11.27.19

Reduce, reuse and decompose: The world’s first human composting facility will let us recycle ourselves

BY LILLY SMITH 3 MINUTE READ

What happens to us when we die? It’s one of life’s most enigmatic and profound questions. And—let me clear this up now—I don’t have any insights to offer on the afterlife. But the first renderings of new after-death center Recompose (don’t call it a “funeral home”) reveal another option for the afterlife of our bodies here on earth: composting.

The flagship facility, expected to open in Seattle in spring 2021, is designed to reconnect human death rituals with nature and to offer a more sustainable alternative to conventional burial options. Today, burial often involves chemical-laden embalming, while cremation uses eight times more energy, according to the architects at Olson Kundig who designed the new facility. Recompose will offer a first-of-its-kind “natural organic reduction” service on-site, which will “convert human remains into soil in about 30 days, helping nourish new life after death.”

Recompose emerged as an idea in 2016—the result of a Creative Exchange Residency at the Seattle-based global design practice that brought Recompose founder and CEO Katrina Spade and her team into collaboration with the architects to create a prototype facility.

But the passage of a new bill “concerning human remains” in Washington State has quickly ushered their prototype into the realm of the possible. After Governor Jay Inslee signed SB-5001 this past May, Washington became the first state to recognize “natural organic reduction” as an alternative to cremation or burial. The law will go into effect May 1, 2020, according to the Seattle Times.

With the design of Recompose, the architects at Olson Kundig have brought a whole new meaning to the term “deathbed.” Their design for the facility is focused on a few key aspects of the experience, starting with the individual “vessels” where the organic reduction takes place. In typical funerary practice, they might be referred to as coffins; a person’s remains are placed in the vessel and covered with woodchips. There, the remains are aerated to create a suitable environment for thermophilic bacteria, according to Dezeen. That bacteria will then break the remains down into usable soil.

What’s the benefit of this process taking place in a controlled facility like Recompose, as opposed to a cemetery? “By converting human remains into soil, we minimize waste, avoid polluting groundwater with embalming fluid, and prevent the emissions of CO2 from cremation and from the manufacturing of caskets, headstones, and grave liners,” the company explains on its website. What’s more, it explains, “By allowing organic processes to transform our bodies and those of our loved ones into a useful soil amendment, we help to strengthen our relationship to the natural cycles while enriching the earth.”

Seventy-five of these individual spaces will be built as part of the first Recompose project. They’re arranged to surround a large, airy gathering space at the center of the 18,500-square-foot facility. This space will be used for services, and reads more New-Age health center than macabre funeral parlor: It’s bright and light-filled, punctuated by trees, and canopied by tall natural wood ceilings.

“This facility hosts the Recompose vessels, but it is also an important space for ritual and public gathering,” says Alan Maskin, principal and owner of Olson Kunig. “The project will ultimately foster a more direct, participatory experience and dialogue around death and the celebration of life.”

Although Recompose claims to be the first facility to offer organic reduction services, Recompose is not alone in trying to end the practice of keeping death and its associated after-care rituals at arm’s length—a movement that’s come to be known as “death positivity.”

Caitlin Doughty is one such person working in this space. She is the co-owner with Jeff Jorgensen of Clarity Funerals, which offers environmentally-friendly services like carbon neutral cremation, tree planting memorials, all natural products, and locally produced urns and caskets. Doughty is also the founder of the Order of the Good Death, “a group of funeral industry professionals, academics, and artists exploring ways to prepare a death-phobic culture for their inevitable mortality.” She had previously founded Undertaking LA, which Tara Chavez-Perez, a publicist for the Order of Good Death, said shut down earlier this year.

According the website, the business was an “alternative funeral service” that brought people closer to the experience of death by “placing the dying person and their family back in control of the dying process, the death itself, and the subsequent care of the dead body,” for instance by helping people take care of a loved one’s corpse at home. Undertaking LA offered more sustainable alternatives to typical practice as well, including biodegradable willow caskets, according to the New Yorker.

She also sits on Recompose’s board—and, as Chavez-Perez told me, “Caitlin’s an enthusiastic and avid supporter.”

New alternative burial companies (like the startup Better Place Forests, which sells the right to scatter your ashes beneath a redwood) are trying to bring nature back into the commercial funeral industry. Recompose, meanwhile, is trying to use nature as the framework for a better death. “We asked ourselves how we could use nature—which has perfected the life/death cycle—as a model for human death care,” Spade says in a statement. “We saw an opportunity for this profound moment to both give back to the earth and reconnect us with these natural cycles.”

With Recompose, Olson Kunig has designed a seemingly more sustainable alternative to burial or cremation—and perhaps a small way for you to leave the world better than you found it.

This post has been edited to include new information about Clarity Funerals.


Article originally appeared on fastcompany.com

11.11.19

Here’s what you’ll be doing on Snapchat in 5 years’ time

BY LILLY SMITH 3 MINUTE READ

Snapchat is an app known for its 10-second ephemeral videos—but Bobby Murphy, one of the original founders and current CTO of the app’s parent company, Snap, takes the long view. On stage at the Fast Company Innovation Festival, Murphy described thinking 10 to 20 years into Snap’s future: With features such as Landmarkers, which uses your phone’s rear-facing camera to apply lenses to world landmarks (you could cover New York’s Flatiron building with pizza, for instance), and an increased focus on practical augmented reality (think of using your camera to scan products for more information), Snapchat is looking to become the lens through which we see the world.

“If you think about the way that experiences are designed today, they’re in a 2D space. When you design an AR experience,” Murphy said, “you’re thinking in a way that removes the concept of the screen altogether.”

Snapchat has plenty of AR-based lenses today, but as Murphy describes it, the company aims to make Snapchat’s use of the technology much broader and more practical—beyond just fun selfie lenses. To do that, Snap needs to evolve what Murphy calls its “lens ecosystem.”

For those not immediately familiar with how Snapchat functions, a “lens” is the term the company uses to describe the filters that can be layered over a live video to create an augmented experience. Up until now, this has been done with the user-facing camera, to apply fun filters to selfies and videos of people’s faces. Sure, you look cute now, but what if you had floppy dog ears? As most millennials and Gen-Zers will know, there’s a lens for that.

But as the company looks to what’s next, the Snapchat lens-design teams and AR teams are closely collaborating to explore broader use cases and functionalities that go beyond creative expression, and to redesign the app itself to create space for those operations. One example is the introduction of “utility” lenses, which use Snapchat’s “Scan” functionality to offer useful features to users as they look at the world around them through their phones. For instance, a feature called “Photomath” can scan a math problem and offer a solution. Another lens introduced last year lets users scan physical objects to purchase them on Amazon. These lenses are designed as opportunities for AR to act as a personal assistant.

The app’s main lens carousel is currently geared toward play and personal photos, “but it’s not conducive to opening a utility lens,” says Murphy. He envisions positioning Scan as a home for functionality such as product search, Photomath, and AR-based experiences—an answer to a world where we compute in 3D. Meanwhile, the lens-explore interface will become a hub of creative lens types and experiences.

Building out this new hub for utility lenses won’t be without its challenges. Take Snapchat’s Landmarkers lens, which uses AR to recognize landmarks and lets users alter them onscreen. Creating a world-facing lens requires a data set that’s consistent with a person’s viewpoint of a landmark, so using photos from, say, a Google search wouldn’t be specific enough to build from. Instead, the Landmarkers function has been constructed over thousands of public snaps so far. And unlike human faces, which a computer can easily read as similar, the variety of architectural and structural forms a camera captures in the real world is endless.

But Murphy doesn’t seem to see those challenges as roadblocks—part of the benefit of taking the long view. For instance, he mentions that the Landmarkers lens has been around for some time, and while engagement with the feature was low because it was initially hard to find, conversion rates for the function were high. “Even if something doesn’t immediately resonate, it could be foundational for future uses of AR. It all adds to the collective value.”

It will be important for Snapchat to communicate new value to its 210 million users and more if the company wants to continue its upward climb—and realize its aspirations of becoming an integral part of how we interface with the world. Fast Company senior writer Mark Wilson asked Murphy if Snap wants to become the OS of reality. His reply? “Maybe.”


Article originally appeared on fastcompany.com

11.07.19

Facebook’s new policy on ‘sexual’ emojis

BY LILLY SMITH 2 MINUTE READ

Facebook and Instagram are now censoring what the companies describe as “contextually specific and commonly sexual emojis or emoji strings” in a summer update to the Sexual Solicitation section of the company’s Community Standards.

Yes, that could include the eggplant, sweat drip, and peach emoji.

Facebook and Instagram won’t censor “suggestive elements” on their own, however. They must meet a combination of criteria to be subject to removal, and be a part of an implicit or indirect sexual solicitation. The move underlines not only how seamlessly emoji have been integrated into language, but the platform’s struggle to define clear censorship rules in relation to sex and nudity.

This isn’t the first time that emoji have been subject to censorship. In 2015, emoji depicting homosexuality were investigated in Russia for potential violation of laws that prohibit its promotion. That same year, New Yorkers Against Gun Violence advocated for the removal of the pistol emoji, which has since been replaced with a toy water gun. Most recently, Apple’s recent iOS 13.1 update reportedly removed the Taiwanese flag emoji for users in Hong Kong and Macau.

The peach emoji alone has already endured one controversy, back in 2016, when Apple attempted to desexualize it by redesigning the peach to look more like an actual fruit and less like our derrieres. (The move was short-lived, however, after the new peach design faced backlash from users.)

Facebook’s Community Standards state that the company recognizes that the platform is used to discuss and organize activism against sexual violence and exploitation, but describes the rationale behind their policies as “draw[ing] the line” at solicitation: “when content facilitates, encourages or coordinates sexual encounters between adults.” The guidelines state such activity is prohibited so that users who are sensitive to those interactions aren’t hindered from using the platforms. And as emoji become an increasingly common component of online communication, it seems they too are subject to the policy.

The update has been seen by some as an example of undue censorship. The adult industry news website XBiz, which first spotted the new language last week, said, “Reports of bans for ‘Sexual Solicitation’ seem to show a pattern of the company specifically targeting sex workers, including those who take pains to abide by the general spirit of the community standards.”

In a statement to Fast Company, Stephanie Otway, a Facebook company spokeswoman, said, “Certain emojis will only be removed from Facebook and Instagram if they are used alongside a request for nude imagery, sex or sexual partners, or sex chat conversations. We aren’t removing simply the emojis.”

Like anything, context is important. Balancing safety and free speech is a difficult and complex act; it has fueled debate and disagreement as a function of the U.S. government in the 243 years since its founding. Now Facebook, a private company with the experience of 15 years behind it, will continue to fuel that discussion in our digital public square—even as our language changes, one peach at a time.


Article originally appeared on fastcompany.com.