The concept of using implicit knowledge in works of art is nothing new. As early as Herodotus, authors and story tellers were incorporating the implicit knowledge to make allusions, references and comparisons for their audiences. 

The same is true of the arts in the modern era. Books, movies, plays and music all trade in common cultural understandings. If a movie about teen love makes a thin reference to Romeo, the audience gets it. It assumed, and rightly so, that anyone consuming a love story is at least casually familiar with Shakespeare's most famous (currently) work. 

What recently struck me was how a large corpus of Science Fiction knowledge is implicit in modern Hip-Hop. I say appreciation because, as I will show, the reference are not derogatory to Science fiction, instead, they are celebratory, positive.  

Any review of rap lyrics will no doubt point out reams of references to movies and cartoons. However, I want to take a fairly recent, highly publicized example, a take a look at the implicit knowledge being assumed. 

Kendrick Lamar (on the now forgotten Big Sean Song 'Control' ) drops this verse:

Read more at: The Moorsgate Media Blog

BBC: On This Day August 28, 1963
The Guardian: The Story Behind the 'I Have A Dream' Speech
Official Program: The March On Washington
NY Times: On This Day
Politico: Martin Luther King: Too far, Too fast, just right

I'm soo very sorry for  not putting a valid link to purchase my book instead here's another link as to where you can buy my book Fists Of Fury

If you managed to get it feel free to give me your feedback both good and bad :)

SCI-FI SCHOOL by Odis Chenault

 ep.6 Artificial Intelligence

 Hello and welcome to the sixth installment of SciFi School.

 Artificial intelligence (A.I.) is a common theme in science fiction. I want to talk about the obvious and not so obvious applications of this science in science fiction.

 Artificial intelligence is when a computer or machine becomes aware of its own existence and starts to think. In science fiction, this usually spells trouble. In the Terminator and Matrix series, one of A.I.’s first decisions is to destroy mankind. It seems that thinking machines have little tolerance for our imperfect reasoning.

 A.I. can be a computer network, an android, a robot or all of these. A.I. can be controlled by a main source or a community of individual machines.

 When A.I. is a network, it can hack into and take control of other networks. In the Terminator and Matrix series, A.I. was given control of the nuclear arsenal. A.I. then used it to wipe out a large percentage of the human population. The next step was to build mobile war machines to mop up the remaining post apocalyptic survivors. With the machines growth unchecked, they would build machine cities and continue to evolve into something like Transformers or beyond.

An android is a thinking computer that looks like a human. These machines can operate on a complex series of programmed functions or have a form of positronic brain that allows them to think.

Robots, in science fiction, are usually stand alone machines with some form of mobility. They too can be programmed or think on their own. They can be in any size or shape. Technically, Nano-Bots are robots.

 Nano- technology involves microscopic machines that can reproduce rapidly. Nano-technology and A.I. produce unlimited possibilities. If Nano machines develop“hive level” intelligence, they could become an unstoppable swarm or wave. It would be almost impossible to defend against a swarm of microscopic machines working together. They could go anywhere and build anything.

Scary stuff, but scientists are trying to build this stuff as you read this article. Don’t worry; they’ll keep it all under control. Won’t they?

Image source

One of the primary reason that stands out for the transistor was driven by NASA and the need to reduce cargo space and increase computing power for orbital and missions to the moon - before that, slide rules. I know I just tweaked the die hard "conspiracy theorists" out there that don't believe we went to the moon, yet ardently believe Area 51 has aliens instead of high tech devoted to aerospace (see: "Zero Dark Thirty" - they mentioned it) and the pyramids couldn't have been built by the same North African Egyptian architects the Romans thought enough of to "import" to the empire and build most of their modern architecture and technology: aqueducts, arches, obelisks (think Washington Monument); plumbing.

1. NY Times: How Technology Wrecks the Middle Class
2. James Boggs: The American Revolution - Pages From a Negro Worker's Notebook

I am working on a series of Christian Scif-fi stories. The first chapter of my new novel in this promising  sub-genre is available for your viewing at: http://www.Afroflash.com.

FREE! I hope you enjoy it. Let me know if I am on the right path.

From Technology Review

Destination: Planet Negro, A Review

Destination: Planet Negro is writer, producer and director Kevin Willmott’s classically-styled, science fiction film, offering a 1930s perspective on the current issues facing black and white America.

Filmed as an homage to the sci-fi films of the 1950s, and perfect in look and feel of the genre of that era, DPN is a brilliant comedic success with a small, but significant, nod to The Wizard Of Oz..

The movie opens with Negro leaders of the 1930s gathered to discuss America’s “Negro Problem” we are witness to a grand design that eliminates everywhere on planet Earth as a home for the country’s Negro population where they can live in peace without the influence, nay, even the presence, of whites.

The conclusion this group of leaders arrive at is that since there’s no place on this planet such a community could be found, they invested all the funds they had collected into building an interplanetary rocket ship with the intention of exploring the planet Mars.

Three intrepid astronauts are tasked with the exploration of Mars to see how suitable it will be for the immigration of all of America’s Negroes.

It is tempting to recount a narrative of the events documented in this story, but suffice it to say that the brilliance of looking at an America with Barrack Obama as President through the eyes of Negroes from the 1930s cannot be understated.

The dialogue is spot on, and is as laugh inducing as it is thought provoking.

For those who, somehow, believe that the election of a bi-racial POTUS somehow signals that the United States of America is in anyway post-racial, the presentation of the contrasts and similarities of the culture of race between the two eras gives spectacularly funny lie to the notion.

Though there is so much sociological fodder for a satirical look at modern urban existence from the past’s perspective, the situations presented in DPN are so carefully crafted, and so well written by Willmott, that the movie forces the enlightened viewer to confront, through tears of laughter the characters so easily invoke, issues the American corporate watchdogs of culture would like us to forget.

DPN is a film well worth seeing. The fact is it hits the sociological, cultural, and racial stereotypes, issues and corporate-sponsored cultural memes squarely on the head makes it work for viewers of all colors and of all ages.

There is adult language and some sexual innuendo in the movie, but nothing a teenager today hasn’t heard, or said, in spades.

It is this reviewer’s hope that Destination: Planet Negro is able to pick up a distributer and be seen by general audiences in theaters everywhere.

It’s a great shared experience.

Disclaimer

     I would like to start by saying I bear no ill will toward any independent creators, black or otherwise. Along the course of this article, some may assume I have the ‘crabs in a barrel' mentality, but that is the furthest from the truth. My only wish is to see my fellow creators succeed and tell the stories that need to be told.

Building a Better Brand

     Comic book companies, such as Marvel and DC hire up incoming talent to write monthly books, which allows them to churn out a decent living by doing what they love. I'm not going to talk about why no people of color write for either company, but I will pose the question, why can't they, people of color, have a piece of the pie? Besides them having larger marketing machines, they have familiar stories, and characters so beloved, that fans of the old stories end up becoming writers of the new ones. Despite the tales being similar, they assure that the same fun had in the past by most fans is enjoyed in the present. So what can the independent creator of color do to even things out, how can we possibly compete with 75-60 years of familiar storytelling? The answer is telling better stories, and no matter how good an idea you have, everything is in the way you share it. As with all groups, the world tends to associate black people with certain behavioral patterns, and those associations begin to stick over time. There are a number of good black writers, but a number of other would be writers who have great ideas, but poor delivery. This coupled with mediocre art, in some cases land black comics in the dark corners of local shops, if at all. If we want top shelf visibility, you need to produce top shelf quality and though the color of your skin shouldn't matter as far as the product goes, it does.

Buying Black Because…

     Buying black is the practice of purchasing goods and services from people of color because; the consumer is a person of color. While a great show of solidarity, a problem emerges when the producers of products take their consumers for granted and expect them to buy anything, regardless of quality. If a creator expects anyone to spend their hard-earned money on a comic then it is that creator's job to show their best work. I don't want to spend 2.99-3.50 on a story riddled with exposition and poor character development. Black creators have it especially hard because no one expects us to have literary ability, we don't benefit by proving the stereotype right. The difference between our counter parts and us is, unless we're stellar, our work is considered bad, they're mediocre work can convince readers to buy another issue. What's worse is that our penchant for creating stories and characters, which resonate with us often gives the comic book buying majority an excuse to dismiss our work as stereotypical or culturally alien. When other black people refuse to buy black they are usually said to be self-hating or unsupportive, which can be true sometimes but other times we're not humble enough to smell what we're shoveling.

We’re Not Crabs, We’re People

     Sometimes people say or do things to undermine our progress. As black people we've gone through this in and outside of our community for many years, but we can't always be the victim and in some instances must shoulder blame. No one who is black, white or otherwise deserves anything. We sometimes think that the world owes us something because of how our people were treated, but the universe is indifferent in most matters and everything has to be earned. I learned this first hand when veteran writer, Karl Bollers tore one of my scripts to shreds. It was the first time it had happened, and I couldn't be more thankful that it did. A pat on the back is nice, but can lead to a false sense of accomplishment and stroke the ego. This bolstered pride can make a creator resistant to constructive criticism regardless of the source. Saying that people do not ‘hate' on the dreams of others would be a bold lie, however that can't always be true. If someone who has more experience in a particular field than you do offers advice, listen to them. There's a reason we take writing classes in college and it's not to pass the time, writing is a craft that must be studied, tested and honed. If a veteran writer reads your work and tells you, it could be tighter, test the observation and look at your story. When you're writing, things make sense to you the writer, but the rest of the world isn't behind your eyes, and they can be left confused. A good idea is worthless if it's not conveyed properly and remember; you're writing isn't just a critique on you, but every other black comic writer out there. Read a book on writing, take a class, remember that all characters need an arc, and to show not tell. Take it from me, it's better to learn your mistakes now and correct them, than to make a habit of it later. Lastly, having an editor is always a good thing, especially if they're a writer themselves.

Haste Makes Waste

     One of the most important things I've learned in my experience as a comic writer is, take your time. Black folks are a show me people, whether it be money, clothing or cars we always have to look like we're about it. However, when it comes to writing, everything you do should be drafted and redrafted. Something's make sense years after you think about them; others seem like the stupidest idea in the world once you give them some thought. Take my first published comic "The Hierophants", I wanted it out so bad, to prove to myself that I was a writer, the main character's first name wasn't even mentioned in the issue. Looking back at it, I shudder to think that I was so oblivious of my own mistakes, but I was, and I've learned from them making me a better writer all around. There is no shame in taking your time and reviewing your work, because though quick release maybe satisfying in the short-term, it's often hollow in the long run.

The Race Yet to Run

     While many of us are still finding our way in the world of comic book writing, trying make a dollar out of fifteen cents, we need to make sure we're above-board. We know we have to work three times as hard and twice as long to get anywhere near the other half. I won't say we should beg for jobs, but I will say we need to give them some competition. I believe we can do it with a little care and a standard, one we create, by which our work can be judged.

Original source : The Nelo Maxwell Experience

Check out my mini review Battle Masterz #1 by the Broussard bros.

Check out my review of The Harlem Shadow #2 by Brian Williams

Check out my review of Chained Gun Vol.1 By Donny Morris

Check out my review of Virgin Wolf # 1 by Alverne Ball.

Just a quick marketing note,  the sample chapter for ABR is now available to Amazon Kindle Device users for free. If you are a Kindle user, please take the opportunity to take a look and tell us what you think. 

Thanks - Moorsgate Media Team. 

Only recently I discovered the Science/Entertainment show 'Through the Wormhole: with Morgan Freeman'. Though the man is an outstanding narrator, there's no attempt to reference his 'God' roles. Instead there's a sober but enlightened view of various topics from 'How did the Universe Begin' to 'Is there a Creator?' Each show though viewed through the lens of science doesn't discount intersecting spiritual beliefs, instead often correlating scientific evidence is presented showing that there just may be something to our myths, legends and doctrines.

The best thing about the show is it's been backing up a lot of the science I've put in my stories and fuels me with info for future ones! If you're writing in the sci-fi or pseudo-science genres, Through the Wormhole is definitely worth a look. Of particular interest is the episode: 'Is There Life After Death?' The discussion on current development of 'AI' (artificial intelligence') is worth watching on its own.

Through the Wormhole: 'Is There Life After Death?'

I can not tell you how many times I have to watch people either already in the biz, working their way in or trying to get started have their eyes glaze over when they start talking about making their movie with a 'RED ONE' or some other crazy high-end camera.

Forget the fact that the camera itself whether rented or purchased outright often blows a huge hole in an Indy production budget by itself. Then when you add all the support gear needed to get the full value out of so large a camera sensor, there goes another significant chunk of the budget and you haven't even started shooting yet! On top of that, I've seen folks get such high-end gear and then not have enough money to have the footage properly stored and then edited because most of the money went for the gear. But at least they can say they shot their film on the (blah, blah, blah!)

Of course you don't want to shoot on a rickety PoS camera because a worn out rig will cause you numerous other problems that will also cost money. However, you'd be surprised at how good a film you can shoot visually with some ingenuity, a good eye and lots of creativity! So what if you can't get a RED or a high-end rig from Canon, Sony, Panasonic, etc. All you actually need is one or more smaller rigs that can shoot at 720p and with good production values, good direction and tight storytelling, few people will be able to tell (or care) that you didn't shoot with a 2k+ camera!

Here's a good video by Ken Simpson that breaks down the question of, 'Do I need a high-resolution camera to make my movie?' Whether you're about to go into production or already undergoing principle photography, those of you involved in filmmaking should take a look at this as it may well save you some pain in both the purse and backside!

http://vimeo.com/63404537

SCI-FI SCHOOL by Odis Chenault

ep.1 the Speed of Light

Hello and welcome to the first installment of Sci-fi School.

The purpose of this school is to help the novice or want to be Sci-fi fans out there become familiar with the strange language we Sci-fi geeks so easily speak amongst ourselves. We take for granted how left out someone who hasn’t seen what we’ve seen or read what we’ve read feels when we get started with another fan.

Before I get into the first lesson, Sci-fi is short for science fiction. That is fiction that has some element of science weaved into the story.

Now let’s talk about a Sci-fi staple, the speed of light or C. The speed of light is just that. It refers to how fast light travels. It’s very, very fast. 186,000 miles PER SECOND! At that speed you could travel around the world over seven times in one second. A light year (6 trillion miles) refers to how far light travels in a year. The speed of light is referred to in math as the symbol C. You’ve probably seen Albert Einstein’s famous equation E=MC2. This reads; Energy equals Mass times the speed of light times the speed of light. We’ll talk about that in another lesson.

The speed of light comes up in science fiction a lot. For instance it’s the speed limit for the universe. The universe is big (future lesson), so big that even at the great speed of light, it would take years to get to another star. In some cases hundreds or millions of years. In Sci-fi, we like to go to other stars and receive visitors from other stars. We don’t have a thousand years to wait. But if the speed of light is the speed limit for our universe, what can we do?  Simple! We leave the universe, go where we want and then re-enter the universe. In Sci-fi, we do this in a number of ways. We can push past the light barrier with super powerful engines and enter an alternate universe called Hyperspace where there is no upper speed limit. This is how they do it in Star Wars.  If you go slower than the speed of light you drop out of Hyperspace. Hyperspace has a speed minimum. Don’t worry; some so-called Sci-fi experts just learned something.

Another way of getting around the universal speed limit is Warped Space. If your engines are powerful enough, you don’t even have to move to get to your destination. You can take point A and point B and fold them together. When they unfold, you are at point B. This is the way they do it on Star Trek. The engines required to do the work are huge and emit so much harmful radiation that they are extended away from the occupied part of the star ships. Warp 2 requires more energy and completes the above process faster than warp 1.

Then we have wormholes. These are naturally occurring anomalies that appear in various regions of space for various reasons. Wormholes are usually associated with black holes (my work is cut out for me) but can appear randomly as well. Normal laws of time and space do not apply inside a wormhole. To an observer you enter at one end and emerge instantaneously at the other end. Even if the ends are hundreds of light years apart. Read that a few times. Sorry, some things are just that way.

Done! You just learned more than you knew about science fiction. A few more lessons and you’ll find yourself standing in line for Thursday late night screenings of Sci fi block buster movies that open Friday so nobody sees it before you and spoils the ending.

As part of the 19th Annual Black Harvest Film Festival, the Gene Siskel Film Center will be screening Destination: Planet Negro! on August 23 (8:30 pm) and 27 (8:30 pm).

A smart satire that sports a wicked streak of goofball humor, Destination: Planet Negro! has the feel of low-budget 1950s sci-fi, as leaders including W.E.B. DuBois and George Washington Carver kick off a secret plot to solve the “Negro Problem” by way of a rocket ship to Mars. Carrying a crew of three, the spacecraft vaults into a time warp, landing its brave scientists in a present-day Midwestern metropolis, where this comedy takes on the look of a reality show as the astonished adventurers discover unbelievable developments like young men with drooping pants and the election of a black president.

On August 23 the film’s director, Kevin Willmott, as well as actors Tosin Morohunfola and Danielle Cooper will be present for an audience Q&A following the film. Ytasha L. Womack, a filmmaker/screenwriter who is currently working on a book on Afrofuturism, will be in attendance to introduce the film on August 27. 

More information about the film as well as the Black Harvest Film Festival can be found on our website at siskelfilmcenter.org/blackharvest2013. Both screenings will be at the Gene Siskel Film Center located on 164 N. State Street, Chicago IL.

Tickets: $11/general admission; $7/students; $6/Film Center members; $4 for students, staff, and faculty of the School of the Art Institute of Chicago, and staff of the Art Institute of Chicago. All tickets are available at the Gene Siskel Film Center box office. A valid student ID or ARTICard is required for proof of discount. General admission and member tickets are available at all Ticketmaster outlets for a $2.00 surcharge plus a $3.25 handling fee.

Call Ticketmaster 800.982.2787 to purchase tickets and for a list of outlets.

For more information call 312.846.2800 or visit www.siskelfilmcenter.org