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 giving the User more awesome.
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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)

The ‘Smart City’ vision is shaped by providers of big technology, who are not attuned to bottom-up innovation, or the messy, disruptive ways that people use technology. It is a vision shaped around the need of the suppliers, and by the mindset of top-down masterplanning. More damningly still, the big technology companies are selling ‘smart city in a box’ solutions to cities, walled gardens that prevent scalable local business innovation. It is not surprising therefore that the technology is not selling, as the ‘smarter’ cities turn away.

The idea of the Smart Citizen has been proposed by thinkers such as Dan Hill […] to shift the debate towards the most important dimension of cities, the people who live, work and create within them.

On the one hand there is the view that Smart City design should allow for the disruptive ways in which people use technology. But there is also a stronger claim here, namely that citizens can, and should, play a leading role in conceiving, designing, building, maintaining our cities of the future.

This is a call for a fundamental shift in the way we think about our cities and about urban development, that goes beyond a plea for wider public consultation in the planning process. Alongside ‘top-down’ master-planning, we need to enable ‘bottom-up’ innovation and collaborative ways of developing systems out of many, loosely joined parts.

Drew Hemment and Anthony Townsend, Here Come The Smart Citizens

h/t to Manu Fernandez

(via stoweboyd)


I love this post. Especially calling out the top-down mentality that routinely forgets to navigate by the customer/audience/individual as it’s “north star” - and ends up being surprised when they disrupt their plans again and again.

(via emergentfutures)

Steve Brule gets a billboard in NYC today, next up: his own show

Steve Brule gets a billboard in NYC today, next up: his own show


NOW THAT is a movie I would watch.

(via popculturebrain)

I don’t think you can last by meeting the
contemporary public taste, the taste from the last
quarterly report. I don’t think you can last by following
demographics and carefully meeting expectations. I don’t
know many works of art that last that are condescending.
I don’t know many works of art that last that are
deliberately stupid. You may be a geek, you may have geek
written all over you; you should aim to be one geek
they’ll never forget. Don’t aim to be civilized. Don’t
hope that straight people will keep you on as some kind of
pet. To hell with them; they put you here. You should
fully realize what society has made of you and take a
terrible revenge. Get weird. Get way weird. Get
dangerously weird. Get sophisticatedly, thoroughly weird
and don’t do it halfway, put every ounce of horsepower you
have behind it. Have the artistic *courage* to recognize
your own significance in culture!

-Bruce Sterling (via ce-douglas)


(via m1k3y)

(via emergentfutures)