Tracking the evolution of a specific life form to a specific time is usually recognized only in retrospect, and the emergence of a new genus even more so. However, the beginnings of a whole new kingdom of life, complete with multiple phyla, can be traced to exact moments within Earth’s history in one specific case, and those beginnings could be traced to the confluence of two of Earth’s simplest life forms: slime molds and marketing majors, with some arguing about the difference.
The evolution of what are commonly called “admolds” was dependent upon two separate actions in the first half of the 21st Century in the Old (Gregorian) Calendar. The first was a fusion of machine learning and nanotech based on study of slime mold organization and movement: based on the idea that individual near-protists could gather into feeding and reproducing structures considerably more complex than the sum of their parts, with no nervous system or any way to communicate other than through chemical cues, the first prototypes promised mobile films that could trap air pollution, clean laboratory and operating room surfaces, and strengthen and restore paints and other wall coverings. Adding the ability to regenerate new nanostructures from surrounding materials to replace old ones meant that the films were technically immortal, and an added benefit was that the films could grow their own protective and camouflage features: if a building facade needed six months of film coverage to repair and restore it, the film could grow UV protection and even pleasing (to human eyes) patterns to shelter the active nanofilms from damage.
Unfortunately, the other factor behind the admolds was the Advertising Act of 2031, a well-meant attempt to adjust intellectual property protections for the industrial world at that time. Under the Act, fictional brands in television shows, movies, Webcasts, or other popular entertainment media either had to be developed as actual products or cede the use of those brands to others. In cases where the original IP ownership was sketchy due to innumerable mergers and sales, many were treated as public domain, and marketing research suggested that the more obnoxious and offensive the name, the more likely the product would become an impulse purchase just to see if it was as horrific as the name suggested. In a matter of days after the Act was enabled, trade shows were full of presentations that followed the previous lead of Soma, Soylent, Coffiest, and Brawndo, including Hiney wine, Shimmer floor wax/dessert topping, Wham-Bam cat food, Painful Rectal Itch raspberry jam, and Jar Jar Binks urinal cakes. Were these intended to be longrunning brands with longterm name recognition? Of course not, but the promoters looked at these as stepping stones to further promotion and better trophy spouses. The focus now was on whether the ads were remembered, not the end result.
Naturally, this attitude led to an obvious crossover: if nanofilms could produce unique patterns as they worked to conceal their obvious slimy exteriors, why not coerce nanofilms that turned into mobile billboards? They didn’t need to be lit, they didn’t need to be installed, they could be given new campaigns via WiFi, and they could be encouraged to move if a property owner took issue with the advertisement. Best of all, they could be put anywhere, meaning that individuals who would ignore a billboard in a standard location was more likely to notice if it were on the underside of a bridge, on a snack package, at the bottom of a public pool, or on the side of a satellite booster. The slow mobility of the nanofilm also meant that they could track large groups of people or electronic devices and move to where the crowds were. Some ad companies paid for proprietary use of the nanofilm concept. Others leased space from existing repair nanofilms, especially in big cities where they were most likely to be displayed in areas conducive to social media. Still others learned early on that their competitors left the WiFi default password on “password123!” and put in their own ads: unless the ad was an obvious mockery or a political statement, or threatened to outshine the intended ad, most never noticed.
The Old Calendar year 2039 was remembered for many things, but the most prominent was the massive solar flare that fried electrical systems and paralyzed non-shielded electronics across the whole of Earth’s solar system. The nanofilms kept going all through the flare and after, but the control systems to move them and the WiFi access points to send new ads became so much junk, and those human survivors who spent the subsequent century rebuilding from such a technological flattening had no time to worry about whether some barely literate “ironic” ad campaign reached its intended market. The nanofilms moved like mold, they reproduced like mold, and they were about as appreciated as mold, and the only good thing about newly renamed “admolds” was that an increasing density of them signaled to travelers that they were approaching significant accumulations of fellow survivors, as admolds generally ignored corpses. Over the next 200 years, admolds became the subject of myths, legends, tales, books, and finally video, as those constantly subjected them wanted to learn the last resting places of those who commissioned them, if only as a place to build a new outhouse. By the time admold technology had been relearned and new uses were available, some were even nostalgic for the old styles, with some city leaders realizing that their public character was defined to visitors by the steadily creeping logos for fake brands nearly a quarter of a millennium dead. That irony, real irony, was recognized, appreciated, and ultimately embraced, to the point of becoming shorthand.
Dimensions (width/height/depth): 12 1/2″ x 13″ x 12 1/2″ (31.75 cm x 33.02 cm x 31.75 cm)
Plant: Cephalotus follicularis “Elizabeth“
Construction: Glass enclosure. polystyrene foam, found items.
Shirt Price: $125