futurist and a trend-spotter, and if it actually shows up on my doorstep as an immediate crisis, then I will try to do something pragmatic. Science-fiction writers are best as fantasists. But if there is mayhem on your doorstep, it’s morally obligatory to take some action.

TG: So, what did you decide to do?

BS: To go public with my unease about climate change, to attack it as a design problem, from an industrial and engineering standpoint. I announced I was starting an internet mailing list, because the internet is the only global tech phenomenon of the global scope of climate change. My key insight there was that one huge phenomenon could be harnessed to attack the other.

I still run my list, but I soon got sucked into the world of design. I recently wrote a little book for MIT Press, which is an academic precis on the problem, a little manifesto. One thing led to another. Now there’s a raft of top-end, designery green retail outfits – treehugger.com, worldchanging.com – there are meetings of designer groups, and so on. That’s what I was hoping to provoke. I wasn’t the only one doing this, but I was one of the first to say: “Yeah, this can be done.” We could have a new kind of designer green, cyber-green, or as my colleague Alex Steffen puts it, “bright green”.

TG: You called your email list Viridian, a very bright cyber-green. It’s also a website, www.viridiandesign.org.

BS: It’s something between a diary, a squabble, an archive and a manifesto. I’m one guy. This is my hobby. But a likely, plausible step is a designer-green non-governmental organisation, with a board of directors and revenue, a magazine maybe. Big players are entering the green design space. Fighting the greenhouse effect is going to be a universal effort. Everyone will have to do it pretty much all the time.

TG: In your book Shaping Things, you describe climate change as the result of technology pioneers like Edison and Ford. Yet you say the only solution is to press forward with technology and shift to a new type of society.

BS: Not many science-fiction writers write industrial design manifestoes, but I was commissioned by Peter Lunenfeld of Arts Centre College of Design in California, where I was visionary in residence. Why do you want a sci-fi writer in a design school? You want someone who’ll think outside the box. The book talks about a new tech phenomenon with six or seven terms attached: the Internet of Things, Ubiquitous Computation, Everyware, Ambient Findability, Spimes (my term).

My own theory, which has gone into Shaping Things, is the key element is the identity for objects. It’s putting tags on things that allow them to interact with digital networks. That is the key concept around which other things accrue. My goal in this is sustainability. I want us to invent a better way to put our toys away. We are emitting too much junk. Google is good at sorting garbage. We could do something similar if we tagged our garbage, basically, everything we make.

Ideally, we need to tag an object before it exists. We need to tag the blueprints and then the manufactured object. Then, when it’s junk, we need to read it, know where it goes, have it ripped apart and recycled.

TG: Where does the concept of Spimes come from?

BS: Spimes was one of those spontaneous neologisms I came up with at a conference, a contraction of “space” and “time.” The idea is you no longer look at an object as an artefact, but as a process. A modern bottle of wine in one sense does exactly the same as the clay jug and stopper that the ancient Greeks used. On the other hand, it is now mass produced industrial glass, with a machine-applied label containing a barcode and a host of other information, even an associated web page. These invite you to do more than just drink the wine. These innovations link this product into a wider relationship.

Yet the moment the bottle is empty, we make a subtle semantic reclassification and designate it “trash”. The logistics of manufacture and distribution will already have tracked the bottle from factory, to warehouse, to store. But the relationship is not a closed loop. The moment you buy the wine, it’s your responsibility. The onus is on you to recycle it, or it’ll spend eternity in landfill. We really should be thinking about the trajectory all this stuff follows. We are in trouble as a culture because we don’t have a strong idea of where we are in time, and what we might need to do to deserve a future.

Amazon.com, for instance, allows you to study lots of information about physical products (books) without needing to consider the physical artefact itself. Or bookcrossing.com, a site where you can track physical books from reader to reader. Wheresgeorge.com does the same with dollar bills. Spimes are both the physical object and the metadata related to that object. Then, as with Amazon’s reviews, we can start adding correspondence on the nature of objects, creating a forum to discuss all our stuff and what to do with it.

TG: So how do RFID (radio frequency identification) chips relate to this?

BS: To study spimes we need to be able to track them. RFID chips are the next evolutionary step from bar codes. They allow objects to have an identity that can be easily read. They were invented by the Pentagon’s shipping, tracking and logistics agency, and Wal-Mart, the world’s largest retailer, inspired by some work at MIT. Unlike the barcode, which needs to be scanned up-close, you can just ping a whole warehouse, or delivery truck or cargo container, and an RFID scanner will simultaneously detect and log everything in there. You also see them in swipe cards. These tags make it extremely easy to assign identities to objects and connect them to databases.

TG: Opponents of RFID see it as malign and unwanted technology.

BS: The opposition should thoroughly understand the scope of RFID technology, otherwise they’ll be baling seawater with a fork. RFID is for grocery clerks. It’s not as mysterious or arcane a technology as space shuttles, nuclear triggers or Echelon.

Bruce Sterling’s book Shaping Things is published by MIT Press.

Blade Runner DVD

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Blade Runner concept painting by the great Syd Mead.

Several reliable news sources are reporting that Blade Runner is to finally receive a decent DVD release.

In September of 2006, Warner Home Video will release a restored and remastered version of the Blade Runner 1992 Director’s Cut for a special four month limited release, in anticipation of a series of exciting and unprecedented releases of the film in theaters and on DVD.

Following a four month run of the remastered Blade Runner DVD, this disc will be placed on moratorium, by WHV. In 2007, Warner will follow with a limited theatrical run of Blade Runner: The Final Cut, which is being touted as Ridley Scott’s definitive version. Subsequently, there will be a multi-disc Special Edition DVD release which will contain three alternate versions of the film: the original U.S. theatrical cut, the expanded international theatrical cut and the 1992 director’s cut. “Ample, groundbreaking bonus features will also be included,” according to the WHV press release.

Blade Runner has been on DVD already in a very shoddy edition that’s now happily deleted, a rush release from the early days of DVD. Most news reports don’t seem to mention that the re-issue of the film was held up by various legal wrangles; the Blade Runner fan site, BRmovie.com, details the whole sorry tale. Here’s hoping Ridley’s masterpiece will be given the same treatment as the excellent (if unfortunately named) Alien Quadrilogy which had great transfers of the films and an insane amount of extras.

Jay on the radio

Later today, boys and girls…

Jay Babcock’s interview with Godsmack (a big band in America, apparently…) about the use of their music in ads for the US military caused quite a stir earlier this month after the band had a hissy fit and put the phone down on him. I posted the interview here and the Arthur magazine page below has over 200 comments discussing the whole business. So far the debate has generated more heat than light so the radio discussion is most welcome.

ARTHUR ON “AIRAMERICARADIO” NETWORK, WEDNESDAY MAY 31.
Thanks to the efforts of PressHere’s Chloe Walsh, Arthur editor Jay Babcock will be guest on national progressive radio network AirAmericaRadio’s ‘The Marc Maron Show’ on Wednesday, May 31. He’ll be discussing the ARTHUR VS GODSMACK kerfuffle and also Arthur’s forthcoming “So Much Fire to Roast Human Flesh” CD (curated by JOSEPHINE FOSTER) which will **benefit ANTI-MILITARY RECRUITING campaigns**.

It’s going to be AWESOME.

• Info on the show:
www.airamericaradio.com/maron/

• AirAmerica radio network stations:
www.airamericaradio.com/stations

• Listeners on the internet can stream live at
www.airamericaradio.com

• Alternatively you can stream starting at 11p.m. PST from the Los Angeles Air America Radio affiliate KTLK 1150-AM’s website at www.ktlkam1150.com/pages/streaming.html

• Transcript of the original Arthur v Godsmack interview (May 1, 2006), with Introduction, Afterword and Footnotes: www.arthurmag.com/magpie/?p=1244

• Howie Klein commentary at The Huffington Post (May 8, 2006):
www.huffingtonpost.com/howie-klein/not-all-rock-stars-are-li_b_20648.html

• New York Daily News on Arthur vs Godsmack (May 10, 2006):
www.nydailynews.com/news/gossip/story/416382p-351810c.html

• CNN Headline News’s ‘Showbiz Tonight’ interviews Godsmack on controversy – transcript (May 11, 2006):
transcripts.cnn.com/TRANSCRIPTS/0605/11/sbt.01.html

• Streaming audio of Arthur vs Godsmack interview (May 1, 2006) (courtesy Apollo Audio and Bobby Tamkin):
www.apolloaudio.com/lt.asp?name=AA32

• MP3 of the Arthur vs Godsmack interview (May 1, 2006) (courtesy Crooksandliars.com and Bobby Tamkin):
movies.crooksandliars.com/arthurvsgodsmack.mp3

Frémiet’s Lizard

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Emmanuel Frémiet (1824–1910) is chiefly known for his rather prosaic sculptures of animals, some of which are still sold in reproduction today. He also produced a notorious piece in 1887 entitled Gorilla Carrying off a Woman, a precursor of King Kong and all the other rampaging apes of later pulp fiction.

His Lizard ceramic (also 1887) is untypical which is a shame, I’d liked to have seen more in this style. It reminds me of the similarly stylised winged lion on the wonderful cover of Wolf City by Amon Düül II.

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