When the going gets weird...

Thinker and Doer from Brooklyn, NYC. My Tumblr is for the fun things I find in this space. Sometimes it turns into a blog post on SeanBohan.com. Sometimes I push it to Twitter (@seanbohan) or my Facebook. I work at Mozilla and am focused on making the internet more awesome for users.
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Borgyness Diagram

Borgyness diagram. #wearables #uberveillance #quantifiedself pic.twitter.com/LTfnoyzSCy
— stop the cyborgs (@stopthecyborgs)
3. April 2014


Borgyness Diagram


Guess which one is the VC?


The Knight News Challenge is asking “How can we strengthen the internet for free expression and innovation?” They’re offering funding to help people develop solutions.

Screenshots above are from Briar, an app for “secure messaging, anywhere.”

We’re building a messaging app that’s as simple to use as WhatsApp, as secure as PGP, and that keeps working if somebody breaks the Internet.

Briar is a messaging app designed for activists, journalists, and anyone else who needs a safe, easy and robust way to communicate.

Unlike traditional messaging tools such as email, Twitter or Telegram, Briar doesn’t rely on a central server - messages are synchronized directly between the users’ devices. If the Internet’s down, Briar can sync via Bluetooth or Wi-Fi, keeping the information flowing in a crisis. If the Internet’s up, Briar can sync via the Tor network, protecting users and their relationships from surveillance.

Go vote it up on the Knight Challenge to help them win funding and move into full public beta.

Disclosure: friends of mine. But also interesting in a lot of ways about building a proper decentralised internet - consider it #stactivism in action?

Briar website
Mailing list

(via warrenellis)

I think I’m allowed to tell you that Joseph Gordon-Levitt signed on as a producer for the ‘Sandman’ film, and I had a fantastic day spent with Joe talking ‘Sandman,’ and his knowledge and commitment to it impressed the hell out of me.

Metal Shop Fantasy Camp

It’s a thing. It is awesome


A simple explanation why your product needs to be 10x better



"Yearly reminder: unless you’re over 60, you weren’t promised flying cars. You were promised an oppressive cyberpunk dystopia. Here you go."

(via kadrey)


The making of the final shootout, an extract from ‘The Wild Bunch: An Album In Montage,’ a documentary of the making of the film by Paul Seydor and Nick Redman. The occasion for the creation of this documentary was the discovery of 72 minutes of silent black-and-white 16 mm film footage of Sam Peckinpah and company on location in northern Mexico during the filming of ‘The Wild Bunch.’

Todd McCarthy described it as, “A unique and thoroughly unexpected document about the making of one of modern cinema’s key works, this short docu will be a source of fascination to film buffs in general and Sam Peckinpah fanatics in particular.” Michael Sragow wrote that the film is “a wonderful introduction to Peckinpah’s radically detailed historical film about American outlaws in revolutionary Mexico — a masterpiece that’s part bullet-driven ballet, part requiem for Old West friendship and part existential explosion. Seydor’s movie is also a poetic flight on the myriad possibilities of movie directing.”


Sam Peckinpah in his own words:

“I wasn’t trying to make an epic. I was trying to tell a simple story about bad men in changing times. ‘The Wild Bunch’ is simply about what happens when killers go to Mexico. The strange thing is that you feel a great sense of loss when these killers reach the end of the line.”

“I detest machines. The problem started when they discovered the wheel. You’re not going to tell me the camera is a machine; it is the most marvellous piece of divinity ever created.”

“I’m afraid the truth, to me as I see it, is more important than entertainment for its own sake. The unfortunate thing is, I suppose, I see a certain kind of truth only too clearly.”

“I created ‘The Westerner’ because of anger — anger at never-miss sheriffs, always-right marshalls, whitewashed gunfighters… anger at TV’s quick-draw tin gods who stand behind a tin star or ten cents’ worth of righteous anger and justify their skill and slaughter with a self-conscious grin or a minute’s worth of bad philosophy.”

“The point of the film [‘The Wild Bunch’] is to take this facade of movie violence and open it up, get people involved in it so they are starting to go in the Hollywood, television, predictable reaction syndrome and then twist it so that it’s not fun anymore, just a wave of sickness in the gut… It’s ugly, brutalizing and bloody fucking awful. It’s not fun and games and cowboys and Indians. It’s a terrible, ugly thing. And yet there’s a certain response that you get from it, an excitement because we’re all violent people.”

“The whole underside of our society has always been violence and still is. Churches, laws — everybody seems to think that man is a noble savage. But he’s only an animal. A meat-eating, talking animal. Recognize it. He also has grace and love and beauty. But don’t say to me we’re not violent.”

“The western is a universal frame within which it’s possible to comment on today.”

“Despair is the only unforgivable sin, and it is always reaching for us.”

“I regard everything with irony, including the face I see in the mirror when I wake up in the morning.”

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Every person who works in a creative field has an aspiration for her work, a yearning for that ideal plane which is the culmination of her taste. When an environment fails, over and over and over again, to provide her with a means to follow her internal compass, then she will leave. If you are in a position to influence that kind of environment, take heed. Lay the foundations for a space that nurtures, that yields the kind of work the best creative people can be proud of.
Julie Zhuo, on why designers leave (via maxistentialist)