Visual Inspiration: Photovoltaic Facades

Solar power technologies are advanced enough that they are increasingly being integrated into buildings during construction, not just added onto existing ones. For example, there’s a way to make thin enough, light-weight enough, and transparent enough solar cells to embed them into windows. Some cells even have color, which makes inventive facades a definite possibility!

Below are some colorful glass facades and/or windows, some actually photovoltaic, others made from regular glass or other sun control materials, to illustrate just a few possibilities SFF creators might want to consider.

 

SwissTech Convention Center in Ecublens, Switzerland

Using dye-sensitized solar cells or DSSC (also known as Grätzel cells), the world’s first multicolored solar facade was built at Ecole Polytechnique Fédérale de Lausanne (EPFL) in Switzerland. Although the technology is 30 years old already, the building is only from 2014.

EPLF Chris Blaser Facade External

EPLF Chris Blaser Facade Internal

 

Biochemistry building at The University of Oxford in Oxford, UK

The facade is made up of glass fins that emulate the colors of the historic buildings surrounding it.

Flickr Andy Matthews UOxford Biochemistry

 

Clapham Manor Primary School in London, UK

A new wing added to an existing Victorian school. No solar glass as far as I can tell, but the combinations of solid and fritted, on one hand, and clear and colored glass, on the other, allow for some environmental control.

de Rijke Marsh Morgan Clapham-Manor-Primary_04

 

Environmental education center El Captivador in Alicante, Spain

Designed by CrystalZoo, the roof tiles of the sustainably built environmental education center flow from bright reds via oranges to yellows.

Twitter CrystalZoo El Captivador

 

Xicui entertainment complex in Beijing, China

GreenPix, a photovoltaic Zero Energy Media Wall, built for the Xicui entertainment center before the 2008 Beijing olympics, was the largest color LED display in the world at the time.

GreenPix 00_08(c)SimoneGiostra-ARUP-Ruogu

 

Gare de Perpignan in Perpignan, France

An atrium with semi-translucent photovoltaic ceiling panels plus regular colorful glass (as far as I can tell).

Wikipedia Projet_BIPV_-_Gare_TGV_de_Perpignan

 

Kuggen building, Chalmers tekniska högskola in Gothenburg, Sweden

Designed by Winngårdh Arkitektkontor for the Chalmers University of Technology, Kuggen has a movable sunscreen and six floors, each shielding the floor below.

Flickr magro_kr Chalmers Kuggen

 

At the moment, it seems that next to cost, fairly low efficiency is the biggest problem with building-integrated photovoltaics. (Although, the efficiency problem might soon be solved.) Fortunately, both are something that SFF writers can easily deal with. 🙂

Images: External EPLF facade by Chris Blaser via Flickr, internal EPLF facade by RDR_FernandoGuerra via Flickr. Biochemistry building at U of Oxford by Andy Matthews on Flickr (CC BY-NC-ND 2.0). Clapham Manor school by Jonas Lencer / Philip Marsh Alex de Rijke via de Rijke Marsh Morgan. El Captivador by CrystalZoo on Twitter. GreenPix by Simone Giostra & Partners. Gare de Perpignan by Laurent Lacombe / Issolsa via Wikipedia (CC BY-SA 3.0). Kuggen by magro_kr on Flickr (CC BY-NC-ND 2.0).

The Visual Inspiration occasional feature pulls the unusual from our world to inspire design, story-telling, and worldbuilding. If stuff like this already exists, what else could we imagine?

“At Least It Made You Feel Something”

I have a rant.

There is one phrase I hate to hear more than any other from authors, scriptwriters, game designers, and other creative people: “At least it made you feel something.” It is a phrase that is sometimes trotted out when audiences voice hurt, anger, or annoyance over how a story that they were emotionally invested in turned out, and it is a load of crap.

We all understand that no story is going to satisfy all audiences. Good stories move us, and sometimes they move us to tears or to rage. Some people want stories to leave them angry or sad, and that’s as legitimate as wanting a story to leave you smiling. But a good story should not leave you hurt or annoyed.

There are good ways for creators to respond to upset audiences (which, I note, is not the same as responding to trolls—that’s a different game altogether). They can say: “I’m sorry, I’ll try to learn from this experience and do a better job in the future.” They can say: “This was the story I wanted to tell, but clearly it wasn’t the story you wanted to hear, so you should find a different story.” They can say: “I think this story matters and I don’t care that you didn’t like it.” All of these are appropriate responses. They are honest and respect the validity of peoples’ feelings, even the ones we don’t share. Even no response at all is perfectly acceptable; no creator owes their audience any engagement they don’t feel like giving.

But if a creator does choose to respond to criticism, “At least it made you feel something” is no kind of response at all. What’s wrong with it?

It sets the bar absurdly low

Good stories make us feel things, but that doesn’t mean that it doesn’t matter what a story makes us feel as long as it makes us feel something. To put it another way: if I kicked you in the shins, it would definitely make you feel something, but you would be perfectly justified in saying that that wasn’t the feeling you wanted.

It dismisses criticism

Criticism is legitimate. People have a right to have opinions about your story, whether you agree with them or not. Simply dismissing all criticism with “It made you feel something” denies that what your audience feels is just as relevant as how strongly they feel it.

It is self-congratulatory at best, selfish at worst

Reacting to an audience’s complaints with “It made you feel something” is a reach-around self-compliment. Even worse is if you actually take satisfaction in your ability to make others feel bad.

It betrays a lack of belief in the merits of the story

“It made you feel something” is close kin to “There’s no such thing as bad publicity.” In a social media world, creators may think that making their audience angry enough post online tirades about their work is the cheapest advertising they can get, but it is also a signal to the audience that the creators don’t care enough about their work or don’t have enough confidence in it to sell it on its own merits.

Stories often make us feel things. That is a huge part of why we read, watch, and play them. To open a book, watch a movie, or play a game is to entrust your feelings to another person for a time, and we have every right to speak up when we feel that our trust has been abused.

If what I feel about your story is hurt that you killed my favorite character, frustrated by the direction of the plot, or annoyed that you railroaded me into playing a villain, you don’t have to agree with me. You don’t have to take any account of my feelings at all if you don’t want to. But don’t waste my time with: “At least it made you feel something.”

Here endeth the rant.

Here there be opinions!

Quotes: To End That Was to End Their History, Their Present, Their Future

“All that was left of a person’s life was recorded on paper, in annals, in almanacs, in the physical items they produced. To end that was to end their history, their present, their future.”

– Aster Grey in An Unkindness of Ghosts by Rivers Solomon

…Which is why the attitudes and words of those writing our world’s history matter; why social sciences, humanities, and languages matter (and not just STEM); why diversity, inclusion, and empathy matter.

Solomon, Rivers. An Unkindness of Ghosts. Brooklyn, NY: Akashic Books, 2017, p. 327.

Serving exactly what it sounds like, the Quotes feature excerpts other people’s thoughts.

First Captain Marvel Trailer

The first official Captain Marvel trailer just dropped today, and it’s AWESOME!

Marvel Studios’ Captain Marvel – Official Trailer by Marvel Entertainment on YouTube

The below reaction is pretty accurate:

io9 Tom Hiddlestons Loki Whee Gif

Okay, granted, it doesn’t show much yet beyond glimpses. I know nothing of the comic book version of Carol Danvers to begin with, nor do I know whether a rumor saying the movie won’t be dealing with her origin story is true or not. What impressed me, though, is how much the trailer highlighted her determination, standing up time and again after falling down.

It was also great to see younger, sprightlier Nick Fury. Not to mention Coulsooooon!

Tumblr The Playlist Cobie Smulders Coulson1Tumblr The Playlist Cobie Smulders Coulson2Tumblr The Playlist Cobie Smulders Coulson3Tumblr The Playlist Cobie Smulders Coulson4

(As an aside and half-serious at that: as someone who’s going to turn into a little old lady at some point, I hope there’s a darned good reason for Danvers’s punch!)

Last, a LOUD-AS-HELL YAY for no boob armor, nor sexy boob-butt-thigh poses. Frickin’ finally!

Ant-Man Its About Time

The movie opens March 8, 2019. Can’t wait!

Images: Tom Hiddleston as Loki whee gif via a comment on io9.com. Gifs of Cobie Smulders as Maria Hill from The Avengers’ blooper reel via The Playlist on Tumblr. Evangeline Lilly as Hope Van Dyne screencapped from one of the stingers at the end of Ant-Man.

Hey, look! We found a thing on the internet! We thought it was cool, and wanted to share it with you.

Queen Teuta, Piracy, and War

Let’s talk about pirates. (No, not talk like pirates—that comes later this week.) In popular culture, we typically think of pirates in the waters of the Caribbean in the 17th and 18th centuries, but the practice of cruising the seaways and taking plunder by force is an ancient and worldwide custom. For some people, raiding passing ships was an accepted and ordinary way of life. Among those people were the ancient Illyrians.

The Illyrians lived along the mountainous western coast of the Balkan peninsula, in the vicinity of modern-day Albania, Montenegro, Croatia, and Bosnia-Herzegovina. Much like the Greeks who lived to their south, they shared a common culture and language, but were not politically unified. Small-scale warfare and raiding between Illyrian tribes was a normal part of life, but Illyrians also frequently went beyond their borders, raiding nearby cities and sailing out into the sea in small, fast boats to attack passing ships.

The Illyrians were well placed to make a profit on plundering shipping. From their position along the Adriatic coast, they could easily strike at trade routes through the Adriatic, and more organized raiding parties could hit the major routes that between Greece and Italy, connecting the eastern and western Mediterranean.

For much of the ancient period, Illyrian piracy was a present but manageable danger in the Mediterranean, more an occasional nuisance than a real threat to trade, but in times of turmoil, when the more organized states of the region were less able to deter attacks, Illyrian tribes could become more ambitious. One tribe that took advantage of such chaotic circumstances was the Ardiaei, who aggressively pursued not only raiding at sea but conquests on land as well under their queen Teuta (ruled 231-227 BCE).

At this time, the major powers of the both the eastern and western Mediterranean were busy with their own problems. The Greek world was consumed with wars between the kingdom of Macedonia and several alliances of Greek cities. Tensions were rising between Rome and Carthage as the two major powers in the west slid towards a second war. Teuta’s husband and predecessor as ruler, Agron, had gotten his people involved in Macedonia’s wars and expanded his tribe’s control over large areas of Illyria. Teuta carried on with an aggressive policy that combined piratical raids on nearby shipping lanes with territorial expansion along the Adriatic coast.

As Teuta’s people began to threaten Roman merchants, the Romans decided to intervene and sent a pair of ambassadors to demand reparations and an end to the attacks. Teuta dismissed the ambassadors’ complaints saying:

…that she would try to take care that no injustice should be done to the Romans by the Illyrian nation, but that it was not the custom for Illyrian monarchs to prevent their people from making their living on the sea.

– Polybius, History 2.8.8

(My own translation)

Teuta’s response was somewhat disingenuous, given that she had directed and made use of seaborne raids for her own purposes, but it also shows how the Illyrians thought about their piratical activities.

Teuta was making a distinction between piracy and war. War, from her point of view, was a collective effort by a whole nation, directed by its leaders against a defined enemy. Illyria was not at war with Rome, and she promised the Roman emissaries that she and her forces had no intention of attacking Roman territory. Her wars were in Greece.

Piracy was something different. It was not a way of making war but a way of making a living, something done by private individuals. She, even as queen, had no right to interfere in her people’s piracy, any more than she could tell farmers not to farm or hunters not to hunt. The Illyrians regarded passing ships as a kind of natural resource. Plundering those ships was just a way of harvesting that resource, like pulling fish from the sea in nets. It was not an attack upon a particular people or nation. Anyone who sailed the seas was accepting the risk of being plundered and had little right to complain about it.

As far as Teuta was concerned, the Romans had no business complaining to her: she wasn’t at war with them, and her people had a natural right to plunder any ship that passed by.

Of course, the Romans didn’t see it like that. From the point of view of Roman merchants, it didn’t much matter whether the people raiding their ships and stealing their goods were agents of a monarch or private entrepreneurs. In response to Teuta’s seemingly dismissive answer, Rome launched an attack on Illyria. After brief fighting, Teuta’s forces were beaten and she, though allowed to remain in power, was stripped of most of her territory and forced to pay tribute to Rome.

Queen Teuta’s response to the Romans offers us an alternative view to the dominant Greco-Roman narrative of Mediterranean history. Even though her answer comes to us filtered through the perspective of a Greek historian who casts the Romans as the heroes of the story, we can still understand the logic of her point of view. To her, the difference between war and piracy mattered; as queen, she had the right to control one activity, but not the other.

Image: Modern Albanian coin with an artist’s depiction of Teuta, photograph by Numista via Wikimedia

History for Writers is a weekly feature which looks at how history can be a fiction writer’s most useful tool. From worldbuilding to dialogue, history helps you write. Check out the introduction to History for Writers here.

Rating: Marvel Cinematic Universe, Phase 2

We’re moving on with rewatching and rating the movies of the Marvel Cinematic Universe. Here’s our take on the next crop:

  1. Iron Man 3 – 5
  2. Thor: The Dark World – 4.5
  3. Captain America: The Winter Soldier – 8
  4. Guardians of the Galaxy – 3
  5. Avengers: Age of Ultron – 5.5
  6. Ant-Man – 7

The average rating for this phase is 5.5, which is solidly mediocre, and that pretty much sums of the movies of this period: solid, but mediocre.

After an experimental start in phase 1, Marvel had clearly worked out its superhero movie formula by phase 2, which is both the strength and the weakness of these movies. The hero is an ordinary guy (still almost entirely guys) who gets or discovers some awesome power, struggles to balance his responsibilities as a hero with his own desire for a simpler, more comfortable life, and ends up fighting the equal and opposite guy (still entirely guys), who wants to use his power for wealth and/or self-aggrandizement. Marvel’s formula is by no means a bad one. It consistently delivers watchable summer popcorn flicks, but in phase 2 we begin to see the limits of the formula. Movies that stick to the formula chug around in the middle of the range, while those that stretch their bounds sometimes excel and sometimes flop.

Iron Man 3 rates a 5, the lowest of the Iron Man movies, largely because Tony Stark’s character just doesn’t have any room to grow. Number 3 provides some good action and Tony-tinkering, but its emotional rhythms just feel like a retread of 1 and 2.

Thor: The Dark World gets a 4.5, a slight step up from the first Thor, which isn’t saying much. Christopher Eccleston’s wooden performance as the villain Malekith, who gets almost no interaction with any other characters to enliven his scenes, doesn’t help the murky plot. The lack of chemistry between Chris Hemsworth’s Thor and Natalie Portman’s Jane Foster drags the movie down, although the perpetual spark between Hemsworth and Tom Hiddleston’s Loki brings it back up a bit.

The best movie of the phase is Captain America: The Winter Soldier, at 8. While we don’t like everything about this movie (I, for one, have never felt emotionally invested in the Steve-Bucky relationship), its pacing is crisp, the action is sharp-edged, and the emergence of the new Hydra represents a daring narrative choice for the MCU, which could have chosen to stay on safer ground.

The Winter Soldier is followed up by the worst movie of the lot, Guardians of the Galaxy, at 3. We know that our opinion of Guardians is not shared by many Marvel fans, but we find the movie tedious and most of its characters annoying. We’re not fond of stories in which a lone competent woman with a strong motivation has her narrative taken over by a self-centered man-child. We’re also not on board with a story whose emotional climax comes with that woman getting called a whore by another character out of the blue. Besides, all the crap we didn’t like when we were kids in the 80s is still crap we don’t like now.

Avengers: Age of Ultron muddles through with a 5.5. It is a movie filled with character moments that almost work, dialogue that almost means something, and narrative choices that almost make sense. A few excellent performances, like James Spader’s Ultron and Paul Bettany’s Vision help lift the rating, but they’re pulling against a lot of dead weight.

Ant-Man takes us out on a high note, at 7, with a zany tiny-sized heist that, like sucking on a good piece of candy, doesn’t really satisfy your hunger, but sure feels good while you’re doing it. The small scope of this movie (literally and narratively) is an asset, allowing the jokes to land and the characters to develop without too much worrying about the end of the world to get in the way.

Have a different favorite (or un-favorite)? Let us know!

Image: Screenshot from Captain America: The Winter Soldier via IMDb

In the Seen on Screen occasional feature, we discuss movies and television shows of interest.

WoW’s Dalaran Cupola Library vs. Real Round Libraries

I was browsing my WoW screencaps for something entirely different when my eye fell on two shots from the Dalaran inscription trainer’s place. (This is in the Legion version of Dalaran.) Both are actually from inside the book-filled cupola: the first looks up towards the impossibly high ceiling, the second down towards the trainers’ room floor.

WoW Dalaran Inscription Tr Book Dome2 Sm

WoW Dalaran Inscription Tr Book Dome Sm

Neat, right? Well, I wondered whether anyone’s actually done anything similar for real and hit the Internet. And I found some!

Stockholm Public Library in Stockholm, Sweden

The functionalist stadsbibliotek was designed by Gunnar Asplund and opened in 1928.

Flickr Marcus Hansson Stockholm Public Library

 

Round Reading Room in the Maughan Library, King’s College London in London, UK

The Round Reading Room of Maughan Library, the main university library of King’s College London, can be found on the Strand Campus.

Wikimedia Kings College London Maughan Lib Round Reading Room Sm

 

Picton Reading Room in Liverpool, UK

The Picton Reading Room, completed in 1879, is now part of the Liverpool Central Library.

Flickr Terry Kearney Liverpool Central Library Picton Reading Room

 

A home in Toronto, Ontario

Designed by Katherine Newman and Peter Cebulak, this two-level library is in a private residence in Toronto, Ontario, Canada.

Architectural Digest Toronto Ontario Home

 

The Octagon Room, Islamic Studies Library at McGill University in Montreal, Quebec, Canada

The library is situated in the neo-Gothic Morrice Hall building that previously housed the Presbyterian College of Montreal from 1871 to 1961.

McGill Islamic Studies Library Klaus Fiedler Sm

 

None of them are exactly the same as the game library cupola, of course: apart from the the scale of the rooms, the scale and direction of the bookcases might differ. But apparently it isn’t terribly far-fetched to make a round multi-storey library and pack it chock-full. 😀

Images: Stockholm Public Library by Marcus Hansson on Flickr (CC BY 2.0). Round Reading Room of Maughan Library by Colin via Wikimedia Commons (CC BY-SA 4.0). Picton Reading Room by Terry Kearney on Flickr (CC BY-NC 2.0). Toronto home by Tony Soluri via Architectural Digest. Islamic Studies Library at McGill by Klaus Fiedler, McGill Library.

Out There is an occasional feature highlighting intriguing art, spaces, places, phenomena, flora, and fauna.

A Way of Talking Which is Spoiled and Full of Errors

I cannot support those who make the grave mistake of thinking that a way of talking which is spoiled and full of errors, which revels in the looseness of its words, or frolics with childish expressions, or swells up with bombast, or tosses around inane sayings, or adorns itself with blossoms that fall if lightly shaken, or treats outrageous things as sublime, or runs mad under the name of free speech, will be most pleasing to the crowds.

Quintillian, The Institute of Oratory 12.10.73

(My own translation)

September is upon us, and as students head back to school, one can hear everywhere the clucking of tongues about kids these days who don’t know how to talk proper any more and say all kinds of weird and outrageous things. Thus it has ever been, all the way back two thousand years to the first-century CE Roman orator Quintillian, and before.

The kids are fine, everybody. They always have been. They always will be.

YOLO.

Serving exactly what it sounds like, the Quotes feature excerpts other people’s thoughts.

Oldest Surviving Maya Codex Declared Authentic

According to CBC News, a thousand-year-old Maya text has been authenticated by scholars at Mexico’s National Institute of History and Anthropology (Instituto Nacional de Antropología e Historia, or INAH).

The pictographic calendar-style text was made between 1021 and 1154 CE, and is the oldest known pre-Hispanic manuscript from the Americas. It was made from three layers of amate paper (bark paper). Only 10 pages of a conjectured set of at least 20 sheets currently survive.

INAH Mexico Maya Codex Photo 10

The document’s authenticity was questioned on the basis of two main concerns: missing archaeological records of its original context (due to it having been looted and traded), and its differing style compared to other authenticated Mayan codices.

According to Sofia Martínez del Campo from the National Coordination of Museums and Exhibitions (Coordinación Nacional de Museos y Exposiciones del instituto, or CNME, at INAH), quoted in the INAH announcement, the current analysis included making a detailed photographic record, as well as examining the dating, materials, entomology, iconography, chemical-mineralogical characterization, morphometry, chronology, style, and symbolism, among others.

INAH Mexico Maya Codex Photo 5

The specialists found the presence of Maya blue color (azul maya) and pigments based on cochineal dye as well as leftover drops of a chapopote resin. (Britannica says: “[…] chapopote [was a] a native asphalt commonly applied to clay figurines as a decoration; occasionally, chapopote entirely covers the figures, while in other examples it is used to decorate only the face, mouth, or eyes.”)

INAH Alba Barrios-Laboratorios Analysis

In addition, INAH announced that the folding book will no longer be known by its previous name (Grolier); instead, the work will be known as Mexico Maya Codex (Códice Maya de México).

INAH Mexico Maya Codex Photo 9

The Mexico Maya Codex will be shown to the public for one month, from September 27 to the end of October, 2018, as part of the International Book Fair of Anthropology and History (Feria Internacional del Libro de Antropología e Historia, or FILAH).

Also during the FILAH book fair the book El Códice Maya de México (The Mexico Maya Codex) will be released. It will include a facsimile edition of the pre-Hispanic text in addition to academic and scientific articles.

Only three other pre-Hispanic codices are known, called Madrid, Dresden, and Paris (for the cities where they are kept).

Visit the INAH announcement in Spanish for more details and a link to the announcement video.

Found via N. K. Jemisin on Twitter.

Apparently someone somewhere deemed an earlier analysis (reported e.g. by the Smithsonian.com in September of 2016) not conclusive enough, even though that one also authenticated the Mexico Maya Codex. (My Spanish isn’t good enough to spot any specific reasoning for the 2018 study in the INAH announcement.)

In any case, getting more information on traditional Maya religion and life before Europeans destroyed it can only be a good thing in my book—if you’ll pardon the pun. 🙂

Images of individual pages by Martirene Alcántara; laboratory analysis by Alba Barrios-Laboratorios, INAH; all via INAH.

Out There is an occasional feature highlighting intriguing art, spaces, places, phenomena, flora, and fauna.