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27 Sep 09:59

Design Decoded: The Architectural History of Pepsi, Part 1: The ‘Mad Men’ Years

by Jimmy Stamp

Design Decoded: The Architectural History of Pepsi, Part 1: The ‘Mad Men’ Years

pepsi building nyc

The Park Avenue facade of the Pepsi-Cola Corporation World Headquarters, designed by SOM (image: Ezra Stoller, via SOM]

In 1963, Pepsi-Cola launched a new advertising campaign: The Pepsi Generation. Those three simple words represented a drastic rebranding for the company, which had previously marketed itself as a cheaper version of rival Coca-Cola. With the launch of “The Pepsi Generation” campaign, Pepsi claimed to be offering something new, something hip, something for the kids. While Coke continued to trade on nostalgia with traditional imagery of some idyllic yesteryear, Pepsi’s commercials featured snappy jazz numbers and young beautiful people riding motorcycles. “Come Alive! You’re in the Pepsi Generation!” The soda maker’s rebranding also included a simplified logo featuring a modern, sans-serif typeface, the introduction of a diet cola –now famously immortalized in an episode of “Mad Men”– and, a few blocks from the offices of Sterling Cooper, a striking new modern building in New York City.

Continue reading on Design Decoded

Life Without Buildings

27 Sep 09:43

preview of butler comic



preview of butler comic

27 Sep 09:43

Photo



27 Sep 09:42

The King #3

by Tom Sutpen
25 Sep 16:02

Box: A Groundbreaking Demonstration at the Intersection of Robotics, Projection-Mapping, and Software

by Christopher Jobson

Box: A Groundbreaking Demonstration at the Intersection of Robotics, Projection Mapping, and Software robots projection digital

Box: A Groundbreaking Demonstration at the Intersection of Robotics, Projection Mapping, and Software robots projection digital

Box: A Groundbreaking Demonstration at the Intersection of Robotics, Projection Mapping, and Software robots projection digital

Produced by Bot and Dolly, a San Francisco-based design and engineering studio, this amazing clip was filmed entirely in camera and demonstrates a mixture of robotically controlled monitors, projection-mapping and choreographed human interaction. Via their website:

“Box” explores the synthesis of real and digital space through projection-mapping on moving surfaces. The short film documents a live performance, captured entirely in camera. Bot & Dolly produced this work to serve as both an artistic statement and technical demonstration. It is the culmination of multiple technologies, including large scale robotics, projection mapping, and software engineering. We believe this methodology has tremendous potential to radically transform theatrical presentations, and define new genres of expression.

I can’t tell you how long it’s been since I’ve been excited by projection mapping, even if you’re skeptical this is seriously worth just a few minutes of your time. (thnx, Nick)

25 Sep 15:38

Ark Nova: World’s First Inflatable Concert Hall Will Tour Recovering Areas in Japan

by Christopher Jobson

Ark Nova: Worlds First Inflatable Concert Hall Will Tour Recovering Areas in Japan music Japan architecture

Ark Nova: Worlds First Inflatable Concert Hall Will Tour Recovering Areas in Japan music Japan architecture

Ark Nova: Worlds First Inflatable Concert Hall Will Tour Recovering Areas in Japan music Japan architecture

Ark Nova: Worlds First Inflatable Concert Hall Will Tour Recovering Areas in Japan music Japan architecture

Ark Nova: Worlds First Inflatable Concert Hall Will Tour Recovering Areas in Japan music Japan architecture

Ark Nova: Worlds First Inflatable Concert Hall Will Tour Recovering Areas in Japan music Japan architecture

Ark Nova: Worlds First Inflatable Concert Hall Will Tour Recovering Areas in Japan music Japan architecture

Ark Nova: Worlds First Inflatable Concert Hall Will Tour Recovering Areas in Japan music Japan architecture

Designed through a unique collaboration between sculptor Anish Kapoor, architect Arata Isozaki, and the Lucerne Festival, Ark Nova is the first large-scale infalatable concert hall ever constructed. Conceived over a year ago, the mobile structure will open to the public on October 14th and will be host to concerts, events, and workshops in tsunami-damaged areas around the country.

Made from a translucent purple membrane reminiscent of a parachute, the organic structure can inflate in roughly two hours and seats up to 500 people, and will be easily transported around the region. Additionally, wood from tsunami-damaged cedar trees at the Zuiganji Temple in Matsushima was repurposed to build seating and acoustic reflectors in the hall’s interior. You can read more about it over on Spoon & Tamago and see more photos on Lucerne Festival Ark Nova’s Facebook page.

25 Sep 15:37

Absurd Portraits from the National Beard & Mustache Championships by Greg Anderson

by Christopher Jobson

Absurd Portraits from the National Beard & Mustache Championships by Greg Anderson portraits beards

Absurd Portraits from the National Beard & Mustache Championships by Greg Anderson portraits beards

Absurd Portraits from the National Beard & Mustache Championships by Greg Anderson portraits beards

Absurd Portraits from the National Beard & Mustache Championships by Greg Anderson portraits beards

Absurd Portraits from the National Beard & Mustache Championships by Greg Anderson portraits beards

Absurd Portraits from the National Beard & Mustache Championships by Greg Anderson portraits beards

Absurd Portraits from the National Beard & Mustache Championships by Greg Anderson portraits beards

Absurd Portraits from the National Beard & Mustache Championships by Greg Anderson portraits beards

Absurd Portraits from the National Beard & Mustache Championships by Greg Anderson portraits beards

Absurd Portraits from the National Beard & Mustache Championships by Greg Anderson portraits beards

This outrageous display of facial hair configurations made an appearance at the 4th Annual National Beard and Mustache Championships in New Orleans earlier this month. Luckily Las Vegas-based photographer Greg Anderson was on-hand to give us a front-row seat as the bizarre spectacle of facial hair paraded in front of his camera lens. The championships involved some 150 contestants from the U.S., U.K., and Canada who competed in 17 different categories. If this isn’t enough, here’s a giant gallery of 164 portraits from the event. (via PetaPixel, Twisted Sifter)

23 Sep 14:01

Full Turn: 3D Light Sculptures Created from Rotating Flat Screen Monitors at High Speed

by Christopher Jobson

Full Turn: 3D Light Sculptures Created from Rotating Flat Screen Monitors at High Speed light kinetic digital 3d

Full Turn: 3D Light Sculptures Created from Rotating Flat Screen Monitors at High Speed light kinetic digital 3d

Full Turn: 3D Light Sculptures Created from Rotating Flat Screen Monitors at High Speed light kinetic digital 3d

Full Turn: 3D Light Sculptures Created from Rotating Flat Screen Monitors at High Speed light kinetic digital 3d

Full Turn is a kinetic light sculpture by Benjamin Muzzin created as a diploma project for his bachelor degree at ECAL. The piece was constructed from two flat screen monitors placed back-to-back and spun at extremely high speed resulting in three-dimensional light forms that hover in thin air. Of the work he says:

With this project I wanted to explore the notion of the third dimension, with the desire to try to get out of the usual frame of a flat screen. For this, my work mainly consisted in exploring and experimenting a different device for displaying images, trying to give animations volume in space. The resulting machine works with the rotation of two screens placed back to back, creating a three-dimensional animated sequence that can be seen at 360 degrees. Due to the persistence of vision, the shapes that appear on the screen turn into kinetic light sculptures.

Music by Montgomery Clunk. (via Prosthetic Knowledge, Creative Applications)

19 Sep 17:07

Wild Animals Stalk the Streets of a Small Town in Finland at Night

by Christopher Jobson

Wild Animals Stalk the Streets of a Small Town in Finland at Night night Finland birds animals

Wild Animals Stalk the Streets of a Small Town in Finland at Night night Finland birds animals

Wild Animals Stalk the Streets of a Small Town in Finland at Night night Finland birds animals

Wild Animals Stalk the Streets of a Small Town in Finland at Night night Finland birds animals

Wild Animals Stalk the Streets of a Small Town in Finland at Night night Finland birds animals

One night while walking the streets of Porvoo, Finland with a camera in hand, photographer Mikko Lagerstedt (previously) captured the silhouette of a large cat off in the distance lit feintly from behind by a street lamp. Struck by the image, he conceived of a new series called Night Animals, where all kinds of wildlife would prowl the streets of this small Finnish town at night. As much as I want to tell you he raided the local zoo to liberate an ostrich, the images are all composites of two photos, an animal and backdrop, both shot by Lagerstedt. If you liked this also check out Shauna Richardson’s Crochetdermy.

19 Sep 17:07

Welcome to Show Business! #69

by WillyC

Joey Ramone
19 Sep 17:07

Isabelle Adjani, Cannes (1983)



Isabelle Adjani, Cannes (1983)

19 Sep 17:06

Disarm: A Mechanized Orchestra of Instruments Built from Decommissioned Weapons

by Christopher Jobson

Disarm: A Mechanized Orchestra of Instruments Built from Decommissioned Weapons  weapons sculpture music instruments guns

Disarm: A Mechanized Orchestra of Instruments Built from Decommissioned Weapons  weapons sculpture music instruments guns

Disarm: A Mechanized Orchestra of Instruments Built from Decommissioned Weapons  weapons sculpture music instruments guns

Disarm: A Mechanized Orchestra of Instruments Built from Decommissioned Weapons  weapons sculpture music instruments guns

Disarm: A Mechanized Orchestra of Instruments Built from Decommissioned Weapons  weapons sculpture music instruments guns

Disarm: A Mechanized Orchestra of Instruments Built from Decommissioned Weapons  weapons sculpture music instruments guns

As part of his ongoing effort to transform weapons into musical instruments, artist Pedro Reyes (previously) constructed a fully mechanized orchestra. Titled Disarm, the collection of eight new instruments were built through a collaboration with several musicians and Cocolab, a media studio in Mexico City.

The team acquired a variety of rifles, pistols, and shotguns seized from drug cartels by the Mexican army and used them to build the musical devices that are controlled by computers and can be pre-programmed to play music. In the video above the Creator’s Project recently sat down with Reyes to learn more about how he “transforms negative instincts into creative instincts.” It’s well worth a watch to see the instruments in use.

You can see more photos of Disarm over at Lisson Gallery in London where it debuted earlier this year. Additionally, many of the Disarm instruments will be at the Carnegie Museum of Art in Pittsburgh starting October 5, 2013 and the artist is also giving a talk on October 1st.

19 Sep 17:05

Nuance: Dancing with Light

by Christopher Jobson

Nuance: Dancing with Light video art dance

Nuance: Dancing with Light video art dance

Nuance: Dancing with Light video art dance

In this new short from Marc-Antoine Locatelli, dancer Lucas Boirat is seen battling with various geometric forms of light that launch and morph as part of a carefully choreographed dance that marries human motion with motion graphics. It reminded me a bit of Proeigon. Gifs courtesy Vimeo.

19 Sep 17:04

Photo



19 Sep 17:03

Studying One's Craft #18

by WillyC

Jimi wants to be a Gunslinger
18 Sep 19:49

A Jewel at the Heart of Quantum Physics

by aaron
patrick

un article fascinant, malgre le sujet auquel je ne comprend rien

Physicists have discovered a jewel-like geometric object that dramatically simplifies calculations of particle interactions and challenges the notion that space and time are fundamental components of reality.

“This is completely new and very much simpler than anything that has been done before,” said Andrew Hodges, a mathematical physicist at Oxford University who has been following the work.

The revelation that particle interactions, the most basic events in nature, may be consequences of geometry significantly advances a decades-long effort to reformulate quantum field theory, the body of laws describing elementary particles and their interactions. Interactions that were previously calculated with mathematical formulas thousands of terms long can now be described by computing the volume of the corresponding jewel-like “amplituhedron,” which yields an equivalent one-term expression.

“The degree of efficiency is mind-boggling,” said Jacob Bourjaily, a theoretical physicist at Harvard University and one of the researchers who developed the new idea. “You can easily do, on paper, computations that were infeasible even with a computer before.”

The new geometric version of quantum field theory could also facilitate the search for a theory of quantum gravity that would seamlessly connect the large- and small-scale pictures of the universe. Attempts thus far to incorporate gravity into the laws of physics at the quantum scale have run up against nonsensical infinities and deep paradoxes. The amplituhedron, or a similar geometric object, could help by removing two deeply rooted principles of physics: locality and unitarity.

“Both are hard-wired in the usual way we think about things,” said Nima Arkani-Hamed, a professor of physics at the Institute for Advanced Study in Princeton, N.J., and the lead author of the new work, which he is presenting in talks and in a forthcoming paper. “Both are suspect.”

Locality is the notion that particles can interact only from adjoining positions in space and time. And unitarity holds that the probabilities of all possible outcomes of a quantum mechanical interaction must add up to one. The concepts are the central pillars of quantum field theory in its original form, but in certain situations involving gravity, both break down, suggesting neither is a fundamental aspect of nature.

In keeping with this idea, the new geometric approach to particle interactions removes locality and unitarity from its starting assumptions. The amplituhedron is not built out of space-time and probabilities; these properties merely arise as consequences of the jewel’s geometry. The usual picture of space and time, and particles moving around in them, is a construct.

“It’s a better formulation that makes you think about everything in a completely different way,” said David Skinner, a theoretical physicist at Cambridge University.

The amplituhedron itself does not describe gravity. But Arkani-Hamed and his collaborators think there might be a related geometric object that does. Its properties would make it clear why particles appear to exist, and why they appear to move in three dimensions of space and to change over time.

Because “we know that ultimately, we need to find a theory that doesn’t have” unitarity and locality, Bourjaily said, “it’s a starting point to ultimately describing a quantum theory of gravity.”

Clunky Machinery

The amplituhedron looks like an intricate, multifaceted jewel in higher dimensions. Encoded in its volume are the most basic features of reality that can be calculated, “scattering amplitudes,” which represent the likelihood that a certain set of particles will turn into certain other particles upon colliding. These numbers are what particle physicists calculate and test to high precision at particle accelerators like the Large Hadron Collider in Switzerland.

The iconic 20th century physicist Richard Feynman invented a method for calculating probabilities of particle interactions using depictions of all the different ways an interaction could occur. Examples of “Feynman diagrams” were included on a 2005 postage stamp honoring Feynman.

The iconic 20th century physicist Richard Feynman invented a method for calculating probabilities of particle interactions using depictions of all the different ways an interaction could occur. Examples of “Feynman diagrams” were included on a 2005 postage stamp honoring Feynman.

The 60-year-old method for calculating scattering amplitudes — a major innovation at the time — was pioneered by the Nobel Prize-winning physicist Richard Feynman. He sketched line drawings of all the ways a scattering process could occur and then summed the likelihoods of the different drawings. The simplest Feynman diagrams look like trees: The particles involved in a collision come together like roots, and the particles that result shoot out like branches. More complicated diagrams have loops, where colliding particles turn into unobservable “virtual particles” that interact with each other before branching out as real final products. There are diagrams with one loop, two loops, three loops and so on — increasingly baroque iterations of the scattering process that contribute progressively less to its total amplitude. Virtual particles are never observed in nature, but they were considered mathematically necessary for unitarity — the requirement that probabilities sum to one.

“The number of Feynman diagrams is so explosively large that even computations of really simple processes weren’t done until the age of computers,” Bourjaily said. A seemingly simple event, such as two subatomic particles called gluons colliding to produce four less energetic gluons (which happens billions of times a second during collisions at the Large Hadron Collider), involves 220 diagrams, which collectively contribute thousands of terms to the calculation of the scattering amplitude.

In 1986, it became apparent that Feynman’s apparatus was a Rube Goldberg machine.

To prepare for the construction of the Superconducting Super Collider in Texas (a project that was later canceled), theorists wanted to calculate the scattering amplitudes of known particle interactions to establish a background against which interesting or exotic signals would stand out. But even 2-gluon to 4-gluon processes were so complex, a group of physicists had written two years earlier, “that they may not be evaluated in the foreseeable future.”

Stephen Parke and Tommy Taylor, theorists at Fermi National Accelerator Laboratory in Illinois, took that statement as a challenge. Using a few mathematical tricks, they managed to simplify the 2-gluon to 4-gluon amplitude calculation from several billion terms to a 9-page-long formula, which a 1980s supercomputer could handle. Then, based on a pattern they observed in the scattering amplitudes of other gluon interactions, Parke and Taylor guessed a simple one-term expression for the amplitude. It was, the computer verified, equivalent to the 9-page formula. In other words, the traditional machinery of quantum field theory, involving hundreds of Feynman diagrams worth thousands of mathematical terms, was obfuscating something much simpler. As Bourjaily put it: “Why are you summing up millions of things when the answer is just one function?”

“We knew at the time that we had an important result,” Parke said. “We knew it instantly. But what to do with it?”

The Amplituhedron

The message of Parke and Taylor’s single-term result took decades to interpret. “That one-term, beautiful little function was like a beacon for the next 30 years,” Bourjaily said. It “really started this revolution.”

Twistor diagrams depicting an interaction between six gluons, in the cases where two (left) and four (right) of the particles have negative helicity, a property similar to spin. The diagrams can be used to derive a simple formula for the 6-gluon scattering amplitude.

Twistor diagrams depicting an interaction between six gluons, in the cases where two (left) and four (right) of the particles have negative helicity, a property similar to spin. The diagrams can be used to derive a simple formula for the 6-gluon scattering amplitude.

In the mid-2000s, more patterns emerged in the scattering amplitudes of particle interactions, repeatedly hinting at an underlying, coherent mathematical structure behind quantum field theory. Most important was a set of formulas called the BCFW recursion relations, named for Ruth Britto, Freddy Cachazo, Bo Feng and Edward Witten. Instead of describing scattering processes in terms of familiar variables like position and time and depicting them in thousands of Feynman diagrams, the BCFW relations are best couched in terms of strange variables called “twistors,” and particle interactions can be captured in a handful of associated twistor diagrams. The relations gained rapid adoption as tools for computing scattering amplitudes relevant to experiments, such as collisions at the Large Hadron Collider. But their simplicity was mysterious.

“The terms in these BCFW relations were coming from a different world, and we wanted to understand what that world was,” Arkani-Hamed said. “That’s what drew me into the subject five years ago.”

With the help of leading mathematicians such as Pierre Deligne, Arkani-Hamed and his collaborators discovered that the recursion relations and associated twistor diagrams corresponded to a well-known geometric object. In fact, as detailed in a paper posted to arXiv.org in December by Arkani-Hamed, Bourjaily, Cachazo, Alexander Goncharov, Alexander Postnikov and Jaroslav Trnka, the twistor diagrams gave instructions for calculating the volume of pieces of this object, called the positive Grassmannian.

Named for Hermann Grassmann, a 19th-century German linguist and mathematician who studied its properties, “the positive Grassmannian is the slightly more grown-up cousin of the inside of a triangle,” Arkani-Hamed explained. Just as the inside of a triangle is a region in a two-dimensional space bounded by intersecting lines, the simplest case of the positive Grassmannian is a region in an N-dimensional space bounded by intersecting planes. (N is the number of particles involved in a scattering process.)

It was a geometric representation of real particle data, such as the likelihood that two colliding gluons will turn into four gluons. But something was still missing.

The physicists hoped that the amplitude of a scattering process would emerge purely and inevitably from geometry, but locality and unitarity were dictating which pieces of the positive Grassmannian to add together to get it. They wondered whether the amplitude was “the answer to some particular mathematical question,” said Trnka, a post-doctoral researcher at the California Institute of Technology. “And it is,” he said.

A sketch of the amplituhedron representing an 8-gluon particle interaction. Using Feynman diagrams, the same calculation would take roughly 500 pages of algebra.

A sketch of the amplituhedron representing an 8-gluon particle interaction. Using Feynman diagrams, the same calculation would take roughly 500 pages of algebra.

Arkani-Hamed and Trnka discovered that the scattering amplitude equals the volume of a brand-new mathematical object — the amplituhedron. The details of a particular scattering process dictate the dimensionality and facets of the corresponding amplituhedron. The pieces of the positive Grassmannian that were being calculated with twistor diagrams and then added together by hand were building blocks that fit together inside this jewel, just as triangles fit together to form a polygon.

Like the twistor diagrams, the Feynman diagrams are another way of computing the volume of the amplituhedron piece by piece, but they are much less efficient. “They are local and unitary in space-time, but they are not necessarily very convenient or well-adapted to the shape of this jewel itself,” Skinner said. “Using Feynman diagrams is like taking a Ming vase and smashing it on the floor.”

Arkani-Hamed and Trnka have been able to calculate the volume of the amplituhedron directly in some cases, without using twistor diagrams to compute the volumes of its pieces. They have also found a “master amplituhedron” with an infinite number of facets, analogous to a circle in 2-D, which has an infinite number of sides. Its volume represents, in theory, the total amplitude of all physical processes. Lower-dimensional amplituhedra, which correspond to interactions between finite numbers of particles, live on the faces of this master structure.

“They are very powerful calculational techniques, but they are also incredibly suggestive,” Skinner said. “They suggest that thinking in terms of space-time was not the right way of going about this.”

Quest for Quantum Gravity

The seemingly irreconcilable conflict between gravity and quantum field theory enters crisis mode in black holes. Black holes pack a huge amount of mass into an extremely small space, making gravity a major player at the quantum scale, where it can usually be ignored. Inevitably, either locality or unitarity is the source of the conflict.

Puzzling Thoughts

Locality and unitarity are the central pillars of quantum field theory, but as the following thought experiments show, both break down in certain situations involving gravity. This suggests physics should be formulated without either principle.

Locality says that particles interact at points in space-time. But suppose you want to inspect space-time very closely. Probing smaller and smaller distance scales requires ever higher energies, but at a certain scale, called the Planck length, the picture gets blurry: So much energy must be concentrated into such a small region that the energy collapses the region into a black hole, making it impossible to inspect. “There’s no way of measuring space and time separations once they are smaller than the Planck length,” said Arkani-Hamed. “So we imagine space-time is a continuous thing, but because it’s impossible to talk sharply about that thing, then that suggests it must not be fundamental — it must be emergent.”

Unitarity says the quantum mechanical probabilities of all possible outcomes of a particle interaction must sum to one. To prove it, one would have to observe the same interaction over and over and count the frequencies of the different outcomes. Doing this to perfect accuracy would require an infinite number of observations using an infinitely large measuring apparatus, but the latter would again cause gravitational collapse into a black hole. In finite regions of the universe, unitarity can therefore only be approximately known.

“We have indications that both ideas have got to go,” Arkani-Hamed said. “They can’t be fundamental features of the next description,” such as a theory of quantum gravity.

String theory, a framework that treats particles as invisibly small, vibrating strings, is one candidate for a theory of quantum gravity that seems to hold up in black hole situations, but its relationship to reality is unproven — or at least confusing. Recently, a strange duality has been found between string theory and quantum field theory, indicating that the former (which includes gravity) is mathematically equivalent to the latter (which does not) when the two theories describe the same event as if it is taking place in different numbers of dimensions. No one knows quite what to make of this discovery. But the new amplituhedron research suggests space-time, and therefore dimensions, may be illusory anyway.

“We can’t rely on the usual familiar quantum mechanical space-time pictures of describing physics,” Arkani-Hamed said. “We have to learn new ways of talking about it. This work is a baby step in that direction.”

Even without unitarity and locality, the amplituhedron formulation of quantum field theory does not yet incorporate gravity. But researchers are working on it. They say scattering processes that include gravity particles may be possible to describe with the amplituhedron, or with a similar geometric object. “It might be closely related but slightly different and harder to find,” Skinner said.

Nima Arkani-Hamed, a professor at the Institute for Advanced Study, and his former student and co-author Jaroslav Trnka, who finished his Ph.D. at Princeton University in July and is now a post-doctoral researcher at the California Institute of Technology.

Nima Arkani-Hamed, a professor at the Institute for Advanced Study, and his former student and co-author Jaroslav Trnka, who finished his Ph.D. at Princeton University in July and is now a post-doctoral researcher at the California Institute of Technology.

Physicists must also prove that the new geometric formulation applies to the exact particles that are known to exist in the universe, rather than to the idealized quantum field theory they used to develop it, called maximally supersymmetric Yang-Mills theory. This model, which includes a “superpartner” particle for every known particle and treats space-time as flat, “just happens to be the simplest test case for these new tools,” Bourjaily said. “The way to generalize these new tools to [other] theories is understood.”

Beyond making calculations easier or possibly leading the way to quantum gravity, the discovery of the amplituhedron could cause an even more profound shift, Arkani-Hamed said. That is, giving up space and time as fundamental constituents of nature and figuring out how the Big Bang and cosmological evolution of the universe arose out of pure geometry.

“In a sense, we would see that change arises from the structure of the object,” he said. “But it’s not from the object changing. The object is basically timeless.”

While more work is needed, many theoretical physicists are paying close attention to the new ideas.

The work is “very unexpected from several points of view,” said Witten, a theoretical physicist at the Institute for Advanced Study. “The field is still developing very fast, and it is difficult to guess what will happen or what the lessons will turn out to be.”

04 Sep 14:00

Unknown Artistic Insect Builds a White Picket Fence to Protect its Nest of Eggs

by Christopher Jobson

Unknown Artistic Insect Builds a White Picket Fence to Protect its Nest of Eggs spiders nature insects

Unknown Artistic Insect Builds a White Picket Fence to Protect its Nest of Eggs spiders nature insects

Unknown Artistic Insect Builds a White Picket Fence to Protect its Nest of Eggs spiders nature insects

Earlier this summer while on vacation in Peru, graduate student Troy Alexander fell in love with the Amazon rainforest, and on his return asked an advisor at Georgia Tech if he could take a leave of absence and return to Peru as volunteer researcher. Three weeks later, Alexander found himself on a plane heading back South America to begin work for the Tambopata Macaw Project which focuses on parrot biology and conservation. It was a decision that would lead to his potential discovery of a new species of life, or at least one so rare nobody has a clue what it is.

While assisting with the project, Alexander stumbled onto fascinating structures attached to tree trunks, including a blue tarp that appeared to have been built by a spider or insect. The artistic organism had constructed a protective barrier around its egg sac complete with evenly placed vertical supports and perfectly parallel strands of webbing that unmistakably mimics a white picket fence. Though he had no idea what built it, he snapped a few photos, hoping that when he got home an entomologist would help him zero in on the moth or spider responsible and that would be the end of the story.

Unknown Artistic Insect Builds a White Picket Fence to Protect its Nest of Eggs spiders nature insects

Unknown Artistic Insect Builds a White Picket Fence to Protect its Nest of Eggs spiders nature insects

Weeks after his return, Alexander hoped for a quick ID by posting a photos to Reddit’s popular “whatsthisbug” subreddit where biologists and experts in both insects and arachnids were all stumped. He says the photos have now been viewed “by the professional entomologists moderating Whatsthisbug, but also entomologists at Cal Tech, Georgia Tech, Rice University, the Smithsonian Institute, and more… [but] still no definite confirmation.” Some suspect that it could be something similar to the
Ribbed-Cocoon Maker Moth which also builds a protective structure, but nothing so distinct as this fence.

Scientists estimate there are still millions of undiscovered plant and animal species on Earth, so it’s no surprise that there are still plenty of undiscovered lifeforms out there, it’s just amazing that something so creative has never been documented before. (via Why Evolution is True)

04 Sep 14:00

Secret Fore-Edge Paintings Revealed in Early 19th Century Books at the University of Iowa

by Christopher Jobson

Secret Fore Edge Paintings Revealed in Early 19th Century Books at the University of Iowa seasons painting illustration fore edge painting books
Autumn by Robert Mudie / Special Collections & University Archives at the University of Iowa

Secret Fore Edge Paintings Revealed in Early 19th Century Books at the University of Iowa seasons painting illustration fore edge painting books
Autumn by Robert Mudie / Special Collections & University Archives at the University of Iowa

Secret Fore Edge Paintings Revealed in Early 19th Century Books at the University of Iowa seasons painting illustration fore edge painting books
Winter by Robert Mudie / Special Collections & University Archives at the University of Iowa

Secret Fore Edge Paintings Revealed in Early 19th Century Books at the University of Iowa seasons painting illustration fore edge painting books
Winter by Robert Mudie / Special Collections & University Archives at the University of Iowa

Secret Fore Edge Paintings Revealed in Early 19th Century Books at the University of Iowa seasons painting illustration fore edge painting books
Spring by Robert Mudie / Special Collections & University Archives at the University of Iowa

Secret Fore Edge Paintings Revealed in Early 19th Century Books at the University of Iowa seasons painting illustration fore edge painting books
Spring by Robert Mudie / Special Collections & University Archives at the University of Iowa

Secret Fore Edge Paintings Revealed in Early 19th Century Books at the University of Iowa seasons painting illustration fore edge painting books
Summer by Robert Mudie / Special Collections & University Archives at the University of Iowa

Secret Fore Edge Paintings Revealed in Early 19th Century Books at the University of Iowa seasons painting illustration fore edge painting books
Summer by Robert Mudie / Special Collections & University Archives at the University of Iowa

A few days ago Colleen Theisen who helps with outreach and instruction at the Special Collections & University Archives at the University of Iowa shared an amazing gif she made that demonstrates something called fore-edge painting on the edge of a 1837 book called Autumn by Robert Mudie. Fore-edge painting, which is believed to date back as early as the 1650s, is a way of hiding a painting on the edge of a book so that it can only be seen when the pages are fanned out. There are even books that have double fore-edge paintings, where a different image can be seen by flipping the book over and fanning the pages in the opposite direction.

When I realized the book Theisen shared was only one of a series about the seasons, I got in touch and she agreed to photograph the other three so we could share them with you here. Above are photos of Spring, Summer, Autumn and Winter which were donated to the University of Iowa by Charlotte Smith. How much fun are these? Keep an eye on the University of Iowa’s special collections Tumblr as they unearth more artificats from the archives.

Update: Because this post is getting so much attention, here are some more amazing fore-edge paintings found on YouTube.

04 Sep 13:36

Giacomo Bagnara

by Dave

Giacomo Bagnara

Giacomo Bagnara is an Italian illustrator based in Verona. With a background in architecture, he creates bold, playful compositions informed by his strong structural sensibilities.


Giacomo Bagnara

Giacomo Bagnara

Giacomo Bagnara

Giacomo Bagnara

Giacomo Bagnara

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29 Aug 16:34

Photo



29 Aug 09:53

Figurative Wood Sculptures by Willy Verginer

by Christopher Jobson

Figurative Wood Sculptures by Willy Verginer wood sculpture

Figurative Wood Sculptures by Willy Verginer wood sculpture

Figurative Wood Sculptures by Willy Verginer wood sculpture

Figurative Wood Sculptures by Willy Verginer wood sculpture

Figurative Wood Sculptures by Willy Verginer wood sculpture

Figurative Wood Sculptures by Willy Verginer wood sculpture

Figurative Wood Sculptures by Willy Verginer wood sculpture

Artist Willy Verginer lives and works in a small town called Ortisei in South Tyrol, Italy. His figurative sculptures are carved from solid pieces of lindenwood and often painted with acrylic or accompanied by additional materials. Several of his more recent works as part of a series called Human Nature were on exhibition at Galerie Majke Hüsstege earlier this year and you can see much more of his work on his website. (via Empty Kingdom)

28 Aug 17:15

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28 Aug 17:14

Minimals: Modular Toy Animals by Sebastián Burga

by Christopher Jobson

Minimals: Modular Toy Animals by Sebastián Burga toys animals

Minimals: Modular Toy Animals by Sebastián Burga toys animals

Minimals: Modular Toy Animals by Sebastián Burga toys animals

Minimals: Modular Toy Animals by Sebastián Burga toys animals

Minimals: Modular Toy Animals by Sebastián Burga toys animals

Minimals are a new line of modular toy models currently in development by designer Sebastián Burga. The designer has been working on the wacky looking animals since 2008 and they recently won a Silver A Design Award at the A’Design Awards. While it doesn’t look like they are currently available for purchase, you can see a lot more over on Facebook and Behance.

28 Aug 17:05

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28 Aug 16:12

Sebastian Fatale

by kiluka
27 Aug 16:27

North by Northwest (1959)



North by Northwest (1959)

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27 Aug 16:23

Behind the Scenes #35, When Legends Gather #811

by WillyC

Ronnie Spector, Dee Dee Sharp, Cassius Clay, Dionne Warwick, and Stevie Wonder backstage at The Apollo (1963)
23 Aug 11:43

Door Slammers by James Ball

Project
Door Slammers

Photography
James Ball

Link
weareink.co.uk

Door Slammers by James BallDoor Slammers by James BallDoor Slammers by James BallDoor Slammers by James Ball
23 Aug 11:39

See This Film: The Act of Killing I’m often drawn to films that...



See This Film: The Act of Killing

I’m often drawn to films that make me uncomfortable, but more importantly ones that are so unsettling I can’t seem to shake them long after viewing. Joshua Oppenheimer’s The Act of Killing is unlike any film you’ve ever seen. A documentary meets conceptual propaganda film where he asks men responsible for killing nearly a million accused communists to recreate the memories of their of their crimes with full artistic license covering any genre of cinema. The murderers approach the project as any big studio would: It needed laughter, romance, adventure and ultra violence that would give Tarantino a chubby. Our first player, Anwar Congo looks like an unassuming old man; someone’s fly grandpa: all matching polyester blend suits and slick reflective sunglasses dangling from vibrant colored strings. A pile of cotton candy textured hair atop his small head. You’d almost never know that by his own estimates he took part in the murders of over a thousand people.

His sidekick Herman Koto sometimes steals the show. He is a perfect compliment to Congo’s quiet brooding and spends much of the film within a film inexplicably playing female bit characters though he bares no soft features. Koto is a boisterous, sloppy, brute; every shirt a little too tight, their buttons pulled taut, screaming for mercy. He has a flare for the dramatic taking his role as “Communist woman” very seriously. There’s a scene in which his character is supposed to be taunting the detached head of Anwar’s character as his (very fake) headless body lies next to him, disemboweled. “This is your liver!” he says gruffly and stuffs a piece of raw meat into his mouth. Spit and faux blood drip from his jowls as Anwar squirms in horror. It’s the stuff of b-movie fare. The Blood SO red, the body parts so obviously props. And then it hit me, sitting in the theater: we’re supposed to be watching their version of true events. Did they really do this to another human being? Was this mere exaggeration to assist in vivid storytelling? My popcorn instantly tasted stale, and my mouth felt dry. There are many more uncomfortable moments in the film where the reenacted carnage feels very real. It’s frightening and enraging but I sat glued to my seat.

Of the four main men interviewed the only person who seems (a little) affected by this rewind in time is Anwar. It’s hard to tell if it’s genuine or if he’s feeling sorry for himself. Much of the film’s narrative success is due to the subject’s comfort with the director. They welcome him in like a proud dad giving a tour of a new deck or grill: “Joshua, film the photos!”, “Oh Josh, this looks great!”. There are very few scenes where they seem upset by their portrayal. Early into the film, Anwar stands on a patio where he admittedly killed many, many people. His outfit is suitable for a family reunion or church BBQ: perfectly starched white pants poured atop perfect, clean white shoes (He later regretted wearing the white pants for this scene). He topped it off with a moss green tropical camp shirt. Congo almost gleefully shows us how he uses a wire and a wooden stick to kill detainees without drawing much blood. Seconds later he’s doing a cha cha. From a homemade garrotte tutorial to fancy footwork, Anwar is a very complicated man. At the film’s close we return to the same patio to reshoot this scene. This time he dons a brown mustard colored suit. He begins to recount again his famed method of killing but he can’t get through his lines. As if the ghosts of all the evil he’s committed possess him he is overwhelmed by physical repulsion. The scene is hard to watch and quite an ending, and at times I had to look away.

What struck me the most throughout was the veracity of the men’s bragging of their murderers mixed with the unconditional support of their country. With every new character introduced the pissing contest intensified, which each man claiming to be the most brutal or wicked. In contrast, America is a society built on Catholic guilt and repentance. If you commit a crime, you need to pay for those sins and then you need to feel really, really bad about it. We put people to death and moments before the end we ask if they have any last words… and you’d better believe we’re expecting some very believable apologies. Tears are a bonus, finding God is the money shot. The men in The Act of Killing show very little remorse and instead they bleed entitlement. I left the movie, sad, angry, and confused but glad to have made it all the way through. It’s easy to pretend bad things don’t happen. It’s harder to face them, and accept that they are real even after the director says cut.

22 Aug 17:13

this isn't happiness™ Peteski

by turn