coredumpproject:

circuitwitch:

cypulchre:

Cbase, a Berlin hackerspace

OP: lifeincolor

this is going to kill me it is so cool….. I can’t stop looking at these pictures.

Looks more like an art commune than a hackerspace, but it’s awesome either way.

7743:

灰の空。

sad-plath:

(via DSC_0110 | Flickr - Photo Sharing!)

cementicium:

Fog by Halans on Flickr.

paunexus6:

cyberpunkculture:

9 Hours :Capsule Hotel Kyoto

« Les cercueils en fibre de verre blanche s’alignaient sur des échafaudages tubulaires. Six rangées de cercueils, dix cercueils par rangée. »

Extrait de: Gibson,William. « Neuromancien. » 

I want to go in here

adsertoris:

Nick Veasey

HOME

Thornback Ray

detail here
+

deletlng:

bird of war

Philae Attempts Comet Nucleus Landing via NASA http://ift.tt/1ulak5I

Sciencemaster Adler and Templeton are back! In comic form! What trouble will they get up to this time? Nobody knows. Nobody.

A new personal drone concept by Backcountry Drones makes heavy use of 3D printing. 

The drone market is exploding and Backcountry Drones has been exploring the idea of producing a rugged, easily transportable drone for back country use. Such a device could see over hills and locate landmarks not visible from the ground. But most drones are pretty fragile and would risk damage if hauled through a long hike. 

Backcountry Drones developed a unique concept for their drone involving a cylindrical design with spring-loaded propellor blades. It’s an amazing design that looks very much like a water bottle, which implies it’s easily carried by hikers. Check out the video below to see how the spring-loaded props eliminate the need for landing gear. 

Of course, the product used 3D printing technology to iterate the design of the case. Multiple parts compose the drone, providing not only support for the engine and electronics, but also a robust case capable of surviving in the wild. We can easily imagine such a machine crashing into trees, falling significant distances or pushing the edge of the landing envelope.

The project is still in development, but they hope to launch a crowdfunding campaign soon, where they hope to raise funds to transform the prototype made by 3D printing into a manufacturable product. 

Via Backcountry Drones

Mulder?

Robotic Spacecraft Poster Series

"The team proposes that parallel universes really exist, and that they interact. That is, rather than evolving independently, nearby worlds influence one another by a subtle force of repulsion. They show that such an interaction could explain everything that is bizarre about quantum mechanics."

Moon and Earth from Chang e 5 T1 via NASA http://ift.tt/1t7DwI6

*It’s a tough, hardscrabble existence for Chinese pack robots

*General Electric blue-skying it

Google’s New Street View Image Recognition Algorithm Can Beat Most CAPTCHAs | TechCrunch

Here is an interesting conundrum for Google: it has created an algorithm that’s significantly better at reading street numbers in Street View images, which helps it give you more accurate directions. At the same time, though, it turns out that this algorithm is so good, it can decipher 99 percent of CAPTCHAs (those squiggly text puzzles you often have to solve to prove you are human).

brucesterling:

http://hautepop.tumblr.com/post/100747151582/the-week-that-health-goth-broke-it-was-in-marie

*Goths always think the straights are going to strangle them, even though they’ve been more-or-less around since 1764 AD and nowadays they have more sub-cult flavors than Baskin Robbins.

*If Goths can “discover the color brown” and become steampunks, how come they can’t go to the gym? Lord Byron was a champion swimmer.  Let the guy have his Spandex.

*Here, Goth kids: put a little sweat-through in the armpits of this gear, get flat shoes and some lifting gloves, you’re good to go:

http://www.metmuseum.org/exhibitions/listings/2014/death-becomes-her

PS  Also I have been in MARIE CLAIRE and I suffered no ill effects. I am alive years later and still own the same Missoni tie.

http://www.marieclaire.it/Attualita/interviste/Intervista-guru-hi-tech-Bruce-Sterling

The Chairman says don’t panic.

*He’s the very soul of social media

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

:3

archiproducts:

It’s perfect for small places: a coffee #table into a dining table by @duffylondon http://bit.ly/1wvPz82

“Oh yes, we did.”

For the past year we have been busy building, testing, documenting and refining the process of taking 3D printed parts and using “Lost PLA” burnout to cast for parts for more robust applications. The documentation is bordering 100+pages, with 20+ pages of brute force data. We will try to keep it simple, show off with a few shiny throwbacks, hopefully inspire ideas for the potential, and give some technical specs to boost the capabilities of those open source open hardware folks who love a good clean walkthrough. [click here for more information]

This is a rough sketch of how to assemble a mini blast furnace

This design prevents the vacuum from sucking up molten metal if the plaster in the flask fails to seal.

The sketches go through the simple breakdown of a furnace in basic parts and vacuum trap parts. Blast furnace information can be found here.  Any casting plaster can be used for when investing flasks for casting.

Load Kiln

This is a generic burnout template, that works for most applications.

Clean burnout occurs ~1000-1300F.

Flasks are primed over a vacuum chamber before receiving the charge of molten metal.

The test metal was scrap 6061 aluminum, and/or silicon bronze to ensure anyone could replicate the process easily.

This is how parts look after they have been quenched, with no cleanup, simply rinsed with water.

These parts yielded data about hole size requirements and edge cases. The goal was to quantify what was likely to succeed.

Parts can have clean interior corners, where CNC machines would fail to accomplish because of the cutter size. Self intersecting geometry is also not a problem. Edge case castings have been hearty with 13 fins space 1.6mm apart extending 15mm up and continuous for 40mm. This means complex geometry for cooling fins has little cost to prototype.The hard part is conceptualizing how volumetric shrinkage occurs. Basically the part will shrink ~2-3% depending on the alloy, but holes will get bigger as metal contracts from the side walls of the plaster. This means that parts need to be scale up ~2% while holes need to shrink by 2%. This allows parts to be well toleranced if machined afterwards.

The best part for testing the capabilities of any machine or process, thank you Loic.

A simple linkage cast separately and then assembled.

Extremely complex parts that cannot be machined can easily be cast in production volumes allowing standard 3D print/cast parts to; withstand high temperature applications, parts have higher strength to weight ratio, parts can be custom bearing/bushing systems(when bronze is used), and parts can be used to create custom heat sinks (when aluminum is used).

The goal was to see if multiples could be cast simultaneously to minimize cost

Scalability for print to cast can minimize labor cost because sprue trees snap together like legos.

Rapid manufacturing being applied to test injection molded screw caps [blue material is LDPE]

Rapid manufacture of injection molds allows for even the smallest of shops to become competitive with standard injection molding. 3D printing adds ease and flexibility for companies to change their designs/molds faster and keep up with the demand.

More in depth information can be found here…  Rapid Manufacturing MK3

Cast bust of a 3D scan

If you saw this picture and your first thought was that you were looking at a costumed Princess Aurora from Sleeping Beauty, you wouldn’t be alone.

Last Friday, Jess and I attended Disneyland’s Halloween party. It was the maiden voyage for Jess’s newest costume, in progress since spring: Katrina Van Tassel from “The Legend of Sleepy Hollow.” “Sleepy Hollow” was the second of two featurettes released together in what was the last of Disney’s “package” films. The Adventures of Ichabod and Mr. Toad was Disney Studios’ 11th animated feature, and it premiered on October 5th, 1949.

Jess was sure no one would recognize the costume, and while I thought she was mostly correct, I still believed that someone at Disneyland would recognize it. From the beginning, no one did. Most believed, as we suspected, that she was dressed as Princess Aurora. A few were confused, thinking she was a fusion of Little Bo Peep from Toy Story and Sleeping Beauty. She was also mistaken for Cinderella, and Charlotte from The Princess and the Frog.

Again, none of this was a surprise.

Katrina has probably been one of the more obscure Disney characters from the beginning. Like a Disney princess, Katrina has a wardrobe change during her cartoon. When Katrina first appears she wears a bell-shaped pink dress with a blue laced front, she carries a green parasol, and she wears a white Dutch cap. Later, at a Halloween party thrown by her father, she wears a longer pink dress with a more open neckline and no blue accent. This is the version that Jess chose to portray.

What was a surprise, was that after revealing that the costume was in fact that of Katrina Van Tassel from the animated feature, there was, to a person, not a glimmer of recognition. Not even amongst the park’s Cast Members.

“You know, ‘Legend of Sleepy Hollow’? The Halloween cartoon with Ichabod and the Headless Horseman? Narrated by Bing Crosby?”

Blank spot here – then, “You mean that ‘Sleepy Hollow’ TV show?”

“No, the Disney cartoon.”

What inevitably followed was the look of someone who you had just spoken to in ancient Babylonian. Apparently no one under the age of thirty or maybe even forty has ever seen this cartoon.

At the end of the night, on the way out of the park, someone finally recognized the costume. A girl dressed as Princess Aurora, of all things, traveling with a group of other costumed princesses, yelled “Katrina! Katrina!” from across the street, then ran over for a picture. Aurora seemed surprised she was the only person who got it – so I won the bet: someone, one person, had known who Katrina was. Fifteen minutes later one guy in the World of Disney store recognized the character as well. So, two out of many thousands. Which greatly saddened and distressed me.

As a kid, I learned to tell time largely because I wanted to be sure my family made it home from Sunday dinner by six-thirty. Sunday dinner for us was always at the same place: Furr’s Cafeteria in Arvada, Colorado. This, for us, was extremely fancy. The first thing you noticed after your eyes adjusted to the dark was the weird brick walls. As we stood in the tray line with other hungry families I studied the walls made of weird, goopy, sloppy bricks. They all looked a little melted, some much more than others. If one took the proper cues from the bricks and the medieval prints on the walls, I guess they were trying to make the place look like it was from ancient Europe. So waiting in the tray line was like traveling backwards through time to a cafeteria in the Middle Ages. A time when people weren’t so good at making bricks but they could still make Jell-O in every color conceivable.

We each got a tray and pushed it down the line while we picked which plates we wanted from the hundreds that were cooling on crushed ice beyond the glass sneeze guard which was at an adult’s chest level. As a kid I could easily reach beneath the glass and get whatever I wanted. I always chose the same things: Salisbury steak which came with a mandatory side of green beans, green Jell-O presented in cubes, and a sugary green drink. Dad always got the chicken fried steak.

As I ate my Jell-O in the dark medieval dining room, which was hung all around with colorful knights’ shields, I repeatedly checked Dad’s watch. We needed to get home before Wonderful World of Disney came on.

Never was this so urgent than the night in October when they broadcast “The Legend of Sleepy Hollow.”

If I was lucky I saw it twice – once on TV, and again when they herded every kid in Foster Elementary into the gym and screened it in 16mm. We had been making construction paper cats and witches and ghosts since the end of September. But it wasn’t Halloween till I saw “The Legend of Sleepy Hollow.” That was when it really began. That Disney film was, and still is, the portal by which I reach the heart of the holiday. The kids-in-costumes, plastic-mask-held-on-by-rubber-bands, smell-of-burned-pumpkin-lid, sound-of-candy-dropped-in-a-bag Halloween.

Everything about “The Legend of Sleepy Hollow” I consider to be perfect. The fall colors, the narration by Bing Crosby, the disarmingly cute opening and the scary end. Brom Bones’ song at the Van Tassels’ Halloween party always make me feel like I was there amongst the frightened guests. And the execution of Ichabod’s final, lonely ride through the deep woods and hidden graveyards of his township is a masterpiece of tension, humor, and sudden terror.

And the characters! There is only one Ichabod, and certainly Brom Bones is the ironclad prototype from which Beauty and the Beast‘s Gaston was later hammered.

But none of it would work if not for Katrina. Presented as an unearthly beauty who arrives out of nowhere at the side of her father, she is a creature that only animation could conceive, floating around like a cloud, prancing across streams more like Bambi than a human being. Katrina lifts nothing heavier than a teacup or parasol while a willing army of admirers carry entire picnics and weeks of provisions for her. And yet she never came off as manipulative to me. Rather, Katrina seemed to occupy a needed space in that world. Like a thunderstorm that sweeps through the mountains, she was a disruptive necessity. She kicked everyone into gear. She was the planet all the other characters fall into orbit around.  I like that Katrina messes with people, but in the end she, like Brom Bones, is without malice. Her willingness to toy with Ichabod is in direct proportion to the less-than-noble designs Ichabod has for her.  This fantastic little story by Washington Irving recognizes both Brom’s and Katrina’s awareness of their inevitable pairing, thus this last dance of courtship choreographed by Katrina.  In a situation like this any of these three characters could have come off as a victim or a villain, but in the hands of this particular team of artists they all end up quite likable, indeed.  No one, I think, more than Katrina. She’s beautiful and provocative at her entrance, and even moreso at the finish.  I wish she showed up in attractions and merchandise more than she currently does. Which is to say not at all – save for an often overlooked restaurant in Walt Disney World.

Katrina is, I think, unique amongst Disney characters. She exudes more dimension, charm and attitude than a character with her screen time has a right to. And all without uttering a single word. And the unapologetic audacity of her design is refreshing. Jessica Rabbit gets a lot of attention for how she’s drawn, but I think Katrina has her beat in all categories. Katrina’s animators include Frank Thomas, Ollie Johnston, John Lounsbery, Ken O’Brien, Woolie Reitherman, John Sibley, and, of course, Fred Moore.  I’m not sure if a featurette usually had such an all-star lineup, but this film obviously owes a good deal of its longevity and strength to its roster.  But a huge amount of credit should be given to the story crew, the background painters, and the editing and sound work in the climactic sequence.

So what’s the point of all this? I guess I just want to keep the memory of this cartoon alive. A new generation shouldn’t miss out on this perfect piece of American Halloween. Take an hour to share “The Legend of Sleepy Hollow” with someone you think would like it. You can find it on Netflix (although not streaming, sadly) and Amazon Instant Video, or even newly bundled on DVD and Blu-ray.

And Happy Halloween!

Rosetta’s Selfie via NASA http://ift.tt/1rwxZu2