RKNet Blog... Thing

That is not dead which can eternal lie,
And with strange aeons even death may die.

Something I have learned over the past decade is that every investigative hero requires the correct and proper equipment. One thing they require is a sensible bag to store manuscripts and treasures in. Indiana Jones had his modified gas mask bag. Dean Corso from “The Ninth Gate” had his canvas satchel. Spider Jerusalem had his leather book bag. Currently I use a Megatokyo bag shoulder bag or a Burton snowboarding rucksack depending on what I’m doing. Both have served me well and see many wonderful sights. When I was first exposed to the Mythos I don’t know what my bag was. I would have been at school and just started doing my GCSEs. I believe that I used a cheap nasty messenger bag at the time.

My first exposure to the Cthulhu Mythos was rather appropriately took place outside of a library. Somehow talk drifted to the Necronomicon. A goth kid from the sixth form had bought a copy of it into school. “This is a famous book of occult bad ass,” was how it was described to me. No word or mention of Mr Lovecraft or of the books fictional origins. Sadly for my fifteen year old self a little research soon uncovered the books falseness.

Many people though still think that the Necronomicon is a real book. The copy that the acquaintance in the sixth form had was undoubtedly now a copy of the Simon Necronomicon. But first the fictional history of the book.

First mention of the book appears in the 1921 story “The Hound” (published 1924) as a book written by the “Mad Arab” Abdul Alhazred who was mentioned in a story written one year earlier called “The Nameless City”. The Necronomicon itself is mentioned in no less then five of Lovecraft’s Mythos stories. With references made to the tome in “At the Mountains of Madness” and “The Case of Charles Dexter Ward” among other stories.

In the 1921 story “The Nameless City” the rhyming couplet by Abdul Alhazred is given at two points in the text. This couplet appears in “The Call of Cthulhu” from 1928, it is identified as a quotation from the Necronomicon. The couplet is the one at the top of the essay. Some description of the text is given in “The Dunwich Horror” with the book being often described as bound in leather and having metal clasps to keep the large book’s pages safe from damage.

The authenticity of the Necronomicon has been in question since the time of Lovecraft with the author often being asked about the book. His answer was always that it was an invention of his own. In a letter to letter to Robert Bloch in July 1933 he clearly writes: “As for the “Necronomicon”—this month’s triple use of such allusions is bringing me in an unusual number of inquiries concerning the real nature & obtainability of Alhazred’s, Eibon’s, & von Junzt’s works. In each case I am frankly confessing the fakery involved.”

But still rumors of the books authenticity persist. These rumors helped by various differing editions of the Necronomicon being published in the years since Lovecrafts death. One of these the Simon Necronomicon mentioned above was released in 1977 by Schlangekraft, Inc. in a limited edition of 666. The book was later released in paperback and has never been out of print since. Unfortunately I’ve never read the Simon Necronomicon. So I can only give a quick digest of the information on Wikipedia. But it might be of interest if anyone wants to read further into the subject after.

The book claims in it’s introduction that it is a translation of the Greek Necronomicon. The content of the book is mostly based on Sumerian mythology with attempts to tie various entities in Mesopotamian mythology to correspondent entities in Lovecraft’s Mythos. Eh, what else is there to say? It’s black magic bullshit with curses and summons written in a mix of English and ancient Sumerian. With warnings all over the book claiming it’s danger. The back cover saying that this book is “the most potent and potentially, the most dangerous Black Book know to the Western world.”

Whatever the truth is and I suspect that the truth is fictional. The Necronomicon has a place in pop culture like no other book. With references to the book appearing in the Evil Dead film series, web comic Megatokyo and Terry Pratchett’s Discworld book “Moving Pictures”.

Will.

Next a journey into the occult underground of The Invisibles and Chaos Magic.

Pages of obvious interest:

The H.P. Lovecraft.com page about the Necronomicon, contains further information about the Necronomicon.

Day one was fraught with challenges, up to and including having trouble finding the venue. It took a lot of wandering around, a phone call, and I think two concierge desk stops to finally figure out that the Copley Plaza Marriott was in fact through the Copley Plaza Westin and the attached mall. That said, on with the notes.

Session 1: Understanding Web Design - Jeffrey Zeldman

• Missed this session entirely. :(

Session 2: Lessons of CSS Frameworks - Eric Meyer

• Missed over half of this session. :( I blame Mass traffic.
• Hits on server vs. File size. The more hits to the server, the slower the load times. File size isn’t nearly as much of an issue.
• IE(6) does not cache 2nd tier stylesheets. (stylesheets linked from within other stylesheets)
• IE6 wants nothing to do with your fancy link styling. Don’t rely on it to convey critical information if you think you’ll have a significant amount of IE6 visitors. (Know your audience!)
• Mobile phones probably can’t handle your stylesheet (iPhone notably excepted from this guideline).
• create a grid or layout background to use for debugging.
• Create a debugging stylesheet that replaces more subtle elements with large, bold colors to see exactly how your major elements line up.
• Set default colors in the body of the document to override any CSS weirdness or absence.
• Try to avoid measurements in pixels. Percentage or EM will provide better usability and cross-browser support.
• Create a framework file. This is a totally empty stylesheet, containing only elements, classes and ids, as well as comments explaining the general purpose of each. This provides the framework for others to understand your work, and gives you a blank to start from in future work.
• Maintain clean, logical naming conventions. Don’t use .RedBigText use .Header or .CallToAction. This way if you have to make this class perform a function other than red, big text you can make those changes while maintaining your markup.

Session 3: Good Design Ain’t Easy - Jason Santa Maria (turned 30! Happy Birthday!)

• Look to be different. Be familiar with popular box models & learn what you can do to separate yourself from them.
• Print != the web. (!= is does not equal for those who aren’t familiar) Therefore, instead of innovating based on standards of print, we must look to usability standards and concepts to build a better (mousetrap) website.
• Design reinforces your message.
• Design fills in where content leaves off to create impressions.
• Referenced the storytelling power of a mostly visual chart of Napoleon’s progress.
• Pacing must be capable of including all pertinent info. Editor’s Note: I don’t remember what I meant by this note.
• Design must account for flexibility, changes, functions
• Design must be able to demonstrate depth, or give the visitor confidence that they can navigate comfortably.
• Design for your audience, not just to fit your box model.
• Take advantage of the medium, learn to apply the tech to its fullest.
• Plan before you do, and make stylesheets accordingly flexible
• Level of design intricacy hinges largely on the type of content it is meant to showcase and support.
• “Design can’t not communicate.” - David Carson, Helvetica
• The Golden Rule or other ratio is a handy reference for balancing a box model.
• Links:
• A Brief Message
• Fray
• Principles of Beautiful Web Design
• No One Belongs Here More Than You
• We Tell Stories
• “You can have it in any color you want, as long as it’s black.” - Henry Ford regarding the Model T
• Art direction should apply to the web also.
• Evaluate the saclability of unique content art direction (i.e. serious differences between pages, breaking from one standard template between pages).
• Marry your design to your code.

Session 4: Web Application Hierarchy - Luke Wroblewski

• You have approximately 1.6 seconds to make an impression on a first time visitor.
• References Steve Krug’s excellent book Don’t Make Me Think in regards to illustrating how we use the web. We don’t read. We track around the web looking for the next thing to get us to our intended informational goal.
• Great presentation on the web is comprised of a balance between information and emotion, or Visual Organization and Personality.
• Organize things in ways people can relate to. For example, organizing information in a customer lookup system like a rolodex.
• What’s front and center is critical
• Presentation should follow desired function
• Downplay non-critical information
• Create context by applying contrast, placement and seperation
• Consider the color scheme. Contrasting colors attract attention.
• Make uniquely important items distinct from the remainder of the page.
• Focus on your use of labels, whitespace, and the scanability of your page.
• Proximity of items, similarity of items, and pattern of items dictate how noticable they are.
• The more differences between neighboring items, the higher the contrast and the more likely a visitor is to focus on it.
• Orchestrate the distribution of visual weight (what’s most noticable to what’s least noticable) to influence user experience.
• Avoid too many “look at me!” items as it creates confusion.
• Avoid too few “look at me!” items as it leads to disinterest
• Information should not be distributed via firehose
• Be aware of how people access and use your site. Or how it is intended to be used at least. These factors inform how the hierarchy of information should be structured.
• Consider how people find you and what you want them to do when they get there.
• People come to your site for some kind of content. Don’t let the overhead (structural elements of your website, other navigation, etc) overwhelm that content. Give the people what they want.
• Visually prioritize the actions you want or need people to take
• Strive for a clear, logical flow of information using visual cues and standardization of content. (Hint: Centering text is very unhelpful when trying to achieve this logical flow.
• Consider your overall signal to noise ratio when displaying lots of information. Too much contrast and the data gets overwhelmed. Too little and the data itself is overwhelming.
• Luke’s site: Lukew.com

And then it was lunchtime! Will talk more about that when I get around to my travel log post. I’ll have the rest of day one in a seperate post, so keep your eyes open, and if you aren’t already subscribed to the RSS feed, by all means hit the GIANT PURPLE BOX at the top of the site to do so. :)

Lately I’ve gotten a really strong urge to learn how to screenprint, or silk screen as it’s also called. I’ve done some reading online, with MAKE/CRAFT magazine being particularly helpful. Still, as excited as I was I didn’t feel like I had quite enough information to really jump in and start buying screens and emulsion and inks.

Earlier, NotCot.org posted a link to a new book about screenprinting, called The Screen Printing Primer by Nick Paparone, Jamie Dillon. You can buy a signed copy directly from PrintLiberation.com for $25. Amazon also sells the book (unsigned) for about $16.

Print Liberation has some really pretty designs up on the site, featuring a lot of really elegant uses of typography. The book contains a few transparencies put together by them for people inspired by the book to get out there and do some experimenting right away, without worrying about the first big hurdle: what design could I come up with to print?

I’m really excited about this book. While it does take a little time, investment, and space to get started, I think that learning about the principles and the history could be a lot of fun and provide alternative ways to apply screenprinting that can be achieved without needing a whole big setup. But then again with some creative shopping and recycling, I’m sure there are ways to get around those issues, too.

Recently I picked up a purse from the local branch of the Goodwill. It was a small metal purse, with rounded sides and a beaded handle. It’s a pastel olive color, with a print of children playing on the lower half of the front and back. The graphic elements are derived from vintage J&P Coats thread adverts. It was immaculate when I got it and with some minor use I’ve already damaged the surface print in a few tiny spots. Before I go destroying this lovely item with regular use, I’d love to know more about it. Searches for J&P coats metal purse didn’t turn up anything conclusive.

So, to help you all I’ve provided some (mediocre) photos of the item in question, in the hopes a vintage thread or purse enthusiast might happen along and help me identify this really neat item.

I’m not going to use it much until I figure out when and where it comes from, as I’d hate to ruin a true vintage item. If a collector is interested I’d be willing to sell it.

Case in point: People getting all up in arms about an Absolut print ad campaign depicting a large chunk of the southwest United States as being part of Mexico “In an Absolut World”.

Give me a break, people. What are you offended by, exactly? History? The fact of the matter is, the land depicted in the ad’s map did belong to Mexico at one point. Is the serious offense in suggesting that the United States’ fulfillment of Manifest Destiny is somehow fallible? Heaven forbid anyone challenge the conquest of the central portion of North America.

I understand people having immigration issues, to a point. Yet to get bent out of shape over a vodka company implying that it might be ideal if the borders had never changed? Honestly. Am I the only one who sees it that way? That it’s not suggesting Mexico “retake” that area, it’s not suggesting that Mexicans should “overrun” the southwest, or that illegal immigration is a good idea.

It was an ad, run in Mexico, for booze, that used a historical reference to highlight Mexico’s once grand territory in order to associate a feeling of pride in one’s country with their product. Ultimately, it’s highly unlikely that their goal was to stir up a world of shit for themselves. It was to sell vodka to more Mexicans. Instead what they’ve got is a smaller marketing department and threats of boycott.

I find the the outrage dredged up by the idea of a company wanting to push more product pretty offensive. The more anger is expressed over that, and the more lines are drawn between immigration issues and this ad, the more nasty arguments and anti-Mexican sentiment are going to rise. I understand the concept of maintaining solid borders, of national programs being available only to legitimate citizens (to an extent). What I don’t understand and absolutely don’t like is people disparaging an entire country full of people by taking a tongue-in-cheek advertisement by a company who is based out of an entirely different country (Sweden, according to the giant PDF with tiny print they put out) and blowing the intended meaning way out of proportion. It shows a lack of rationality and serves as another vocal demonstration of how reactionary, intolerant, and anti-intellectual Americans have managed to portray themselves as.

Tonight, I’m gonna buy a vodka tonic… with Absolut in it. What are you going to do?

It’s been a very Twitter-heavy weekend, as previous posts will demonstrate. I had a brief spat with some woman named Amanda Chapel because I had issues with the idea of arguing against the merits of internet culture on the internet. Particularly on such a limited platform such as Twitter. I really need to think and do some research before I discuss that whole situation at length. And I do want to discuss that at length. However, in the interest of being fair I intend to read more of Strumpette and see if I can get a proper bead on the philosophy at work here. At that time, I’ll share the archive of the Twitter conversation, and get into depth on what the internet means to me and what I feel it means to our culture as a whole. More on that later though.

One of the other Twitter discoveries I made this weekend was FlypeClub. I’d been followed (and followed them in return) a little while back, but it seemed to only produce an increased percentage of self-promotional fluff scrolling through my gTalk twitter window. This weekend however I got at least a minor peek behind the curtain and figured out that some other followers I’d picked up were authors and conspirators of this mysterious FlypeClub. For the record, I still have no idea what the deal is with it, but now I’m intrigued instead of annoyed by their updates.

A little basic reading, a little paying attention showed me who all is working on the FlypeClub project. (And I KNOW I’m breaking the first and only rule here, but I can’t help it. There is a reason why, you’ll see.) Not so mysterious after all on one hand, but more mysterious on the other. Who exactly are these guys? What was the draw to make something like this? Why the seemingly aggressive promotion when it appears they don’t really have anything to sell? They do claim to offer Alligator & Python swallowing courses for $20,000 a pop, but that doesn’t strike me as a business plan that would best be supported by intense social outreach. Yet there is something to this band of cheeky irreverents that has captured my attention, and gotten me to really thinking.

I have a love for the obscure, and for the obfuscated, for the inscrutable. Although I confess that this love does not extend to businesses who cannot be buggered to explain who they are and what their services entail. That is the exact opposite of good service and should be frowned upon. This is what got me to thinking when FlypeClub came on my radar. Who the hell are these guys? Were they a business or a set of individuals? What are the rules for marketing in the “social” world if they are a business?

Generally speaking, it is up to me to decide what a thing is, what it is worth, whether or not it is valuable or true. That was the challenge posed to me, more or less, by a mysterious Flyper - who I won’t name unless it’s approved - in regards to FlypeClub. That it is up to ME to decide what it is. I liked that. I appreciated greatly the direct outreach, and I appreciated more the admission that it is in fact up to me (and you, and you, and everybody who won’t read this) to decide “what is FlypeClub”.

Seems to me that this has always been the guiding principle of business, and of life. Experts, professionals, self-appointed social leaders can all tell me exactly what they want me to know. Media and corporations have the things which they feel will be liked by the largest amount of people. The great unwashed mobs of people I see on a day to day basis, and the scores of people who write opinions on the internet also provide information on what there is to like about this, that, and the other thing. That is all fine and dandy. I tend to prefer the opinion of someone experienced with a subject or a product to tell me about that subject or a product, and I always attempt to get opinions from other, ostensibly unbaised sources. Yet the thing that so many people do not seem to grasp is that ultimately it is absolutely, one hundred percent my decision (and yours, and yours, and everybody not reading this) as to what is hip, what is worth buying, and what is true.

Really, it’s always been that way. Influence only goes so far. The task of a business, an organization, a person who wishes attention from many is to do this: provide the public with something they cannot get from anyone else. Or, if they can get the product/service/opinion from someone else, give them very good reason to embrace yours over someone else’s.

This is one of the reasons I signed on to be an affiliate of TorsoPants. Yes, they (technically) sell tshirts. Yes, there are dozens of “witty” tshirt companies abroad, particularly on the internet. But I saw these guys and immediately liked everything about their site and what they had to offer. (For the record I have not yet bought my very own pair of TorsoPants, but I am also pretty broke.) It’s something that everyone needs (clothing) and it’s got a shine to it that no one else really has.

Another fine example of providing something unique is Scarlet Imprint. I have purchased two books from them so far, The Red Goddess, and Howlings. They provide something that no one else does, and they do it well. Their books are well written, and well made (I was expecting much less from such a small press), and they are rare. Not only are they rare (very limited print runs), but they make it very clear that they take their work very seriously, and they are willing to communicate directly with those who would buy from them.

I am a decision making machine, and I am primed by the words and actions of others, but I don’t fire until my internal system of checks and balances has had its say. What kind of decision making machine are you?

I found a great big PNG with instructions on how to make a papercraft mudkip! I found it on some random gamer forum, but it looks like it originated with someone from /po/.

If you get around to making this, be sure to share links to photos in the comments! Fun papercraft Pokey-mans for everyone! YAY. If that’s not your speed, here are two simple, adorable kitties that you can print and build, too.

Enjoy!

Last night the most remarkable series of things happened, resulting in a delightful print out just for you!
In #ormgas (the IRC channel for the OCR internet radio broadcast), Leissi pasted the following -

Notice: This Department requires no physical fitness program: everyone gets enough exercise jumping to conclusions, flying off the handle, running down the boss, knifing friends in the back, dodging responsibility, and pushing their luck.

Struck with inspiration, I decided to make a poster from this material. I also decided that the various cautionary signs from the game Portal, with their wet-floor-sign-guy-in-major-peril quality, were the absolute best to give some graphical window dressing to this wry jab at working life. (I realize the quote is rather old, but I’d forgotten all about it until Leissi was kind enough to remind me of it.)

After several fruitless searches (shocking with the amount of slavering Portal fanatics out there) in the ever-convenient Google Image Search, I finally dug up a panel of Portal’s caution signs. It wasn’t very large so I tried to resize it cleverly, but the end result was still fuzzy. Seeing as this was meant to be a five minute haha on my part, I wasn’t terribly concerned.

I did however take the time to change the saying slightly to make it more apropos to my own current working life. Pleased with myself, I saved a copy as a jpg and slapped it up in #ormgas, and in #ectomo.

I left shortly thereafter, and thought nothing of it, until I came in this morning and checked my gmail. What appeared before my eyes, but a white knight from the depths of #ectomo, Maicro, come to clean up the fuzzy Portal images and raise this snarky little geek joke to the next level of professional subversiveness.

Without further ado, a giant jpg for you to print and share with all the people who fill you with levels of contempt that are at best unhealthy and at worst result in much head explodey.

One million thousand thanks to Leissi and Maicro for their invaluable contributions in the field of snarky, passive-aggressive sign leaving technology. If you have opportunity, comment with links to photos of this particular sheet in action.

What more is there to say? Ok, well, for anyone who isn’t in the know: SMITH Magazine, Larry Smith, and Rachel Fershleiser set about collecting six word memoirs from all types of people. Some were famous, some were just everyday people who entered a contest to have their miniaturized life story printed.

The outcome of many hands and many voices came together in a volume called Not Quite What I Was Planning: Six-Word Memoirs by Writers Famous and Obscure. (I happen to be in it! It still amazes me that I was chosen, honestly.)

At some point, Rachel Fershleiser wound up on my Gtalk list, and I periodically mouse over people’s names to see what their tag lines say. Well! Imagine my surprise when I mouse over her name and see that the book has hit the New York Times’ Bestseller List (Category: Advice/How-to/Misc)!

It’s currently at #9, and it’s the book’s first week on the list. With all the rave reviews, great press, and (I imagine) a lot of contributor-based enthusiastic sharing, I’m really not surprised. With any luck, we’ll find our way to #1! I can’t emphasize enough how much fun this book is, and how addictive it is to start applying the six-word limitation to come up with summations of life, love, and all kinds of ephemera. Get in on the hubbub by going to the site or go pick up the book.

With all the talk of female body augmentation and supplementation, I felt it was high time somebody treat the subject with the respect it deserves… by turning it into a children’s workbook sheet and making a contest out of it.

Below are 2 PDFs and a JPG version, meant for 8.5×11 standard printing. I opted to keep it black and white so as not to disappoint those sans color printer (like myself). Photoshop and meatspace entries are welcome. Due to an alarming lack of popularity of RKNet, I’ll run this contest for 2 weeks, starting today. (This also gives me time to determine prizes. Reasonable suggestions welcome!) The last entries must be in by February 27th at noon (EST). After that, I and my esteemed colleagues will proceed to pass them around, get piss drunk, and pick one at random. Which means, gentle readers, that it doesn’t matter how “good” or “bad” you actually do at this activity, because winning isn’t so much based on merit, as it is favoritism and inebriated whimsy! Isn’t that great?

• 480k JPG version
• 1.9mb PDF
• 171k lower quality PDF

Edit: I’ve resized some of the images, and added the blog URL to the bottom. Please feel free to print copies and leave them about.