Shared posts

27 Aug 21:15

hedgeworth: Seeing will.i.am’s name translated into another...



hedgeworth:

Seeing will.i.am’s name translated into another language as though it were Will, I Am and not just William is fucking hilarious. 

27 Aug 21:00

Grace Jones and Yo La Tengo

by Liz Wood

No supergroup rumors here (sadly), but both delivered performances this week that you may have missed. First, Grace Jones killed it at the Afropunk festival, topless, in full body paint, and wielding a hula hoop through the entirety of “Slave to the Rhythm.” A crowd member did us all a favor by catching a short clip of the performance, which you can watch via Dazed Digital.

Then, in a truly NPR moment, after being played between segments on countless episodes of NPR’s Morning Edition, Yo La Tengo finally came to play as the show’s house band for a day. Videos of the performance are up alongside the show’s segments on NPR’s website, along with the transcript of their interview discussing the upcoming album, Stuff Like That There, coming out on Matador tomorrow.

Related Posts:

27 Aug 15:45

Microscopic zoom-in on a bacterium on a diatom on an amphipod

by Mark Frauenfelder

zoomgerm

From the entrancing Micro Universe Tumblr: a bacterium on a diatom on an amphipod.

27 Aug 14:45

Saturday Morning Breakfast Cereal - Astronomy

by admin@smbc-comics.com
27 Aug 20:38

The Tyranny of the Instagram Square Is Over!

by Hrag Vartanian
A new feature on the Instagram app allows users to adjust the way images appear. (original images courtesy Instagram)

A new feature on the Instagram app allows users to adjust the way images appear. (original images courtesy Instagram)

Instagram has broken its self-imposed mold and is now allowing users to bypass the square photo format in favor of landscape and portrait-oriented images. No longer will you be forced to crop out those on the margins of your group photograph or create images with distracting white borders to ensure your followers see the whole picture. Yes, the Facebook gods have heard your cries!

The adjustment is sure to please print media publishers, professional photographers, and the movie industry, all groups that tend to shy away from the square format.

The Star Wars account has already uploaded a clip from the highly anticipated upcoming film in the new landscape format. You can see why Instagram changed its policy to make it more friendly for content producers like Hollywood — the frame now captures the whole scene without feeling like you’re missing out. The change may also be a nod to Hollywood’s power, since its ad dollars and celebrity power are sure to be a growing force on the image-sharing platform as they turn to monetize the app and capitalize on mainstream interests.

There has been an awakening… #StarWars #TheForceAwakens

A video posted by Star Wars (@starwars) on

This isn’t the first loosening of Instagram’s once notoriously strict posting policies. Earlier this month Hootsuite announced that you can now schedule posts on Instagram, making the app a little less “insta” but better for institutions and brands interested in ensuring that their messages go out in smoothly timed intervals.

While these changes may make Instagram easier to use, they do chip away a little at what we’ve come to see as the app’s distinct aesthetic.

The new version of Instagram (v.7.5) is available in Apple’s App Store and Google Play.

27 Aug 20:26

Goodbye UnfollowerWeb app from Adult Swim sends out a poem to...







Goodbye Unfollower

Web app from Adult Swim sends out a poem to anyone who unfollows you on Twitter.

More Here

27 Aug 20:32

The Union Edge

by Erik Loomis

american-cities-045

Above: Pittsburgh, 1940

I was on The Union Edge on Tuesday, the great labor radio program out of Pittsburgh, talking about Out of Sight and other labor-related matters. You can listen to it here.

My Pittsburgh visit was also highlighted by not only meeting wjts, but not getting into fisticuffs with him over condiment choices. I was proud of myself.

27 Aug 04:00

Canon's EOS M3 mirrorless camera is coming to the US

by Edgar Alvarez
Canon is bringing its latest mirrorless camera, the EOS M3, to the US after all. The Japan-based manufacturer announced this compact shooter back in February, but now people in the States will have a chance to get their hands on it. A follow-up to...
27 Aug 03:50

Photo



27 Aug 02:40

LG made a solid, roll-up keyboard for your tablet or giant smartphone

by Mat Smith
To the untrained eye, LG's new Bluetooth keyboard looks like a (very long) mobile battery, but that's because it's all bundled up. Unfurl the Rolly and you'll get a "full-size" keyboard that automatically switches on and connects to your nearest (LG?...
26 Aug 16:42

Photo of a kitchen damaged by a pressure cooker explosion

by Mark Frauenfelder

Here's what happens when the safety features on a pressure cooker fail. It also shows why pressure cookers are used by bad people to make bombs.

[via]

26 Aug 16:36

Pete Best, the Beatles' original drummer, still doesn't know why he was fired

by Mark Frauenfelder

eraser

In 1960 a Liverpool band called the Silver Beatles asked Pete Best to join them as drummer. Best was already in a band called the Blackjacks, but he took the gig and for the next two years he played with the band (which eventually dropped "Silver" from its name). When the band auditioned with Decca, Best played drums on the first recording of "Love Me Do." Things went downhill quickly from there, writes Maggie Malach of Mental Floss: Read the rest

26 Aug 21:49

One Artist’s Quest to Turn Beach Plastic into Art

by Ben Valentine
Commission for Sierra magazine cover (2014)

Pam Longobardi, commission for the cover of ‘Sierra’ magazine (2014) (all images courtesy the artist)

Plastic has become a material of unique conceptual and physical importance to our society, and the arts are finally catching up. The material’s unimaginably long lifespan, coupled with how casually we as a society treat it, becomes a perfect metaphor for our blind overconsumption. While the oil that makes our plastic formed and rested for over three million years, we extract it and mold it and use it up within months. We use plastic cups for an evening, only for them to outlast our entire civilization.

As Heather Davis, co-editor and contributing writer for Art in the Anthropocene, notes:

Plastic can be considered the substrata of advanced capitalism. It reveals our utter dependency upon petrochemicals. But its role in our life, unlike the more abstract relationship that we have with other oil products, such as gasoline or electricity, is intimate. We use plastics to eat, clothe ourselves, as sex toys, as soothers for babies.

Confronting and unraveling the intimate relationship that contemporary society has with plastic is at the heart of artist Pam Longobardi’s mission for the Drifters Project. Founded in 2006, the Drifters Project works with local communities around the world to educate people about the potential dangers of plastic, reduce plastic use, clean beaches, and build socially engaged sculptures from the collected refuse. After watching this movie about her work in Greece, I knew I had to talk with her.

*   *   *

Drifters Project exhibition, What Once Was Lost Must Now Be Found Chronicling Crimes Against Nature, exhibition view, (2014)

Drifters Project exhibition, ‘What Once Was Lost Must Now Be Found: Chronicling Crimes Against Nature’ (2014), installation view

Ben Valentine: Why plastic?

Pam Longobardi: Plastic, to me, is the physical marker of the Anthropocene, the new geologic era of the planet Earth that we are now embarking on. I was born into and grew up in the age of plastic; it was part of modernity, and it will become the new geologic layers, so every piece of plastic is a ‘future fossil.’ Some of the pieces I find already look pre-fossilized, and indeed often are melted around other rocks and lava. I also have a lifelong connection to the ocean, as my father was a lifeguard on the New Jersey coast and my mother, the Delaware state diving and swimming champion. So, I pay close attention to the ocean.

In 2006, when I discovered mountains of colored plastic the ocean had vomited on the most southern tip of Hawaii, I immediately made it the center of my artistic practice and founded the Drifters Project. I also think plastic is the near-perfect physical manifestation of the id, the wanton and willful child of our personality who can make anything, and does, without a thought to the consequences of its actions. And finally, I am most fascinated by ocean plastic. This is material that has drifted around the world in the most unknown reaches of this planet, first on shipping lanes of commerce and then as a drifter, as vagrant, haunted objects that have been changed by this interaction: marked, bitten, colonized, and otherwise transformed into a new material, an artifact, the ultimate example of commodity fetishism. Ocean plastic is a new type of commodity, one that has illuminated nature’s role in the creation of capital.

BV: I find the conversation around climate change really frustrating, because the evidence is there yet we still have all of these ridiculous debates about it — society is dramatically behind the science. What strikes me about your work is the many layers of teaching about pollution and the environment that it embodies. There’s the strictly educational aspect — what pollution is and does and why it matters; the communal aspect — building a group that cares and acts on the knowledge; and the art portion, which becomes a vessel to relay the first two aspects to another public, hopefully bringing them into the fold. Why is this type of process so important to you?  

PL: I’ve never completely settled for the concept of art as rarified objects that sit untouchable in a divine space and are worshipped. I like art that does work — all kinds of work, from intellectual work to emotional work to work in society. I think art has a job to do, as opposed to being expensive and passive luxury objects. While I think art can be both an expensive commodity and do work, too often the glamor aspect eclipses the other, more rudimentary work function. I like thinking about Deleuze and Guattari’s discussion of value vs. exchange value in all aspects of my work with ocean plastic, because of the shifting dynamism of these roles in the physical plastic object itself: an utterly cheap object, to the point of almost immediately having zero value, neither use nor exchange, while at the same time being the physical embodiment of the ancient life of the planet, the fossil sunlight, and representing the peak of industrial revolution technology. Then it goes silent briefly while it is discarded, lost and drifting, only to reemerge when I encounter it, as a prophetic object, a messenger and cypher.

Drifters Project, "Economies of Scale," (2013)

Drifters Project, “Economies of Scale” (2013) (click to enlarge)

BV: I’m interested in art that offers alternative perspectives on very complex phenomena, like global warming or Deep Time. I believe humans need to develop these perspectives in order to alter our current disastrous course. How does the Drifters Project seek to foster such perspectives?

PL: I believe plastic is at the center of every one of the environmental, social, and health crises the world now faces. As climate change brings extreme weather events now almost daily in some parts of the globe, and in our desperation to extract the last drops of oil from the earth, we are going to riskier and more remote places deep under the sea and further towards the poles — yet plastic has made it here before us. The melting Arctic is only accelerating a frantic resource grab and a heightened mobilization of global commerce as new shipping lanes open. Trillions of pieces of plastic are already in the ocean, and billions of new plastic goods are made everyday. It is not going anywhere. I think plastic is dark matter; it is not of this earth in the same way some other materials are.

I think my work as Drifters Project is a discussion, at its heart, of value — what do we value, what we do not, how these values are skewed and off-kilter in an elementally dangerous way. I think it gives us a chance to reexamine values from personal, societal, and planetary perspectives. My work is consciously an address and invitation to think about the entire non-human portion of our planet, how we interact with it, what we are doing to it, and how we might change the disastrous path we appear to be on.

BV: What are you working on now?

Drifters Project, "Crime Of Willful Neglect (for BP)," (2014)

Drifters Project, “Crime of Willful Neglect (for BP)” (2014) (click to enlarge)

PL: I am working on a commission from a family who survived the sinking of a fishing charter boat in Hawaii. It’s a story too fantastic to even make up. The boat’s propeller got fouled in a piece of floating driftnet, and the incompetent captain didn’t realize that he had destroyed the motor, taking the boat far offshore without addressing the plastic net which had melted and fused around the propeller. At some point, the charter captain realizes the boat is going to sink and actually abandons ship, taking the first mate and the life boat and leaving the entire family of four on the sinking ship. The parents described the realization it was going down with just enough time to get life vests on the kids and tell them to hold onto the boat as long as possible and then push away hard to avoid being sucked into the vortex as the boat went under. It actually went down just as the Titanic in the movie did — they were all climbing to the top as it reared up, saying their goodbyes, and then it disappeared. For moments the only one up was the dad, then his wife and the two kids popped to the surface.

They were there alone in the ocean — no boat, no captain, miles offshore. The irony is the man is a direct descendant of Captain Cook, so stop here and ponder the crazy karmic moment of this. Except this family is the embodiment of goodness: creativity, adventure, and love for the ocean, instilling the best values in their children. After a few minutes, a self-inflating domed survival raft popped to the surface, and at some point half a day later, a local Hawaiian fisherman in a small boat spotted them and was able to radio for a rescue. The captain went to jail, and the father got a commendation from the Coast Guard for rescuing his family. It’s the most moving true story, and I was in tears hearing it, so it’s a true honor to make work to memorialize this for them. The weird thing is, I actually found one of these artifacts at South Point, Hawaii: a driftnet propeller fouling. It’s a chunk of turquoise driftnet fused into a solid core, with a saw cut through it where a diver removed it from the propeller and prevented a boat from sinking. It is going to be the center of the installation.

26 Aug 22:19

Trump is the Tea Party

by driftglass



From The Week:
Trump crushes the rest of the GOP field in new nationwide poll

Donald Trump's lead in the race for the GOP presidential nomination just reached an all-time high in a new national poll conducted by Gravis Marketing. The survey, released Tuesday by One American News Network, shows Trump leading the Republican field with a whopping 40 percent, up from 31 percent in Gravis' July poll.

Ben Carson, who placed second in the new poll, had just 13 percent — 27 points behind Trump. Jeb Bush came in third at 10 percent, followed by Ted Cruz at 7 percent, and John Kasich, Carly Fiorina, and Marco Rubio at 5 percent each...
The real, shocking news about Donald Trump's popularity with the Pig People is that our corporate media continues to pretend that Donald Trump's popularity among the Pig People is shocking news at all.  As I wrote way back in 2009 when these dregs of American democracy initially began quietly shredding their Bush/Cheney lawn signs and calling themselves "independents"...
...
And based on simple observation, guess who appears to be the largest group of late-blooming independents?

Those fucknozzles who, after giving Dubya the longest tongue bath in modern political history while calling everyone else a traitor, started gagging on the sheer tonnage of bullshit their creepy idolatry of George W. Bush was requiring them to swallow and obediently regurgitate every fucking day, that's who.

Most newly minted “independents” seem to be little more than Republicans who are fleeing the scene of their crime, but at the same time still desperately want believe in the inerrant wisdom of Rush Limbaugh. They are completely incapable of facing the horrifying reality that they have gotten every single major political opinion and decision of their adult lives completely wrong, so instead they double-down on their hatred of women and/or gays and/or brown people and/or Liberals, and blame them for the miserable fuckpit their leaders and their policies have made of their live and futures.

Like German soldiers after the fall of Berlin, they have stopped running away from the catastrophe they created only long enough to burn their uniforms.
...
They got away with eight years of Clinton witch-hunts.  Then they got away with eight years of incompetence and treason under Dubya,  And with the wild, reckless arrogance that comes from living on a perpetual holiday from accountability, they have been going ever more boldly and publicly insane, getting ever more knee-walking drunk on cask-strength Strategic Forgettery and scampering through the latest iteration of the Bush-Off Machine over and over again, faster and faster, like kids running through a sprinkler on a hot summer day.

Thirty years of being kicked in the balls by Demon Reality every day has taught the Pig People nothing except to band together tighter, amp their reality denial shield up higher and scream that much louder every time it looks like Demon Reality might kick some sense into them.  So don't expect anything on that front but more dangerous, shoutycrackers crazy every day.  

The media, for its part, is now suspended in a state of paralysis, stranded between being mesmerized by this monster they have created, and being repelled and terrified by it.  

And frankly, watching them drown in this cesspool of their own making is one of the few pleasures we peasants have left here at the ass end of the American Dream.   

driftglass
26 Aug 22:49

An Artist-Run Bottled Water Museum Springs Up in Kansas City

by Blair Schulman
Bottles on display in the Museum of Bottled Water in Kansas City (all photos by EG Schempf, courtesy the Museum of Bottled Water)

Bottles on display in the Museum of Bottled Water in Kansas City (all photos by EG Schempf, courtesy the Museum of Bottled Water)

KANSAS CITY, Missouri — There are 324 bottles of water currently on view at the Museum of Bottled Water (MBW) in the Crossroads Arts District, some flat, some sparkling, and featuring labels from across the globe with an emphasis on US branding. The bottles are beautiful to observe and emblematic of the diversity of forms such packaging can take. Artist Neal Wilson started collecting the bottles in 2005 and is MBW’s public face, director, and docent. The collection includes a bottle of New York City water (directly from the tap, apparently), a blister pack, and a can of Emergency Drinking Water with a 30-year shelf life, though it could do with some more international examples.

The exterior of the Museum of Bottled Water in Kansas City

The exterior of the Museum of Bottled Water in Kansas City (click to enlarge)

“The collection is looking to expand into two distinct but perhaps related areas,” Wilson told Hyperallergic. “One is the canned water of emergency response. Budweiser made headlines earlier this year when they shut down a brewery to can water for disaster victims. They do this from time to time, and it would be nice for the museum to acknowledge this aspect of the bottled water phenomena. That packaged water is used to meet the day to day requirements for survival is under-acknowledged in the museum. Similarly, the condition of public drinking supplies in the States and in other countries is profoundly different. With this in mind, bringing more international waters to the museum is a priority. We have serious water issues in the States, no doubt, but the frontier of the bottled water industry in its legal, political, and social articulations is elsewhere. It’d be nice if the museum could use its collection to talk about this frontier more explicitly and more foreign examples might help with that.”

Though Wilson is its most visible participant, MBW is a collaborative project consisting of more than a dozen participants, including an architect (Elvis Achelpohl), a graphic designer (Seth Johnson), an artist-in-residence (Walker Tufts), and even a “fashion consultant” — Hadley, the clothing store hosting the pop-up museum for the month of August.

Bottles and drawings by Charlie Mylie on view at the Museum of Bottled Water in Kansas City

Bottles and drawings by Charlie Mylie on view at the Museum of Bottled Water in Kansas City (click to enlarge)

The MBW’s installation offers an opportunity to appreciate the incredible array of packaging and marketing used to sell water. The collection’s display is rudimentary and visitors are allowed to handle the bottles. It includes more exotic examples like the Hawaiian volcanic water brand Waiakea and a brand named Boxed Water Is Better that comes in a milk carton-like container, alongside familiar labels like Evian, Fuji, Poland Spring, and loathsome newcomer Blk Water. It is interesting to see instances of cross-branding, like a Southwest Airlines/DejaBlue aluminum can of water and a much smaller, more eco-friendly package of plastic and foil from Japan Airlines. The Daum Museum of Contemporary Art in Sedalia, Missouri, even puts its own custom label on the bottled water it sells. Complimenting the displays are beautiful illustrations of the various packaging by artist Charlie Mylie.

In his role as docent, Wilson offers public discussions of the collection on display and provides historical insight into the development of bottled water. He notesthat archeologists have discovered 2,000-year-old vessels for transporting water, and that holy water, which dates as far back as the first century, could be considered the earliest instance of branding water for sacramental uses.

A more modern chapter in bottled water’s history that Wilson recounts is the rise and fall of Perrier. Its 1977 ad campaign is probably the first instance of bottled water being recognized as a consumer good, according to Wilson. The company’s advertisers deployed “street teams,” paying attractive young people to be seen in public drinking the stuff. As rapidly as Perrier’s market share rose, it declined just as fast after the discovery in 1990 of Benzene in the bottles. But the invention of the yuppie as a socio-economic category has made other bottled water brands, like Evian, more prominent.

The Museum of Bottled Water in Kansas City

The Museum of Bottled Water in Kansas City (click to enlarge)

At MBW, visitors can serve themselves ice water from a glass jug. I am unsure if anyone noticed the irony in receiving free water while looking at a display of packages used to sell the exact same substance. Water is a political and environmental issue, driving populations to and from its sources. As we continue to evolve and adapt to the realities of climate change, the widespread use of PET plastics may be phased out in favor of more environmentally friendly concepts like the Ooho. The water bottle, in and of itself, is a brilliant concept: compact, mass-producible, and disposable. But in light of rapidly changing dynamics in civilization it is also on the brink of extinction.

As climate change increasingly dictates global displacement, our future selves may look back at where and how we sourced water and shake their heads that so much of it was turned into a private commodity. It is my personal belief that every bottle of water purchased and consumed is a vote for its privatization. Access to this source of life must remain a basic human right. The Museum of Bottled Water is sparking a forthright discussion of potable water’s importance for survival.

The Museum of Bottled Water is open at Hadley (122 West 18th Street, Kansas City, Missouri) through August 31.

26 Aug 16:00

Finally, a Dating Tip in Cosmo Worth Considering

Finally, a Dating Tip in Cosmo Worth Considering

Submitted by: (via elfauno)

Tagged: break up , advice , money , dating
26 Aug 14:33

elshalarossa: ewebie: rosalyndablack: charlesoberonn: perfect...



elshalarossa:

ewebie:

rosalyndablack:

charlesoberonn:

perfect-but-flawed:

charlesoberonn:

The X-Files theme is so serene and calm in major key.

It could be a video game soundtrack

It sounds like the starting village music.

△ ▽ follow for more chill conspiracy ▽ △

elshalarossa - More music that I wasn’t sure I needed until it ended up in my ear holes.

Ack! This makes me uncomfortable. “The truth is… right here. You can trust… everyone. Want a hug?”

25 Aug 17:00

Sky Swimming: Transparent Pool Bridges Two 10-Story Buildings

by Urbanist
[ By WebUrbanist in Architecture & Houses & Residential. ]

sky pool london

Designed to span over 80 feet and connect a pair of apartment structures in London, this remarkable see-through glass pool will give swimmers the ultimate view of the city on all sides. This record-setting, first-of-its-kind creation reflects recent advances in material science and structurally engineering.

sky pool bridge

In addition to this dazzling connector, a secondary bridge will allow people to walk between roofs, accessing other amenities including a bar and spa. Unlike many deceptive architectural renderings, this audacious structural design has already received planning approval – the real-life version coming in 2017 will indeed be as shown.

sky pool repeat

Developed by Arup Associates in collaboration with project architects of HAL, this water bridge will be 15 feet wide and 9 feet, framed in thick but transparent glass on three sides. Aquarium specialists and engineers were consulted throughout to ensure the safety of the endeavor.

battersea refab

This residential project is part of a larger overhaul being orchestrated by Frank Gehry and Foster + Partners, a master plan which includes eight other major architectural features and renovations surrounding the historic Battersea Power Station.

battersea from above

“My vision for the sky pool stemmed from a desire to push the boundaries in the capability of construction and engineering, I wanted to do something that had never been done before,” said Ballymore’s chairman and CEO, Sean Mulryan. “The experience of the pool will be truly unique, it will feel like floating through the air in central London.”

sky pool india

sky swimming design

Meanwhile, in India, a similar undertaking is underway. The pool designed for the Twilight Star development in Surat, Gujarat, has a shorter span but a bonus feature: it is cantilevered out beyond the edges of the buildings it connects, providing an additional thrill for those willing to take the plunge.


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Until recently, this indoor swimming pool on the vacant ground floor of a 1970s apartment building in Tokyo was just an empty space, dry and disused for years. ... Click Here to Read More »»


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[ By WebUrbanist in Architecture & Houses & Residential. ]

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26 Aug 23:18

A New Afterlife for Cemeteries: Training Future Preservationists

by Allison Meier
Interns at work in the Woodlawn Cemetery Preservation Training Program (photo by Susan Olsen, courtesy World Monuments Fund)

Interns at work in the Woodlawn Cemetery Preservation Training Program (photo by Susan Olsen, courtesy World Monuments Fund)

The sprawling 19th-century cemeteries whose monuments and mausoleums dot the United States are often short on hands to preserve their heritage. This summer, a two-year pilot program launched at Woodlawn Cemetery in the Bronx to help care for its monuments and facilitate the training of young preservationists. The partnership between the World Monuments Fund (WMF) and Woodlawn Conservancy, in collaboration with the International Masonry Institute and Opportunities for a Better Tomorrow, takes the form of an internship program with stone conservation training in the cemetery and jobs at its conclusion.

The interns work at the Gracie plot in Woodlawn Cemetery (photo by Rob Cappiello)

The interns work at the Gracie plot in Woodlawn Cemetery (photo by Rob Cappiello) (click to enlarge)

“We had been looking for a number of years for a way to set up a training program for young people to get them interested in going into the preservation arts,” Frank Sanchis, WMF’s US program director, told Hyperallergic. Sanchis arranged the program, which recruited underserved students from high schools that concentrate on preservation trades, including Bronx International High School and the Williamsburg High School for Architecture and Design. Sanchis has initiated similar programs in the past, such as a restoration program at Taos Pueblo in New Mexico, where ten young members of the Taos tribe were trained to rebuild a collapsed adobe structure.

A cemetery is a different environment from previous WMF programs, being a place of memorials with a major diversity of materials in its structures. This is especially true of Woodlawn Cemetery. As Susan Olsen, the cemetery’s director of historical services, told Hyperallergic: “Because of the volume, many cemeteries will restore only one or two monuments a year. For us, it’s the reality of the volume. We’ve got the largest collection of private mausoleums in America.” She adds that it’s “a great place to address historic building conservation on a small-scale,” with monuments in marble, granite, slate, and other stones, and a range of architectural eras that span mortar joints to modern caulking.

This summer, the focus is on the Gracie plot. Archibald Gracie IV was notably a survivor of the Titanic, and his family constructed Grace Mansion, the home of the New York City mayor. Over the years the plot suffered neglect, with toppled and damaged headstones in need of stabilization and attention. This is the case with many historic plots, where families often move on or die out, leaving a short-staffed cemetery to raise funds to keep things from falling apart. Hands-on work by the interns at the plot, supervised by Woodlawn’s Resident Craftsman Robert Cappiello, is combined with classroom sessions, visits to stone quarries, and work on other monuments in the cemetery.

Interns at work in the Woodlawn Cemetery Preservation Training Program (photo by Susan Olsen, courtesy World Monuments Fund)

Interns at work in the Woodlawn Cemetery Preservation Training Program (photo by Susan Olsen, courtesy World Monuments Fund)

Tombstone of Archibald Grace in Woodlawn Cemetery (photo by the author for Hyperallergic)

Tombstone of Archibald Grace IV in Woodlawn Cemetery (photo by the author for Hyperallergic)

“The cemetery is a great place to train, with the variety of stone and the accessibility of the monuments,” Sanchis said. “It’s a better place to train than a building, because each monument is like a little building, so you just have a lot more opportunity to learn different things, and it’s a great working environment, because it’s peaceful.”

Especially valuable is that, unlike many internship programs, this one leads directly to jobs, with those who complete it eligible to be apprentices with the International Masonry Institute. Two interns will also be offered apprenticeship positions at Woodlawn. Now, WMF is considering expanding the program to other cemeteries. As Sanchis explained: “I think that we have a good model for other cities that fit this profile of having: a) a great cemetery; b) having a large quantity of underserved youth that can be the apprentices; and c) having an IMI center.”

For Woodlawn, which also involves students from Columbia University and the University of Pennsylvania in preservation programs, it also is vital to maintaining their incredible collection of architectural and artistic history, which includes work by McKim, Mead & White, Daniel Chester French, and John Russell Pope.

“We have made it where the cemetery benefits the community, where it’s not us that’s constantly asking for money and asking for help, we’re helping people to obtain skills,” Olsen said.

Tombstone in the Gracie lot (photo by Susan Olsen, courtesy World Monuments Fund)

Tombstone in the Gracie lot (photo by Susan Olsen, courtesy World Monuments Fund)

Woodlawn Cemetery (photo by the author for Hyperallergic)

Woodlawn Cemetery (photo by the author for Hyperallergic)

Woodlawn Cemetery (photo by the author for Hyperallergic)

Woodlawn Cemetery (photo by the author for Hyperallergic)

Woodlawn Cemetery is at 517 East 233rd Street in the Bronx.

26 Aug 22:53

Robo PainterPrototype tech from custom painting service...









Robo Painter

Prototype tech from custom painting service Instapainting can capture brushstrokes from an artist using a tablet which can then be reproduced mechanically:

Over the past three weeks I’ve been working on a robotic painter to research the area of mechanical artwork reproduction and automated picture to painting creation for Instapainting.com and the print store e-commerce platform A Manufactory.

The goal is to have it accomplish both problem domains in full color, and to rival the quality of Chinese-produced hand-painted replicas …

Demo showing the AI painter in command and control mode, and replay mode. The first half shows the artist painting live, and the second half shows the robot replicating the exact brush strokes.

More Here

26 Aug 23:55

Throated Daisy Haze

by droolingfemme
26 Aug 23:42

good translation

by villeashell




good translation

26 Aug 23:29

Not Giving a Shit About the Clinton Email "Scandal"

by Rude One
There's a sentence from a Los Angeles Times column titled, "Why Clinton's email problem won't go away" that's so ironic and so galling that it ought to be put on a poster in every media outlet. Here it is: "It's difficult to avoid the suspicion that Clinton, after the scandals that rocked her husband's presidency during the 1990s, simply did not want to leave behind a paper trail (or e-trail)."

Context is everything, dear children, and the writer, John Schindler (a dick pic-sending right wing assmunch), is leaving out a huge part of the story. See, all those "scandals," Travelgate and Filegate and Whitewater, were utter bullshit. They were worthless wastes of time and money by Republicans (and cowardly Democrats), and their only purpose was to isolate, degrade, and destroy the presidency of Bill Clinton, that hick punk who thought he could just saunter in and lead the nation. If they also took down his bitch wife who thought she was smart enough to solve the health care crisis, all the better. If not them, then any collateral damage of their friends and associates was just dandy.

The only thing that approached an actual, real "scandal" was Clinton lying under oath about getting blowjobs and cigar-banging an intern in the Oval Office. That came out of the Whitewater investigation and it had jackshit to do with the presumably shady land deal in Arkansas. The entire impeachment saga was because of a tangential question and, ultimately, it was the same giant trash pile that every other fake "scandal" was.

While most of the public didn't give a single fuck about the Clinton scandals, the Republican base and the party's donors loved it. They gobbled it down like it was jizz from Jesus's own dick. And conservatives across the country pretended that the United States was being victimized by the immoral bimbo fucker and his castrating spouse. God, how they made bank on it all, how evangelicals lied openly about the sinful, adulterous, murdering, raping, drug-using Clintons. It was a goddamned carnival of molesting clowns and shiv-wielding carnies. And press outlets just jumped on the rickety scandal roller coaster because the GOP had bitch-slapped them into believing the "liberal media" canard. "We'll show you how we're not liberals," they announced. "Please, tell us more about missing Rose Law Firm documents and we'll act as if the fate of the entire motherfucking republic depends on it."

We have been a pathetic fucking country for a very long time.

Which gets us to the scandal du jour, the inevitable digging up of something, anything, to sew onto Hillary Clinton's clothes. The scarlet "B" for Benghazi wasn't holding. But, oh, happy fortune, the bullshit investigation yielded the info on the private email server, and the Clinton Industrial Complex went back into high gear. Let's get the "E" out there.

When the Rude Pundit first heard of the private email server issue, his initial thought was "Oh, c'mon" because he knew what was coming. But the one part that's been left out of the story of why Clinton used the home server (which was not fucking against the law) for her State Department emails when she was Secretary of State is the complicity of the Republican Party and the media in making Clinton so paranoid that she felt she had to do so.

Of course, she was going to do anything to keep her communications out of the public eye. Of course, she was going to make life complicated for any congressional investigations. Why the fuck wouldn't she? What the hell did she get the first time around? A discussion about her husband's dick on the floor of the House of Representatives. An accusation that she had a friend murdered. Why wouldn't she just say, "Go fuck yourselves"? In fact, she should have said that at the beginning of this. She should have said, "Well, no shit I used my own server."

Frankly, Hillary Clinton's pretty goddamn fearless to be putting herself through what was going to be an inevitable slog through the GOP fake scandal swamp.

Note: None of this excuses Clinton if she committed any real crimes (and not just violating the "spirit" of the law, which everyone does every day in many, many ways without being dragged through piles of dog shit for it). But, so far, sorry, she hasn't. Offering unsatisfactory explanations for one's actions is not illegal.
26 Aug 16:25

railroadsoftware: zuzu-and-friends: This picture is cool but...



railroadsoftware:

zuzu-and-friends:

This picture is cool but that fucking dudes face at the bottom

he’s hype

26 Aug 18:22

"When they saw me in my space suit and the parachute dragging alongside as I walked, they started to..."

“When they saw me in my space suit and the parachute dragging alongside as I walked, they started to back away in fear. I told them, don’t be afraid, I am a Soviet citizen like you, who has descended from space. And I must find a telephone to call Moscow.”

-

Yuri Gagarin,

the first human to travel to space; upon re-entry Gagarin landed 280 kilometers away from the intended landing site, to the surprise of a farmer and his daughter who watched him fall from the sky (via

whats-out-there

)

HELLO FELLOW CITIZENS I AM A CITIZEN JUST LIKE YOU DEFINITELY NOT AN ALIEN NOW TAKE ME TO YOUR LEADERS

(via currentboat)

where are your nuclear wessels?

(via springsnotfail)

23 Aug 19:44

innerbohemienne:  Unusual set of three scrimshaw gambling dice ~...



innerbohemienne:

 Unusual set of three scrimshaw gambling dice ~ Carved from a sperm whale tooth (approx. 1” square), with designs inlaid with pitch & red wax; early 19th century. “The time for recreation on a 19th century whaling ship was the second dogwatch, from 6 to 8 o’clock in the evening. Boxing was discouraged by the captains, but scrimshandering, dominoes, dice, backgammon, card games, cribbage, & chess were not. The stakes for seamen playing such games & using the dice were usually tobacco.”

(via Finch & Co.)

23 Aug 17:51

oneterabyteofkilobyteage: original url...



oneterabyteofkilobyteage:

original url http://www.geocities.com/Heartland/Ranch/1849/

last modified 1999-11-28 20:22:53

23 Aug 03:21

Photo



26 Aug 14:59

Will You?



Will You?

23 Aug 02:57

tehnakki: spiderine: professorfangirl: wburartery: Career...







tehnakki:

spiderine:

professorfangirl:

wburartery:

Career illusionist Teller (of Penn & Teller) is cooking up a re-imagining of Shakespeare’s “The Tempest” using freaking MAGIC!

Read the heck out of this story.

NO SERIOUSLY YOU DON’T UNDERSTAND:

“The creators say the music and monsters do that too. Musician Tom Waits and his wife Kathleen Brennan gave Teller access to their catalog of gritty songs. The island’s creatures are brought to life by Pilobolus, a dance company known for piling performers on top of each other.”

SHAKESPEARE

TELLER

PILOBOLUS

TOM MUTHAFUCKIN WAITS

aksdjfa;lkdjfa;l

I SAW THIS IT WAS FUCKIN’ AMAZING!  Caliban especially was incredible. but the whole production was unique and unforgettable.   

I saw this twice because I will see anything that Teller does and OH MY GOD. THIS is exactly how Midsumemrs was MEANT to be scene. IT WAS INCREDIBLE. Abslutely overwhelmingly immersive, one of the best nights at theater I’ve ever had. Just SO GOOD.

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA