Shared posts

17 Jun 17:44

The Stayhold: Simple Industrial Design to Secure Items in Your Car Trunk

Tertiarymatt

Clever!

stayhold-01.jpg

Sometimes you don't realize your behavior is actually compensating for a design flaw. That is, until you see the solution. When borrowing a car and carrying anything heavy or delicate—a full toolbox, a few bottles of booze, a birthday cake—I always place it in the rear seat footwell. It would be much more convenient to load into the hatch, but I don't want those things sliding around because I took the corner too hard after watching Fast & Furious 6.

That's where the Stayhold comes in. The Velcro strip on the bottom adheres it firmly to the carpeting inside your car, allowing you to wall things off against the edges or build your own little fort.

stayhold-02.jpg

As humble as this device is, to me it represents the ideal of what industrial design has to offer: It's simple, largely monomaterial, addresses a valid need, and is relatively inexpensive. Sure it's not going to wind up in the MoMA, but then again, neither is anything in the trunk of my car.

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16 Jun 19:20

Higonokami Mame: Sharp Blade, Sharper Look - Available Now at Hand-Eye Supply

Tertiarymatt

tiny knives?

HigoMame_03.jpg

Hand-Eye Supply is pleased to add to their growing collection of utilitarian yet stylish knives the Higonokami Mame, a mini version of the popular Higonokami folding knife. Higonokami (Lord of Higo) knives have been popular in Japan since their introduction in 1896. Today, they are officially made by only one maker: Mr. Motosuki Nagao, who is in the 4th and last generation of blacksmiths to make this knife. The flashy 2" brass handle and extremely keen edged 1.5" white steel blade make for a sharp accessory, especially with the included length of 3/32" rich black shoe string leather:)

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16 Jun 19:13

New MakerBot Factory Opens in Brooklyn!

makerbot-factory-01.jpg

Conventional wisdom says that manufacturing isn't viable in America, least of all in New York City. But MakerBot is bucking that trend in a couple of ways: Firstly they manufacture objects that manufacture other objects. Secondly, they just increased their physical footprint by a factor of ten. On Friday, MakerBot cut the ribbon on their new 55,000-square-foot facility in Brooklyn's Sunset Park, trading up from their comparatively puny 5,000-square-foot startup space.

makerbot-factory-02.jpg

The expansion comes as no surprise given that MakerBot has recently hired scores of new employees. Recent funding talks have thrown around figures of $25-$50 million, with murmurs of a $300 million valuation.

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16 Jun 18:30

Owning Two of a Certain Object Indicates Your Kids Will Do Well in School. Can You Guess What It Is?

Tertiarymatt

It's not whiskey.

Education-1.jpg

In the original Miami Vice television series, Detective Zito is murdered in Season Three. After learning of his death, co-cops Crockett, Tubbs and Switek visit his house, where they discover Zito's collection of snow globes. They look at them in bewilderment, and the clear message delivered by their faces—in as ham-fisted a way as only '80s American television can do it—is "Wow, I guess we didn't really know this guy at all." Cue violins. An as hackneyed as that moment was, it was the first time your adolescent correspondent understood the usage of physical objects as a narrative device in storytelling.

Years later in ID school, professors who apparently knew each other as well as Zito and Switek delivered conflicting messages on this front. One professor would tell you that "Objects exist to tell stories—they tell us about ourselves!" while others said objects were mere intermediaries that we should design to be unobtrusive; the whole "People don't want a toaster, they just want toast" mentality.

It's easy to see the "Objects tell us about ourselves" bit as a bunch of hooey, as with iPhone and Android users—upon spotting the competing product on an acquaintance's desk, they'll tiresomely begin projecting qualities of the most vociferous proponent of that product onto the user. Ditto Mac and PC users. But it does fascinate me that some objects tell tales we never see coming. Case in point: Stanford economist Eric Hanushek, and his research partner Ludgar Woessman from U. of Munich, put together a study where they found a specific object in certain family's homes that served as a reliable indicator that a child from that family would do well in school.

Any guesses as to what that object is? A computer? A television? An iPad?

What if we told you it's a piece of furniture?

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16 Jun 18:28

Caroline Woolard's Barter-Based Cafe & Barricade Bed, On View Now at MoMA

CarolineWoolard-ExchangeCafe-wide.jpg

Caroline Woolard's furniture designs might be considered to be works of art—not in the sense that they are highly limited collectibles but rather as critical commentary. Billed as a "post-media artist" by Eyebeam (where she was a fellow last year), Woolard generally regards objects as a means to an end, and her broad practice reflects her research-based, collaborative approach to making. Per her site: "In 2009, Woolard cofounded three organizations to support collaborative cultural production: a studio space, a barter network, and Trade School." These projects might be described as socially-conscious in the sense that they are intended to be scale models of society.

Woolard has set up shop in the Museum of Modern Art for her latest project, the Exchange Café, hosted by the institution's Department of Education through the end of the month. "Taking the form of a café, the Studio encourages visitors to question notions of reciprocity, value, and property through shared experiences. Tea, milk, and honey—products that directly engage the political economy—are available by exchange. Instead of paying with legal tender, Exchange Café patrons are invited to make a resource-based currency."

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15 Jun 21:01

The last evening before deadline

Tertiarymatt

My default working method.

image

by iJKos

15 Jun 08:42

Via PopSci, Let This Rube Goldberg Machine Show You How Cows Eat...

by rion
Tertiarymatt

Wooden butts.

15 Jun 08:39

YouTuber westh2o was diving underwater with friends in Moorea,...

by rion


YouTuber westh2o was diving underwater with friends in Moorea, French Polynesia when they began to hear the whale song of a humpback whale. Westh2o writes:

The recording does not do justice to the actual sound. Seriously some of those sounds vibrated my chest. I didn’t realize whales had such a wide frequency of sound. Some were mid to hi frequency and some were very low.

As they swam into the depths, straining their eyes to find the sound’s source in the cloudiness of the water, the vocalizations became louder, and then something huge began to emerge. Here’s a glimpse: 

Watch the video to get a reeeally good look. And then watch more whale encounters here, here, and here

via PetaPixel.

15 Jun 07:54

The Real War on Reality

by By PETER LUDLOW
Tertiarymatt

Via Wilson

If there is one thing we can take away from the news of recent weeks it is this: the modern American surveillance state is not really the stuff of paranoid fantasies; it has arrived.

The revelations about the National Security Agency’s PRISM data collection program have raised awareness — and understandably, concern and fears — among American and those abroad, about the reach and power of secret intelligence gatherers operating behind the facades of government and business.

But those revelations, captivating as they are, have been partial —they primarily focus on one government agency and on the surveillance end of intelligence work, purportedly done in the interest of national security. What has received less attention is the fact that most intelligence work today is not carried out by government agencies but by private intelligence firms and that much of that work involves another common aspect of intelligence work: deception. That is, it is involved not just with the concealment of reality, but with the manufacture of it.

The realm of secrecy and deception among shadowy yet powerful forces may sound like the province of investigative reporters, thriller novelists and Hollywood moviemakers — and it is — but it is also a matter for philosophers. More accurately, understanding deception and and how it can be exposed has been a principle project of philosophy for the last 2500 years. And it is a place where the work of journalists, philosophers and other truth-seekers can meet.

In one of the most referenced allegories in the Western intellectual tradition, Plato describes a group of individuals shackled inside a cave with a fire behind them. They are able to see only shadows cast upon a wall by the people walking behind them. They mistake shadows for reality. To see things as they truly are, they need to be unshackled and make their way outside the cave. Reporting on the world as it truly is outside the cave is one of the foundational duties of philosophers.

In a more contemporary sense, we should also think of the efforts to operate in total secrecy and engage in the creation of false impressions and realities as a problem area in epistemology — the branch of philosophy concerned with the nature of knowledge. And philosophers interested in optimizing our knowledge should consider such surveillance and deception not just fodder for the next “Matrix” movie, but as real sort of epistemic warfare.


To get some perspective on the manipulative role that private intelligence agencies play in our society, it is worth examining information that has been revealed by some significant hacks in the past few years of previously secret data.

Important insight into the world these companies came from a 2010 hack by a group best known as LulzSec  (at the time the group was called Internet Feds), which targeted the private intelligence firm HBGary Federal.  That hack yielded 75,000 e-mails.  It revealed, for example, that Bank of America approached the Department of Justice over concerns about information that WikiLeaks had about it.  The Department of Justice in turn referred Bank of America to the lobbying firm Hunton and Willliams, which in turn connected the bank with a group of information security firms collectively known as Team Themis.

Team Themis (a group that included HBGary and the private intelligence and security firms Palantir Technologies, Berico Technologies and Endgame Systems) was effectively brought in to find a way to undermine the credibility of WikiLeaks and the journalist Glenn Greenwald (who recently broke the story of Edward Snowden’s leak of the N.S.A.’s Prism program),  because of Greenwald’s support for WikiLeaks. Specifically, the plan called for actions to “sabotage or discredit the opposing organization” including a plan to submit fake documents and then call out the error. As for Greenwald, it was argued that he would cave “if pushed” because he would “choose professional preservation over cause.” That evidently wasn’t the case.

Team Themis also developed a proposal for the Chamber of Commerce to undermine the credibility of one of its critics, a group called Chamber Watch. The proposal called for first creating a “false document, perhaps highlighting periodical financial information,” giving it to a progressive group opposing the Chamber, and then subsequently exposing the document as a fake to “prove that U.S. Chamber Watch cannot be trusted with information and/or tell the truth.”

(A photocopy of the proposal can be found here.)

In addition, the group proposed creating a “fake insider persona” to infiltrate Chamber Watch.  They would “create two fake insider personas, using one as leverage to discredit the other while confirming the legitimacy of the second.”

The hack also revealed evidence that Team Themis was developing a “persona management” system — a program, developed at the specific request of the United States Air Force, that allowed one user to control multiple online identities (“sock puppets”) for commenting in social media spaces, thus giving the appearance of grass roots support.  The contract was eventually awarded to another private intelligence firm.

This may sound like nothing so much as a “Matrix”-like fantasy, but it is distinctly real, and resembles in some ways the employment of “Psyops” (psychological operations), which as most students of recent American history know, have been part of the nation’s military strategy for decades. The military’s “Unconventional Warfare Training Manual” defines Psyops as “planned operations to convey selected information and indicators to foreign audiences to influence their emotions, motives, objective reasoning, and ultimately the behavior of foreign governments, organizations, groups, and individuals.” In other words, it is sometimes more effective to deceive a population into a false reality than it is to impose its will with force or conventional weapons.  Of course this could also apply to one’s own population if you chose to view it as an “enemy” whose “motives, reasoning, and behavior” needed to be controlled.

Psyops need not be conducted by nation states; they can be undertaken by anyone with the capabilities and the incentive to conduct them, and in the case of private intelligence contractors, there are both incentives (billions of dollars in contracts) and capabilities.


Several months after the hack of HBGary, a Chicago area activist and hacker named Jeremy Hammond successfully hacked into another private intelligence firm — Strategic Forcasting Inc., or Stratfor), and released approximately five million e-mails. This hack provided a remarkable insight into how the private security and intelligence companies view themselves vis a vis government security agencies like the C.I.A. In a 2004 e-mail to Stratfor employees, the firm’s founder and chairman George Friedman was downright dismissive of the C.I.A.’s capabilities relative to their own:  “Everyone in Langley [the C.I.A.] knows that we do things they have never been able to do with a small fraction of their resources. They have always asked how we did it. We can now show them and maybe they can learn.”

The Stratfor e-mails provided us just one more narrow glimpse into the world of the private security firms, but the view was frightening.  The leaked e-mails revealed surveillance activities to monitor protestors in Occupy Austin as well as Occupy’s relation to the environmental group Deep Green Resistance.  Staffers discussed how one of their own men went undercover (“U/C”) and inquired about an Occupy Austin General Assembly meeting to gain insight into how the group operates.

Stratfor was also involved in monitoring activists who were seeking reparations for victims of a chemical plant disaster in Bhopal, India, including a group called Bophal Medical Appeal. But the targets also included The Yes Men, a satirical group that had humiliated Dow Chemical with a fake news conference announcing reparations for the victims.  Stratfor regularly copied several Dow officers on the minutia of activities by the two members of the Yes Men.

One intriguing e-mail revealed that the Coca-Cola company was asking Stratfor for intelligence on PETA (People for the Ethical Treatment of Animals) with Stratfor vice president for Intelligence claiming that “The F.B.I. has a classified investigation on PETA operatives. I’ll see what I can uncover.” From this one could get the impression that the F.B.I. was in effect working as a private detective Stratfor and its corporate clients.

Stratfor also had a broad-ranging public relations campaign.  The e-mails revealed numerous media companies on its payroll. While one motivation for the partnerships was presumably to have sources of intelligence, Stratfor worked hard to have soap boxes from which to project its interests. In one 2007 e-mail, it seemed that Stratfor was close to securing a regular show on NPR: “[the producer] agreed that she wants to not just get George or Stratfor on one time on NPR but help us figure the right way to have a relationship between ‘Morning Edition’ and Stratfor.”

On May 28 Jeremy Hammond pled guilty to the Stratfor hack, noting that even if he could successfully defend himself against the charges he was facing, the Department of Justice promised him that he would face the same charges in eight different districts and he would be shipped to all of them in turn.  He would become a defendant for life.  He had no choice but to plea to a deal in which he may be sentenced to 10 years in prison.  But even as he made the plea he issued a statement, saying “I did this because I believe people have a right to know what governments and corporations are doing behind closed doors. I did what I believe is right.”  (In a video interview conducted by Glenn Greenwald with Edward Snowden in Hong Kong this week, Snowden expressed a similar ethical stance regarding his actions.)

Given the scope and content of what Hammond’s hacks exposed, his supporters agree that what he did was right. In their view, the private intelligence industry is effectively engaged in Psyops against American public., engaging in “planned operations to convey selected information to [us] to influence [our] emotions, motives, objective reasoning and, ultimately, [our] behavior”? Or as the philosopher might put it, they are engaged in epistemic warfare.

The Greek word deployed by Plato in “The Cave” — aletheia — is typically translated as truth, but is more aptly translated as “disclosure” or “uncovering” —   literally, “the state of not being hidden.”   Martin Heidegger, in an essay on the allegory of the cave, suggested that the process of uncovering was actually a precondition for having truth.  It would then follow that the goal of the truth-seeker is to help people in this disclosure — it is to defeat the illusory representations that prevent us from seeing the world the way it is.  There is no propositional truth to be had until this first task is complete.

This is the key to understanding why hackers like Jeremy Hammond are held in such high regard by their supporters.  They aren’t just fellow activists or fellow hackers — they are defending us from epistemic attack.  Their actions help lift the hood that is periodically pulled over our eyes to blind us from the truth.


Peter Ludlow

Peter Ludlow is a professor of philosophy at Northwestern University and is currently co-producing (with Vivien Weisman) a documentary on Hacktivist actions against private intelligence firms and the surveillance state.

15 Jun 01:41

The Ethical Excuse

by Christopher Wright
Tertiarymatt

Totally fair.

Help Desk, by Christopher B. Wright
13 Jun 21:40

June 13, 2013

Tertiarymatt

I know it's easy, but I love it when this comic kicks economists.


24 more days to get in on the new gamebook!
13 Jun 21:39

Yes, Basically

Tertiarymatt

Nice "Goats" ref.




Ads by Project Wonderful! Your ad could be here, right now.

Hannelore has a custom Orbital Bombardment app on her smartphone

13 Jun 21:38

The Carrot

by Christopher Wright
Tertiarymatt

Beware the ceiling. It gets hungry sometimes.

Help Desk, by Christopher B. Wright
13 Jun 08:40

Independence, Liberty, and a Distillation of History

by John Hansell
Tertiarymatt

I want to go there (and drink their likker).

Our copy editor, Sam Komlenic, loves old American distilleries, open or long-closed. He recently had a unique chance to visit one that covers both those bases.

I love distillery history. I’ve been researching it for years. So when a friend suggested we visit a place I’d never heard of, a historic distillery like no other, he said…how could I refuse? We soon found ourselves in the rural countryside of western Ohio.

In 1818, experienced distiller and millwright Elias Staley erected a commercial three-stone, water-powered gristmill on Indian Creek in Miami County for farmer John Rench. Once the mill was complete, Staley purchased the 160-acre property and started an agricultural/industrial enterprise that would include a water-powered reciprocating sawmill and a prosperous distilling business.

Staley built his Indian Creek distillery in 1820 and began making rye whiskey in two handmade copper pot stills of about a hundred630 gallons each. Daily output was between 30 and 35 gallons, and eventually the demand for Staley whiskey would require distilling around the clock.

But while Elias was an ambitious man, he also harbored an intensely independent spirit. When the federal government enacted a whiskey tax to help offset the costs of the Civil War, Staley was indignant. Over the course of his long life he had never paid a tax, and would not submit to one now. In protest, he shuttered his distillery.

After Elias’s death in 1866, son Andrew resumed production and eventually expanded the operation to include a separate mash house and a small bonded warehouse that could age 100 barrels of Ohio rye. The Indian Creek distillery made Staley rye until Prohibition, when those original stills were carefully removed and stored on the second floor of the warehouse, away from the prying eyes of the authorities. While the family continued farming, the original distillery building eventually fell into ruin, and only the foundation is evident today.

648In 1997, sixth-generation Staley descendant Missy Duer and her husband Joe liberated the old stills to use as display pieces on the historic farmstead. Their visible presence got the Duers thinking about resurrecting the family distilling tradition, and by 2011 they had constructed a new building to serve as a home to those ancient pot stills, which needed little more than a good cleaning to get them back to working condition.

Six generations of Staleys have been dutiful caretakers of their collective legacy. The family’s genealogical and business records have been extraordinarily well-kept and chronicled, including every minute detail of the distilling business. Diagrams of the original distillery, process records, sales ledgers, old photos, receipts of purchases and equipment upgrades: all had been painstakingly retained and were referenced for accuracy in this project. A number of these are on display in the distillery’s tasting room.

The nearly 200 year-old stills were bricked into furnaces identical to the originals, though now gas-fired, and were heated up in650 December 2011 for the first time in almost a hundred years. The recipe the Duers use is Elias’s own. Grist is ground on an 1880 mill once powered by a hit-and-miss engine, now converted to electricity. His mashbill calls for rye, corn, and malted barley, plus a “tea” made from hops, which once acted to inhibit bacteria in wooden fermenters. After some research, they chose East Kent Goldings, a hop variety that would have been available back in Elias’s day.

Also necessary for historic accuracy is the addition of a handful of salt and wood ash in the spirit still, which provides clarity to the new make. Neither distills over into the whiskey itself. Four charges of the beer still produce enough low wines for a single charge of the spirit still. Right now, the stills make one run per week, four charges to one. The system includes an early nod to energy efficiency, as the output of the beer still pre-heats water to be used in the next mashing before moving on to the condenser.

The original condensers discharge a white rye of unusual character and smoothness, and bottles are available for purchase at the distillery, open Thursday through Saturday for tastings, with tours on Saturday only. Whiskey lightly aged in quarter barrels was just recently added to the lineup.

For anyone with a penchant for history, this is a place unlike any other; a trip back in time on a multi-generation family farm that still has nearly every original building intact. The gristmill, now the oldest standing in Ohio, has been silent since the early 1900s. It contains all the original wooden gearing and those three great millstones, imported from France in 1818 for a princely sum, around $200,000 in today’s currency. The old sawmill has the last log it cut still sitting on the carriage, another nod to the preservationist nature of the Staley family.

The Duers are planting rye on the property once again, bringing the operation a step closer to its agrarian roots, and re-establishing terroir into the process. Missy and Joe run the place and are assisted by an independent-minded young woman in her own right, the appropriately-named Liberty Watson. She helps carry on the legacy of self-sufficiency established here by Elias Staley almost two centuries past.

Elias would be proud that liberty continues to be a part of his family’s legacy, both literally and figuratively, and that his rye whiskey is flowing again thanks to the ambition, determination, and independent nature of the sixth generation of the Ohio branch of the Staley clan. The deepest roots of American whiskey making are now anchored firmly in the rolling terrain of New Carlisle, Ohio. The Staleys and their long distilling legacy endure.

http://www.staleymillfarmanddistillery.com

13 Jun 05:15

Above, A Basic Demonstration of Optical Cloaking. Cloaking is a...

by rion


Above, A Basic Demonstration of Optical Cloaking. Cloaking is a term for hiding an object from view at specific frequencies, but evidently one can cloak things DIY-style with four mirrors and their precise placement.

So before reading further, how is the illusion above happening? Any guesses?

Professor of Physics at the University of Rochester John Howell and his 14 year-old son Benjamin built three uni-directional optical cloaking devices with everyday materials. For around $150, they put together “one made of Plexiglass and water, another of inexpensive lenses, and a third constructed using ordinary mirrors.” The video demonstration above shows one of the devices and two of his sons… sometimes. 

What might this small feat of optical engineering be used for? Since it’s uni-directional it has limitations, but in theory, it could hide satellites orbiting Earth. You can read more about how Professor Howell’s devices work in the videos noteshere on arXiv.org, or on MIT Technology Review.

There are also a few more videos with mirrors in the archives.

Thanks, @AmebaCuriosa.

12 Jun 20:47

Look, A Convenient Distraction

by Christopher Wright
Help Desk, by Christopher B. Wright
11 Jun 21:49

Parse Carefully

by Christopher Wright
Help Desk, by Christopher B. Wright
10 Jun 19:24

Appropriate Yet Poorly Chosen Names

by Christopher Wright
Help Desk, by Christopher B. Wright
10 Jun 18:59

Listen to Freddie Mercury and David Bowie on the Isolated Vocal Track for the Queen Hit ‘Under Pressure,’ 1981

by Mike Springer
Tertiarymatt

Creepy Uncle David and Lovely Dead Uncle Freddie.

In the summer of 1981, the British band Queen was recording tracks for their tenth studio album, Hot Space, at Mountain Studios in Montreux, Switzerland. As it happened, David Bowie had scheduled time at the same studio to record the title song for the movie Cat People. Before long, Bowie stopped by the Queen sessions and joined in. The original idea was that he would add backup vocals on the song “Cool Cat.” “David came in one night and we were playing other people’s songs for fun, just jamming,” says Queen drummer Roger Taylor in Mark Blake’s book Is This the Real Life?: The Untold Story of Freddie Mercury and Queen. “In the end, David said, ‘This is stupid, why don’t we just write one?’” And so began a marathon session of nearly 24-hours–fueled, according to Blake, by wine and cocaine. Built around John Deacon’s distinctive bass line, the song was mostly written by Mercury and Bowie. Blake describes the scene, beginning with the recollections of Queen’s guitarist:

‘We felt our way through a backing track all together as an ensemble,’ recalled Brian May. ‘When the backing track was done, David said, “Okay, let’s each of us go in the vocal booth and sing how we think the melody should go–just off the top of our heads–and we’ll compile a vocal out of that.” And that’s what we did.’ Some of these improvisations, including Mercury’s memorable introductory scatting vocal, would endure on the finished track. Bowie also insisted that he and Mercury shouldn’t hear what the other had sung, swapping verses blind, which helped give the song its cut-and-paste feel.

“It was very hard,” said May in 2008, “because you already had four precocious boys and David, who was precocious enough for all of us. Passions ran very high. I found it very hard because I got so little of my own way. But David had a real vision and he took over the song lyrically.” The song was originally titled “People on Streets,” but Bowie wanted it changed to “Under Pressure.” When the time came to mix the song at Power Station studios in New York, Bowie insisted on being there. “It didn’t go to well,” Blake quotes Queen’s engineer Reinhold Mack as saying. “We spent all day and Bowie was like, ‘Do this, do that.’ In the end, I called Freddie and said, ‘I need help here,’ so Fred came in as a mediator.” Mercury and Bowie argued fiercely over the final mix. At one point Bowie threatened to block the release of the song, but it was issued to the public on October 26, 1981 and eventually rose to number one on the British charts. It was later named the number 31 song on VH1′s list of the 100 greatest songs of the 1980s. “‘Under Pressure’ is a significant song for us,” May said in 2008, “and that is because of David and its lyrical content. I would have found that hard to admit in the old days, but I can admit it now…. But one day, I would love to sit down quietly on my own and re-mix it.”

After listening to the isolated vocal track above, you can hear the officially released 1981 mix below:

via That Eric Alper

Related Content:

Queen Documentary, Days of Our Lives, Pays Tribute to the Rock Band That Conquered the World

David Bowie Releases Vintage Videos of His Greatest Hits from the 1970s and 1980s

Freddie Mercury Steals the Show at Live Aid (1985)

2 comment(s)

10 Jun 18:51

Akitoshi Tokubuchi is the 2013 Japan National Yo-Yo Champion and...

by rion
Tertiarymatt

Well.



Akitoshi Tokubuchi is the 2013 Japan National Yo-Yo Champion and his winning routine makes it clear as to why.

YoyoRecreation’s Akitoshi Tokubuchi, who was the first runner-up last year, stepped up his game and is the 2013 Japan National Champion, beating Tatsuya Fujisaka by a hefty five point margin and Hiroyuki Suzuki by over ten points!

Go find some yo-yos. We’ve all got a lot of practicing to do.

h/t Metafilter.

10 Jun 02:21

(via pictures for sad children) Never read the label.



(via pictures for sad children)

Never read the label.

08 Jun 11:45

Stravinsky’s The Rite of Spring, Visualized in a Computer Animation for Its 100th Anniversary

by Colin Marshall

Even those of us who only took half a music appreciation course in college know about the impact of Igor Stravinsky’s The Rite of Spring, the orchestral ballet that nearly caused a brawl at its debut. Ah, but how times have changed in the exactly one hundred years since that May evening at the Théâtre des Champs-Élysées. Now no music, no matter how radically it breaks from tradition, causes anything like a riot; at worst, listeners shuffle out early, and that’s making the debatable assumption that such a piece would draw an audience in the first place. Today’s musicophiles like what they like, often to the point of obsession, and simply ignore what they don’t. The past century, of course, has proven Stravinsky’s compositional instincts ahead of their time, now that we all know the name of the The Rite of Spring, and the complex work itself has attracted plenty of obsessive musicophiles of its own.

Some have gone as far as to turn the music into imagery. In 1913, we had no more technologically advanced way to visualize a piece of music than through dance, such as The Rite of Spring‘s ballet. In 2013, the art of computer graphics greatly expands the quest for an ever more perfect way to represent music not just to the ear, but to the eye. Composer, pianist and software engineer Stephen Malinowski has long led the way with the various iterations of his Music Animation Machine. At the top of the post, you can see a visualization of The Rite of Spring‘s first part, “The Adoration of the Earth.” Just above appears its second part, “The Exalted Sacrifice.” “I was not aware of the kind of harmonic things Stravinsky has going on,” Malinowski told NPR, explaining what he learned about the piece in the process. “It’s incredible — Stravinsky continually torques you, startles you, and frustrates your anticipations.” Imagine how it would have blown those early-twentieth-century Parisian minds to see this at the debut.

Related Content:

The Genius of J.S. Bach’s “Crab Canon” Visualized on a Möbius Strip

Visualizing Bach: Alexander Chen’s Impossible Harp

Stephen Hawking’s Universe: A Visualization of His Lectures with Stars & Sound

Colin Marshall hosts and produces Notebook on Cities and Culture and writes essays on literature, film, cities, Asia, and aesthetics. He’s at work on a book about Los AngelesA Los Angeles PrimerFollow him on Twitter at @colinmarshall.

0 comment(s)

08 Jun 03:21

Danger in the flowers

by Rusty
Tertiarymatt

Click through for a fairly crazy set of pictures.

08 Jun 03:04

Two college student designers (Luke Greenway and Laura...

by rion
Tertiarymatt

Fuck your publicly owned books?



Two college student designers (Luke Greenway and Laura D’Asaro), 27 volunteers, seven hours of work, five attempts, and 2,131 books mixed together at the Seattle Public Library to create the longest book domino chain in the world. The library used the new world record to celebrate and promote their 2013 Summer Reading Program.

There are many, many more chain reactionsworld records, and books in the archives, including this stop motion fun: The Joy of Books.

via Daily of the Day.

08 Jun 02:30

Hear the Little-Known Version of the Talking Heads’ “Psycho Killer,” With Experimental Cellist Arthur Russell

by Colin Marshall
Tertiarymatt

The cello makes perfect sense as a contrast and compliment to David Byrne's thin, weedley guitar tone.


Given his ever-growing posthumous popularity, fueled by material newly discovered, released, and re-released, we might call Arthur Russell the 2Pac of experimental disco cello.  During his short life, he managed to collaborate with the likes of Philip Glass, Nicky Siano, Walter Gibbons, and even David Byrne. A little-heard version of the Talking Heads’ “Psycho Killer” featuring Russell’s cello has recently resurfaced (above), to the delight of both Heads fans intrigued to hear one more slant on a favorite song and listeners newly intrigued by Russell looking to hear how his sound interfaced with the innovative pop music of his day.

In the clip just above, you can hear Byrne discuss the collaborative development of “Psycho Killer” (albeit well before the recording of this B-side with Russell) at a Q&A session on his How Music Works book tour. Unbelievably, the song first emerged as a ballad. “I can see the song as being softer,” he says. “I’m making it aggressive-sounding and thought, ‘That’s like saying the same thing twice.’ Which the singer of the song says you shouldn’t do. I thought it would be creepier, actually scarier, if you downplay it. But, you know, we had a rock band at the time; we got together, started playing it, and that’s not how it came out. Audiences liked the big chorus everyone could sing along with.” I imagine they also would’ve liked the big string instrument Russell would have brought up on stage, had he ever had the chance to join the Heads for a live performance.

via TwentyFourBit

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Colin Marshall hosts and produces Notebook on Cities and Culture and writes essays on literature, film, cities, Asia, and aesthetics. He’s at work on a book about Los AngelesA Los Angeles PrimerFollow him on Twitter at @colinmarshall.

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08 Jun 02:26

Tilda Swinton Recites Poem by Rumi While Reeking of Vetiver, Heliotrope & Musk

by Ayun Halliday

If anyone should ask you how to promote a celebrity fragrance without losing face, click play and whisper, “Like This.”

It helps if the celeb in question is generally acknowledged to be a class act. Imagine a drunken starlet emerging from her limo sans-drawers to stumble through her favorite poem by a 13th century Sufi mystic. Which would you rather smell like?

(Personally, I’d go with Team Swinton! )

Some scholars quibble with the accuracy of this Tilda Swinton-approved translation, but there’s no denying that Coleman Barks‘ “perfect satisfaction of all our sexual wanting” stands to move a lot more scent than A.J. Arberry‘s terse reference to Houris, viriginal and numerous though they may  be.

Speaking of comparisons, take a peek at how another celebrity promotes her fragrance in a video of similar length.

Team Swinton for the win. Definitely.

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Ayun Halliday marks her territory @AyunHalliday

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08 Jun 02:21

Patrick Stewart Talks Candidly About Domestic Violence in a Poignant Q&A Session at Comicpalooza

by Dan Colman
Tertiarymatt

This has been floating around, but fuck it.

Patrick Stewart came to Comicpalooza (aka The Texas International Comic Convention) as a special guest. It’s not hard to imagine why, especially given his roles on Star Trek: The Next Generation and the X-Men film series.

During a Q&A session with convention attendees, Stewart fielded a question that asked everyone to leave behind the fantasy world and confront some cold realities. Since 2006, Stewart has worked with Amnesty International and Refuge, a UK charity for abused women, to make a meaningful dent in the levels of domestic violence experienced in our societies. Still haunted, Stewart personally witnessed domestic violence in his own home as a child. As a youngster, he felt powerless to stop it. But, as an adult, he can now put his celebrity on the line and ask men to be part of the solution, not the problem. The video, which gets more moving as it goes along, also makes the case for improving treatment of PTSD — a problem unto itself, and also something that contributes to domestic violence, especially during times of prolonged war.

Note: the influential speech referenced in the conversation appears below.

via Reddit

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08 Jun 02:17

Hear Theodor Adorno’s Avant-Garde Musical Compositions

by Josh Jones

Critical theorist and musicologist Theodor Adorno was a contrarian, almost contradictory figure—a committed Marxist thinker who was also a cultural elitist. Anyone who’s sat through a theory class will know his name (most likely through his seminal text Dialectic of Enlightenment, written with Max Horkheimer). For those who don’t, Adorno was an integral member of what was called the “Frankfurt School,” a group of early twentieth-century German scholars and social theorists who were highly critical of both Western capitalism and Soviet communism. Adorno’s work is wide-ranging, penetrating, and, at times, abstruse to the point of nigh-unintelligibility.

Despite Adorno’s hope for social transformation, his influence is (by design) primarily in the academic and cultural spheres, and his critiques of popular culture and music were scathing and sometimes just plain weird. He had a notoriously irrational dislike of jazz, for example. (Historian Eric Hobsbawm said that his writing contained “some of the stupidest pages ever written about jazz.”) Adorno also disliked “protest music,” as you can see from the interview above, in which he slams the folky, hippy stuff for its “cross-eyed transfixion with amusement” that renders it safe. Protest music, Adorno says, takes “the horrendous,” the Vietnam War in this case, and makes it “somehow consumable.” Maybe Dylan felt the same way when he gave up his Woody Guthrie act and started writing those brilliantly arcane, poetic lyrics.

But Adorno didn’t just preach the virtues of difficult art. He practiced them. In addition to championing the twelve-tone music of Arnold Schoenberg, Adorno composed his own music, for piano and strings. The three piano pieces above are his, somewhat reminiscent of the most dissonant passages in Modest Mussorgsky. Performed by pianist Steffen Schleiermacher, the pieces are titled “Langsame halbe—Immer ganz zart,” “Heftige Achtel,” and “Presto.”

A much longer, more substantial work is Adorno’s Studies for Strings in six movements. Movement one is above and movement two below (hear part 3, part 4, part 5, and part 6).  It’s challenging and often quite sublime listening. The YouTuber who uploaded the music has seen fit to set it to a montage of black-and-white images. I don’t know whether this hinders or helps your appreciation, but you may wish to leave the videos running and listen to each movement while you work on other things. Or better yet, close your eyes and forget everything you know, don’t know, or think you know about Theodor Adorno.

Note: You can watch a lecture on the Frankfurt School here. It’s part of a Yale Open course on literary theory, which appears in our collection of 700 Free Online Courses.

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Josh Jones is a writer and musician based in Washington, DC. Follow him at @jdmagness

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07 Jun 21:44

Want to see a train crash into a nuclear containment pod?

by Esther Inglis-Arkell
Tertiarymatt

Huzzah.

I do. How fortunate for us both that there are videos of it. A nuclear containment "flask" is subjected to all kinds of impact tests, and then submerged in a pool of burning jet fuel in this informative video.

Read more...

    


05 Jun 00:39

When the kids and I were watching the excellent short...

by rion
Tertiarymatt

Impressive.



When the kids and I were watching the excellent short documentary The Last Ice Merchant (El Último Hielero) we started talking about how Baltazar Ushca made rope and wrapped the glacial ice up in grass packages to be taken back down the mountain. This amazing clip shows more about how the rope is made: Creating trenzas (braided rope) from paja in Urbina, Ecuador.

Related viewing: how to tie a figure 8 knot and making rope from sisel fiber on the BBC series Edwardian Farm.