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Tag: design

This website was archived on July 20, 2019. It is frozen in time on that date.
Exolymph creator Sonya Mann's active website is Sonya, Supposedly.

A Cyberpunk Logo or Several

The greatest cyberpunk logo is, I would argue, the Laughing Man icon from Ghost in the Shell: Stand Alone Complex:

Cyberpunk logo: Laughing Man interpretation by thooley.

Laughing Man interpretation by thooley.

The hacker gleefully teasing his staid corporate victims with a symbol of youth culture: perfect. And I’ll have you know that my opinion is backed up by a random Reddit comment from two years ago! The ultimate measure of legitimacy! (Just kidding, of course.)

Cyberpunk Logo Origins

The Laughing Man’s emblem is particularly potent because of the quality of the series it comes from. But the wider world of cyberpunk media yields equally great graphic design — and occasionally tech companies accidentally (or intentionally?) mimic the aesthetic. Marco Ricchi has put together a compelling roundup of both types of images on Pinterest.

CD Projekt RED, the video game studio behind The Witcher and Cyberpunk 2077, has a dope logo, which marries the medieval arcana and dark futurism of its two landmark titles:

CD Projekt RED logo by, unsurprisingly, CD Projekt RED, makers of the The Witcher series and Cyberpunk 2077.

CD Projekt RED logo.

Cyberpunk 2077 itself, eagerly awaited by fans of the genre, sports an unabashedly ’80s-feeling neon splash:

Cyberpunk 2077 game logo.

Cyberpunk 2077 game logo.

Across the web many independent artists have drawn cyberpunk logos for companies from beloved media series, or logos that express the artists’ own imaginations; Redbubble lists a variety of these, as does DeviantArt.

Cyberpunk logo by Overdrive Graphics.

Cyberpunk logo by Overdrive Graphics.

Unexpected Gifts

Sometimes a stimulating cyberpunk logo slips into an otherwise straight-laced film (comparatively speaking). Initech is the white-collar hellscape from Office Space, and it has appropriately “software modernist” branding:

An unexpectedly cyberpunk logo: Initech, the white-collar hellscape from Office Space. Graphic cribbed from Alex Bigman on 99designs.

Image cribbed from Alex Bigman on 99designs.

Cyberpunk Logo Principles

I think these are the elements that unite various different cyberpunk logos:

  1. Visuals that evoke technology, especially computers or bioengineering.
  2. Either antiauthoritarian or hyper-corporate connotations.

It’s messy, though — questions of aesthetics are always messy. In the cyberpunk Facebook group that I occasionally frequent, people constantly argue about whether this or that “counts” as cyberpunk, and when writing the Exolymph newsletter I often must ask that question myself. Luckily I put together a list a while ago 😉 We must always return to the phrase “high tech meets low life” — it expresses the core of cyberpunk so neatly.


Commenters on Facebook contributed more awesome cyberpunk logo examples.

Futuristic Furniture: Examples from Two Sci-Fi Movies

What does futuristic furniture look like? It depends on when you’re asking. The aesthetic we imagine for the future shifts depending on the decade defining it. For instance, the interior of the space shuttle in 2001: A Space Odyssey looks quaint in retrospect, but felt cutting-edge at the time.

Futuristic furniture: sleek white floors and ceilings, contrasting with scarlet Koonsian chairs in 2001: A Space Odyssey.

Sleek white floors and ceilings, offset by scarlet Koonsian chairs, in 2001: A Space Odyssey.

And yet we’ve held onto some of the trends that preoccupied the design futurists of the late 1960s — stark colors (or absence thereof), shiny opaque surfaces, and an ineffable sense of mystery are all still crucial. In fact, we haven’t moved very far from modernist forms; the computer screens were updated, but not their surroundings. In general, the surfaces are simple, and the shapes are either rounded or defined by plain rectangular angles.

Observe this set of ascetic end tables built by Patrick Cain Designs, which are explicit evocations of modernist style, and which wouldn’t feel out of place in a venture capitalist’s office:

Two powder-coated white end tables, examples of futuristic furniture, by Patrick Cain Designs.

Two powder-coated white end tables by Patrick Cain Designs.

Or this much more intricate end table that plays with interlocking patterns while restricting itself to right angles:

Black-painted steel end table with a glass top, sold by Etsy shop ObjectOfBeauty.

Black-painted steel end table with a glass top, sold by Etsy shop ObjectOfBeauty.

The vendor writes of the latter table:

“The overall style is very reminiscent of Paul Evan’s metal furniture creations as well as Harry Bertoia’s metal sculptures. The design includes a brutalist style decorative detail also representative of the period and the aesthetics of the aforementioned artists — three gold tone, textured discs (appear to be gold leaf plated).”

And yet this clean, intellectual vision of the future is artificially limited, only addressing the conditions of a digitized technocracy, and even then only depicting the upper classes. Another vision of futuristic furniture and next-century decor significantly differs from this pattern. The post-apocalyptic movie Snowpiercer imagines a stratified aesthetic stack — gritty, Dickensian slum conditions for the proles versus baroque, almost steampunk lushness for the rich.

Where the poor people live in the dystopian movie Snowpiercer -- a different take on futuristic furniture.

Where the poor people live in the dystopian movie Snowpiercer — a different take on futuristic furniture.

The desk of the teacher who raises well-off children in Snowpiercer.

The desk of the teacher who raises well-off children in Snowpiercer.

The bourgeoisie paradise in Snowpiercer.

The bourgeois tea-party paradise in Snowpiercer.

However, Snowpiercer‘s depiction of ultimate power recalls the tunnels and sleekness of 2001: A Space Odyssey, albeit with more embellishments:

The control center in Snowpiercer.

The control center in Snowpiercer.

Perhaps futuristic-ness — futuristicality? — doesn’t so much depend on visual specifics as it does on the political and technological context. Which has been my thesis about cyberpunk all along…

Means & Ends of AI

Adam Elkus wrote an extremely long essay about some of the ethical quandaries raised by the development of artificial intelligence(s). In it he commented:

“The AI values community is beginning to take shape around the notion that the system can learn representations of values from relatively unstructured interactions with the environment. Which then opens the other can of worms of how the system can be biased to learn the ‘correct’ messages and ignore the incorrect ones.”

He is talking about unsupervised machine learning as it pertains to cultural assumptions. Furthermore, Elkus wrote:

“[A]ny kind of technically engineered system is a product of the social context that it is embedded within. Computers act in relatively complex ways to fulfill human needs and desires and are products of human knowledge and social grounding.”

I agree with this! Computers — and second-order products like software — are tools built by humans for human purposes. And yet this subject is most interesting when we consider how things might change when computers have the capacity to transcend human purposes.

Some people — Elkus perhaps included — scoff this possibility off as a pipe dream with no scientific basis. Perhaps the more salient inquiry is whether we can properly encode “human purposes” in the first place, and who gets to define “human purposes”, and whether those aims can be adjusted later. If a machine can learn from itself and its past experiences (so to speak), starting over with a clean slate becomes trickier.

I want to tie this quandary to a parallel phenomenon. In an article that I saw shared frequently this weekend, Google’s former design ethicist Tristan Harris (also billed as a product philosopher — dude has the best job titles) wrote of tech companies:

“They give people the illusion of free choice while architecting the menu so that they win, no matter what you choose. […] By shaping the menus we pick from, technology hijacks the way we perceive our choices and replaces them new ones. But the closer we pay attention to the options we’re given, the more we’ll notice when they don’t actually align with our true needs.”

Similarly, tech companies get to determine the parameters and “motivations” of artificially intelligent programs’ behavior. We mere users aren’t given the opportunity to ask, “What if the computer used different data analysis methods? What if the algorithm was optimized for something other than marketing conversion rates?” In other words: “What if ‘human purposes’ weren’t treated as synonymous with ‘business goals’?”

Realistically, this will never happen, just like the former design ethicist’s idea of an “FDA for Tech” is ludicrous. Platforms’ and users’ needs don’t align perfectly, but they align well enough to create tremendous economic value, and that’s probably as good as the system can get.

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