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Federal immigration agents stationed in Minneapolis need not read polls or confront protesters to know how the city feels about their presence. Walking around just about any neighborhood in the area lately should provide a glimpse into the vast sprawl of graffiti and homemade yard signs expressing residents bone-deep aversion to ICE. One poster in particular, though, has been increasingly decorating the storefront windows of local restaurants, coffee shops, yarn stores, pubs, and bowling alleys, urging in no uncertain terms: ICE out of Minneapolis. This sign seems to have struck a chord within the community, not just because of its blunt message but the form its riffing on: a familiar red municipal sign highlighting snow emergency routes, already strewn throughout streets in the Twin Cities. While the original evokes the grill of a snowplow truck clearing out roads in the wake of a blizzard, the anti-ICE version includes helmets, rifles and handcuffs in the slushy waste. The new signs growing popularity suggests its tapping into residents regional identity as much as it is their love of creative protest art. View this post on Instagram Reimagining a local icon Burlesque of North America, a local design studio specializing in graphic arts and screenprinting, created the sign as a response to ICEs incursion into Minneapolis. Owners Mike Davis and Wes Winship had previously created an anti-ICE enamel pin back in November when they first got the eerie sense something like Operation Metro Surge lay on the horizon. After their friends who run the nearby restaurant Hola Arepa were targeted by ICE in early December, the Burlesque team began playing with ideas for a protest poster. It didn’t take long for them to arrive at a concept rooted in the transportation departments snow emergency sign. [Photo: Elizabeth W. Kearley/Getty Images] We’ve been figuring out how to handle literal ice here for centuries, Winship says. And weve got this sign that’s pre-built, alerting people: There’s an emergency and we need to remove frozen precipitation from the streets. It was clean, crisp iconography, on which to project a message of resistance. On top of that, it was instantly recognizable. For the locals, everyone knows the sign. Everyone’s been living with it and responding to it, says Davis. But even people from out of town who don’t know the reference, they can still tell what it means and connect with it. After working on a mockup, the two paused on the project as the holidays kicked into high gear. It remained set aside until January 7, the day an ICE agent shot and killed Renee Nicole Good. That drastic escalation spurred the pair back into action on their poster. By the following night, Davis and Winship had completed all the design elements. The next day, theyd screenprinted the first of what would become over 5,000 copies to distribute around Minneapolis. They also offered free PDFs on their website, an open-source touch allowing out-of-towners to print signs and shirts of their own. [Photo: Roberto Schmidt/AFP/Getty Images] The power of posters Although projects like concert posters are Burlesques bread and butter, the team has been rooted in socially conscious art for ages. Amid the Syrian refugee crisis, for instance, they created a Refugees Welcome image that went viral in 2015 when the Walker Art Center featured it and several news outlets ultimately wrote about it. After George Floyd was killed in 2020, Davis and Winship printed out several artists protest graphics for free and handed out copies from their delivery truck at the intersection quickly dubbed George Floyd Square. Its in that very area where the citys love of protest art is most evidentmade manifest by the iconic raised fist of steel in Floyds memory, designed by artist Jerome Powell-Karis. The Burlesque team have now seen, once again, how much that love still radiates throughout the city during moments of upheaval. As they handed out their anti-ICE posters, restaurant and shop owners lit up at the sight of it. Davis brought 600 copies to a protest in Powderhorn Park the weekend after Good was killed, and his supply was picked clean within 15 minutes. When the team later asked for donations to cover their ink and paper costs, they hit their goal in three days. Meanwhile, the response on Instagram was unlike anything the pair had ever experienced. We’re still being contacted almost hourly by someone who either wants one or wants an entire stack to give away at their bike shop or trivia night, Davis says. The signs seem especially resonant at restaurants, where some owners are now opting to keep their doors locked during daytime hours to prevent ICE from entering. Local service workers seem haunted by recent reports of ICE agents eating at a restaurant in a town outside of Minneapolis, only to detain several employees afterward. The anti-ICE signs add some extra oomph to the locked doors, and let prospective diners know where the establishment stands. (Many restaurants without this particular sign have homemade anti-ICE signage of their own.) Although the snow emergency poster has started gaining a lot of traction, it feels perfectly at home among all the other protest art on display throughout the citywhether its the signs featuring Minnesota state bird, the loon, melting ice with laser eyes, an image with roots in local lore; all the inventive DIY anti-ICE entries at last weekends Art Sled Rally; or the ubiquitous stickers depicting melted ice. The Twin Cities community has clearly come together around its resistance to the current siege and Burlesque is happy to have helped play some small part in it. I’m not going to be out there with a gas mask at the Federal Building, catching rubber bullets, Davis says. So, it feels good that I have something to contribute to the cause. Like, I’m a graphic designer. This is what I can do.
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For decades, people with disabilities have relied on service dogs to help them perform daily tasks like opening doors, turning on lights, or alerting caregivers to emergencies. By some estimates, there are 500,000 service dogs in the U.S., but little attention has been paid to the fact that these dogs have been trained to interact with interfaces that are made for humans. A team of researchers from the United Kingdom wants to change that by designing accessible products for, and with dogs. The Open University’s Animal-Computer Interaction Laboratory in the UK was founded in 2011 to help promote the art and science of designing animal-centered systems. Led by Clara Mancini, a professor of animal-computer interaction, the lab studies how animals interact with technology and develops interactive systems designed to improve their wellbeing and support their relationships with humans. [Video: The Open University] The team’s first commercially available product is a specifically-designed button that service dogs can press to help turn on corresponding appliances at home, like a lamp, a kettle, or a fan. The Dogosophy Button took more than ten years to develop and was tested with about 20 dogs from UK charity Dogs for Good. It gives dogs more control over certain aspects of their home, which can make training them easier and further strengthen the bond between a human and their dog. It’s also taught the team a few lessons about how to design for humans. “I am now a better human designer,” says Luisa Ruge, an industrial designer who worked with Mancini and led the design of the button. For now, the Dogosophy Button is only available for purchase in the UK (for about $130). [Photo: The Open University] The challenges of designing for animals Anyone who’s ever designed a product for a human client knows the process relies on a perfect storm of variables like gender, age, background, and personal preferences. But these designers also have one advantage they likely take for granted: they can ask their client what they think at every step of the way. Getting feedback from a dog is much harder and requires an understanding of animal behavior. “Theres a lot of iteration,” says Ruge, “and a huge ethical and reflective component because I can’t be a dog, I don’t [feel] what they feel.” Ruge began her career as an industrial designer, but as she moved up the corporate ladder, she realized she was fascinated with animals. Her interest led her to train as a service dog trainer at Bergin College of Canine Studies in California. “One of the ways to bond is we had to be tied to our dog with a carabiner and leash for 8 days, 24/7,” she recalls. Later, she attended a conference on human behavior change for animal welfare, where she met Mancini and became interested in her lab. Ruge immediately enrolled in a PhD at The Open University, and spent the next three years writing a thesis on designing for the animal user experience and proving out her dog-centered methodology. Ruge followed the five human factors model, a method that helps designers understand the end user’s behavior by breaking down the UX into five factors. The typical list includes physical, cognitive, social, cultural, and emotional factors, but Ruge added a sixthsensoryand then later, a seventh: consent. To understand the exact characteristics and abilities she had to design for, she focused on Labrador Retrievers, Golden Retrievers, as these are the most common breeds for service dogs. Her research led to various correlations that informed the design of the button. For example: since both breeds have long tails, the button should not feature sensors that might accidentaly be activated by it. Since both breeds are predisposed to hip dysplasia and joint problems, the button should also not be designed in a way that requires jumping to activate. And since all dogs see the world in hues of yellow, blue, and brown, the button should be made in one of these colors so it is easy to perceive. [Video: The Open University] When Ruge first got involved, the prototype Mancini had developed was square in shape, and looked a bit like the standard metallic button that people with wheelchairs can press to open a door. Nowafter about 20 iterations and five prototypesthe button is round, convex, and blue. It is textured to prevent a dog’s wet snout from sliding on it, and its push depth is such that a more timid dog shouldn’t have to press hard to activate it. Ruge had to test some of her designs the hard way. The first prototype she ever made took days to develop and the dogs destroyed it “in two seconds,” she recalls with a laugh. But dogs don’t know that a prototype should be handled with care. To them, a work-in-progress product looks no different than a finished product. Animal design as a discipline Designing for dogs humbled Ruge’s assumptions. “It lets you know you’re never 100% right,” she says, adding that the only way to confirm her theories was through extensive testing and observation. It also made her a better designer for humans, because she learned to better spot her biases and assumptions. “Sometimes, I’m assuming you feel a handle like I do, and you don’t,” she says. In the end, though, animal design is where Ruge’s passion lies. Since earning her PhD, she has moved back to her native Colombia and started a design consultancy called Ph-auna (pronounced fauna) where she focuses on animal centeed innovation. She hosts a podcast called Pomodogo, guiding humans to better connect with their dogs, and is now working on an app that gamifies dog training and inspires humans to be better caretakers. “There’s an immense opportunity for animal design to be its own design discipline,” she says. Meanwhile, in the UK, the Dogosophy Button is available to individual customers willing to buy it, but the team is hoping to broaden its scope beyond the home. Mancini, who spearheaded the button project, says they first installed an earlier version of the button to operate the motorized door of a restaurants accessible toilet, but the restaurant ended up shuttering. Then, they tried installing it at a local shopping mall, but the plan fell through due to budget constraints. Still, she plans to continue developing new versions and adapt them for the characteristics of other species too. “It is my interest to try and install the buttons in public buildings,” she says. “I would love for whole cities to be more accessible for dogs and other urban animals.”
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On my phone, there are already videos of the next moon landing. In one, an astronaut springs off the rung of a ladder, strung out from the lander, before slowly plopping to the surface. He is, alas, still getting accustomed to the weaker gravity. In another, the crew collects a samplea classic lunar expedition activitywhile another person lazily minds the rover. A third video shows an astronaut affixing the American flag to the ground, because this act of patriotism is even better the second time around. The blue oceans of Earth are visible, in the background, and a radio calls out: Artemis crew is on the surface. America is going back to the moon, and NASA is in the final weeks of preparing for the Artemis II mission, which will have astronauts conduct a lunar flyby for the first time in decades. If all goes well, during the next endeavor, Artemis III, theyll finally land on the lunar surface, marking an extraordinary and historical and in some sense, nostalgic, accomplishment. The aforementioned videos are not advance copies, or some vision of the future, though. They were generated with OpenAIs video generation model and are extremely fake. Still, this kind of content is a reminder that the upcoming Artemis missions promise a major epistemic test for the deniers of the original moon landing. This a small but passionate and enduring community who doubt the Apollo moon landing for a host of reasons, including that (they allege) the government lied or (they believe) it is simply physically impossible for humans to go the moon. Now, when NASA returns to the lunar surface, these people will be confronted with far more evidence than from the last time around. The space agency operation will be broadcast, live, and including camera technology and social media platforms that just werent around in the 1960s. But theres also a bigger challenge before us. NASA will be launching its moon return effort in a period of major distrust in American scientific and government institutions, and, amid the proliferation of generative AI, declining confidence in the veracity of digital content. Most observers will be able to sort through the real NASA imagery, and anything fake that might show up. Still, there tends to be a small number of people who doubt these kinds of milestones, especially when a U.S. federal agency is involved. Adding AI to the conspiracy theory cocktail When the moon landing first came in, AI wasn’t a thing. The sophistication of [the landing] didn’t necessarily make us question it, says David Jolley, a professor at the University of Nottingham who studies conspiracy theories. But now, with the power of AI and the power of images that you can create, it certainly offers that different reality if you want to interpret it in that way. Its the trust in those sources that we need to kind of really create. Of course, if you haven’t got trust in our gatekeepers and you don’t trust scientists, well, suddenly you are going to lean into: well, this, is this real? Is this just AI? he continues. The upcoming Artemis missions arent yet a major topic among lunar landing deniers. But there are hints it will attract more attention from conspiracy theorists. During the last Artemis mission, which was unmanned, Reuters had to push back on online posts suggesting the expedition proved that Apollo 11 didnt actually happen. (Skeptics suggested longer Artemis I mission timelines, a product of a change in route, actually cast doubt on the original Apollo timeline). Other online skeptics have already suggested that, with Artemis, NASA is yet again faking a space endeavor. Some people in internet conspiracy communities suggest the upcoming moon missions will be entirely CGI (computer-generated imagery). Generative AI stands to introduce even more confusion, says Ben Colman, the CEO of Reality Defenders, a deep fake detection platform. Generating a believable image of a (fake) moon landing is now something any consumer can do. Any astute physicist will be able to tell you if these videos get star placement or physics wrong, as they are likely to do, he says, but even that is getting better with each model iteration. Conspiracy theories are sticky There are, of course, many reasons why people say they deny reality of the first lunar expeditions. They are canonical, misinterpreted references, like Van Allen belts, a zone of energetic charged particles that surrounds the planet (critics say the belts are too radioactive for manned vehicles to traverse) and the suspicious flag-in-the-wind (theres no wind on the moon!). All of these pointsand the many other points deniers bring uphave been thoroughly debunked. Still, this small community of self-appointed detectives are insistent. Even decades after the missions ended, people are still combing through NASAs videos and images, mining for signs of alternations or other surreptitious editing. To them, an expected shimmer reveals a film operation just beyond the view of the camera. A movement that might not look right is a hint that the world has been duped. Open source intelligence (OSINT) becomes the rabbit hole. Some allege we didn’t go to the moon, perhaps because we were trying to trick the Soviets into thinking that we had superior technology than they did, explains Joseph Uscinski, a political scientist at the University of Miami who also studies conspiratorial beliefs. Some people think we did go but it wasn’t televised. And that footage that we saw was made later in a sound studio. Some people think Stanley Kubrick was in charge of filming the faked Moon Landing footage. For its part, NASA is preparing to point to evidence, should any deepfake allegations come their way. Agency spokesperson Lauren Low tells Fast Company: We expect AI experts will be looking closely at all our images and will be able to verify they are real images taken by real astronauts as part of the Artemis II test flight around the Moon. Moreover, Low added, there will be many ways for people to watch the lunar flyby themselves, including live broadcasts, two 24/7 YouTube streams, a new conference, and views from Orion cameras. In other words, the reality of Artemis will be very hard to deny. Research suggests that conspiracy theories are entertaining, and even serve peoples core psychological needs, like a desire to understand the world or a way of dealing with uncertainty. Finding other people, including on social media, pushing these theories can help normalize them, and make someone feel like theyre part of a broader community. Some people simply dont trust institutions, and evidence that something did, indeed, happen only raises further questions, and suspicions that it didnt. To an extent, politics matters, too; people outside the United States are more likely to deny the moon landing, polls show. In the end, says Uscinski, we should prepare for people who are prone to conspiratorial thinking, or prone to mistrusting institutions, to take a skeptical view of any big news event. This may happen again when the Artemis missions finally launch. “The good news is that belief in conspiracy theories isnt likely to get worse,” he explains. “The bad news is that this conspiratorial thinking has always been this pervasive. People are very good at waving away evidence that tells them things they don’t want to hear, and they’re very good at believing things, either without evidence or with really shitty evidence when it tells them what they do want to believe about the world, Uscinski adds. You don’t need AI or sophisticated technology to provide a justification.
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