“The infinity or Van Allen Belt ∞ a section graftation symbol is based with electromagnetic energies positive north, positive south squared, negative north, negative south squared, chemically based, dry-based, and so called anti-based energies. This build/destroy symbol is for science, mathematics (universal) to our life forms knowledge and not religion. The symbolic structure x holds fusion (w.a.r.) according to this formation and pamphlets breakdown strategy (formated by its structure). The Roman letter type and others have been armed to assassinate and/or abolish this supreme symbol know as infinity sign by removing the x from this written structure.

“This is symbolic war using slang and tonics to understand the very outline structure that makes a through z its mathematics and science for disease culture to understand the consequences of structure that have been disease culturally sabotaged and trickknowledged.


“All formations of word knowledge are constructed under the symbolic thoughts of the infinity sign. Motion in motion, power, armed, stride with position straight, is known as the function formation formula for and of ikonklastic panzerism rok remanipulation, all the knowledge for military strategy for the (blood system) of New York City, (Universal Transit System).

“In 1582 the 13th Pope removed ten days from the calendar, the next day they will stay is the year 2OOO. From the fourth century to the nineteenth century outline of letter, numbers and other universal symbols and disease cultural structures, was in the hands of calligraphers. Since then the Roman letter in a panzer stage of evolution from the fourteenth century to 1969-1974 was complete subconscious toyism (Treacherous on your System). From Bubble to structure (squared) and emotional outburst era 1974-1979 was a war era, where knowledge formed about by itself through the body, in the dark, underground. This is a ten year cycle of so-called graffiti development and elevation. 1980-2OOO separation between Wild Stylism and Panzerism, the onemotional era, knowledge of it add purpose of it… this is full evolution of the Roman letter type and others in so-called graffiti.

“The present infinity sign and the symbol x: this symbol must be separated from the present infinity sign by Ikonoklast panzerism. The only way is to go into the structure on paper or space or dimensions of art of paper. wild stylism: ” A so-called ” element of graffiti is base-derived from Gothic text subconsciously. The futurism is Panzerism design a subconscious development.

Text: Excerpts from Rammellzee’s ICONIC TREATISE GOTHIC FUTURISM, via Post Thing

Pics: Robin Coenen, The Rammellzee Font Project, [top] Rammellzee 7, [bottom] Rammellzee 10.


Get Me Out of That Room


“The Shining” (1980): The hedge maze model from “The Shining,” one of Kubrick’s most viscerally terrifying efforts and a truly unique entry in the horror genre. Stephen King got the inspiration for the book while teaching a writing class at the University of Colorado in Boulder. He stayed at the Stanley Hotel in nearby Estes Park, a majestic estate overlooking the Rocky Mountains that is said to be extensively haunted. He stayed in room 237, naturally, which has its own array of stories. (Jim Carrey stayed in that room while filming the Aspen portions of “Dumb and Dumber” and, in the middle of the night, came down to the front desk and said, “I don’t care where you put me but you have got to get me out of that room.

Text & Pic: Kristopher Tapley, Touring Stanley Kubrick exhibit lands at LACMA and it’s a cinephile’s dream, HitFix.

Twin children of the nuclear age

“But a larger question concerns our scientific knowledge: is our representation of the natural world universal? Throughout the half-century of SETI, Cocconi, Morrison, Drake and their followers have argued over which regions of the electromagnetic spectrum it would be most ‘rational’ to target for a search. They have based their arguments on naturally occurring processes like the 21-centimetre hydrogen line or similar emissions from other constituents of water molecules. But who is to say that other advanced civilisations – even if they pursue something like scientific investigation – would carve up the confusion of nature in the same way as we do? We now think in terms of atoms, electrons, quantum transitions and electromagnetic waves, but are those the only ways of making sense of physical phenomena? Can the intellectual history of Western science really be a universal phenomenon, with the current state of our science being a fixed point in the evolution of intelligence everywhere in the cosmos?

“And SETI might indeed make its greatest contribution in the nuclear arena. Some of the most hazardous by-products of the nuclear age, including isotopes of plutonium, have half-lives of hundreds of thousands of years. One challenge is to find places on Earth that are likely to remain geologically stable over such a time-scale, where such waste can be buried. A second challenge is to design symbols to warn our descendants, 300,000 years from now, not to go digging in these areas. As the historian Peter Galison has been documenting, the US nuclear agencies have sought the wisdom of diverse experts – linguists, anthropologists, sculptors – to imagine how we might plausibly communicate with terrestrial beings in the impossibly distant future. After all, the Latin alphabet dates back a mere 2600 years; only hubris could lead us to imagine that familiar modes of communication will be recognisable in the year 300,000 AD…”

“Alongside linguists and artists, nuclear bureaucrats have also enlisted experts in SETI. Struggling to communicate with our future selves calls for the same kind of radical imagination that SETI requires. Both efforts criss-cross the boundaries between disciplines; both require experts to project from what we know about our own civilisation to facilitate communication with some distant other. They are mirror images, twin children of the nuclear age…”

Read More: David Kaiser: Diary – London Review of Books

Image: Proposal for Yucca Mountain ‘warning’ sculpture by Michael Brill, via

Beyond the edge

Some months back we posted an image by Ross Racine. After the artist got in touch to ask us to let readers know that he has new work available on his web site, we asked if he’d agree to a short email interview. Conducted over the last month or so, Ross offered some insights into his work:

Science Fictional: You’ve spoken before on the method you use to make your images, but could you briefly explain your combination of techniques?

Ross Racine: The note on my technical process, available on my site, gives an overview of how I proceed. In a nutshell, the process involves creating the artwork in two steps: the first and main one is drawing freehand directly with the computer, and the second one is printing the image on paper with an inkjet printer. The drawing phase involves working with Photoshop with a pen and a tablet, aside from some preparatory work in Illustrator. In Photoshop, I start from a blank ground and build up the image with a small set of basic tools, such as selection, painting and cloning tools, copying and pasting, layers, luminosity and contrast controls, grain and smoothness modifications, and automation. In short, the process is a combination of digitally drawn material and various transformations done to this material.

Ross Racine, New Foxtown and Westhaven Villas, 2008.

Digital drawing, 60x80cms.

RR: One of the main properties of digital drawing is a virtual, non-material working environment. The fact that the image is not bound to a physical base has several advantages. It allows various combinations of techniques and treatments, an ease in modifying the whole image at once, an ease in copying and cutting, moving and pasting parts of the work (within an image as well as between images), the blending of layers of variable translucency, and the creation of copies of the image in progress (to save steps in the generation of the work and to create different versions of a work). Working in the virtual world also means the image can be altered at any time, even after a final version is established, thus creating a new, different image from a “final” one. Another property of the medium is its very fast speed compared to most physical media. This allows a very short delay between intention and result, as little time is needed to try out various ideas.

SF: The result of your approach creates pictures that land somewhere between photography and drawing, and they have an almost hyper-real quality to them – is your intention that the viewer respond in a particular way?

RR: With the medium of digital drawing and my rather realistic treatment of the subject, my aim is to work in the gaps between photography and traditional, physical drawing. I am aware that many people who happen upon my prints think that they are photos, at least initially. Digital drawing is a relatively new medium among more established visual art mediums. There are few precedents to act as visual references to help viewers approach this type of drawing. But hopefully, a tradition will gradually emerge to make viewers, including myself, more familiar with this new domain of imagery. A precedent can be found in the last two decades in photography (in art, design, and other fields), as viewers have come to expect a measure of manipulation in any photograph, whether this manipulation is apparent or not, ranging from obvious color and shape distortion to very subtle and invisible detail correction. Viewers in front of the actual prints of my work (24 x 32″) are less likely to consider them photographs, as the drawing-like detail on the surface is more visible.

SF: The aerial view perspectives of your images suggest a disconnected point of view, one that isn’t necessarily experienced by many people, but are familiar from satellite imagery, weather maps, surveillance images – and seems to suggest a very eerie feeling of being watched, or targeted – is there an intention an explicit criticism of suburbia, of expansion in your work?

RR: I value the distant, aerial point of view as promoting an attitude of reflection about the world. The public in general has, in the last decade or so, experienced an increased familiarity with the aerial viewpoint, with the instant availability of satellite imagery on the Web. This type of image is quickly becoming as ubiquitous in daily experience as the map. The feeling of “being watched” you mention is not my intention, but nevertheless interesting. It depends on how much you identify with the residents of my suburbs. On the other hand, I acknowledge a feeling of “watching”, as the viewer of my prints is in the position of the all-seeing observer. The watcher knows some things that the inhabitants of these subdivisions do not. My viewpoint is also that of the planner: the all-over, top-down approach of the decision maker. There is an obvious criticism of suburbia in my images, mainly through the exaggeration of certain of its characteristics. The suburbs are the fastest growing part of the urban environment in the majority of nations. But beyond the suburban example, these digital drawings are a way of thinking about design, the city and society as a whole. I would like my prints to remain as open as possible, to be triggers for reflection through analogy with various aspects of the world.

SF: The way you use the imagery of suburbia seems to imply visual conundrums – it feels as if you’re being pulled into the detail of the work trying to sort out individual houses, drive ways… What’s happening there?

RR: I think the conundrum is due to the small size of the jpgs available on the Web. When in front of an actual 24 x 32″ print, the viewer has the liberty to look at it from a certain distance to take in the overall composition and then to come nearer to examine the details within each “property”, making the experience a more intimate one, almost like eavesdropping.

Ross Racine, Subdivision, Cedar Valley, 2006.

Digital drawing, 15 x 20 inches.

SF: By conundrum, I was suggesting that certain of your images, say for example the views of the housing estates as circles, some like question marks, many of them isolated like desert communities or clustered together in what appears to be empty space, have a very interesting visual play, like an Escher drawing or a jigsaw – were these the kinds of references you were looking at when began to create these drawings? Or was there some other inspiration?

RR: I am inspired by diagrams, by the means by which information can be represented in visual form. The vocabulary of diagrams can be very straightforward and powerful. I use it for composition and also to imply that the suburbs’ contents (material and human), seen from a high aerial viewpoint, may be also considered information. The word I use for my application of the idea of the diagram is structure.

A related concern is the conflation of the macroscopic and microscopic scales suggested by the concept of structure. The observable world has many examples of organizations that are similar at both scales, for example the concentric structure. I am also interested in the implications of living within a specific structure, for example the experience of living in an endless accumulation of haphazardly connected streets.

SF: The images imply a science fictional formulation of suburbia. Do you imagine that there is a particular scenario going on in these places?

RR: I am definitely open to a science fictional reading of my images and I leave the viewer to imagine possible narratives for an image, if a person is so inclined, but I wouldn’t encourage the formation of definite scenarios. This would limit the evocative potential of the image. After all, my prints remain first and foremost images, not descriptions of established stories.